Comparison between the Needle and Roller Electrospinning of Polyvinylbutyral

The effect of the concentration of polyvinylbutyral solution on the process throughput and fibre properties was studied in needle and roller electrospinning. Whereas the polymer throughput is an optional independent parameter in needle electrospinning, it is a dependent parameter that is affected by both the material and process parameters in roller electrospinning. Polymer throughput increases considerably with an increasing concentration of polymer solutions in roller electrospinning. The properties of the nanofibers and the quality of the nanofiber layers were also studied. Fibre diameters increase with an increasing concentration in both techniques. Fibre diameters produced by needle electrospinning are smaller than those produced by roller electrospinning. The distribution of fibre diameters is rather narrow and not significantly dependent on the concentration of solutions in either technique

Dependent and Independent Parameters of Needleless Electrospinning

Electrospinning is a simple method to produce nanofibers from solutions and melt of different polymers and polymer blends. There is an extensive application in future of Electrospun nanofibers. Several methods for the production of nanofibers have been developed for their wide-scale production. In this chapter, we introduced the needleless roller electrospinning system that is well known under the trade name of nanospider and used as industrial production scale during the last decade. For industrial production, it is crucial to control and the measure all the spinning parameters of the needleless electrospinning system. Herein, all the electrospinning parameters of the needleless roller electrospinning system were determined and grouped as dependent and independent parameters. Each parameter was defined, and some experimental results are shown under their group. Using theoretical calculations, the minimum electrical field to start initiation of Taylor’s cone and the dimensionless electrospinning number was demonstrated. The dimensionless electrospinning number is important for the initiation of the electrospinning system. Each parameter explained in detail, and measurement methods of parameters were clarified. It was found that each parameter plays a major role in productivity and quality of nanofiber webs. Changing the dependent and independent parameters of the electrospinning, the fiber morphology can be adjusted according to demands

Izgubljeni bez prijevoda: europska povijest umjetnosti

Recenzija, prikaz zbornika međunarodnog simpozija "Zagreb-München. Hrvatsko slikarstvo i Akademija likovnih umjetnosti u Münchenu"

Djelatnost informatora narodnih knjižnica i čitateljske navike korisnika

Namjera mi je ovim radom pokazati važnost čitanja iz razonode za kvalitetu života pojedinca, a time posredno i zajednice, te propitati može li i kojim metodama narodna knjižnica odigrati ulogu u poboljšanju čitateljskih navika svojih korisnika. Želim opisati rad informatora s korisnicima, djelatnosti kojima informator u narodnoj knjižnici može utjecati na čitateljski izbor korisnika i usmjeravati ga prema kvalitetnijoj literaturi. Polazeći od literature i konkretnih primjera izvest ću zaključke o metodama kojima se u praksi služe djelatnici narodnih knjižnica

Propuštena prilika za Rangera

Prikaz knjige: Ivo Pervan / Marija Mirković, Ivan Krstitelj Ranger, Zagreb, 2004

Pedeset godina poslije

Prikaz knjige Umberta Eca, Umjetnost i ljepota u srednjovjekovnoj estetici, (prev.) Željka Čorak, zagreb, Institut za povijest umjetnosti, 2007

Die Rezeption der Wiener Schule in der kroatischen Kunstgeschichte

Für die Etablierung des Faches Kunstgeschichte als wissenschaftliche Disziplin, zu der es in mehreren Ländern der ehemaligen Habsburgischen Monarchie in der zweiten Hälfte des 19. Jahrhunderts kam, erwies sich die Wiener Kunstgeschichtstradition als unerlässlich. Als Gründungsdatum der Wiener Schule der Kunstgeschichte wird gewöhnlich die Berufung Rudolf Eitelbergers zum außerordentlichen Professor für Kunstgeschichte und Kunstarchäologie an die Universität Wien vom 9. November 1852 verstanden. Die praxisbezogenen Errungenschaften dieser „ersten“ Wiener Schule gelangten in die kroatische Hauptstadt etwa zwei Jahrzehnte später. In Zagreb entwickelte man in den frühen siebziger Jahren des 19. Jahrhunderts ein umfangreiches Programm kroatischer Kulturpolitik, das unter anderem die Einrichtung einer Lehrkanzel für Kunstgeschichte an der Universität vorsah. Einer der Intellektuellen, die sich an der Entfaltung dieses Programms beteiligten, war Izidor Krsnjavi (1845-1927), eine vielfältige und im mehrfachen Sinne kontroverse Persönlichkeit. Seinerzeit als „kroatischer Machiavelli“ bezeichnet, führte Krsnjavi, der in Wien bei Eitelberger studierte, ein durch politische Affären gekennzeichnetes Leben. In seiner mehr als ein halbes Jahrhundert andauernden Präsenz im öffentlichen Leben Kroatiens leistete er trotzdem einen wesentlichen Beitrag zur Entwicklung und Institutionalisierung der heimischen Kultur. Unter Eitelbergers Einfluss begann sich Krsnjavi in einer voraussetzungslosen Gegend um die Nachahmung der ersten Professur für Kunstgeschichte im Habsburgerreich einzusetzen. In dieser Arbeit wird vor allem Krsnjavis Rolle in den Bemühungen um die nationale Hochkultur zwischen dem Abschluss seines Wiener Studiums (1870) und der Übernahme des höchsten Amtes im Ministerium für Kultus und Unterricht (1891) untersucht. Mittels Quellenstudien und Textanalysen werden in dieser Fallstudie unmittelbare Beziehungen Krsnjavis zu den Vertretern der Wiener Schule der Kunstgeschichte (Rudolf Eitelberger, Moritz Thausing, Alois Riegl) und ihrem Schaffen aufgezeigt, wobei als Ausgangspunkt Kršnjavis umfangreicher schriftlicher Nachlass verwendet wurde. Izidor Kršnjavis 1877 gegründete Lehrkanzel an der Universität Zagreb wurde zum Ausgangspunkt einer systematischen Ausbildung kroatischer Kunsthistoriker und gleichzeitig zur Grundlage einer planmäßigen Organisierung des Kulturlebens in der Stadt. Seit dem Studienabschluss um das Aufgreifen von Ansätzen seines Professors Eitelberger bemüht, setzte sich Kršnjavi um die positive Bewertung des Faches in der Öffentlichkeit, um die Hebung der allgemeinen Kunstbildung und um die Verbreitung des Kunstgeschichteunterrichtes auf die nicht-universitären Anstalten ein, gleichzeitig auf der Notwendigkeit der Aufstellung einer nach wissenschaftlichen Kriterien geordneten Gemäldegalerie in Zagreb bestehend. Ohne die Vorbildwirkung Rudolf Eitelbergers wären viele seiner Bemühungen undenkbar gewesen. Der Gedankenaustausch, der zwischen den beiden Gelehrten bestand und im erhaltenen Briefwechsel (1877-1882) zum Ausdruck kam, war bisher unbekannt, konkrete Parallelen zwischen den Tätigkeiten beider Kunsthistoriker nie ausführlich erläutert. In dieser Arbeit werden sie als ein Bestandteil der Übertragungsmechanismen von allgemeinen europäischen Kulturströmungen in den letzten Jahrzehnten des 19. Jahrhunderts, vor allem von Grundsätzen der Wiener Schule der Kunstgeschichte, behandelt.For the affirmation of the art-historical profession as a scientific discipline which occured in many countries of the ex-Habsburg Monarchy in the 2nd half of the 19th century the art-historical tradition in Vienna proved to be very important. Rudolf Eitelberger is considered to have been the "forefather" of the Vienna School of Art History for he was invited to became adjunct professor of the history of art and archeology of art on The University of Vienna in November 9th, 1852. Effects of this «first» Vienna School of Art History which was oriented on practise came into the Croatian capital some 20 years later. In the early 1870s Zagreb developed detailed plan on Croatian cultural policy which included the foundation of department for history of arts at the Zagreb University. Izidor Krsnjavi (1845-1927), controversial and versatile person was one of it´s founders. Described as «Croatian Machiavelli» and being Eitelberger´s student, Krsnjavi´s life was marked with political affairs. His presence in Croatian public life lasted more than a half of a century during which he contributed on development and institutionalisation of Croatian culture. Under Eitelberg´s influence he tried «to imitate» the first department for history of arts in the Habsburg Monarchy. In this work the research is concentrated on his role in the Croatian culture in the period between his graduation at the University of Vienna in 1870 till 1891 when he became the minister in The Ministry for religion and education. Through various sources and analysis this text brings direct connections of Krsnjavi and the representatives of the Viena School of Art history (Rudolf Eitelberger, Moritz Thausing, Alois Riegl) and their work. The starting point is Krsnjavi´s written legacy. The department of history of art founded by Krsnjavi in Zagreb in 1877 became the starting point in systematic education of Croatian history of art professors and at the same time the basis for planned organisation of the Zagreb cultural life. After finishing his studies, Kršnjavi tried to bring over the basis of his professor Eitelberg into the newly founded department of art history. He also engaged himself in promotion and acceptance of the history of art in public. He worked on rising the level of public education in art history on the university and other schools. He insisted on founding of art gallery on Zagreb the exibit of which would be in accordance with scientific criteria. Without Rudolf Eitelberger´s influnce, many of his endeavours would be unsuccesful. Their written correspondence (from 1877 till 1882) so far has been unknown as well as mutual connections in their work which so far hasn´t been explained in detail. In this work these two matters have been treated as a part of the mechanism of exchange of cultural European flow in the last decades of the 19th century with special emphasis on The Viena School of Art History

I dalje skriveno blago

Prikaz izložbe: Skriveno blago Muzeja za umjetnost i obrt, izbor iz fundusa u povodu 125. obljetnice Muzeja za umjetnost i obrt, Zagreb, 27.11.2005.-28.2.2006., koncepcija izložbe: Miroslav Gašparović, postav izložbe: Željko Kovači