The paper deals with the transgenerational transmission of collective memory and collective trauma in traditional tales, or rather in their adaptations in children's literature. To this end, extracts from Croatian history from the time of the Croatian kingdom are analysed. The substrate of the oral tradition in the literary adaptation for children (Hrvoje Hitrec, Croatian Legends [Hrvatske legende], 2007, Dubravko Horvati & cacute;, The Gri & ccaron; Cannon [Gri & ccaron;ki top], 1987) is enriched with content-related details, it is stylistically defined and the literary design of the characters is more complex. The text, created through elaborate literary adaptation, offers a more complex view of the past and thus the possibility of a different transgenerational transmission of collective memory/trauma.
Katica Sperac was born on 12 May 1911 in Solin, as the daughter of Josip Sperac (1861-1937) and Ru & zcaron;a Sperac, n & eacute;e Mili"si & cacute; (1880-1960). After spending her early childhood in her parents' home, she relocated to Split with her mother prior to commencing formal education. There, she attended primary and secondary school under the care of the Handmaids of Charity, known as the ancelle nuns, at the Collegio di educazione femminile diretto dalle Ancelle della Carit & agrave; in Spalato, where instruction was conducted in Italian. Although specific records are lacking, it is reasonable to assume that Katica received her initial music lessons during this period, possibly under the tutelage of Professor Jelka Karlovac, who had settled in Split after completing her piano studies in Trieste and was actively engaged in musical and pedagogical work at the time. In 1925, Katica Sperac continued her formal education in Graz, completing her studies at the Anderl-Rogge Institute in 1928, before enrolling at the Konservatorium des Steiermdrkischen Musikvereins Graz to study piano under the tutelage of Professor Hugo Kroemer. She graduated successfully in 1932 and subsequently returned to Split, where she immediately began teaching piano at the City Music School, then directed by Professor Jelka Karlovac. During this time, Katica Sperac pursued a distinguished concert and teaching career, receiving frequent coverage in contemporary press. In 1936, Katica Sperac married Vjekoslav Auf, who hailed from a Sudeten German family. Auf attended the Royal Grammar School in Split and was also musically gifted, playing viola in the school's string quartet. Soon after their marriage, Katica Sperac-Auf resigned from her position at the City Music School and commenced private piano instruction in September 1937. The couple's first daughter, Rosemarie, was born in 1938. Following Vjekoslav's official assignment to Belgrade, the family briefly relocated to the then-capital before moving to Zagreb in 1939/40, where Vjekoslav secured a new employment at the National Bank. During the Second World War, their second daughter, Hildegard, was born in 1941. In November 1943, Vjekoslav Auf died tragically in a plane crash in Zagreb while returning from a business trip to Zadar. Following her husband's untimely death, Katica Sperac-Auf continued her private teaching career. In the challenging postwar period, demand for private lessons diminished markedly, leading her to seek permanent employment at a public music school. After considerable hardship, she secured a permanent appointment in 1949 at the Primary-Level City Music School of the Second District in Medve"s & ccaron;ak and, in 1951, at the City Music School in Zagreb (later known as the & laquo;Pavao Markovac & raquo; Music School). She remained at this institution for many years, instructing generations of piano students until her retirement in August 1973. Katic Sperac-Auf spent her retirement years in Zagreb, where she died on 1 April, 1987 at 76 years of age.
The ancient inhabitants of the Salona region worshipped deities who, in literary sources and contemporary literature, are associated with natural phenomena and human activities in the rural or wild landscape. In their honor, they erected altars, reliefs and sanctuaries, traces of which can be seen from Trogir, across the Jadro estuary and the Klis Passage to Jesenice and Dugi Rat. By studying the available literature and the inventory books of the Archaeological Museum in Split, the finding places of as many as 79 monuments are recorded. Based on the collected data, a topographical insight has been provided, which allows conclusions to be drawn that ancient cults are associated with traffic routes, water areas, quarries, and with economic and residential complexes that once existed in the Roman-era landscape. In addition, the paper contains a topographical overview of the sites in the Salona region and its edges, as well as a description of the deities whose monuments a traveler could once encounter. Based on the presented data, we can conclude that the Salona landscape in Roman times was filled with divine representations and their sanctuaries. Traces of worship are found along economic units, natural attractions and hydrological phenomena. The goat-like Silvanus was worshipped along traffic routes, populated areas and on the outskirts of the landscape, and his help was sought by travelers and businessmen. Based on the presented data, the conclusion is drawen that the sanctuaries of this deity existed east of the Urbs vetus, and a topographical survey, dating of individual monuments and the intellectual heritage about the deity indicate that his cult in this area took place before widespread urbanization. In the area of the eastern city expansion, this deity was worshipped with the Italic epithet, and the places of discovery indicate that the culttook place in the immediate vicinity of the altars of Jupiter and Liber. Divine nymphs were worshipped in areas that can be linked to water features, and separate altars on the Split Peninsula testify that they were worshipped in that area independently of the association with Silvanus. Hercules was worshipped in the western parts of the ager, and monuments show that he was linked to economic units (a quarry), but also to natural phenomena (a water source in a cave). On the Split Peninsula and in the territory of the Narestine people Diana was worshipped as the protector of forests and the divine healer. All locations that can be linked to this goddess in the Salona landscape are linked to hydrological phenomena (Lu & ccaron;ac, Tr & scaron;& cacute;enica, Jesenice). Traces that we associate with Libera, the protector of vegetation, vineyards and wine, have been observed in the Trogir area not far from the economic unit, as well as in the area of the eastern Salona extension, directly next to the communication (Via principalis). As in the case ofSilvanus, the topographical insight and dating of Liber's monuments indicate that sanctuaries of this deity existed east of the urbs vetus before widespread urbanization. Therefore, we can conclude that the cult objects stood next to arable land, i.e. smaller land holdings. However, the existence of suburban estates, sanctuaries and other traces of architecture from the 1st and 2nd centuries in the area of the eastern city (Urbs orientalis) still needs to be verified by future archaeological research. Finally, the objects reveal that at the extreme western and eastern points of Salona there were also two sanctuaries dedicated to the fertility god, Priapus.
Within the south-eastern town walls of Salona in the secondary use, an inscription plaque originating from the sanctuary of Cybele was found, along with an element of a composite inscription exhibiting a circular ground plan. It was initially hypothesised that this enumerative text contained the accusative form of the word cella ([cel]lam), possibly referring to the inner chamber of the sanctuary of Cybele. In the immediate vicinity, an out-of-context rounded beam with identical profiles on both sides was recovered, and slightly further north, another inscription plaque mentioning Cybele was found within a rubble deposit, together with a fragment of wall decoration featuring a concave, rounded front. Unfortunately, the latter monument has since been lost, and thus information regarding its dimensions or curvature is unavailable. This paper outlines the history of the discovery of these fragments, analyses their morphology and manufacturing techniques, and offers an interpretation regarding their potential architectural affiliation. Due to the fact that all fragments are of heterogenous nature and have been discovered outside their original context, a definitive reconstruction idea remains challenging.There are two possible options: first, that all anepigraphic fragments and inscriptions belong to a single edifice, namely the sanctuary of Cybele (a cognate sanctuary or possibly much larger city sanctuary) or alternatively, to the sanctuary of Cybele (only inscriptions) and another architectural complex, potentially a small square or more likely a market (macel-lum) featuring a central pavilion in the form of a tholos (monopteros). This latter hypothesis is supported by the possibility that the problematic accusative form on the composite inscription may in fact conceal the accusative form of the word pergula (pergu]lam. In the first scenario, the structure could be identified as a large circular-based temple (tholos), although its dimensions are unlikelyto correspond with those typically associated with a cognate temple; in the second scenario, it may represent a hitherto unknown architectural complex.
The presence of the military in Salona is attested not only by epigraphic inscriptions, historical sources and military diplomas, but also by an extensive corpus of military equipment, most of which has already been the subject of scientific study. The present paper introduces Roman military artefacts preserved in a private archaeological collection. Although limited in number, these items exhibit considerable typological diversity and encompass categories of military equipment previously unattested in the Salona area. The finds can be classified into distinct typological groups. The majority belong to elements of the military belt, while equestrian equipment artefacts are represented to a lesser extent. In addition, a single stirrup, associated with cavalry equipment, was identified-constituting the first item of this type recovered in Salona. The finds are heterogeneous, not only in terms of their intended use but also in terms of chronology, spanning a broad temporal range from the 1st to the 5th century. These military artefacts from Salona published here correspond to widely attested types recovered at both military and civilian sites throughout the Roman Empire. According to their intended use, they can be classified into several categories, whereby artefacts catalogued under nos. 1-6 comprise elements of the military belt. Within this category, there are finds from various periods, i.e., components of different styles of military belt ornamentation. A suspension ring for a dagger on the belt (cat. no. 1) and a belt mount (cat. no. 2) are dated to the 1st century; no similar items have previously been discovered in Salona. Double-sided buttons are dated to the 2nd and 3rd centuries (cat. nos. 3, 4), while a propeller-shaped mount (category no. 5) and an amphora-shaped strap-end (cat. no. 6) are dated to the 4th and 5th centuries. Two horse harness pendants (cat. nos. 7, 8), dated to the 1st and first half of the 2nd century, belong to equestrian equipment. This is the first find of aleaf-shaped horse harness pendant in Salona, although this type is one of the most widespread horse harness pendants. Equestrian equipment also includes a harness mount (cat. no. 9) dated to the 2nd and 3rd centuries. Cavalry equipment includes a stirrup (cat. no. 10), which corresponds to the Leuna type D, dated to the mid-3rd to the mid-5th centuries. It cannot be definitively determined whether the equipment found in the city belonged to active soldiers or veterans, particularly given the fact that soldiers retained the belt even after their active service due to its symbolic significance as a sign of honourable discharge. Both categories of soldiers were resident in Salona throughout its existence, as inscriptions from members of the Roman army attest, so the equipment could have belonged to either group. In conclusion, this modest but diverse group of military equipment does not change the prevailing image of the army in Roman Salona, but it significantly complements it, especially given the fact that several new types of items are represented that have not previously been published in the scholarly literature.
