Croatian Public Television – Lost in Transformation

Total Page:16

File Type:pdf, Size:1020Kb

Croatian Public Television – Lost in Transformation University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 12-2009 Croatian Public Television – Lost in Transformation Iveta Imre University of Tennessee - Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Communication Commons Recommended Citation Imre, Iveta, "Croatian Public Television – Lost in Transformation. " Master's Thesis, University of Tennessee, 2009. https://trace.tennessee.edu/utk_gradthes/531 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Iveta Imre entitled "Croatian Public Television – Lost in Transformation." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Science, with a major in Communication and Information. Norman Swan, Major Professor We have read this thesis and recommend its acceptance: Barbara Moore, Margaret Morrison Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) To the Graduate Council: I am submitting herewith a thesis written by Iveta Imre entitled “Croatian Public Television – Lost in Transformation.” I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the requirements for the degree of Master of Science, with a major in Communication and Information Norman Swan Major Professor We have read this thesis and recommend its acceptance: Barbara Moore Margaret Morrison Accepted for the Council: Carolyn R. Hodges _______________________________ Vice Provost and Dean of the Graduate School (Original signatures are on file with the official student records) CROATIAN PUBLIC TELEVISION – LOST IN TRANSFORMATION A Thesis Presented for the Master of Science Degree The University of Tennessee, Knoxville Iveta Imre December 2009 Copyright © 2009 by Iveta Imre All rights reserved. DEDICATION This thesis is dedicated to my husband and my family who have always been there for me, and provided me with encouragement. Thank you for all your love and support. This would not have been possible without you. i ACKNOWLEDGEMENTS I would like to thank Dr. Sam Swan, who helped me develop an idea into a study, and who guided me throughout this research. I would also like to thank Dr. Barbara Moore and Dr. Margaret Morrison for their support during this study. Your guidance and advice are greatly appreciated. I would also like to thank Dr. Tena Perišin, Dr. Victoria Car and Lamija Alečković for helping me contact interviewees and providing me with necessary material to conduct the research in Croatia. I am grateful to all of the interviewees who took time and participated in this study. Finally, I would like to thank my brother for his support and help he provided me from Croatia. Without you, this study would not have been possible. ii ABSTRACT This study examined the influence of government, politicians and advertisers on the content of Croatian Public Television (HTV) news. This research examined whether HTV has remained state TV and under as strong government influence as it was in the former Yugoslavia? Or has it transformed into public TV, which has been the goal since Croatia gained independence in 1991? Or has it become commercial TV? The data were gathered through 10 semi-structured in-depth interviews with journalists and producers in the HTV news department and through a content analysis of HTV’s main newscast, Dnevnik. The major findings suggest there is still a lot of coverage of politics in Dnevnik, but not as much as in the past. The political influence has been stronger again in the last three years; however, self-censorship is a bigger problem at HTV today than actual censorship. The results indicate the big advertisers like the phone company Croatian Telecom or the gas company Ina influence the news programming at HTV, especially Dnevnik. The conclusion is that HTV today is state TV with commercial influences. iii TABLE OF CONTENTS CHAPTER 1 ................................................................................................................................................. 1 INTRODUCTION AND BACKGROUND ................................................................................................ 1 1.1 BACKGROUND ...................................................................................................................................... 2 1.1.1 Media laws and regulation .......................................................................................................... 6 1.2 STATEMENT OF THE PROBLEM .............................................................................................................. 9 1.3 DEFINITION OF TERMS..........................................................................................................................11 1.4 SIGNIFICANCE OF THE STUDY ..............................................................................................................12 CHAPTER 2 ................................................................................................................................................13 LITERATURE REVIEW ...........................................................................................................................13 2.2 SUMMARY ...........................................................................................................................................18 CHAPTER 3 ................................................................................................................................................21 METHODOLOGY ......................................................................................................................................21 3.1 IN-DEPTH INTERVIEWS .........................................................................................................................22 3.2 PROGRAM CONTENT ANALYSIS ............................................................................................................24 CHAPTER 4 ................................................................................................................................................29 FINDINGS ...................................................................................................................................................29 4.1 INTERVIEWS .........................................................................................................................................29 4.1.1. How has the definition of news changed over the years? ..........................................................29 4.1.2 How are news coverage and presentation decisions made? .......................................................31 4.1.3 How has politics influenced news programming? ......................................................................32 4.1.4 How free do you think HTV is to cover news? ............................................................................34 4.1.5 Has there been censorship in news? ...........................................................................................36 4.1.6 Does self-censorship exist among reporters? .............................................................................40 4.1.7 How has commercial advertising influenced news content? .......................................................42 4.1.8 Do you think HTV is a state TV, a commercial TV or a public TV? ...........................................43 4.1.9 Have new technologies affected the news? .................................................................................45 4.1.10 Has external training from western companies changed the news? .........................................46 4.1.11 Where do you see HTV news in the future? ..............................................................................47 4.2 KEY FINDINGS: IN-DEPTH INTERVIEWS .................................................................................................48 4.3 CONTENT ANALYSIS OF DNEVNIK .......................................................................................................51 4.3.1 The number of analyzed stories...................................................................................................51 4.3.2 Governmental stories ..................................................................................................................52 4.3.3 Political Stories ...........................................................................................................................52 4.3.4 Social and commercial stories ....................................................................................................53 4.3.5 Video clips of politicians .............................................................................................................53 4.3.6 Sound bites from politicians ........................................................................................................54 4.3.7 The lead story ..............................................................................................................................55
Recommended publications
  • Women and Media
    Analysis of the Media Treatment of Gender Violence in Croatia in Programmes of Three National TV Broadcasters WOMEN AND MEDIA Analysis of the Media Treatment of Gender Violence in Croatia 1 Analysis of the Media Treatment of Gender Violence in Croatia in Programmes of Three National TV Broadcasters CONTENTS 1. INTRODUCTION ............................................................................................................5 2. VIOLENCE AS DISCRIMINATION AND A VIOLATION OF HUMAN RIGHTS OF WOMEN ..............................................6 3. VIOLENCE AGAINST WOMEN IN CROATIA .......................................................8 4. THE CURRENT REGULATORY FRAMEWORK FOR MEDIA REPORTING........................................................................................ 10 5. ANALITICAL FRAMEWORK AND METHODOLOGY .................................... 16 6. RESULTS OF THE RESEARCH ............................................................................... 19 6.1. Number of brodcasts, programme items and duration .............. 20 6.2. The importance of news through positioning and headlines... 24 6.3. Topics ................................................................................................................ 25 6.4. Sources and speaking time ...................................................................... 27 6.5. Dramatization and spectacularization ............................................... 29 6.6. Use of concepts ............................................................................................
    [Show full text]
  • Croatia 07/2018
    Monitoring Implementation of the Council of Europe Recommendation to the member states on measures to combat discrimination on grounds of sexual orientation or gender identity CM/Rec(2010)5 DOCUMENTATION REPORT ON THE REPUBLIC OF CROATIA 07/2018 Prepared by ZAGREB PRIDE web: www.zagreb-pride.net email: [email protected] ++385(0)1 580 65 60 Skype: zagrebpride Social media: @zagrebpride _________ TABLE OF CONTENT INTRODUCTION 4 About Zagreb Pride 4 About the Report 4 Political System and Demographics 4 Executive Summary 5 Methodology 8 Acknowledgements 9 RECOMMENDATIONS 10 Section 1 – Implementation of the Recommendation 18 Section 2 – Implementation of the specific provisions in the Appendix 21 2.1. Right to life, security and protection from violence 21 2.1.A. “Hate crimes” and other hate-motivated incidents 21 2.1.A.1 Hate crime legislation 21 2.1.A.2 Underreporting of homophobic and transphobic hate crimes 22 2.1.A.3 Documenting and reporting hate crimes 24 2.1.A.4. Zagreb Pride’s compiled data on hate crimes 25 2.1.A.5. Hate crimes – case studies 27 2.1.B. “Hate speech” 31 2.1.B.1. Hate speech – case studies 33 2.2. Freedom of association 38 2.3. Freedom of expression and peaceful assembly 41 2.4. Right to respect for private and family life 46 2.4.1. Legal gender recognition 46 2.4.2. Legal recognition of same sex couples 47 2.4.3. Institutional and political discrimination of same-sex life partners 48 2.4.4. Discrimination of informal same-sex life partners – case studies 50 2.4.5.
    [Show full text]
  • Editorial by Nicolás Smirnoff
    WWW.PRENSARIO.TV WWW.PRENSARIO.TV //// EDITORIAL BY NICOLÁS SMIRNOFF CEE: ups & downs at the new digital era Central & Eastern Europe is going forward through the new digital era with its own tips. The region has suffered a deep crisis from 2008 to 2017- 2018, with many economies Prensario just standing up. This has International meant rare investment pow- er and long-term plans, but at the same time the change ©2018 EDITORIAL PRENSARIO SRL PAYMENTS TO THE ORDER OF moves fast and comparing to EDITORIAL PRENSARIO SRL other territories, CEE shows OR BY CREDIT CARD. REGISTRO NACIONAL DE DERECHO strong digital poles and de- DE AUTOR Nº 10878 velopment appeals. Argentina: In favor, most of the biggest broadcast- OTT platforms? It is what main broadcasters Las Casas 3535 ers are group of channels that include many of the world are doing, to compete better in CP: 1238 the new converged market and to generate Buenos Aires, Argentina countries, so it is easier to set up cross region- Tel: (+54-11) 4924-7908 al plans and to generate high-scale moves. proper synergies. If content business moves Fax: (+54-11) 4925-2507 On the opposite, there are many different to franchise management, it is important to USA: languages and audiences, so it is difficult to be flexible enough to any formula. 12307 SW 133 Court - Suite #1432 spread solutions that work to every context. This Natpe Budapest? It promises to be bet- Miami, Florida 33186-USA Phone: (305) 890-1813 Russia is a big Internet pole and now it is ter than last ones, with the region going up Email: [email protected] also a big production hub for international and the need of pushing more and more col- Website: www.prensario.tv companies setting up studios or coproduc- laborations.
    [Show full text]
  • Programme Diversity of the Most Influential TV
    PROGRAMME DIVERSITY OF THE MOST INFLUENTIAL TV-CHANNELS IN MACEDONIA, CROATIA AND SLOVENIA Programme Diversity of the Most Influential TV-Channels in Macedonia, Croatia and Slovenia COMPARATIVE ANALYSIS OF THE COMMERCIAL TERRESTRIAL TV-CHANNELS ON NATIONAL LEVEL PROGRAMME DIVERSITY OF THE MOST INFLUENTIAL TV-CHANNELS IN MACEDONIA, CROATIA AND SLOVENIA Authors: Vesna Nikodinoska, Marina Tuneva and Slavco Milenkovski 1. INTRODUCTION The largest commercial terrestrial TV-channels on national level in Macedonia continue to represent a dominant source of information for the audience; hence, they continue to exert the greatest influence on the public opinion. Therefore, on one hand, it imposes expectations that the programme they offer to the viewers should reflect quality and diversity of content, and at the same time, it should set high standards for practitioners working in TV-channels, but on the other hand, they should promote democratic values and professional principles,1 so as to advance the development of the broadcasting industry. The quality of the media content is not an obligation explicitly regulated by law; however, the national commercial TV- channels, as the most viewed and the most influential, are expected to show a sense of social responsibility and work for the public interest, since they themselves are users of public resources. Under free market conditions, the competition with quality content should serve as additional stimulation to the rivalry in the broadcasting area and as “bait” for attracting advertisers. That is
    [Show full text]
  • The Producing Process 3
    03-Schultz.qxd 6/29/2004 12:34 PM Page 37 The Producing Process 3 y now, you have a pretty good idea of what a producer does to get B a newscast on the air. So far, we have only talked about these duties in the abstract sense. It is now time to take a closer look at the step-by-step process of putting a show together. Story Ideas and News Value A newscast starts with a series of story ideas, which are nothing more than potential ideas that could eventually end up in the show. Story ideas come from a variety of sources, and the good producer will often come to work with several story ideas already formulated. These may come from other media, be follow-ups from stories done the previous day, or be a consequence of personal observation (see Table 3.1 for examples). Producers like their reporters to come to work with story ideas, and reporters should have some concrete suggestions for stories, even if these ideas never pan out. Too many reporters show up with the expectation that producers will have a story already assigned to them. This can waste a lot of precious news time as reporters scramble to try and set up a story or contact news sources. Producers and reporters will suggest their story ideas at the editorial meeting, where they and the news director will discuss events going on in the area. The purpose of the meeting is to consider all possible story ideas and narrow them down to a list of stories that will go in the newscast.
    [Show full text]
  • THE NATIONAL ACADEMY of TELEVISION ARTS & SCIENCES ANNOUNCES the 43Rd ANNUAL DAYTIME EMMY® AWARD NOMINATIONS
    THE NATIONAL ACADEMY OF TELEVISION ARTS & SCIENCES ANNOUNCES The 43rd ANNUAL DAYTIME EMMY® AWARD NOMINATIONS Daytime Emmy Awards To be held at the Westin Bonaventure Hotel and Suites on May 1st Daytime Creative Arts Emmy® Awards Gala on April 29th Individual Achievement in Animation Honorees Announced New York – March 24th, 2016 – The National Academy of Television Arts & Sciences (NATAS) today announced the nominees for the 43rd Annual Daytime Emmy® Awards. The awards ceremony will be held at the Westin Bonaventure Hotel and Suites on Sunday, May 1st. The Daytime Creative Arts Emmy Awards will also be held at the Bonaventure on Friday, April 29th, 2016. The 43rd Annual Daytime Emmy Award Nominations were revealed today on the Emmy-winning show, “The Talk,” on CBS. “After last year’s critically successful Daytime telecast, it is with great disappointment that The National Academy of Television Arts & Sciences (NATAS) announces that there will not be a broadcast of the 43rd Annual Daytime Emmy ® Awards,” said Bob Mauro, President. “After months of negotiations to find show sponsorship, the NATAS Executive Board has decided that the current climate for awards shows prohibits the possibility of a telecast this year. With that said, we will be putting on a world-class awards celebration honoring the best and brightest of Daytime television and look forward to an exciting show. All efforts regarding returning the annual gala to television in 2017 are underway.” “We are especially grateful for our passionate Daytime fans and are looking forward to producing a grand gala that honors the talents and artistries of all the professionals that represent Daytime television,” said David Michaels, SVP, Daytime Emmy Awards.
    [Show full text]
  • 50Th Annual NORTHERN CALIFORNIA AREA EMMY® AWARD RECIPIENTS ANNOUNCED
    1 50th Annual NORTHERN CALIFORNIA AREA EMMY® AWARD RECIPIENTS ANNOUNCED The 50th Annual Northern California Area EMMY® Awards were presented Saturday evening, June 5th for the second time via webcast only. The EMMY® Award is presented for outstanding achievement in television by The National Academy of Television Arts & Sciences (NATAS). San Francisco/ Northern California is one of the nineteen chapters awarding regional Emmy® statues. Northern California is composed of media companies and individuals from Visalia to the Oregon border and includes Hawaii and Reno, Nevada. Entries aired during the 2020 calendar year. A total of 912 entries were received, 765 English and 195 Spanish in 68 English Categories and 34 Spanish Categories. Nominations were announced on May 5th with 195 English and 76 Spanish. Electronic ballots were submitted by a minimum of seven peer judges from other NATAS chapters and were sent directly to our accountant. The Spanish and English awards are judged and scored separately and then presented at the ceremony. 353 Emmy® statues were handed out to 263 individuals. The top two recipients were Maikel D'Agostino, Photograpoher/Editor, KUVS Unvision 19, Sacramento with ten, and Jonathan Bloom, Video Journalist, KNTV NBC Bay Area, with Six. The Emmy® is awarded to individuals but there is a lot of interest in the station counts: KNTV NBC Bay Area took home 16 for the English contest and KUVS Univision 19 with 12 for the Spanish contest. The overall Excellence Emmy® awards went to KNTV NBC Bay Area, English and KUVS Univision 19, Spanish. The prestigious Governors’ Award, the highest honor a regional chapter can award was presented to Wayne Freedman, Reporter, KGO ABC 7, San Francisco.
    [Show full text]
  • Traffic Connectivity in Croatia in the Past: the Dubrovnik Region Case
    Athens Journal of History - Volume 1, Issue 3 – Pages 195-204 Traffic Connectivity in Croatia in the Past: The Dubrovnik Region Case By Marija Benić Penava This paper analyses the development of traffic routes in the far south of Croatia during the 19th and 20th century. Poor traffic connectivity was the consequence of traffic policy which was subordinated to the interests of Vienna in the Austro- Hungarian Monarchy, and after World War I, to Belgrade. Since the Dubrovnik region was oriented towards the sea, and since traditionally it had strong entrepreneurship and sea traffic that enabled great economic prosperity of Dubrovnik in the past centuries. Ships flying the flag of Sveti Vlaho (Saint Blaise, the patron saint of the city) were present in the Mediterranean and the world’s oceans, yet the service industry which Dubrovnik provided was completed by tourism only in the Kingdom of Yugoslavia. The perception of Dubrovnik as a world tourist destination was established in the first half of the 20th century and that could only be maintained by quality traffic routes. Therefore it was extremely important for the prosperity of the far south of Croatia to have and retain the best connectivity by railway as well as sea, land and air traffic. Introduction The transition from the eighteenth to the nineteenth century was a period of great economic change in Europe. The discovery of the Watt’s steam engine (1764) enabled mechanical transport, which neither the working animals nor the natural power, on which transportation was dependent previously, could not contest. The steam engine passed the milestone in the field of transport connection.
    [Show full text]
  • The Producer Written by Ivo Burum
    The Producer written by Ivo Burum There are various producer titles each relating to a role in the development, production, delivery and marketing cycle of a film, video, or online media project. Figure 1 Shows a hierarchical order of producing for a magazine and a current affairs show.: Executive Producer or EP credits in television are received by individual(s) who report to the networks, studios, or companies funding and distributing the series/show. The Executive Producer (Showrunner) has final responsibility for the creative and business aspects of producing a series. S/he will have direct authority over a majority of the producing functions throughout all phases of series production. The Executive Producer is often responsible for the creation of the series, including the concept, format and other production elements. Over the course of production, the Executive Producer is expected to serve as the primary point-of-contact with the network, studio, and/or production company regarding the development, production, post-production and marketing of the series. During development of the pilot and/or series, the Executive Producer will supervise or participate in story or script meetings, approve all storylines, and supervise the creation of the series "bible.” The Executive Producer will select or approve the hiring of all series directors, as well as the casting of all on camera talent including hosts and journalists. S/he will similarly select or approve of the hiring of key members of the producing team, such as the production manager, director of photography, and composer. The Executive Producer must supervise or approve the series budget and production schedule.
    [Show full text]
  • A Pillar of Democracy on Shaky Ground
    Media Programme SEE A Pillar of Democracy on Shaky Ground Public Service Media in South East Europe RECONNECTING WITH DATA CITIZENS TO BIG VALUES – FROM A Pillar of Democracy of Shaky on Ground A Pillar www.kas.de www.kas.dewww.kas.de Media Programme SEE A Pillar of Democracy on Shaky Ground Public Service Media in South East Europe www.kas.de Imprint Copyright © 2019 by Konrad-Adenauer-Stiftung Media Programme South East Europe Publisher Konrad-Adenauer-Stiftung e.V. Authors Viktorija Car, Nadine Gogu, Liana Ionescu, Ilda Londo, Driton Qeriqi, Miroljub Radojković, Nataša Ružić, Dragan Sekulovski, Orlin Spassov, Romina Surugiu, Lejla Turčilo, Daphne Wolter Editors Darija Fabijanić, Hendrik Sittig Proofreading Boryana Desheva, Louisa Spencer Translation (Bulgarian, German, Montenegrin) Boryana Desheva, KERN AG, Tanja Luburić Opinion Poll Ipsos (Ivica Sokolovski), KAS Media Programme South East Europe (Darija Fabijanić) Layout and Design Velin Saramov Cover Illustration Dineta Saramova ISBN 978-3-95721-596-3 Disclaimer All rights reserved. Requests for review copies and other enquiries concerning this publication are to be sent to the publisher. The responsibility for facts, opinions and cross references to external sources in this publication rests exclusively with the contributors and their interpretations do not necessarily reflect the views or policies of the Konrad-Adenauer-Stiftung. Table of Content Preface v Public Service Media and Its Future: Legitimacy in the Digital Age (the German case) 1 Survey on the Perception of Public Service
    [Show full text]
  • Social Media Activity in the Context of Free-To-Air Broadcast Television
    FACULTY OF HUMANITIES AND SOCIAL SCIENCES Beatrice Züll SOCIAL MEDIA ACTIVITY IN THE CONTEXT OF FREE-TO-AIR BROADCAST TELEVISION DOCTORAL DISSERTATION Zagreb, 2017 FACULTY OF HUMANITIES AND SOCIAL SCIENCES Beatrice Züll SOCIAL MEDIA ACTIVITY IN THE CONTEXT OF FREE-TO-AIR BROADCAST TELEVISION DOCTORAL DISSERTATION Zagreb, 2017 FILOSOFSKI FAKULTET Beatrice Züll ULOGA DRUŠTVENIH MEDIJA U MJERENJU TV GLEDANOSTI DOKTORSKI RAD Zagreb, 2017. FACULTY OF HUMANITIES AND SOCIAL SCIENCES Beatrice Züll SOCIAL MEDIA ACTIVITY IN THE CONTEXT OF FREE-TO-AIR BROADCAST TELEVISION DOCTORAL DISSERTATION Mentor: MiHaela Banek Zorica, PH.D. Zagreb, 2017 FILOSOFSKI FAKULTET Beatrice Züll ULOGA DRUŠTVENIH MEDIJA U MJERENJU TV GLEDANOSTI DOKTORSKI RAD Mentor: izv. prof. dr. sc. MiHaela Banek Zorica Zagreb, 2017. Acknowledgements This doctoral thesis was supported by the members and colleagues of the Faculty of Information and Communication Sciences of the University of Zagreb who provided insight and expertise and greatly assisted the research. I would like to express my sincere gratitude to my supervisor Mihaela Banek Zorica, Ph.D., for her guidance, encouragement and expertise. Thanks to my advisor Stephan Malović, Ph.D., for his encouragement and great support. Alida Zorz Miketek from Nielsen supported this research work as an expert in television audience research. Guillaume Antoine Rabi and his team at RTL Televizija Hrvatska endured the challenges of the empirical part of this project by giving advice and insights into empirical data. Poslovna Inteligencija, Dražen Oreščanin and his team supported this project with staff and server capacity. Fremantle Production and Ana Habajec provided insights into the strategic approach of television production companies to integrating social media in their daily work and building up social media audiences.
    [Show full text]
  • The Book Art in Croatia Exhibition Catalogue
    Book Art in Croatia BOOK ART IN CROATIA National and University Library in Zagreb, Zagreb, 2018 Contents Foreword / 4 Centuries of Book Art in Croatia / 5 Catalogue / 21 Foreword The National and University Library in Croatia, with the aim to present and promote the Croatian cultural heritage has prepared the exhibition Book Art in Croatia. The exhibition gives a historical view of book preparation and design in Croatia from the Middle Ages to the present day. It includes manuscript and printed books on different topics and themes, from mediaeval evangelistaries and missals to contemporary illustrated editions, print portfolios and artists’ books. Featured are the items that represent the best samples of artistic book design in Croatia with regard to their graphic design and harmonious relationship between the visual and graphic layout and content. The author of the exhibition is art historian Milan Pelc, who selected 60 items for presentation on panels. In addition to the introductory essay, the publication contains the catalogue of items with short descriptions. 4 Milan Pelc CENTURIES OF BOOK ART IN CROATIA Introduction Book art, a constituent part of written culture and Croatian cultural heritage as a whole, is ex- ceptionally rich and diverse. This essay does not pretend to describe it in its entirety. Its goal is to shed light on some (key) moments in its complex historical development and point to its most important specificities. The essay does not pertain to entire Croatian literary heritage, but only to the part created on the historical Croatian territory and created by the Croats. Namely, with regard to its origins, the Croatian literary heritage can be divided into three big groups.
    [Show full text]