This paper analyses the linguistic landscape of the Zadar peninsula, starting from the assumption that the linguistic landscape of the old town, as a frequently visited tourist destination, is driven by tourist demand, and affected by globalization. The research is based on a corpus of 582 photographs collected between June and September 2019. The paper uses a quantitative approach to examine a part of the corpus, i.e., 197 names of accommodation and food service establishments, since it is the category often found to be the most revealing of the attitudes of entrepreneurs towards language choices. This approach aims to determine the distribution and role of foreign languages, as well as the standard and regional Croatian forms, in the chosen context. Due to the long Venetian dominance and the fact that Zadar was part of Italy from 1918 until the Italian capitulation in 1943, particular emphasis is placed on the use of Italian in the linguistic landscape of Zadar’s historical centre.

Giuseppe Sabalich (Zadar, 1856-Zadar, 1928) was the most prolific writer in Zadar at the turn of the twentieth century. A renowned historian, storyteller, poet, and writer, he distinguished himself with an extensive oeuvre of comedies, dramas, monologues, scenic sketches, and one-act plays, writing from 1879 until his death in 1928. This paper presents and analyses Sabalich’s drama La fine di Ludro, published in the periodical Zara in 1891. It is a drama in two acts with the well-known Italian character actor Antonio Papadopoli (1815-1899) as the protagonist. A brief introduction to the life and work of Giuseppe Sabalich and Antonio Papadopoli is followed by the analysis of the aforementioned drama, which is central to this paper. Apart from the typical features of Giuseppe Sabalich’s dramaturgy that emerged from the analysis, such as the use of dialect, the Venetian setting, the positive images of Venice, and the historical references, it shows that he wrote the texts for famous actors. Furthermore, the paper points out the divergent traits, which make La fine di Ludro a unique piece in his oeuvre, manifested in the merging of the two identities: the Zadar and the Venetian one, as well as in the metatheatrical element. In the analysis of La fine di Ludro, we trace Papadopoli’s biographical cues that, on the one hand, confirm Papadopoli’s Adriatic identity and, on the other, indicate that Giuseppe Sabalich was a man of theatre whose work was deeply rooted in the historical and social context of his time.

Although Croatian literary critics have been interested in Futurism since its very beginning, the same cannot be said when it comes to the translations of Futurist works. This is even more surprising if we consider that a good part of the first issue of the unpublished Futurist journal Zvrk (‘spinning top’) was dedicated to the translation of the writings of some well-known Futurists, including Marinetti himself. The article, in addition to providing a panoramic view of the major critical works on Futurism and their reception in Croatia, highlights the importance of applying translation analysis in the study of Croatian and Italian literary and cultural bonds, such as in the case of Marinetti’s programmatic writing Il futurism, translated into Croatian as Futurizam by the founder of Zvrk, Joso Matošić, and intended for publication in the journal. The analysis reveals that the writing cannot be considered the original manifesto written by Marinetti for this occasion, but a version of two of his previously published articles known to and taken by Matošić as a prototext together with the version that the founder of the Futurist movement sent to Zvrk.

Alberto Fortis was a naturalist, researcher, and travel writer who travelled along the eastern Adriatic coast, from Istria to Dalmatia, researching and learning about the Dalmatian coast and its local people. One of his research projects resulted in a relatively unknown manuscript Dissertazione sopra la pesca della Dalmazia. This paper presents the copy of the mentioned manuscript found in the State Archives in Zadar and investigate its authenticity since there are two other existing copies, one stored in Marko Marulić Public Library in Split, and the other included in Aldo Parenzo’s book Un’inchiesta sulla pesca in Istria e Dalmazia. Furthermore, the paper includes a digital transcription of the copy from the State Archives in Zadar, which is also the first complete digital form of the manuscript, as well as its orthographic and morphosyntactic analysis.

For Lina Galli, poetry has always been an effective tool for addressing and revealing, as transparently as possible, the collective issues. In her poetry trilogy, Giorni di Guerra (1950), Tramortito mondo (1953) and Notte sull’Istria (1958), she tries to depict the deep sorrow of her people during and after the Second World War. The first two collections reflect the Istrian land destroyed and troubled by the war. Before it broke out, Istria was, to her, the land of love, sweet childhood memories and breath-taking landscapes. In portraying the splendour of bygone days spent in Poreč, she found comfort amid the terror and violence of the time. From this contemplative and nostalgic abandonment, which translates into the representation of a landscape on the screen of memory, one derives the contrasts of Istria, the land of serenity and sadness, of love and pain.

Located in the centre of the island of Dugi otok, the Cave of Vlakno, having an interior surface of 40 m2, made an ideal living space for small hunter-gatherer communities during the Upper Palaeolithic and Early Mesolithic. The trial excavations of the cave began in 2004 and have reached a depth of 5 m so far, uncovering cultural layers that date back 19,500 years in relative continuity. Considering that the stratigraphic sequence showed no evidence of hiatus and taking the found tephra deposits as clear chronological and stratigraphic markers, Vlakno makes an ideal site for studying the Pleistocene-Holocene transition as well as the response of the Epigravettian communities inhabiting the eastern Adriatic coast to climate and environmental changes. The patterns indicate a gradual transition to Mesolithic culture profoundly influenced by the Epigravettian tradition.