Tomislav Brković, Ivan Markešić (ur.) RAMA 1968. OD ISELJAVANJA DO INTEGRACIJE Zbornik radova Prozor: Općina Prozor-Rama,, 2018
Kako su studije na kojima su se temeljili hidroenergetski projekti na Neretvi i Rami neposredno n... more Kako su studije na kojima su se temeljili hidroenergetski projekti na Neretvi i Rami neposredno nakon Drugoga svjetskog rata vidjele okoliš, predmet je analize ovoga članka. Ti su projekti imali najveću moguću društvenu važnost jer su bili prvi veliki zahvati nadolazeće i dugo odlagane modernizacije. Planirali su ih eminentni stručnjaci s velikom međunarodnom reputacijom. Istraživanja su najčešće osvjetljavala uski upotrebni pogled na prirodu, odnosno na njezine sastavnice i svojstva nužna za ostvarenje projekta, poput količine oborina, nagiba, oblika i vodoodrživosti riječne doline. Moguće negativne posljedice nisu ulazile u popis istraživačkih tema, čak je odbacivana mogućnost izmjena planove u slučaju njihovoga pojavljivanja. Međutim, tijekom napredovanja narednih faza projekta, pojavila su se znanstvena upozorenja iz ekoloških krugova u BiH, s kojima članak suočava projekt, na kraju ga dovodeći u vezu s analitičkim pojmovima koji omogućuju cjelovitiji pogled na okoliš. Civilizacijski napredak ostvaren tijekom nekoliko desetljeća druge polovine 20. st. nema premca u čitavoj povijesti Rame i Neretve uopće, ali njihovi su ga stanovnici skupo platili, ne samo razaranjem stoljetnoga socijalnog kapitala zajednice, nego i gubitkom vlastitih domova (brojni od njih). Duboki okolišni diskontinuiteti i gubitci ljudskih refugija, kao i refugija drugih živih vrsta, ključno su obilježje holocena/antropocena (Haraway 2015). Članak ne ide za tim da kotač povijesti okrene unatrag kako bi prošlost naknadno ispravio prema današnjim shvaćanjima, nego nastoji upozoriti na potrebu cjelovitog istraživanja okoliša i njegove održive upotrebe, što se i danas gotovo jednako ignorira kao i 1948. ili 1968. godine.
Bookmarks Related papers MentionsView impact
Uploads
Papers by Ivo Lučić
Abstract
Since the second half of the 20th century, hydropower potential has played a crucial role in the pictures of most Dinaric rivers. Rivers are to produce electricity – is quite normal view of its - and if some river was still without hydropower plant, the hydroelectric energy lobby have said their water useless flows into the sea. Several hydroelectric dam projects are in the preparation phase at moment. Some strong opposition to their construction comes out in publicity which indicates some of deficiencies of these projects. This paper analyzes some aspect of their environmental impact studies and finds a number of obvious fails in them, in order to facilitate this process the investor. Between others, natural values are reduced, and environmental impact assessments are made badly, especially in regards with its ecological and biogeographycal questions. Also, the process of informing the public is extremely reduced and formalized, and actually mocks the great right of public access to information and co-determination in the environment. In short, these actions serve to hide the potential impacts on the environment and therefore are very dangerous to the known values of karst.
it was arranged and opened to tourists. The Vjetrenica Cave was first mentioned in Historia naturalis (77 AD) by Pliny the Elder, wherein its hygropetric habitat was described here for the fi rst time by Absolon (1916) and Remy (1940). A new period of intensive researches started in 2000, initiating ecological and topographic surveys of the cave. Since 2005 permanent topoclimate monitoring stations have been installed in the cave. By the end of 2009, 219 taxa were detected in Vjetrenica: 37 protists and 182 animals, with 101 cave-dwelling taxa: 49 troglobitic and 52 stygobitic. Vjetrenica is one of the world’s most prominent biodiversity hotspots for cave-dwelling fauna: Turbellaria (5), Hydrozoa (1), Gastropoda (12), Bivalvia (1), Nemertina (1), Polychaeta (1), Oligochaeta
(6), Hirudinea (1), Palpigradi (1), Araneae (6), Opiliones (2), Pseudoscorpiones (3), Copepoda (6), Ostracoda (4), Decapoda (4),
Isopoda (7), Amphipoda (12), Chilopoda (2), Diplopoda (5), Collembola (4), Diplura (1), Thysanura (1), Coleoptera (14), Vertebrata (1). Vjetrenica, together with Lukavac spring and Bjelušica Cave, as parts of its system, is a type locality for 38 taxa, from which 14 are strictly endemic, and genera are 3 monotypic: Zavalia vjetrenicae (Gastropoda), Troglomysis vjetrenicensis (Crustacea) and Nauticiella stygivaga (Coleoptera). Some groups have still not been researched or determined (Nematoda, Oligochaeta, Thysanura). Vjetrenica is seriously endangered due to completely modifi ed hydrology, highway construction, intensive agriculture, waste management, local quarrying, inappropriate tourism arrangements and lack of national conservation measures in B&H. It
will also be necessary to protect the entire drainage area and introduce sustainable cave management.
Kako bismo nazvali karstologiju koja se zanima za tretman krša u nečijoj poeziji? Pjesnička karstologija? Zvuči nezgrapno, premda bi trebalo biti točno. Ovo je jedan takav pokušaj. Ponukala nas je trideseta obljetnica smrti Stojana Vučićevića, pjesnika istančanih osjetila i iznimne poetske intuicije, rođena u Popovu polju, u obitelji koja je naraštajima nasljeđivala
iskustvo pastirsko-poljoprivredne kulture oblikovane u okviru te iznimne krške pojave. Ideja je bila da se karstologija s uobičajene geoznanstvene pomakne prema interdisciplinarnoj i holistički shvaćenoj znanosti. U osnovi, poetske slike i pojmovi Stojana Vučićevića uspoređivani su sa slikama i pojmovima krša koje je stvorila karstologija. Ova analiza, koja je samo jedna od mogućih, potvrdila se opravdanom. Poeziju Stojana Vučićevića prožimaju teme i figure krša, u kojima su specifičnosti krša važno sredstvo poetske kreacije. To je najočitije u zbirci Siga, u kojoj su posebno ilustrativne pjesme „Siga“, „Ponornica“ i „Pećina“. U analizi je u prvi plan iskočilo podzemlje i nametnulo se kao jedan od središnjih pojmova Vučićevićeve poezije. On podzemlje interpretira dvojno, u skladu s europskom tradicijom. S jedne je strane pojam Velike majke, koji u velikoj mjeri interferira sa Zemljom, uglavnom s površinom zemlje. S
druge strane je nedomisliva dubina Donjeg svijeta u kojoj obitava smrt. Na tim pojmovima izgradio je niz sjajnih poetskih viđenja krša. To bi, kao i neke druge krške aspekte njegove poezije, trebalo pomnije istražiti.
Ključne riječi: Stojan Vučićević, krš, karstologija, poezija, podzemlje
Abstract
How to entitle karstology interested in treating karst in one’s poetry? Poetic karstology? It sounds inappropriate, though it should be true. This is one of such attempts, on the occasion of thirtieth anniversary of the death of Stojan Vučićević, a poet of refined senses and exceptional poetic intuition, born in Popovo Polje. He comes into the world into a family that
inherited the experience of the pastoral-agricultural culture shaped within this extraordinary karst phenomenon. The idea was to move karstology from conventional geoscience to an interdisciplinary and more holistically understood science. Basically, the poetic images and concepts of Stojan Vučićević are compared to the images and notions of karst created by karstology. This analysis, which is only one of the many possible ways, proved justified and offered various answers. The poetry of Stojan Vučićević is interwoven throughout and transversely with themes and figures of karst, in which karst specificities are an important means of poetic creation. This is most evident in the Siga (Flowstone) collection, which features particularly illustrative poems by “Siga”, “Ponornica” (Sinking river) and “Pećina” (Cave). In the analysis, the underworld came to the fore and became one of the central concepts of Vučićević’s poetry.
He interprets the underground doubly, in accordance with European tradition. On the one hand is the notion of the Great Mother, which largely interferes with the Earth, mostly surface of the earth. On the other hand is the incomprehensible depth of the Lower World where death resides. On these terms he built a series of great poetic visions of karst. Like other karst aspects of his poetry, this should be explored more closely in the future.
Abstract
Since the second half of the 20th century, hydropower potential has played a crucial role in the pictures of most Dinaric rivers. Rivers are to produce electricity – is quite normal view of its - and if some river was still without hydropower plant, the hydroelectric energy lobby have said their water useless flows into the sea. Several hydroelectric dam projects are in the preparation phase at moment. Some strong opposition to their construction comes out in publicity which indicates some of deficiencies of these projects. This paper analyzes some aspect of their environmental impact studies and finds a number of obvious fails in them, in order to facilitate this process the investor. Between others, natural values are reduced, and environmental impact assessments are made badly, especially in regards with its ecological and biogeographycal questions. Also, the process of informing the public is extremely reduced and formalized, and actually mocks the great right of public access to information and co-determination in the environment. In short, these actions serve to hide the potential impacts on the environment and therefore are very dangerous to the known values of karst.
it was arranged and opened to tourists. The Vjetrenica Cave was first mentioned in Historia naturalis (77 AD) by Pliny the Elder, wherein its hygropetric habitat was described here for the fi rst time by Absolon (1916) and Remy (1940). A new period of intensive researches started in 2000, initiating ecological and topographic surveys of the cave. Since 2005 permanent topoclimate monitoring stations have been installed in the cave. By the end of 2009, 219 taxa were detected in Vjetrenica: 37 protists and 182 animals, with 101 cave-dwelling taxa: 49 troglobitic and 52 stygobitic. Vjetrenica is one of the world’s most prominent biodiversity hotspots for cave-dwelling fauna: Turbellaria (5), Hydrozoa (1), Gastropoda (12), Bivalvia (1), Nemertina (1), Polychaeta (1), Oligochaeta
(6), Hirudinea (1), Palpigradi (1), Araneae (6), Opiliones (2), Pseudoscorpiones (3), Copepoda (6), Ostracoda (4), Decapoda (4),
Isopoda (7), Amphipoda (12), Chilopoda (2), Diplopoda (5), Collembola (4), Diplura (1), Thysanura (1), Coleoptera (14), Vertebrata (1). Vjetrenica, together with Lukavac spring and Bjelušica Cave, as parts of its system, is a type locality for 38 taxa, from which 14 are strictly endemic, and genera are 3 monotypic: Zavalia vjetrenicae (Gastropoda), Troglomysis vjetrenicensis (Crustacea) and Nauticiella stygivaga (Coleoptera). Some groups have still not been researched or determined (Nematoda, Oligochaeta, Thysanura). Vjetrenica is seriously endangered due to completely modifi ed hydrology, highway construction, intensive agriculture, waste management, local quarrying, inappropriate tourism arrangements and lack of national conservation measures in B&H. It
will also be necessary to protect the entire drainage area and introduce sustainable cave management.
Kako bismo nazvali karstologiju koja se zanima za tretman krša u nečijoj poeziji? Pjesnička karstologija? Zvuči nezgrapno, premda bi trebalo biti točno. Ovo je jedan takav pokušaj. Ponukala nas je trideseta obljetnica smrti Stojana Vučićevića, pjesnika istančanih osjetila i iznimne poetske intuicije, rođena u Popovu polju, u obitelji koja je naraštajima nasljeđivala
iskustvo pastirsko-poljoprivredne kulture oblikovane u okviru te iznimne krške pojave. Ideja je bila da se karstologija s uobičajene geoznanstvene pomakne prema interdisciplinarnoj i holistički shvaćenoj znanosti. U osnovi, poetske slike i pojmovi Stojana Vučićevića uspoređivani su sa slikama i pojmovima krša koje je stvorila karstologija. Ova analiza, koja je samo jedna od mogućih, potvrdila se opravdanom. Poeziju Stojana Vučićevića prožimaju teme i figure krša, u kojima su specifičnosti krša važno sredstvo poetske kreacije. To je najočitije u zbirci Siga, u kojoj su posebno ilustrativne pjesme „Siga“, „Ponornica“ i „Pećina“. U analizi je u prvi plan iskočilo podzemlje i nametnulo se kao jedan od središnjih pojmova Vučićevićeve poezije. On podzemlje interpretira dvojno, u skladu s europskom tradicijom. S jedne je strane pojam Velike majke, koji u velikoj mjeri interferira sa Zemljom, uglavnom s površinom zemlje. S
druge strane je nedomisliva dubina Donjeg svijeta u kojoj obitava smrt. Na tim pojmovima izgradio je niz sjajnih poetskih viđenja krša. To bi, kao i neke druge krške aspekte njegove poezije, trebalo pomnije istražiti.
Ključne riječi: Stojan Vučićević, krš, karstologija, poezija, podzemlje
Abstract
How to entitle karstology interested in treating karst in one’s poetry? Poetic karstology? It sounds inappropriate, though it should be true. This is one of such attempts, on the occasion of thirtieth anniversary of the death of Stojan Vučićević, a poet of refined senses and exceptional poetic intuition, born in Popovo Polje. He comes into the world into a family that
inherited the experience of the pastoral-agricultural culture shaped within this extraordinary karst phenomenon. The idea was to move karstology from conventional geoscience to an interdisciplinary and more holistically understood science. Basically, the poetic images and concepts of Stojan Vučićević are compared to the images and notions of karst created by karstology. This analysis, which is only one of the many possible ways, proved justified and offered various answers. The poetry of Stojan Vučićević is interwoven throughout and transversely with themes and figures of karst, in which karst specificities are an important means of poetic creation. This is most evident in the Siga (Flowstone) collection, which features particularly illustrative poems by “Siga”, “Ponornica” (Sinking river) and “Pećina” (Cave). In the analysis, the underworld came to the fore and became one of the central concepts of Vučićević’s poetry.
He interprets the underground doubly, in accordance with European tradition. On the one hand is the notion of the Great Mother, which largely interferes with the Earth, mostly surface of the earth. On the other hand is the incomprehensible depth of the Lower World where death resides. On these terms he built a series of great poetic visions of karst. Like other karst aspects of his poetry, this should be explored more closely in the future.