123903 research outputs found
Sort by
The influence of attitude, perceived norms and personal agency on sustainable apparel consumption
No full text"O poslušajte eno grozovitno zgodbo": pesemski letaki z osupljivimi novicami
No full textZapisovanje slovenskega ljudskega pesemskega izročila ni vključevalo morebitnih tiskanih objav, ki bi lahko služile kot predloge za to ustvarjalnost, saj so povezave s tiskom nasprotovale predstavi o izvirnosti slovenske ljudske kulture. Preučevanje pesemskega izročila o usodnih dogodkih pa je razkrilo, da so imele številne pripovedne pesmi vlogo obveščanjato obveščanje je v nekaterih primerih vključevalo tudi letake. Osvetlitev nekaterih slovenskih ljudskih pesmi o hudih prestopkih in kaznovanjih je omogočila tudi vnovično presojo najstarejšega letaka, ki vsebuje slovenske besede.The transcribing of Slovene folk songs excluded printed editions which could serve as templates for this, since the links with the press contradicted the notion of the originality of Slovene folk culture. A study of the folksong tradition referring to fatal events reveals that many narratives had an informative role, and in some cases this included leaflets. Consideration of some Slovene folk songs about serious offences and punishments also enabled the re-evaluation of the oldest leaflet containing Slovene words
Sklanjatev samostalnikov v delu Adama Bohoriča Otrozhia tabla iz leta 1580
No full textOtrozhia tabla iz leta 1580 je fragmentarno ohranjeno delo Adama Bohoriča, ki kot kratek katekizem na osnovi razlage desetih božjih zapovedi uči osnovne verske resnice. Na ohranjenem fragmentu je izpričanih 15 samostalnikov: beseda, Bog, gospod, ime, nadloga, nebesa, oča, odgovor, pild, praznik, prediga, reč, voda, zemlja in znamenje, katerih sklanjatev je predstavljena primerjalno z Bohoričevo slovnico iz leta 1584 in splošnimi težnjami v sklanjatvi samostalnikov slovenskega knjižnega jezika 16. stoletja. Gre za primerjavo dveh tiskov istega avtorja, ki imata različno sporočilnost.Otrozhia tabla (Child’s blackboard) from 1580, by Adam Bohorič, is a fragmentarily preserved short catechism, which on the basis of the ten commandments presents the elementary truths of religion. In the preserved fragment there are 15 nouns: beseda (word), Bog (God), gospod (Lord, sir), ime (name), nadloga (trouble), nebesa (heaven), oča (father), odgovor (response), pild (image), praznik (holiday), prediga (sermon), reč (thing), voda (water), zemlja (earth), and znamenje (sign). Their declension is presented in comparison with Bohorič’s grammar from 1584 and the general tendencies in declension of nouns in the Slovene literary language of the 16th century. These are publications by the same writer with different messages
Poročilo z mednarodnega simpozija Medicinska antropologija z območja nekdanje Jugoslavije 2024
No full textBetween Vienna and Ljubljana
No full textČlanek obravnava dejavnost ljubljanske podružnice Avstrijskega umetnostnega društva (Österreichischer Kunstverein) na Kranjskem med letoma 1852 in 1877 ter jo umešča v širši kontekst umetnostnih društev v habsburški monarhiji. Avstrijsko umetnostno društvo, ustanovljeno na Dunaju leta 1850, je bilo eno osrednjih orodij meščanskega kulturnega udejstvovanja v 19. stoletju, saj je prek mreže regionalnih podružnic (v Gradcu, Brnu, Celovcu, Ljubljani idr.) omogočilo kroženje umetnin po vsej monarhiji. Ljubljanska podružnica, ustanovljena leta 1852, je pomenila prvi poskus sistematičnega institucionalnega oblikovanja javnega umetnostnega življenja na Kranjskem. Z razstavami, umetnostnimi loterijami in članstvom, ki je povezovalo umetnike, uradnike, industrialce in plemstvo, je omogočila neposreden stik meščanskega občinstva z umetnostjo.
Raziskava temelji predvsem na analizi sočasnega nemškojezičnega časopisja (Laibacher Zeitung, Laibacher Tagblatt) in dopolnilno na arhivskih virih, pri čemer razkriva dve fazi delovanja podružnice: prvo, kratkotrajno obdobje med letoma 1852 in 1854 ter drugo, intenzivnejše med letoma 1863 in 1877. V tem času je društvo v Ljubljani pripravilo vrsto razstav, na katerih so prevladovala dela dunajskih in nemških umetnikov, zlasti krajinarjev in žanrskih slikarjev, kar je ustrezalo okusu premožnega meščanstva. Udeležba domačih umetnikov je bila skromnamed njimi izstopa slikar Anton Karinger, ključna osebnost ljubljanske podružnice ter povezovalni člen med Ljubljano in Dunajem.
Podružnica je imela pomembno vlogo tudi pri razvoju umetnostne kritike in pisanja o umetnosti v Ljubljani, saj so razstave spremljala obširna časopisna poročila, ki so meščanskemu občinstvu približevala mednarodno likovno umetnost. Društvo je s tem prispevalo k oblikovanju umetnostne javnosti ter širjenju estetskega in kulturnega obzorja lokalne družbe. Vendar pa so k njegovemu postopnemu zatonu po letu 1870 z različno intenziteto verjetno prispevali različni dejavniki: smrt Antona Karingerja, šibka institucionalna podpora, omejeno število aktivnih umetnikov, majhno zanimanje meščanstva za nakup umetnin in gospodarska kriza po letu 1873. Zadnje razstave podružnice so bile posvečene t. i. senzacijskim slikam, ki so sledile evropskim modnim tokovom in obenem nakazovale spremembo v razumevanju umetnosti kot javnega spektakla.
Čeprav je bila življenjska doba ljubljanske podružnice razmeroma kratka, je njeno delovanje pomenilo pomemben prelom v umetnostnem življenju na Kranjskem. Vpeljalo je nove oblike razstavljanja in meščanskega razvedrila ter oblikovalo zametek trga umetnin in poročanja o umetnosti. Prispevek tako osvetljuje doslej spregledano poglavje kulturne zgodovine Ljubljane ter ga umešča v širši srednjeevropski okvir razmerja med umetnostnim središčem in periferijo v 19. stoletju.The article examines the activities of the Ljubljana branch of the Austrian Art Society (Österreichischer Kunstverein) in Carniola between 1852 and 1877, situating it within the broader context of art societies in the Habsburg Monarchy. Founded in Vienna in 1850, the Austrian Art Society was one of the key instruments of bourgeois cultural engagement in the nineteenth century. Through its network of regional branches (in Graz, Brno, Klagenfurt, Ljubljana, and elsewhere), it facilitated the circulation of artworks throughout the Monarchy. Established in 1852, the Ljubljana branch represented the first systematic attempt to organize public artistic life in Carniola. Through exhibitions, art lotteries, and a socially diverse membership that included artists, officials, industrialists, and members of the nobility, the branch brought art closer to the urban middle class.
The research is based primarily on an analysis of contemporary German-language newspapers (Laibacher Zeitung, Laibacher Tagblatt), complemented by archival sources, and reveals two distinct phases in the branch’s activity: an initial, short-lived period between 1852 and 1854, and a second, more intensive phase between 1863 and 1877. During these years, the Society organized annual exhibitions in Ljubljana, dominated by works by Viennese and German artists—especially landscapes and genre scenes— which reflected the aesthetic preferences of the bourgeois audience. The participation of local artists was modestamong them, the painter Anton Karinger stood out as the leading figure of the Ljubljana branch and an important link between Ljubljana and Vienna.
The Ljubljana branch also played a crucial role in the development of art criticism and art journalism in the region, as its exhibitions were accompanied by extensive press coverage that familiarized the local public with international art. In doing so, the Society contributed to the formation of an informed art audience and to the expansion of the city’s cultural and aesthetic horizons. Nevertheless, several factors, of varying intensity, led to the branch’s decline after 1870: the death of Anton Karinger, weak institutional support, the limited number of active artists, low interest among the bourgeois public in purchasing artworks, and the economic crisis following the 1873 stock market crash. The final exhibitions in the 1870s, devoted to Sensationsbilder (sensational paintings), reflected both European exhibition fashions and a shift toward understanding art as a form of public spectacle.
Although short-lived, the Ljubljana branch of the Austrian Art Society represented a significant turning point in the artistic life of nineteenth-century Carniola. It introduced new forms of exhibition and bourgeois entertainment, helped shape an early art market as well as art reporting. The article thus sheds light on a previously overlooked chapter of Ljubljana’s cultural history and places it within the broader Central European framework of relations between artistic centers and peripheries in the nineteenth century
Building evidence for active work through a bibliometric review of employee physical activity and job performance
No full textBibliometrične analize, predstavljene v tem članku, izhajajo iz odprto dostopnih podatkov Web of Science, ki jih je mogoče prenesti iz baze podatkov na podlagi postopkov, opisanih v članku. Ti surovi podatki WoS so na voljo tudi v Repozitoriju Univerze v Ljubljani.Bibliometric analyses reported in this paper are derived from openly available Web of Science data that can be downloaded from the database based on procedures reported in the paper. These WoS raw data are also available in the Repository of the University of Ljubljana
Towards an integrative framework for distributed work design
No full textConsiderable challenges arise for managers and human resource development professionals while designing non-traditional (distributed) work arrangements that ensure productivity and foster the continuous learning and growth of employees. In this paper, we thus explore, analyze, synthesize, and systematically present the main insights emerging from the intersection of distributed work (DW) and work design domains. Specifically, an overlap approach to a multi-technique bibliometric review was adopted and a DW design framework established. The proposed framework unifies, corroborates, and extends existing conceptual models, thereby: (1) improving understanding of the current conceptual landscapeand (2) identifying promising future research directions. The paper also offers practical advice on how to successfully introduce and align DW arrangements with corporate-wide goals, human resource policies, and employee development priorities
FROM FINS TO RUDDERS: INTEGRATING BIOMIMETIC DESIGNS IN MARITIME ENGINEERING
No full textBIOMIMESIS [Iz grških besed bios, življenje, in mimesis, posnemanje] Ena od metod za ustvarjanje novih pomorskih tehnologij je usmerjanje k naravi. Posnemanju narave v tehnoloških sistemih pravimo biomimikrija, biomimetika ali bionika. Milijarde let evolucije in naravne selekcije so privedle od skromnih enoceličnih organizmov do kompleksnih življenjskih oblik, ki preživijo v ekstremnih pogojih. Skozi čas, ko so se celine pomikale, trčile in drsele po Zemlji, so oceani, ki pokrivajo okoli 71 % površine planeta, večinoma ostali nespremenjeni, kar kaže na to, da so najpomembnejši prostor za življenje. Če bi Zemlja imela seznam nujnih in najpomembnejših življenjskih okolij, ki jih je treba ohranjati, bi bili oceani na vrhu. Oziroma natančneje, morja in oceani so na vrhu, saj je vse odvisno od njih. Oceani predstavljajo zlato jamo za znanstvene raziskave in tehnologijo. V stotinah milijonov let se je v njih razvilo vse, kar bi človek potreboval za zasnovo vrhunskih tehnoloških inovacij. To je razvidno že ob opazovanju morskih živali. Te vrste so razvile izjemne biološke prilagoditve za preživetje pod vodo, in sicer na načine, ki bi jih številni znanstveniki z veseljem posnemali. Biološki sistemi, ki so nastali skozi naravno selekcijo, se pogosto izkažejo za učinkovitejše, prilagodljivejše in energetsko varčnejše od človeških izumov. Ključ za prihodnje inovacije je morda prav v morju, ki že milijone let ustvarja model za učinkovito delovanje. Plavanje rib je posledica milijonov let evolucijske optimizacije, ki je privedla do izjemno učinkovitega gibanja. Številni vzorci gibanja rib zato služijo kot navdih za tehnologije pogona ladij, kar predstavlja rastoče področje biomimetike. Najpomembnejše merilo pri tovornih ladjah je učinkovitost, zlasti pri izboljševanju tradicionalnih propelerjev. Inženirstvo kljub svoji sposobnosti razvoja tehnološko dovršenih rešitev pogosto ne uspe konkurirati naravi. Zato si inženirji vse bolj prizadevajo za razvoj biomimikrije kot pristopa k reševanju inženirskih izzivov v ladjedelništvu, podvodni robotiki in senzorski tehnologiji. V zadnjem desetletju so bile tako proučene številne rešitve za raziskovanje oceanov, navdihnjene s plavalnimi sposobnostmi različnih oceanskih organizmov. Združevanje biomimetike z načrtovanjem pomorskega inženirstva se kaže kot obetavna tehnika, saj naslavlja področje, ki je že v osnovi kompleksno in zahtevno.BIOMIMESIS [From the Greek words bios, life, and mimesis, imitation] One method for creating new marine technologies is to look to nature for guidance. The imitation of nature in technological systems is called biomimicry, biomimetics or bionics. Billions of years of evolution and natural selection have led to everything from humble single-celled organisms to complex creatures/lifeforms that survive in extreme conditions. Over time, as continents have moved, collided, and slid across the Earth, the oceans, which cover about 71% of the planet\u27s surface, have remained largely unchanged, suggesting that they are the most important place for life. If Earth had a list of the most important habitats to preserve, the oceans would be at the top. Or rather, the seas and oceans are at the top, it all depends on them. The oceans can be a gold mine for scientific research and technology. Over hundreds of millions of years, everything that humans would need to invent the best technological innovations has developed there. Just look at marine animals and you can see it. These species have developed incredible biological adaptations to survive underwater in ways that any scientist with a long wish list in hand would be happy to emulate. In fact, these biological systems, which have evolved through natural selection, often prove to be more efficient, flexible, and energy-efficient than human inventions. Perhaps the key to our future innovations lies in the sea, which has been creating a "model for perfect
performance" for millions of years. Fish swimming is the result of millions of years of refinement, or evolutionary optimization, which has created highly efficient locomotion in fish. As a result, many of the movements of fish serve as inspiration for ship propulsion technologies, a growing field of study in biomimetics. The most important criterion for cargo ships is efficiency, in order to improve on traditional propellers. Engineering often fails to compete with nature, despite its ability to produce extraordinary products. As a result, engineers are actively working to develop the idea of biomimicry to solve engineering challenges in shipbuilding, underwater robotics, and
sensor technology. Thus, over the past decade, solutions for ocean exploration inspired by the swimming abilities of many ocean organisms have been explored. Combining biomimetics with marine engineering design is a promising technique, as it is inherently complex and demanding