This paper presents the borrowed agricultural lexis in the local dialect of Medana, in the Goriška Brda region. This is a border region in western Slovenia, in which the Slovene population has ...coexisted with its Romance neighbours, the Friulians, for centuries. A survey conducted in the village of Medana using two specialized questionnaires revealed that one-third of the total vocabulary collected was of Romance origin, with most lexemes being taken from Friulian, less so from Italian. Some of the lexemes are of German origin, borrowed from German linguistic varieties in different historical periods. All the borrowed lexemes belong to the group of so-called cultural borrowings which name previously unfamiliar concepts (in comparison to borrowings which replace elements which were already present in the language). That clearly indicates where innovations in agriculture (new tools, machines or methods of cultivation of land, new crops, etc.) came from at different periods of time.
Intensive agriculture causes nutrient leaching and accelerates erosion processes, which threatens the good quality status of surface waters, as proposed by the European Union (EU) Water Framework ...Directive. The purpose of this study was to define the impact of two alternative agricultural land-use change scenarios defined in a Municipal Spatial Plan on surface water quality by using the Agricultural Policy/Environmental eXtender (APEX) model. As experimental area, we chose a small Kožbanjšček stream catchment (1464 ha) situated in the Goriška Brda region in Slovenia. The area, due to favorable conditions for vineyards, is facing increasing deforestation. The change of 66.3 ha of forests to vineyards would increase the sediment, nitrate, and phosphorus loads in the stream by 24.8%, 17.1%, and 10.7%, respectively. With the implementation of vegetative buffer strips as a mitigation measure of the current situation, we could reduce the sediment, nitrate, and phosphorus loads by 17.9%, 11.1%, and 3.1%, respectively, while a combination of the two land-use change scenarios would result in a slight increase of the above-mentioned loads, corresponding to 0.61%, 2.1%, and 6.6%, respectively, compared to the baseline situation. The results confirm that, as we can increase pollution levels with deforestation, we can also reduce water pollution by choosing proper types of land management measures.
Land development analyses play a fundamental role in understanding how land use change shapes the land, depending on continuously changing social, economic, and environmental factors that reflect the ...interests in space. It is especially important to follow land use changes in rural areas due to their role in food security, environmental hazards, cultural landscape preservation, etc. Continuous analyses and monitoring of land use changes allow for the identification and prevention of negative trends in land use (over intensification, land fragmentation, etc.) that might affect biodiversity, change physical and chemical properties of soil, causing soil degradation, change the spatial balance, stability and natural equilibrium in the rural area. The use of the cross-tabulation matrix methodology was suggested for land use change analyses. The methodology, when the cross-tabulation matrix elements are correctly interpreted, allows us to gain as much insight as possible in the process of land use change. This approach enabled a detailed analysis of vineyards in Goriška brda, Slovenia. It was found that the existing methodology fails to analyse the location of change. For this reason, additional analyses of spatial distribution of change and of the locations where changes in space occur were suggested. The study demonstrated that the land use category of vineyards changes systematically, although seemingly randomly. By comparing land use categories over several time periods, the study determined that the size and speed of change varied across different time intervals. The identified land use changes were assessed in the context of their high pressure on agricultural land. The results of the analyses showed different trends shaping the typical agrarian landscape in Goriška brda.
The book describes the role of singing and (folk) songs in the Gorizia Hills (Goriška brda) within the processes of shaping the political nation and facilitating national identification in the second ...half of the nineteenth century. In addition to the use of the Slovene language at school and church and defining Slovene as the language of common use in censuses, national activists encouraged inhabitants to express identification with the singing of Slovene “folk” songs. Therefore they promoted the performances of choirs and tried to sweep-out the singing of non-Slovene songs - especially Friulian and Italian. The singing outside the reading and singing societies was influenced by the way of life, which was strongly marked by the system of tenant farming. The book also presents the research of folk songs in the Gorizia Hills, with special emphasis on short songs with strong dialect features, which in everyday life of the inhabitants complemented the repertoire of folk and religious songs known in the wider Slovenian territory.
About ten years ago Cyperus eragrostis, a species originating in the tropical parts of South America, settled in a trench near the house at Podsabotin 49 in the Goriška Brda. From there the plant ...spread to similar neighbouring ruderal sites with hydromorphic soil, to roadside ditches and gravelly banks of the Pevmica, a stream on the border between Slovenia and Italy. Applying the standard Central-European phytosociological method we studied the stands in which this species grows together with other hygrophilous and ruderal species. These stands are dominated by character species of the classes Bidentetea tripartitae, Filipendulo-Convolvuletea, Molinio-Arrhenatheretea, Stellarietea mediae and Galio-Urticetea. Cyperus eragrostis is a new adventitious species in the Slovenian flora. Its ephemeral occurrence in Slovenia was first noted in Istria in 2003 (near Portorož, probably in the Sečovlje salt-pans) and later in 2006 (Gračišče). Its presence in Podsabotin and along the Pevmica, however, is not merely transitional (ephemeral); here, this alien species is likely to have already naturalized in the environment with warm and relatively moist sub-Mediterranean climate.
Cyperus eragrostis, vrsta, ki je doma v tropskih predelih Južne Amerike, se je pred približno desetimi leti naselila v izkop pri hiši Podsabotin 49 v Goriških Brdih. Od tam se je razširila na podobna okoliška ruderalna rastišča s hidromorfnimi tlemi, v obcestne jarke in na prodnate bregove Pevmice, ki je mejni potok med Slovenijo in Italijo. Po standardni srednjeevropski fitocenološki metodi smo preučili sestoje, v katerih uspeva skupaj z drugimi vlagoljubnimi in ruderalnimi vrstami. V njih prevladujejo značilnice razredov Bidentetea tripartitae, Filipendulo-Convolvuletea, Molinio-Arrhenatheretea, Stellarietea mediae in Galio-Urticetea. Cyperus eragrostis je nova adventivna vrsta v flori Slovenije. Prvič je bilo v Sloveniji zabeleženo njeno efemerno pojavljanje v Istri leta 2003 (pri Portorožu, verjetno v Sečoveljskih solinah) in kasneje še leta 2006 (Gračišče). Njena prisotnost v Podsabotinu in ob Pevmici ni zgolj prehodna (efemerna), temveč se je v okolju s toplim in razmeroma vlažnim submediteranskim podnebjem ta tujerodna vrsta že udomačila (naturalizirala).
Prispevek obravnava procese nacionalizacije ljudske kulture, s posebnim poudarkom na ljudski pesemski tradiciji Goriških brd. Procesi nacionalizacije in "kultivacije kulture" so namreč na obmejnih ...področjih jasneje razvidni in temeljijo predvsem na razločevanju na osnovi jezika in oblik ljudske duhovne kulture.
V casu, ko je etnicnost zacela delovati kot organizatoricni princip, se je vzpostavila tudi locnica med »slovenskimi« in »furlanskimi« oz. »italijanskimi tradicijami« in sirso kulturo. Niso dejanske, ...»objektivne« razlike tiste, ki so odlocilne za pripadnost neki etnicni skupini, pac pa druzbeno relevantni dejavniki. Ni pomembno, kako so si razlicni predstavniki neke skupine, ce se oznacijo za A, v nasprotju s skupino B, so pripravljeni biti sprejeti in razumljeni kot A-ji in ne B-ji, in opredeljujejo svojo zvestobo delezeni (shared) kulturi A-jev (prim. Frederik Barth 1969: 15). Ker je v obnebju poudarjene etnicnosti etnicna meja tista, ki definira skupino, ne pa sami kulturni elementi, ki jih vsebuje (prim. Barth 1969: 15), je razumljivo, da so se zbiralci in raziskovalci ljudskih pesmi v Brdih osredotocali na zbiranje slovenskih pesmi, italijanskih in furlanskih pesmi, ki so jih morda slisali, pa niso zapisali. O prisotnosti petja neslovenskih pesmi tako izvemo zgolj iz porocil in opisov, npr. iz pisma Josipa Tominska, ki ga je leta 1911 poslal Odboru za nabiranje slovenskih narodnih pesmi v okviru vseavstrijske akcije Das Volkslied in Österreich (Narodna pesem v Avstriji) in v katerem opisuje prizadevanja, da bi pridobil zbiratelje ljudskih pesmi: »Zacetek je storjen, vendar nedostaje primernih moci, pa tudi bira domacih pesmi sploh ne obeta posebno mnogo, ker ljudstvo manj poje nego na Kranjskem in Stajerskem ter se vrh tega zelo oklepa nedomacih pesmi« (Murko 1929: 42). »Nedomacim « pesmim se slovenski zapisovalci v tej akciji vecinoma niso posvetili, ceprav so bila v izdanih Navodilih in vprasanjih, ki naj bi usmerjala delo zapisovalcev na terenu, neslovenskim pesmim namenjena posebna vprasanja. Selekcija zapisa pesmi tako postane pomemben element konstruiranja podobe tradicije, saj »taksna podoba scasoma postane kanonizirana, v bolj ali manj verni obliki prehaja v medije, poljudne publikacije, solske ucbenike in postaja celo del uradne kulturne politike ter narodove kolektivne zavesti« (Mojca Kovacic 2009: 143). Folklora (v pomenu ljudske duhovne kulture in njenih prezentacijskih oblik) je pogosto percepirana kot zrcalo preteklosti, folkoristi pa kot varuhi kolektivne identitete (prim. Carol Silverman 1989). Njihove interpretacije preteklosti se zrcalijo v oblikovanem kanonu ljudskih pesmi, ki je podobno kot nacionalna literatura razumljen kot posoda kulturnega spomina in sredstvo reprezentacije (ter celo dejavnik v procesu konstrukcije) nacionalne identitete. Vendar pa ze sam pojem kanona napotuje na premislek o dejavnikih reprezentacije in zastopnistva, o razlicnih interesih in strategijah (prim. Juvan 2011), ki vodijo do tega, da je dolocen korpus tekstov izbran in prezentiran kot (nacionalno) pomemben. Omenjeni procesi oblikovanja kanona in sama konstrukcija fenomena ljudske pesmi imajo svoje izvore v obnebju narodnoidentitetnih gibanj in kulturnega nacionalizma, ki se je siril po Evropi in pomembno vplival tudi na dogajanje na Slovenskem. Narodnoidentitetna gibanja so se namrec v veliki meri naslanjala na lokalne oblike kulture; po Miroslavu Hrochu (npr. 1968; 2000 idr.) zanimanje za vprasanja kulture ni bilo samo odsev politicnega aktivizma, pac pa se je navadno intenziviralo pred tem. Ta preokupacija z vprasanji kulture, znacilna za fazo A Hrochove opredelitve narodnoidentitetnih gibanj, je omogocila, da se je etnicna skupina lahko zacela samorazumevati kot politicni subjekt. Temu so sledile, po Hrochu, druzbene zahteve faze B in mnozicni odziv faze C, ki je predpostavljal siroko kulturno ozavescenost (Leerssen 2005: 9). Ali kakor je Hrochov model povzel Anthony D. Smith (1998: 56): »Najprej je majhen krog intelektualcev ponovno odkril »nacionalno « kulturo in zgodovino in oblikoval idejo o narodu (faza A). Nato je sledil kljucni proces diseminacije narodne ideje, ki so jo izvedli politicni agitatorji v rastocih mestih (faza B). Nazadnje je sledilo mnozicno gibanje (faza C)« (Leerssen 2005: 10). Ta kulturna ozavescenost je zadevala tako vprasanje jezika kot tradicij, na osnovi katerih so bile utemeljene politicne zahteve za avtonomne pravice etnicnih skupin. V etnicno mesanih ali mejnih podrocjih je to vodilo do tekmujocih in nasprotujocih si teritorialno avtonomisticnih zahtev (prim. Leerssen 2005: 16-17), kar je vidno tudi na primeru oblikovanja ljudske pesemske podobe Goriskih brd. Oblikovanje koncepta tradicije in folklore je bilo tako tesno povezano z idejo in izkusnjo modernosti. Koncepta imata svoje korenine v modernem zanimanju za objektifikacijo preteklosti in »ne-modernega« ter v dokumentiranju in ohranjanju dolocenih tipov komunikacije, odkritih v tej kulturni drugacnosti (Antonnen 2005: 13). Pri tem pa ni bilo jasno definirano, kdaj se je ta preteklost koncala (prim. Silverman 1989). Folkloristi so tako zbirali tradicionalne kulturne izraze med »ljudstvom « in jih prinesli v simbolicen center druzbe, v zgodovinske in etnografske institucije glavnih mest, ki so zasedale prominentna mesta v reprezentiranju narodove zgodovine in kulture (prim. Pertti J. Anttonen 2005: 88). Susan Steward (1991: 105) je to poimenovala artefaktualizacija ekspresivne kulture, ki iztrga tekst iz izvornega konteksta in favorizira dolocene zanre in vsebine (Bendix 1997: 48). S to artefaktualizacijo ekspresivne kulture (npr. pesmi in pripovedk) je bila s pomocjo retorike avtenticnosti posameznikova izkusnja prenesena in prevrscena v simbol naroda in njegove enotnosti (prim. Bendix 1997: 20); vendar pa ce »folklora pricuje za narod, pricuje za dolocen politicni konstrukt« (Anttonen 2005: 91). Folklora ne obstaja sama po sebi (per se), pac pa jo raziskovalec ustvari, ko dolocene kulturne izraze opredeli kot tradicionalne oz. folklorne (prim. Anttonen 2005: 57). Osnovo opredeljevanja je na Slovenskem predstavljal razlikovalni element, na podlagi cesar so bili definirani pozitivni pomeni dolocenih entitet. Tako so bile nekatere pesmi na podlagi izbranih kriterijev (anonimnosti avtorja, razsirjenosti, ustnega prenosa, variantnosti) in predvsem na razlikovanju od drugih (avtorskih, drugojezicnih, novih) oznacene kot ljudske pesmi. Prav to pa je ustvarjalo standardizacijo in izkljucitev stevilnih elementov, ki iz razlicnih razlogov niso bili sprejeti kot ljudski, ceprav so imeli pomembno mesto v zivljenju in pevskih praksah prebivalstva. Nastajajoca folkloristika je tako s transformacijo praks v izrocilo in z metonimizacijo tradicije v teku reprezentacij oblikovala »nacionalni kanon«, ki ga avtorizira »ljudstvo« in govori z glasom »naroda« (prim. Anttonen 2005: 88). Ta premisa herderjanskega nacionalizma, ki je pomembno vplival na oblikovanje folkloristike, vidi namrec narod utelesen (embodied) in uglasen (voiced) v tradicionalni kulturi, posebej v ljudskem pesnistvu (Anttonen 2005: 88). Ljudska pesem in sirse glasba sta tako presli od predstavljanja imanentnega jedra naroda k predstavljanju naroda samega (Philip V. Bohlman 2004: 86)