ABSTRACT
The Selandien 58 Ma (PP3c‐d) Tyr sand in the Nini area, Siri Fairway, Danish North Sea, is severely influenced by the syn‐depositional movement of the Nini Salt Diapir. The sand is faulted ...and remobilized into a degree where no original depositional signature can be recognized. The Tyr sand is drilled (and cored) by a number of wells, and the sand is never found in the same stratigraphic position. In some wells, the Tyr sand is injected down into the chalk of the Danian Ekofisk Formation, whereas other wells show the Tyr sand embedded in the Selandien Vile Member claystone, with varying degree of remobilization. The Tyr sand is thin (2–7 m) and is therefore below seismic resolution and close to seismic detection. Standard reflection seismic data has proven problematic in determining the actual thickness and spatial distribution of the thin Tyr sand located within or immediately above the chalk. A simultaneous AVO (amplitude vs. offset) inversion using time‐aligned angle stack seismic data, has improved resolution of the thin and complex reservoir, allowing a better understanding of the remobilization processes occurring above the rising salt diapir, and thereby an improved understanding of the reservoir and its performance. Three different remobilization features are described: injection into the chalk, injection up along fault planes and compactional driven injection. The force for the remobilization spans in orders of magnitude from metre scale phenomena, to injections of 100s of metres, moving millions of tons of material and fluids.
Stručni rad ima za cilj prezentirati jedan dio terenske nastavne jedinice u okviru kolegija "Povijesni vrtovi Mediterana" na Studiju Povijesti Jadrana i Mediterana Sveučilišta u Dubrovniku. Nastavna ...jedinica ima za cilj prikazati perivojna ostvarenja u razdoblju s prijelaza iz 19. u 20. stoljeće odnosno u prvim desetljećima 20. stoljeća. Naglasak je na iščitavanju povijesnih, stilskih i hortikulturnih značajki lokacije. Vila Čingrija izgrađena početkom 20. stoljeća nalazi se na rubnom uzobalnom dijelu povijesne vrtne zone Pile – Boninovo. Na širem potezu ove zone, u razdoblju renesanse, počinju se u pravilnom rasteru, unutar mreža glavnih prilaznih i okomitih sporednih komunikacija, oblikovati tzv. insule (čestice parcela). Unutar insula se oblikuju prigradski ljetnikovci s vrtovima. U istom uzorku i na tragu dubrovačke ladanjske, rezidencijalne arhitekture u tom prostoru se gradi sve do kraja 19. i u prvoj polovici 20. stoljeća. Lokacija vile s perivojem nalazi se na prostoru izrazite ambijentalne vrijednosti, na strmim terasama na kojima
do 10. stoljeća nije bilo gradnje. U vegetacijskome smislu, kao i čitav Dubrovnik, prostor pripada eumediteranskom, vazdazelenom području sveze Quercion ilicis i asocijacije Orno-Quercetum ilicis. Tijekom gradnje vile, u skladu sa tadašnjim florističkim trendovima, zasađen je veliki broj alohtonih tj. za ono vrijeme egzotičnih biljaka. Do danas su ostale očuvane one, koje su se dobro prilagodile pedoklimatskim uvjetima, s obzirom da je perivoj
vile tijekom više desetljeća bio zapušten. U tijeku je izrada projektne dokumentacije obnove perivoja i vile za potrebe Regionalnog centra kompetentnosti u turizmu, koji je u tim prostorima planiran.
Rad jer napisan temeljem podataka iz Elaborata obnove perivoja vile Čingrija, te na temelju terenskog izvida sa studentima.
The aim of this paper is to present a part of the field teaching unit within the course entitled Historical Gardens of the Mediterranean at the Study Program in History of the Adriatic and the Mediterranean at the University of Dubrovnik. The teaching unit aimed to present the park achievements in the period from the end of 19th up to the first decades of the 20th century. The emphasis is placed on reading the historical, stylistic and horticultural features of the site. Villa Čingrija, built at the beginning of the 20th century, is located on the edge of the coastal part of the historic garden zone Pile - Boninovo. On a wider stretch of this zone, the so-called "insula" (parcel particles) is positioned in the Renaissance period in a regular grid within the networks of the main and vertical side communications. The suburban summer houses with gardens are being formed inside the insula. In the same pattern and on the trail of the Dubrovnik region , the residential architecture in the area was built until the end of the 19th and in the first half of the 20th century. The location of the villa within the park is in an area of distinct ambiental value, on the steep terraces on which there was no construction in the past. In terms of vegetation, like in the whole of the Dubrovnik region, the zone belongs to the eu-Mediterranean evergreen area, i.e., to the Quercion ilicis-zone, the sub-zone Orno-Quercetum ilicis. During the construction of the villa, in accordance with the floristic trends of the time, a large number of allochthonous plants were planted, i.e., the exotic plants at that time. To this day, those that have adapted well to pedoclimatic conditions have been preserved, as the villa's park has been neglected for decades. The project documentation for the restoration of the park is being prepared for the needs of the Regional Center of Competence in Tourism, which was planned in these area.
The focus of the paper is on faeries and faery pedagogy in the context of Croatian neopagan spiritualities. It aims to present the ways in which folk tales influence the creation of spiritualities in ...the modern everyday life. By researching individual practices the paper attempts to connect the alternative ways of living with the educational role of faeries. In most cases learning from faeries is based on questioning the dominant forms of (bio)power. In this respect faeries are opposed to capitalism, imperialism, and various other forms of oppression. The emphasis is mostly on ecology – i.e. on learning how to relate to land and nature in a different, less aggressive manner by using faerie cultures.
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Most of them have failed, because the key to making this kind of music lies in the strength of the songs themselves, not merely their mode of delivery -- not every song is meant to be whispered into ...the listener's ear, and a DIY approach will not transform a lackluster tune into a "I tracked this on my couch" tour de force.
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