Due to life in extreme environments, cyanobacteria and algae from cave biofilms that form at the entrances or deep inside the cave around artificial lights are of increasing interest to many scientists. It is well-known that many phototrophic microorganisms are first to colonize exposed substrata and produce the organic matter on which other biofilm constituents relly. Many studies dealing with phototrophic microorganisms from biofilms focus on the diversity and community composition of cyanobacteria and algae, while quantitative assessments are rarely implemented. Biofilm sampling was conducted in Degurić and Vernjikica Cave located in Western and Eastern Serbia, respectively. Ecological parameters (temperature, relative humidity, light intensity) and distance from the entrance were measured. Additionally, chlorophyll content, as well as biofilm parameters (water content, organic and inorganic matter) were determined. The abundance of phototrophic microorganisms was assessed on microscope slides which contained 1 mg of biofilm that was dehydrated for a short period of time and homogenized prior to slide preparation, and then rehydratated. The biomass of recorded cyanobacterial and algal taxa was calculated by applying geometric approximations and standard mathematical formulas. In Degurić Cave, at the sampling site where the highest biomass was documented, the higher diversity, water content and chlorophyll values were also recorded, while in Vernjikica Cave a high content of organic matter was documented. According to the multivariate analyses performed, the biomass of simple trichal Cyanobacteria, Bacillariophyta, and Xanthophyta was positively correlated with the content of organic matter in biofilm and light intensity, while coccoid and heterocytous Cyanobacteria and Chlorophyta
The topic of this article is the phenomenon of double, namely cross or additive discrimination against senior women in the media sphere. Many studies and articles are devoted to ageism, discrimination against the elderly and gender inequality as discrimination against women. Rarely and hardly ever in Serbia, research is focused on the topic of gender differences that determine the quality of life in old age. While some believe that gender inequality and stereotypes end with age, which is in itself a basis for discrimination, and that gender differences are equalized, others believe that gender differences are particularly pronounced in old age, especially when considering marginalized elderly populations such as elderly people belonging to the Roma nationality, people with disabilities, LGBT people and HIV-positive people. This article is a comprehensive literature review article. The authors applied theoretical and interpretative methods of research, discursive and critical thematic analysis. The interpretative method is based on the meanings and representation of different aspects of the issue. The main finding of this article is the existence and prevalence of a gap and contradiction between the reality of longer and better quality of life and outdated media representation of old age, especially of elderly women.
Sa že tak: Ovaj rad se bavi na ci o nal nim bren dom kao sku pom mi sli, ose ća nja i sli ka ko ji od re đe ne za in te re so va ne ka te go ri je mo gu ima ti o svo joj ili o ne koj dru goj ze mlji. U ra du se ana li zi ra ju či ni o ci ko ji masetasli kagra di,kaoibroj neeko nom skeipo li tič kepo sle di ceko je jed nojze mljido no sipo zi ti vanna ci o nal nibrend.Po seb nojepri ka za no ka kostu den ti,kaopro gre siv nasna gadru štvaibu du ćili de ri,vi deulo gu kul tu reikul tur nogna sle đaupo pra vlja njusli keko jaoSr bi jipo sto jiu sve tu. Ključ nere či:na ci o nal nibrend,kul tu ra,kul tur nona sle đe,stu den ti Uvod 1 Sa vre me ni svet po stao je glo bal no tr ži šte na ko me vi še ni su kon ku ren ti sa mo pro iz vo đa či ro ba i uslu ga, već se ze mlje, re gi o ni i gra do vi bo re me đu sob no za svoj deo pa žnje, ugle da i po ve re njajav no sti,izasvojudeousred stvi mako jaćebi tiin ve sti ra na,po tro še nanatu ri stič kimpu to va nji mailinadru gina čin
Creativity is a highly estimated value and an increasingly present topic in contemporary educational, economic, political and media discourses. It is not only considered as a valuable individual quality but as an important company and states competitive asset too. Nowadays, special attention is accorded to creative industries, as they boost national economies. In short, we are surrounded by references to creativity. However, emphasizing and promoting creativity and praising creative talents may conceal from us all the "non-creative" human, material and immaterial factors and resources which support and make possible creative accomplishments. In other words, behind each individual or group creative achievement there are those who provide logistics, organizational, financial, research, social, psychological and other kinds of support. Individuals or teams would not be able to develop and realize their innovative ideas and projects without some or more collaborators whose various talents, skills, competencies and work are embedded in the creative processes and results. The purpose of this paper is not to diminish the outstanding importance of creativeness as an inner special quality, but to present a more comprehensive approach to its manifestation, realization and outcomes. We want to bring to light and acknowledge the invisible and underestimated contributions to creative activities. Although it is good to encourage and promote creativity with all available means, we should avoid turning it into a new imperative, a pressure on each and everyone to demonstrate their creative aptitudes, especially in the educational field. This attitude could provoke feelings of frustration, deficiency and self-depreciation in persons who are not particularly creative but possess other valuable and useful qualities and skills, such as analytical, logical, practical, organizational, administrative, managerial, and others. Creative achievements as results of highly collaborative processes will be illustrated with the example of creative industries.
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