Deer (family Cervidae) form the most numerous and varied group of ungulates or large herbivores in four out of 6 continents. This review of the phylogeny and taxonomy of living deer species is based on information published recently in scientific papers. The first part presents the taxonomy of muntjacs (Muntiacini). This tribe includes 11–14 species living solitarily in closed habitats (mostly forests) in South and Southeast Asia. Their antlers are two-tined and Jan Pluháček.
The second part of this text on the systematics and phylogeny of extant cervids focuses on Cervini. This group includes more than 20 various deer species inhabiting forests and grasslands of Europe, Asia, and North America; 15 of them listed in the Red Data List of endangered species. During the last 10 years many papers have been published on their phylogeny. Its recent overview including relationships between individual species is summarized. and Jan Pluháček.
The last part of the series on cervid taxonomy involves the subfamily Capreolinae. This subfamily could be divided into two clades: an Old World clade including Roe Deer (Capreolus capreolus, C. pygargus), Chinese Water Deer (Hydropotes inermis) and Moose (Alces alces) and a New World clade including Reindeer (Rangifer tarandus), Mule Deer (the genus Odocoileus) and deer of Mesoamerica and South America (Ozotoceros bezoarticus, Blastocerus dichotomus and species of the genera Hippocamelus, Pudu and Mazama). Most of the species belonging to Capreolinae are evolutionary young. The evolutionary relationships among extant South American deer remain unclear. Cervids are the most successful ungulate family that has ever colonized South America. and Jan Pluháček.
After a break of several years, during which she published two other novels —Perunův den (1994) and Ztracené děti (1997) — Daniela Hodrová has inKomedie (2003) again taken up the themes of the “Olšany Trilogy” (Podobojí,Kukly and Théta, all first published in 1991–1992). With its narrative stylebordering on fiction and autobiography and with its loose composition Komedieis most like Théta. In the conception of its narrated stories and also the functionof the narrator whose speech continuously mixes and overlaps with speechsnippets of many characters, however, it employs even more daringly than theother novels a high degree of intentional and unintentional disorderliness,which stems from the use of fragments to tell the story. In a polyphonic stream,with many layers of intertextual references (often made both to Hodrová’s ownworks and to those of other authors), the article seeks to highlight a certainintegrating semantic action, which branches out and intensifies despite allthe fragmentation of the story line. The dense network of repeating andinterconnected motifs, whose parallelism and contrasts, as well as the climaticdynamism of the sentences giving the impression of continuous action, createstheir own world in Komedie, which maintains its equilibrium while “on theverge of chaos.” So, for example, two opposite yet mutually complementarycodes of the human lot emerge: the barren plain, into which our lives descend,and the auguring little hand of the Libuše doll found among the graves, whichpoints to the darkness while at the same time lighting the way. and Po několikaletém odstupu a po dalších dvou románech (Perunův den, 1994; Ztracené děti, 1997) navázala Daniela Hodrová v Komedii (2003) znovu na motivy „olšanské trilogie“ (Podobojí – Kukly – Théta, souborně 1999). Stylem vyprávění rozvíjeného na hranici fikce a autobiografie i svou uvolněnou kompozicí má Komedie nejblíže k Thétě, využívá však ještě odvážněji – v pojetí vyprávěných příběhů i samotné funkce vypravěče, jehož řeč se ustavičně mísí a prolíná s úryvky řečí mnoha postav – vyšší míry záměrné i nezáměrné, z povahy fragmentárního podání plynoucí „neuspořádanosti“. Studie Vyvolání z nebytí se zaměřila k tomu, aby v mnohohlasém a navíc množství intertextových odkazů zvrstveném proudu (odvolávajícím se co chvíli k vlastnímu dílu i k textům jiných autorů) vyzdvihla jisté sjednocující významové dění, jež se rozrůstá a sílí navzdory vší rozdrobenosti fabulační linie. Hustá síť opakování a propojování motivů, jejich paralelismy a kontrasty a zároveň vystupňovaná dynamičnost vět, navozující dojem neustávajícího dění. vytvářejí v Komedii vlastní svět, který udržuje svou rovnovánu „na okraji chaosu“. Tak se zde například vynořují dvě protikladné a navzájem se doplňující šifry lidského existenciálního údělu: pustá pláň, do níž se svažují naše životy a věštící ručička mezi hroby nalezené panenky Libuše, která ukazuje do tmy – a přece svítí cestu.
The dynamical Casimir effect means a photon generation out of quantum vacuum caused by time dependency of boundary conditions, for example in the cavity of variable length, where one its wall is oscillating with relativistic velocity. This paper deals with numerical calculation of radiation characteristics of cavity’s wall of this kind. and Dynamickým Casimirovým jevem je označována generace fotonů z kvantového vakua vlivem časové změny okrajových podmínek pro elektromagnetické pole uvnitř rezonátoru časově proměnné délky, jehož jedna stěna osciluje relativistickou rychlostí. Tato práce se zabývá numerickým výpočtem vyzařovací charakteristiky stěny takového rezonátoru.
The missal of Načeradec is a modest codex from an artistic point of view. Its decoration is limited to one figural illumination only – a canon depiction of the Crucifixion; besides this, the manuscript contains only filigree initials and clerical capitals. The quality of its figural decoration is comparatively high. Its style is post-classical Gothic; linear pleats of the draperies imply a date in the beginning of the 14th century. Only a few analogies can be found in simultaneous book painting, e.g. in the decoration of the manuscripts of Eliška (Elisabeth) Rejčka, but these analogies are not immediate. Some correspondence, however, can be found in monumental art, more precisely in mural painting.