Termín baroko označuje ve středoevropském dějepise umění uměleckou formu a zároveň celou epochu, která nastupuje po renesanci a předchází klasicismu 19. století. Při vytváření velkých syntetických prací pak bývá toto časově umělecké označení aplikováno i na vývoj umění v jiných evropských zemích, a to i v těch, které jej samy v kontextu svého umění neužívají. Nejostřeji lze tento rozpor ukázat ve francouzském dějepise umění. Pojem baroko znamenal ve Francii dlouho pejorativní označení pro architekturu, která se prohřešila proti dobrému, tedy klasickému vkusu. Ztělesněním „špatného vkusu" se pak stala zejména architektura Francesca Borrominiho a jeho následovníků, z nichž někteří byli i studenty francouzské akademie v Římě. V 19. a 20. století prošel pojem baroko zajímavou proměnou, při které se z „narušovatele" klasické architektury stal v představách některých teoretiků jejím věčným protipólem. Po druhé světové válce začali francouzští badatelé objevovat středoevropskou architekturu 18. století. Díky tomu pozitivní vnímání tohoto pojmu ještě zesílilo. V současné době se dokonce hovoří o tom, že pojem „barokní" může vystřídat dříve užívaný pojem „klasický", který po staletí charakterizoval francouzskou architekturu od ló. do 19. století. Tímto ztotožněním dvou původně protichůdných pojmů by však oba ztratily smysl. Práce se pokouší upozornit na to, že pojmosloví každé uměleckohistorické školy se vyvíjí spolu se zkoumáním konkrétního materiálu a že takto vzniklé pojmy není možné mechanicky přenášet z jednoho kulturního okruhu do druhého. Zároveň naznačuje, že nelze rezignovat na snahu hledat tyto univerzální pojmy, které představují vyšší komunikační úroveň a dávají nám nahlédnout umění v celku nebo v širších souvislostech - je pouze třeba pojmy dobře definovat a respektovat odlišnosti jednotlivých uměleckohistorických škol, které mohou mimo jiné poukazovat na hlubší rozdíly mezi charakterem a souvislostmi uměleckých děl z různých kulturních okruhů. and The term ‘Baroque’ in Central European art history denotes an artistic form and at the same time the entire period following the Renaissance and preceding 19th-century Classicism. In the creation of great synthetic works, this arthistorical denotation is commonly applied to the development of art in other European countries as well - including those which don’t use it themselves in the context of their own art. This conflict may be seen most distinctly in French art history. The term ‘Baroque’ was long a pejorative label in France for architecture which had sinned against good - that is, Classical - taste. In particular, the architecture of Francesco Borromini and his followers, some of whom were also students at the French Academy in Rome, was taken to be the incarnation of such ‘bad taste’. The term ‘Baroque’ underwent an interesting transformation in the 19th and 20th centuries, during which it saw itself transformed from a ‘vitiator’ of Classical architecture to its eternal antipole in the minds of certain theoreticians. After World War Two, French scholars began rediscovering 18th-century Central European architecture, thanks to which the positive perception of the term was enhanced even further. At present, it is said that the term ‘Baroque’ might even supersede the formerly accepted term ‘Classical’, which has characterised French architecture from the 16th to the 19th centuries for hundreds of years. Thus made equivalent, these two terms, once opposed, would both be divested of meaning. This work attempts to draw attention to the fact that the way particular arthistorical schools conceive their terminology proceeds in tandem with research into concrete materials and that the terms arising in the process cannot be transferred mechanically from one cultural sphere to another. At the same time, it points out that one need not resign oneself to a quest for such universal terms representing a higher level of communication and give us an overview of art as a whole or in a wider context - it is only necessary to properly define one’s terms and respect the differences between individual arthistorical schools, which may, incidentally, point to deeper differences between the characters and contexts of artworks from various cultural milieus.
The paper discusses five instruments made by the organ-builder Johann Frančišek Janeček, who originated from a Bohemian or Moravian family, and who worked in Celje in Slovenia in the 18th century. Five of his preserved organs are embellished with angelic musicians: King David with the harp or St. Cecilia with the organ. The organ cases and figures with musical instruments bear certain resemblances to the work of the Bohemian and Moravian organ-builders. The paper also mentions some characteristics of the organ preserved in the church of Saint Catherine in Prague, made by Martin Janeãek and Jan Storck between 1734 and 1741.
Baroreflex control of heart rate was studied in inbred salt-sensitive (SS/Jr) and salt-resistant (SR/Jr) Dahl rats that were subjected to chronic dietary sodium chloride loading (for 4 weeks) either in youth or only in adulthood, i.e. from the age of 4 or 12 weeks. Using phenylephrine administration to pentobarbital-anesthetized male rats we have demonstrated the decreased baroreflex sensitivity (lower slope for reflex bradycardia) in young prehypertensive SS/Jr rats fed a low-salt diet as compared to age-matched SR/Jr animals. High salt intake further suppressed baroreflex sensitivity in young SS/Jr but not in SR/Jr rats. Baroreflex sensitivity decreased with age in SR/Jr rats, whereas it increased in SS/Jr rats fed a low-salt diet. Thus at the age of 16 weeks baroreflex sensitivity was much higher in SS/Jr than in SR/Jr animals. High salt intake lowered baroreflex sensitivity even in adult SS/Jr rats without affecting it in adult SR/Jr rats. Nevertheless, baroreflex sensitivity was significantly lower in young SS/Jr rats with a severe salt hypertension than in adult ones with a moderate blood pressure elevation. It is concluded that the alterations of baroreflex sensitivity in young inbred SS/Jr rats (including the response to high salt intake) are similar to those described earlier for outbred salt-sensitive Dahl rats. We have, however, disclosed contrasting age-dependent changes of baroreflex sensitivity in both inbred substrains of Dahl rats., J. Nedvídek, J. Zicha., and Obsahuje bibliografii