The Lake Quillwort (Isoëtes lacustris) and Spring Quillwort (I. echinospora) are submerged Lycopods and critically endangered species of Czech flora, each living in a sole lake in the Šumava Mountains (Bohemian Forest). Our 15-year scientific research has been focused on the resistance of these living fossils to the strong acidification of the lakes. Both populations were unable to reproduce for decades and are responding in a quite specific way to the current recovery of the lakes, although this does not quarantee the successful restoration of the quillwort stands. and Martina Čtvrtlíková.
Middle Neolithic, Early and Late Bronze Age (as well as some Middle Ages) human occupation was investigated during two separate excavations. This paper assesses findings obtained from features with artifacts from Linear Pottery Culture and the Želiezovce Group. Three graves containing human skeletons were also excavated. One adult skull possessed a wound most probably caused by a sharp object (a stone axe?). Within the pottery assemblage basic typological shapes prevail – globular and semi globular vessels, bowls and necked vessels. There is only a small number of footed bowls. The applied decoration scale shows basic decorative elements of carved and plastic decoration. When a cut was applied, it interrupted the carved line or finished it. Rarely, the inventory contained a painted band, made up by a carved twinline in red colour. Rare finds include polished industry, bone artefacts, as well as an incomplete anthropomorphic figurine. Lithic artefacts were common and were manufactured from local as well as imported raw materials., Ivan Cheben, Michal Cheben., and Obsahuje seznam literatury
Recenzentka vychází z toho, že zrod socialistické kultury v Československu po únoru 1948 předjímal také nový přístup k urbánním konceptům a společenské funkci architektury, která začala být chápána jako prostředek aktivní proměny „přírodního prostředí“ v „životní prostředí“ a stala se tak politikem. První recenzovaná publikace je podle ní zatím jedinou větší prací věnovanou komplexní historii takzvané Nové Ostravy a jejích satelitních sídlišť, která v této nejprůmyslovější oblasti Československa od konce čtyřicátých let minulého století vznikala. Její autor zde sleduje sovětský vliv a problém sovětizace české architektury, zároveň se ale snaží vidět pod rouškou příklonu k sovětským vzorům návrat či počátek specifického československého vývoje. Ve druhé práci pak autor zaměřil pozornost na takzvané kulturní domy jako multifunkční zařízení určené k všestrannému vzdělávání veřejnosti, které se staly typickým dobovým fenoménem, jehož zhodnocení může poukázat nejen na hlavní rysy vývoje architektury a urbanismu za komunistického režimu, ale také na měnící se chápání společnosti, respektive „lidu“. Přes dílčí historické nepřesnosti a omyly obě publikace Martina Strakoše podle recenzentky znamenají jednoznačný přínos pro pochopení dobové atmosféry v architektonických a urbanistických kruzích a zároveň historikům umožňují nahlédnout do nepříliš prozkoumaných oblastí „budovatelské“ epochy., b1_The reviewer of these two publications starts from the premise that the birth of Socialist culture in Czechoslovakia after February 1948 also anticipated a new approach to the concepts of urban planning and the social function of architecture, which began to be understood as an active way to change the ‘natural environment’ into a ‘living environment’, and this function thus became policy. The first publication considered here, whose title translates as ‘The New Ostrava and its satellites: Chapters in the history of architecture from the 1930s to the 1950s’, is, according to the reviewer, so far the only large comprehensive history of what is called Nová Ostrava (New Ostrava) and its satellite housing estates, which were built in this region, the most industrial of Czechoslovakia, from the late 1940s onwards. Its author, Martin Strakoš, traces the Soviet influence and the question of the sovietization of Czech architecture, but also tries to see, beneath the veil of the inclination to Soviet models, a return to specifically Czechoslovak changes or the beginning of new developments. In the second work under review, whose title translates as ‘Community arts centres in the Ostrava region in the context of twentieth-century architecture and art: The cornerstones of society’, the author, again Strakoš, focuses on community arts centres (kulturní domy, literally ‘houses of culture’) as multipurpose facilities intended for the all-round education of the public, which became a typical phenomenon of the period, the assessment of which can help to throw light not only on the main features of the development of architecture and urban planning during the Communist regime, but also on changes in understanding society and the ‘people’., b2_Despite their occasional historical imprecision and mistakes, Strakoš’s two publications make, according to the reviewer, definite contributions to our understanding of the atmosphere amongst architects and urban planners at the time, and they also provide historians with insight into a largely neglected aspect of the era of ‘building Socialism’., [autor recenze] Doubravka Olšáková., and Obsahuje bibliografii
The Moravian Painted Ware Culture settlement in Slavíkovice “Ostánce“ represents one of the most elaborately excavated sites in the peripheral area of western Moravia. The microregion is situated in the foothills of the Czech-Moravian Highlands at a relatively high altitude. More than forty MPW Culture sites have been recorded, mostly corresponding to its younger phase. The current study presents the results of recent surface surveys as well as minor detective and rescue probing. Apart from the large number of finds, a radiocarbon date has assisted in placing the site within the absolute chronology framework of the Moravian MPW Culture (Kuča et al. 2012). A detailed analysis of the archaeological findings allowed comparisons to other similarly dated sites in the area of interest and with the other peripheral regions in south-western Moravia (Bartík 2014a, 22, fig. 6). An attempt at reconstructing the paleoclimate forms an integral part of this study., Jaroslav Bartík, Milan Vokáč, Martin Kuča, Alžběta Čerevková, Lubomír Prokeš, Miriam Nývltová Fišáková., and Obsahuje seznam literatury
This article presents a Moravian Painted Ware culture site Březník in the Czech-Moravian Highlands. The emphasis is on evaluation of surface finds in the „Střední hon“ field and assessing the archaeological material and geographical aspects. The new findings are placed in a regional context with regard to the area between Oslava and Chvojnice rivers as well as in the wider context (southwest Moravia). We also compared it to a nearby Moravian Painted Ware site located in the „Zadní hon“ field. Interestingly, although Březník is located on the periphery of the known Neolithic occupation zone, the peripheral effect is not apparent at this site (as it is at other sites considered to be located on the periphery). One particularity of this region is a high concentration of muscovite (obtained from local schist outcrops) in the ceramic matter. The lithic sources are mostly local and regional (Brno Massif, Boskovice Furrow and Krumlovský Les cherts). There are also some raw materials imported from great distances (metabazite of the Jizerské hory type, obsidian, erratic chert and Polish cherts). Based on the chronology, material culture and geographical position, Březník – „Střední hon“ can be placed into the early phase Ib (Lengyel I) of the Moravian Painted ware culture., Jaroslav Bartík, Lenka Běhounková, Martin Kuča., and Obsahuje seznam literatury
In 2003 a part of the Neolithic settlement was discovered at Postřelmov „U Františka“ (district Šumperk). The site „U Františka“ is located among Postřelmov, Rovensko and Zábřeh above left bank of the Rakovec stream. The altitude is 248–288 m a. s. l. There were excavated about 625 pits including Neolithic longhouses. Feature number 206 was situated in the east part of the site. This feature was a large building pit. The material (ceramic fragments and stone industry) from this feature belonged the Linear Pottery Culture (LPC) and the Uppersilesian Lengyel Group (ULG). The ceramic fragments of the LPC can be ranked into the phase IIb and/or III of the LPC chronology (Čižmář 1998, 117–120, 124,129, 134) and the lengyel ceramic into the phase ULG I of the ULG chronology (Janák 1991, 99-102; Janák 1994, 111)., Petr Kašpárek., and Obsahuje seznam literatury