This paper presents the figure of Czech National Democrat politician and journalist Vlastimil Klíma and his memoir work, as well as presenting in detail one of his memoir manuscripts on his active participation in the Czechoslovak crisis of 1938 and a defence of his anti-capitulation stance at that time. and Článek zahrnuje poznámkový aparát pod čarou
The paper reacts on Pavel Cmorej’s analysis of sentences of the form (ιx)Φ(x) is C, focusing on the case where ''C'' stands for ''impossible''. The author agrees with Cmorej’s conclusion that in such a context the modal term applies on the meaning of the description, classifying it as unable to provide a procedure which would lead to identifying an individual (as a unique bearer of the property (λx)Φ(x) in some world and time). He questions Cmorej’s example of impossibility based on contradiction from the sphere of literary fiction, examines various ways in which the constitution of a literary character may impose (or seem to impose) incompatible demands on the reader, requiring her to ''think impossible'', and suggests a way of avoiding some confusions widespread in this field. and Petr Koťátko
Neoechinorhynchus (Neoechinorhynchus) zabensis sp. n. (Acanthocephala: Neoechinorhynchidae) is described from Capoeta damascina (Valenciennes, 1842) (type host) and Capoeta trutta (Heckel, 1843) in the Greater and Lesser Zab Rivers, northern Iraq. The new species is unique among all other species of the genus by its characteristic paired para-vaginal muscular appendage and fragmented giant nuclei in the lemnisci. Eleven of the other 88 valid species of Neoechinorhynchus and N. zabensis have middle and posterior hooks of equal length. However, N. zabensis is distinguished from the others by size of trunk, proboscis, proboscis hooks and lemnisci, number of giant nuclei, position of female gonopore, and geographical and host distribution. It is also distinguished from six other species of Neoechinorhynchus previously reported from Iraq. Other distinguishing features are also included.
This paper considers forms of cultural transfer in decorative design in Central Europe in the second half of the 18th century, focussing on works that combine aspects of both free creative art and artisan craftsmanship. Based on a detailed analysis of a number of works (or parts thereof), the authors show that trends in decoration that had hitherto been broadly interpreted as a somewhat uninventive adoption of fashionable French graphic pattern-books and picture albums in the "goût grec" style (Jean-François de Neufforge, Jean-Charles Delafosse et al.) in fact represented an innovative quest for an original modern synthesis taking its inspiration from classical Roman art (Giovanni Battista Piranesi, Giocondo Albertolli, Carlo Antonini) and developing ideas emerging from the recently introduced teaching of artistic design at the Vienna Academy and from circles close to the imperial court (Johann Baptist Hagenauer, Ignaz Josef Würth et al.). The whole phenomenon in considered within the wider context of official cultural policy at the time of Maria Teresa’s and Joseph II’s economic and administrative reforms and is interpreted as one of a number of processes and strategies which, for various reasons, led to a reduction in transcultural transfer. Decorative design in Central Europe in the latter half of the 18th century thus paid more than lip-service to the ideal of universal culture in the sense of transculturality, interpreting it in a specifically local, middle-European and to some extent "nationalized" way - and, from a historical perspective, with extraordinary success., Pavel Suchánek a Tomáš Valeš., and Obsahuje bibliografické odkazy