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1293. Barokní přelud v zrcadle věčného klasicismu: Diskuse o pojmu baroka ve francouzském dějepise umění

Creator:
Biegel, Richard
Format:
bez média and svazek
Type:
model:article and TEXT
Language:
Czech
Description:
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.
Rights:
http://creativecommons.org/licenses/by-nc-sa/4.0/ and policy:public

1294. Baroreflex control of heart rate in young and adult salt hypertensive inbred dahl rats

Creator:
Jan Nedvídek and Josef Zicha
Format:
print, bez média, and svazek
Type:
article, články, model:article, and TEXT
Subject:
Fyziologie člověka a srovnávací fyziologie, srdeční rytmus, krevní tlak, stárnutí, heart rate, blood pressure, aging, baroreflex sensitivity, salt intake, phenylephrine, inbred Dahl rats, 14, and 612
Language:
English
Description:
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
Rights:
http://creativecommons.org/licenses/by-nc-sa/4.0/ and policy:public

1295. Baroreflex sensitivity determined by spectral method and heart rate variability, and two-years mortality in patients after myocardial infarction

Creator:
Nataša Honzíková, Bořivoj Semrád, Fišek, B., and Růžena Lábrová
Format:
print, bez média, and svazek
Type:
article, články, model:article, and TEXT
Subject:
Fyziologie člověka a srovnávací fyziologie, infarkt myokardu, myocardial infarction, baroreflex sensitivity, spectral analysis, cardiac death, risk stratification, 14, and 612
Language:
English
Description:
Sympathetic overactivity and low parasympathetic activity is an autonomic dysfunction (AD) which enhances cardiac mortality. In the present study, the impact of AD on the mortality in patients after myocardial infarction was evaluated. We examined 162 patients 7-21 days after myocardial infarction, 20 patients of whom died in the course of two years. Baroreflex sensitivity (BRS) was estimated by spectral analysis of spontaneous fluctuations of systolic blood pressure and cardiac intervals (Finapres, 5 min recording, controlled breathing 20/min). The heart rate variability was determined as SDNN index (mean of standard deviations of RR intervals for all 5-min segments of 24-hour ECG recordings). BRS < 3 ms/mm Hg and/or SDNN index < 30 ms were taken as markers of AD. The risk stratification was performed according to the number of the following standard risk factors of increased risk of cardiac mortality (SRF): ejection fraction < 40 %, positive late potentials and the presence of ventricular extrasystoles > 10/h. No difference in mortality between patients with AD (4 %) and without AD (4.5 %) was found in 92 patients without SRF, the mortality in 6 patients with three SRF was 66.6 %. Five of these patients had AD. Out of 64 patients with one or two SRF, 32 had AD. The mortality of patients without AD was 6.25 % and 31.2 % of those with AD (p<0.025). It is concluded that AD enhanced two-years mortality five fold in our patients with moderate risks., N. Honzíková, B. Semrád, B. Fišer, R. Lábrová., and Obsahuje bibliografii
Rights:
http://creativecommons.org/licenses/by-nc-sa/4.0/ and policy:public

1297. Bartonella infections in fleas (Siphonaptera: Pulicidae) and lack of bartonellae in ticks (Acari: Ixodidae) from Hungary

Creator:
Sréter-Lancz, Zsuzsa, Tornyai, Krisztián, Széll, Zoltán, Sréter, Tamás, and Márialigeti, Károly
Format:
bez média and svazek
Type:
model:article and TEXT
Language:
English
Description:
Fleas (95 Pulex irritans, 50 Ctenocephalides felis, 45 Ctenocephalides canis) and ixodid ticks (223 Ixodes ricinus, 231 Dermacentor reticulatus, 204 Haemaphysalis concinna) were collected in Hungary and tested, in assays based on PCR, for Bartonella infection. Low percentages of P. irritans (4.2%) and C. felis (4.0%) were found to be infected. The groEL sequences of the four isolates from P. irritans were different from all the homologous sequences for bartonellae previously stored in GenBank but closest to those of Bartonella sp. SE-Bart-B (sharing 96% identities). The groEL sequences of the two isolates from C. felis were identical with those of the causative agents of cat scratch disease, Bartonella henselae and Bartonella clarridgeiae, respectively. The pap31 sequences of B. henselae amplified from Hungarian fleas were identical with that of Marseille strain. No Bartonella-specific amplification products were detected in C. canis, I. ricinus, D. reticulatus and H. concinna pools.
Rights:
http://creativecommons.org/licenses/by-nc-sa/4.0/ and policy:public

1298. Báseň a dějiny: příspěvek k literárním počátkům Ignáce Cornovy

Creator:
Fapšo, Marek
Format:
bez média and svazek
Type:
model:article and TEXT
Subject:
Enlightenment, poetry, Ignác Cornova, 18th century, war poetry, Seven Years War, enlightenment, patriotism, national movement, osvícenství, básnictví, 18. století, válečná poezie, sedmiletá válka, patriotismus, and národní hnutí
Language:
Czech
Description:
This text considers the early creative output of Ignác Cornova, in particular his lesserknown odes and his war poetry. It draws on contemporary research of the latter third of the 18th century focussing on the dynamic social change of the period, the transformation of the media, the emergence of a modern ‘public’, and changing perceptions of artistic as opposed to educational output. One of the difficulties of conceptualizing this period is the existence of two opposing trends – the older ‘Baroque’ tradition and the more ‘modern’ currents of the future national movement. Our text largely obviates this dichotomy by proposing a framework in which Cornova’s oeuvre is seen as evidence of an idiosyncratic cultural situation with its own features and markers. The aim of our study is to place Cornova’s early works within the literary context of his time – a context hard to appreciate today. We are not looking for the ‘future’ Cornova in those beginnings, nor the ‘embryos’ of his later development. Rather, we hope to rehabilitate the literary context in the Czech lands in the 1770s and 1780s as it veered between late Baroque odes, war reportage, and enlightenment patriotism. Alongside Cornova we consider now forgotten figures such as Vojtěch Koťara, Michael Denis, Johann Joseph Eberle and Václav Thám. The result is not a group biography, but rather a problem analysis of one segment of a period that defies unequivocal definition.
Rights:
http://creativecommons.org/licenses/by-nc-sa/4.0/ and policy:public

1300. Basilejská univerzita, tiskař Johannes Frobenius a recepce jeho tisků v českých zemích

Creator:
Boldan, Kamil
Format:
bez média and svazek
Type:
model:article and TEXT
Subject:
book printing in Basel in the 16th century, University of Basel, humanism, book trade, and provenance research
Language:
Czech
Description:
Although Basel book printing had a major influence on the development of humanistic studies in the 16th century, its import into the Czech lands has not been studied so far. This study explores books printed by a famous printer Johann Froben (ca. 1460–1527), and their representation in selected Czech and Moravian libraries. Using methods of provenance research, I have identified specimens that arrived in our territory not long after their printing, paying a special attention to the titles created by people from the circle of the University of Basel. My research has shown that although Czech students rarely attended Basel University until the mid-16th century, works by Basel University scholars from Froben printing house were available in Bohemia and Moravia as early as in the second and third decade of the 16th century. Furthermore, the books printed by Froben penetrated much better into the Catholic regions of Bohemia and Moravia, more open to modern humanistic studies.
Rights:
http://creativecommons.org/licenses/by-nc-sa/4.0/ and policy:public

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