Tři obrazy z pozdního období Toyen - V určitou chvíli (1963), Tajný pokoj bez zámku (1966) a Na zámku Silling (1969) - se vyznačují nápadným společným rysem: do každého z nich je vlepena černobílá reprodukce barokního nebo antického sochařského díla s mytologickým námětem. Článek zkoumá postupy, jimiž si Toyen přisvojovala příklady ze starého umění, zabývá se jejím výběrem mytických ženských hrdinek a zamýšlí se nad významem znázornění sochy v malbě. Nejradikálněji zacházela Toyen se zvolenou předlohou v obraze V určitou chvíli, neboť přerušila původní mytologický příběh, obsažený v Berniniho sousoší Apollon a Dafne, osamostatnila přízrak zděšeně prchající ženy a přetočila svůj výstřižek o devadesát stupňů. Navázala na podněty, na které upozornil Salvador Dalí v koláži Fenomén extáze (1933), do níž zapojil snímek "hysterické sochy" z Gaudího architektury. V následujících dvou obrazech Toyen ponechala reprodukovaná díla v původní podobě a pouze je zasadila do souvislostí spjatých s vlastními naléhavými tématy, ať šlo o představu erotizace světa v případě sousoší Amora a Psyche z vykopávek v Ostii (viz Tajný pokoj bez zámku), nebo o těsné sepětí ženy s nebezpečnými přírodními silami, jak je znázornil mélský reliéf Peleus a Thetis (viz Na zámku Silling). Otázka, jakou funkci mají převzaté motivy v obrazivosti Toyen a proč se rozhodla zpřítomnit je prostřednictvím černobílých reprodukcí soch z minulých staletí, odkazuje k Warburgovým formulím patosu. Předstupeň k pracím Toyen lze spatřovat v jeho výkladu, že užití grisaillové techniky pro ztvárnění antických námětů v renesanční malbě mělo udržet antiku v psychické, metaforické a typologické distanci. Zároveň však Warburga zaujal utopický rozměr grisaille, přenášející silné prvotní vášně do arkadického duševního prostoru. Zdá se, že podobné cíle, ovšem za použití moderní techniky koláže, sledovala intuitivně i Toyen. and Three paintings from Toyen's late period - At a Given Moment (1963), A Secret Room without a Lock (1966) and At Silling Castle (1969) - stand out due to a conspicuous trait they share: pasted into each is a black-and-white reproduction of a Baroque or ancient statue with a mythological motif. This article explores the methods Toyen used to appropriate instances from the art of old; it deals with her selection of mythical female figures and contemplates the significance of depicting sculpture in paintings. Toyen was most radical with the original she selected for the painting At a Given Moment, in which she intervened in the primordial mythological story embodied in Bernini's Apollo and Daphne, appropriating the spectre of the fleeing woman and rotating the cut-out ninety degrees. She was thus alluding to subjects which Salvador Dalí had drawn attention to in The Phenomenon of Ecstasy (1933), a collage in which he included a photograph of a 'hysterical or ecstatic statue'. In the other two paintings, Toyen left the reproduced image in its original form and simply inserted it into a set of relationships intertwined with her own pressing themes, whether that meant her desire to eroticize the world in case of Amor and Psyche, excavated at Ostia (see A Secret Room without a Lock), or the tightly interwoven relationship between woman and dangerous natural forces, as portrayed in the Melian relief of Peleus and Thetis (see At Silling Castle). The question regarding the function of the borrowed motifs in Toyen's imaginary world and why she decided to bring them into the present using black-and-white reproductions of sculptures from bygone centuries recalls Warburg's Pathosformen (pathos formulas). Certain precedents relating to Toyen's approach may be seen in the interpretation that the use of the grisaille technique to shape the antique subjects in Renaissance painting was meant to maintain antiquity at a typological distance. At the same time, however, Warburg was captivated by the Utopian dimension of grisaille. It seems that Toyen had similar aims, although she pursued them intuitively, using modern collage techniques.
The protective role of nutrition factors such as calcium, vitamin D and vitamin K for the integrity of the skeleton is well understood. In addition, integrity of the skeleton is positively influenced by certain trace elements (e.g. zinc, copper, manganese, magnesium, iron, selenium, boron and fluoride) and negatively by others (lead, cadmium, cobalt). Deficiency or excess of these elements influence bone mass and bone quality in adulthood as well as in childhood and adolescence. However, some protective elements may become toxic under certain condition s, depending on dosage (serum concentration), duration of treatment and interactions among individual elements. We review the beneficial and toxic effects of key elements on bone homeostasis., I. Zofkova, M. Davis, J. Blahos., and Obsahuje bibliografii
We investigate the traceless component of the conformal curvature tensor defined by (2.1) in Kähler manifolds of dimension $\ge 4$, and show that the traceless component is invariant under concircular change. In particular, we determine Kähler manifolds with vanishing traceless component and improve some theorems (for example, [4, pp. 313–317]) concerning the conformal curvature tensor and the spectrum of the Laplacian acting on $p$ $(0\le p\le 2)$-forms on the manifold by using the traceless component.
Including the previously untreated borderline cases, the trace spaces (in the distributional sense) of the Besov-Lizorkin-Triebel spaces are determined for the anisotropic (or quasi-homogeneous) version of these classes. The ranges of the traces are in all cases shown to be approximation spaces, and these are shown to be different from the usual spaces precisely in the cases previously untreated. To analyse the new spaces, we carry over some real interpolation results as well as the refined Sobolev embeddings of J. Franke and B. Jawerth to the anisotropic scales.
We investigate traces of functions, belonging to a class of functions with dominating mixed smoothness in ${\mathbb{R}}^3$, with respect to planes in oblique position. In comparison with the classical theory for isotropic spaces a few new phenomenona occur. We shall present two different approaches. One is based on the use of the Fourier transform and restricted to $p=2$. The other one is applicable in the general case of Besov-Lizorkin-Triebel spaces and based on atomic decompositions.
In Taiwanese literature, as in many other national literatures, realism is a term which has been used to serve many aims. Aesthetic and narrative aspects contribute to realism as much as poliical, ideological and/or social convictions. In Taiwam, it has been used as a label by almost all literary groups and schools since the first wave of native literature (xiangtu wenxue) in the 1920s in order to describe and ligitimize their respective literary and - frequently - political claims. Over time, the very meaning of the term "realism" had been subject to multiple changes, thus turning "realism" into an almost empty signifier that needed to be further framed. Realism increasingly tended to be accompanied by an explanatory adjunct, specifying what kind of realism was indicated. The article re-evaluates epistemological issues connected to the use of realism among Taiwan´s modernists and nativists in the 1960s and 1970s. It argues that the struggle between both groups is primarily in relation to the appropriate adjunct to be attached to realism. Both movements illustrate how realism has grown into a meta-term of modernity, while its aesthetics, subject matter, and ethical impact have became increasingly vague.
In this paper, tracking control design for a class of nonlinear polynomial systems is investigated by augmented error system approach and block pulse functions technique. The proposed method is based on the projection of the close loop augmented system and the associated linear reference model that it should follow over a basis of block pulse functions. The main advantage of using this tool is that it allows to transform the analytical differential calculus into an algebraic one relatively easy to solve. The developments presented have led to the formulation of a linear system of algebraic equations depending only on parameters of the feedback control. Once the control gains are determined by solving the latter optimization problem in least square sense, the practical stability of the closed loop augmented system is checked through given conditions. A double inverted pendulums benchmark is used to validate the proposed tracking control method.
In this work, an alternative solution to the tracking problem for a SISO nonlinear dynamical system exhibiting points of singularity is given. An inversion-based controller is synthesized using the Fliess generalized observability canonical form associated to the system. This form depends on the input and its derivatives. For this purpose, a robust exact differentiator is used for estimating the control derivatives signals with the aim of defining a control law depending on such control derivative estimates and on the system state variables. This control law is such that, when applied to the system, bounded tracking error near the singularities is guaranteed.
The aim of the paper is to argue that the ontological setting of objects in Wittgenstein’s Tractatus is a version of structural realism. According to our plan, one of the opening statements of the Tractatus - The world is the totality of facts, not of things - introduces structuralist perspective: structures are superior to their constituents. However, structuralists use the notion ''superior'' in various senses, but this paper argues that the Tractatus places its objects within the framework of ontic structural realism in its moderate form. That form puts structures and individuals on the same ontological footing. Such thesis contradicts traditional object-ontology that dominates Tractarian literature., Cílem práce je argumentovat, že ontologické nastavení objektů ve Wittgensteinově Tractatus je verzí strukturálního realismu. Podle našeho plánu, jeden z úvodních výroků Tractatus - Svět je souhrn faktů, ne věcí - zavádí strukturalistickou perspektivu: struktury jsou nadřazené jejich složkám. Nicméně, strukturalisté používají pojem ''nadřazený'' v různých smyslech, ale tento papír argumentuje, že Tractatus umístí jeho objekty uvnitř rámce ontic strukturálního realismu v jeho mírné formě. Tato forma staví struktury a jednotlivce na stejné ontologické základy. Tato práce je v rozporu s tradiční objektovou ontologií, která dominuje v literární literatuře., and Martin Schmidt