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112. "DNA barcoding" is of limited value for identifying adelgids (Hemiptera: Adelgidae) but supports traditional morphological taxonomy
- Creator:
- Žurovcová, Martina, Havelka, Jan, Starý, Petr, Věchtová, Pavlína, Chundelová, Daniela, Jarošová , Andrea, and Kučerová, Lucie
- Type:
- article, model:article, and TEXT
- Subject:
- Adelgidae, aphids, species identification, systematics, and DNA barcoding
- Language:
- English
- Description:
- The sequence diversity in the mitochondrial cytochrome-c oxidase I (COI) gene was evaluated as a tool for resolving differences among species of European adelgids collected from several localities across the Czech Republic. Members of 7 genera and 16 species were examined, and as outgroups, two species of Phylloxeridae were used. Sequence divergences within species were on average less than 0.15%, whereas divergences between species ranged from 0.0 to 4.12% for congeneric and to 13.24% for intergeneric comparisons. It is concluded that DNA barcoding of Adelgidae is a powerful tool for identifying genera, but at the species level it works only in those cases where there are no species complexes. Nevertheless, it can be used as a complement to traditional, morphological taxonomy.
- Rights:
- http://creativecommons.org/publicdomain/mark/1.0/ and policy:public
113. "Doch ist es immerhin möglich, daß Sie sich ins Utopische verlocken lassen." Die Ereignisse der Jahre 1914 bis 1918 in der Korrespondenz Hermann Bahrs mit Jaroslav Kvapil
- Creator:
- Ifkovits, Kurt
- Format:
- bez média and svazek
- Type:
- model:article and TEXT
- Subject:
- Hermann Bahr, Jaroslav Kvapil, World War I, Austro-Hungarian Monarchy, Czechoslovakia, and nation building
- Language:
- Czech
- Description:
- This article examines the correspondence between the Austrian author Hermann Bahr and the Czech dramaturge, author and politician Jaroslav Kvapil. It focuses on the years during World War I and the increasingly divergent interests of these two figures. While Bahr is concerned with renewing Austria, Kvapil is engaged in nation building in the newly forming Czechoslovakia. and Článek zahrnuje odkazy pod čarou
- Rights:
- http://creativecommons.org/licenses/by-nc-sa/4.0/ and policy:public
114. „Dvojaký prameň“ - u Schillera a Bergsona
- Creator:
- Bakoš, Oliver
- Format:
- Type:
- model:internalpart and TEXT
- Language:
- Czech and English
- Rights:
- http://creativecommons.org/licenses/by-nc-sa/4.0/ and policy:public
115. „Entitas tota“ jako princip individuace u Leibnize
- Creator:
- Palkoska, Jan
- Format:
- Type:
- model:internalpart and TEXT
- Language:
- Czech
- Rights:
- http://creativecommons.org/licenses/by-nc-sa/4.0/ and policy:public
116. "Es ist nicht leichters, als diese Difficultät zu heben...": Tereziánské správní reformy, centralizace monarchie a pojetí české státnosti na příkladu výkonu nobilitační agendy jako výseku majestátních práv české koruny
- Creator:
- Brňovják, Jiří
- Format:
- print, bez média, and svazek
- Type:
- model:article and TEXT
- Subject:
- česká a uherská královna, císařovna, choť Františka Štěpána I., římskoněmeckého císaře, Marie Terezie, 1717-1780, centralismus, nobilitace, česká koruna, centralism, nobilitation, Czech koruna, správní reformy, český stát, administrative reforms, Bohemian state, Bohemian crown, 8, and 94(437)
- Language:
- Czech and English
- Description:
- This study examines the possibilities and limitations of centralizing reforms within the western part of the Habsburg monarchy, as illustrated by the problematic issue of ennoblement in the Czech lands. The administrative reforms of 1749 resulted in the administrative union of both state entities in a single whole of (all) so-called Hereditary Lands. They also led to the closure of separate offices at court representing the Czech and Austrian lands, replacing them with a single Directorium in publicis et cameralibus, which took over the ennoblement programme hitherto operated by those two offices. Despite the apparently centralizing tendency of the reforms, this did not extend to any unification of entitlements to ennoblement, which continued to be based on particular ranks and titles specific to either the Kingdom of Bohemia or the Archduchy of Austria. It was not until 1752 that, on the urging of Maria Theresa herself, a unified, legally binding system for dispensing preferment and privilege, including a unified scale of aristocratic titles for all the Hereditary Lands, was introduced. In practice, ennoblement rights in the two state entities remained differentiated as to specific titles up until the early 19th century, when the two systems were superseded by a new Austrian Imperial ranking. Thus one of the last relics of the conception of the Czech Crown Lands as an autonomous historical entity finally ceased to exist., Jiří Brňovják., and Obsahuje bibliografické odkazy
- Rights:
- http://creativecommons.org/publicdomain/mark/1.0/ and policy:public
117. „Esse apparens” a jeho role v Auriolově výkladu smyslového vnímání
- Creator:
- Lukáš Lička
- Format:
- Type:
- article, články, model:article, and TEXT
- Subject:
- Filozofie, Aureoli, Petrus, asi 1280-asi 1322, teologie a filozofie, smyslové vnímání, smyslové klamy, theology and philosophy, senses and sensation, sensory illusion, "esse apparens", intentional being, perceptual realism, argument from illusion, 5, and 101
- Language:
- Czech
- Description:
- The main aim of this paper is to propose an adequate interpretation of the concept esse apparens (apparent being) which was used by Franciscan philosopher and theologian Peter Auriol (c. 1280-1322), especially focusing on his account of sensory perception. Drawing on an analysis of the relevant passages of the commentary on the Sentences by Auriol, first, I introduce his famous account of sensory illusions, and then his own claims about the nature of esse appparens (Auriol refuses to treat it either as a separate entity serving as a mediator of perception, or as only an extrinsic denomination of the perceived object). In the next part, I reject the interpretation which identifies esse apparens with mental representation. In my opinion, it is more appropriate to place this concept into the context of scholastic doctrine of objectiver or intentional being (popularized mainly by Duns Scotus and his disciples). At the end of the paper, I return to Auriol's account of illusions and show that it is compatible with esse apparens being understood as mode of being., Lukáš Lička., and Obsahuje poznámky a bibliografii
- Rights:
- http://creativecommons.org/publicdomain/mark/1.0/ and policy:public
118. "Estetika na křižovatce" humanitních disciplín. Vlastimil Zuska a kolektiv
- Creator:
- Ševčík ml., Miloš
- Format:
- Type:
- model:internalpart and TEXT
- Language:
- Czech
- Rights:
- http://creativecommons.org/licenses/by-nc-sa/4.0/ and policy:public
119. "Exclusivism" in international nuclear law: the concept revisited
- Creator:
- Jakub Handrlica
- Format:
- print, bez média, and svazek
- Type:
- model:article and TEXT
- Subject:
- právo, law, international nuclear law, exclusivism, radioactive waste management, nuclear third party liability, transport of radioactive waste, 16, and 34
- Language:
- English
- Description:
- The concept of "Exclusivism" is considered to represent one of the most characteristic features of International Nuclear Law. This concept is reflected by regulating matters of uses of nuclear energy and ionising radiation exclusively by distinct principles, that govern legal relations arising in these matters. The concept of "Exclusivism" has been widely reflected in the provisions of international conventions, which have been adopted since the 1960s. This article aims to revisit this concept, taking the most recent developments in international and European law into regard. The article is dealing with the reasons and origins of the concept of "Exclusivism" in International Nuclear Law, with reflections of this concept in existing international treaties and at last but not at least, with most recent tendencies, that aim at jeopardising this concept., Jakub Handrlica., and Obsahuje bibliografické odkazy
- Rights:
- http://creativecommons.org/publicdomain/mark/1.0/ and policy:public
120. "Fantasioso frescante": Interpretace nástěnných maleb Andrey Lanzaniho ve Slavkově u Brna
- Creator:
- Zapletalová, Jana
- Format:
- bez média and svazek
- Type:
- model:article and TEXT
- Language:
- Czech
- Description:
- Na základě archivního materiálu, smlouvy Andrey Lanzaniho s hrabětem Kounicem o provedení maleb s přiloženým náčrtkem s rozměry a tvary malířských polí rekonstruuje předložený text v první části průběh malířských prací na zámku ve Slavkově u Brna, jejich dataci a pohyb malíře mezi Slavkovem a Vídní. Hlavní pozornost se však soustřeďuje na ikonografickou interpretaci celého cyklu Lanzaniho nástěnných maleb. Text se staví proti dosavadní interpretaci maleb Mariny Dell 'Omo jako cyklu s hlubšími významy morálními a mravně naučnými, odvozenými z Boěthiova spisu De consolatione philosophiae. Naopak nově interpretuje malby v souvislosti se svatbou hraběte Kounice a se sochařskou výzdobou zahrad od Giovanniho Giulianiho a nedochovanou malířskou výzdobou zahradního pavilonu jako cyklu maleb oslavujících témata milostná: alegorii ženské krásy, ukazující moc lásky, společně se Štěstěnou v lásce úzce spojené s chodem přírody a cykličností, které se objevují v severní polovině křídla zámku. Podařilo se rovněž nově zpřístupnit archiválii, která dokládá jako literární vzor použitý malířem pro výzdobu zahradního „Casina“ báseň Ercola Udineho Avenimenti amorosi di Psiche. Tento Lanzaniho rukopis přináší podrobný popis námětů maleb zahradního pavilonu a nově tak ukazuje na existenci jednotné ideové koncepce malířské a sochařské výzdoby zahrad slavkovského zámku s tématem Amora a Psyche. Z tohoto důvodu vnímáme slavkovský zámek a jeho výzdobu z přelomu 17. a 18. století jako moravské venkovské sídlo hraběte Kounice spíše než jako reprezentativní rezidenci. Tato stavba naplňovala svým výzdobným programem tradiční teorii, vyzdvihující decorum pro vztah funkce a výzdoby stavby podle starších traktátů, připouštějící pro vily a letní sídla „tutte le seduzioni della leggiadria e del diletto“. Článek rovněž přináší dvě objevené kresby z Biblioteca Ambrosiana z Milána, které sloužily jako přípravné kresby ke slavkovským malbám. and Based on archival material - the contract between Andrea Lanzani and Count Kounic for the execution of a series of paintings and the appended sketches with the dimensions and shapes of the areas to be painted on - the first part of this text reconstructs the course of the painting work done at Slavkov Castle, dates it and describes the painter’s travels between Slavkov and Vienna. Attention centres mostly, however, on the monographic interpretation of the entire cycle of Lanzani’s murals. The text contravenes previous interpretations of the Marina Dell’Omo paintings as a cycle of profound moral and didactic significance derived from Boethius’ De Consolatione Philosophiae. In contrast, it reinterprets the paintings in the context of the sculptural ornamentation of the gardens by Giovanni Giulani and the painted decorations (which have not been preserved) of the garden pavilion as a cycle of paintings celebrating themes of love: an allegory of female beauty, showcasing the power of love along with Fortuna in love bound tightly with the course of nature and its cyclical character, which is to be found in the northern half of the castle wing. At the same time, archival material has newly been made accessible which documents that the literary source used by the painter for the decoration of the garden’s ‘casino’ was the poem ‘Avenimenti amorosi di Psiche’ by Ercole Udine. Lanzani’s manuscript provides a detailed description of the subject matter of the paintings for the garden pavilion and thus points to the existence of a unified conception connecting the paintings and sculptures adorning the gardens of Slavkov Castle on the theme of Amor and Psyche. For this reason, we perceive Slavkov Castle and its decorations from the turn of the 17th and 18th centuries as the Moravian country residence of Count Kounic rather than as his representative palace. This building, with its ornamental programme, was a fulfilment of traditional theory, highlighting decorum in the relationship between the structure’s function and its ornamentation according to older treatises, allowing ‘tutte le seduzioni della leggiadria e del diletto’ for villas and summer residences. In addition, the article furnishes two drawings discovered at the Biblioteca Ambrosiana in Milan which served as preparatory sketches for the Slavkov paintings.
- Rights:
- http://creativecommons.org/licenses/by-nc-sa/4.0/ and policy:public