Diapause intensity (DI) is a physiological trait represented by the duration of diapause under given conditions of environment. In many species, it is highly variable, probably being controlled by multiple genes and tends to form a cline in response to the latitudinal gradient of selection pressure. DI clines could be established artificially by crossing between lines of a cricket selected for different levels of DI, indicating the importance of genetic factors in the adaptive variation of DI. However, DI may be modified in response to seasonal cues both before and after the onset of diapause. Polymorphism in the intensity of prolonged diapause may split adults of a single population to emerge in different years. A unimodal distribution of DI may also result in polymodal termination of diapause, if DI variation is so large that chilling in one winter is not enough to terminate diapause for all members of a population. Bimodal termination of diapause after overwintering suggests heterogeneity in the final phase of diapause that requires high temperatures in spring. Polymodal termination of diapause subserves a bet-hedging strategy. Variability in DI thus provides insects with an important means of adaptation to their environments changing in space and time.
The interval model training has been more recommended to promote aerobic adaptations due to recovery period that enables the execution of elevated intensity and as consequence, higher workload in relation to continuous training. However, the physiological and aerobic capacity adaptations in interval training with identical workload to continuous are still uncertain. The purpose was to characterize the effects of chronic and acute biomarkers adaptations and aerobic capacity in interval and continuous protocols with equivalent load. Fifty Wistar rats were divided in three groups: Continuous training (GTC), interval training (GTI) and control (CG). The running training lasted 8 weeks (wk) and was based at Anaerobic Threshold (AT) velocity. GTI showed glycogen super-compensation (mg/100 mg) 48 h after training session in relation to CG and GTC (GTI red gastrocnemius (RG)=1.41±0.16; GTI white gastrocnemius (WG)=1.78±0.20; GTI soleus (S)=0.26±0.01; GTI liver (L)=2.72±0.36; GTC RG=0.42±0.17; GTC WG=0.54±0.22; GTC S=0.100±0.01; GTC L=1.12±0.24; CG RG=0.32±0.05; CG WG=0.65±0.17; CG S=0.14±0.01; CG L=2.28±0.33). The volume performed by GTI was higher than GTC. The aerobic capacity reduced 11 % after experimental period in GTC when compared to GTI, but this change was insignificant (19.6±5.4 m/min; 17.7±2.5 m/min, effect size = 0.59). Free fatty acids and glucose concentration did not show statistical differences among the groups. Corticosterone concentration increased in acute condition for GTI and GTC. Testosterone concentration reduced 71 % in GTC immediately after the exercise in comparison to CG. The GTI allowed positive adaptations when compared to GTC in relation to: glycogen super-compensation, training volume performed and anabolic condition. However, the GTI not improved the aerobic performance., G. G. de Araujo, C. A: Gobatto, M. Marcos-Pereira, I. G. M. Dos Reis, R: Verlengia., and Obsahuje bibliografii
The method and criteria that are used for detecting the aesthetic value in works of art are among the key themes of aesthetic epistemology. The object of this study is to attempt a rational reconstruction of the background of art criticism. In tradition Western thought, aesthetic value lies in archieving unity in complexity, unitas multiplex. In the 20th century, this duality was enriched by a third category, intensity. In 1989, Tomáš Kulka suggested that these three categorical features could be detected within works of art by applying a falsification proving method to the aesthetic value. Kulka described an intuitive process of assessing the aesthetic value of works of art by finding possible alternations that would contribute to improving and/or damaging the work of art. The number of possibilities thus found may lead us to recognize the aesthetic value of the work of art. This paper addresses Kulka's concept, emphasizing some of its potential problematic aspects and concluding with a suggested percentage modification of Kulka's concept that might better correspond with an practical background in assessing the aesthetic value of works of art. and Způsob a kritéria, kterými je odhalována estetická hodnota uvnitř uměleckých děl jsou jedním z klíčových témat epistemologie estetiky. Předmětem této studie je pokus o racionální rekonstrukci procesu, který stojí v pozadí umělecké kritiky. V tradici západního myšlení převládá názor, že estetická hodnota spočívá v dosažení jednoty v mnohosti (unitas multiplex). Ve 20. stol. byla tato dualita pojmů rozšířena o třetí kategorii, intenzitu. Způsob, jakým jsou tyto tři kategorické vlastnosti odhalovány uvnitř uměleckých děl, navrhl v roce 1989 Tomáš Kulka, který na tuto trojici pojmů aplikoval popperiánský falzifikační způsob ověřování hodnoty uměleckých děl. Kulka se pokusil popsat pozadí intuitivního procesu, kterým bývají hodnocena umělecká díla tím, že jsou nalézány možnosti (alterace), kterými je možné dílo znehodnotit a/nebo zdokonalit. Počet takto nalezených možností nám pak umožňuje roz-poznat estetickou hodnotu uměleckého díla. Naše práce se kriticky zabývá Kulkovým konceptem, zdůrazňuje některé jeho případné problematické aspekty a v závěru se pokouší o jeho percentuální modifikaci, která by mohla lépe odpovídat pozadí praktického způsobu hodnocení estetické hodnoty uměleckých děl.