Academic literature on the topic 'Brno castle'

A recent archaeological excavation of the Castle of the town of Novo Brdo has discovered residential buildings from the second quarter of the 14th century as well as the remains of a subsequently built bath, dated to the end of the 14th or beginning of the 15th century. Built on a small area, the bath consisted of a single bathing chamber above a hypocaust, a water reservoir and a furnace. Since there were no natural springs or groundwater wells, it was supplied with water from cisterns. The bathing chamber, originally domed, was not furnished with a masonry water basin. It was heated by an under floor hypocaust system and by steam conveyed by pipes from are servoir of boiling water. The only known analogies for this small structure, presently the only such discovered in medieval Serbia and its neighborhood, are bathing chambers in residential complexes in the region of Amalfi, southern Italy.

Nace en Buenos Aires y reside en València desde 2002. Compositora y docente en el Conservatorios USperior de Música “Salvador Seguí” de Caste- llón (España) Ganadora de cuatro Latin Grammy Awards en 2014, por su Concierto para violín y orquesta de cuerdas, Mejor obra Clásica Contemporánea, en 2016 por su Cuarteto para Buenos Aires en la misma categoría, y en 2018 Mejor Obra Clási- ca Contemporánea por Luces y Sombras y Mejor Álbum de Música Clásica por Mágica y Misteriosa. Ha recibido numerosos encargos de grandes Solistas. Invitada de Festivales Musicales como compositora y confe- renciante. Ha participado como jurado en certámenes y concursos. Es miem- bro de la IAWM (International Alliance Women in Music), de la Latin Recording Academy, y de la Recording Academy.

Twelve clinical cases of cyathostomosis in horses treated at the Equine Clinic University of Veterinary and Pharmaceutical Sciences in Brno, the Czech Republic, between the years 1999 and 2008 are described in this report. Six cases (50%) were hospitalized in the period from 2007 to 2008. Eleven of them were hospitalized in the period from December to March. Only one case was admitted in June, but the clinical signs had appeared for the first time in January. All horses described in these cases were younger than six years of age. Diarrhoea as a predominant clinical sign was present in four horses and colic in four horses. One horse showed both colic and diarrhoea whilst three horses had weight loss and subcutaneous oedema. Metabolic acidosis was found in three horses, eight patients had leucocytosis. Hypoproteinemia was found in four horses, hypoalbuminemia in seven horses, hypokalemia in three horses and increased alkaline phosphatase (ALP) activity in five horses. Seven horses recovered, one horse died and four horses were euthanized.

The term ‘traditional Japanese architecture’ often causes confusionbecause people want the architecture of a certain period to eithercontinue endlessly, or to be substituted by some kind of facsimile.This paper maintains that the roots of Japanese architecture continueand that these roots make themselves evident at times of upheavaland renewal.Japan consists of a number islands which have had periods ofisolation both internationally, and nationally from ‘political lockdown’within. And yet these periods of isolation have often produceda veritable zenith in the houses of what Bruno Taut called “thepeasants”, and the author has chosen to call ‘commoners (minka)’.One example this is the Japanese tea house, which came about at atime of heightened military dominance. Castles were the strongholdsof power complete with large rooms in which the rituals of statedemanded order by rank. Beside this show of power came the humbletea house, used for the simple tea ceremony, sometimes between as few as two people. The roots of this humble hut, if we can call itsuch, carried with it the same structural principles as the minka, orcommoner’s house. A non-loadbearing structure of post and lintelconstruction for the sole purpose of concentrating on “the sound ofboiling water”. Out of the dream of power came the need for humility.The warrior’s power lay in the control of space; the tea master’s in thecontrol of time. The architecture responds. The building is an event

The seven cases presented here were diagnosed at the Equine Clinic, University of Veterinary and Pharmaceutical Sciences, Brno, Czech Republic between the years 2002 and 2008. The age range of affected horses was from 10 months to 10 years and included four Thoroughbreds and three warm blooded horses. The horses showed different clinical signs – recurrent or acute colic, poor appetite, frequent recumbency and poor performance. Physical examination revealed diverse results in each horse. Results of gastroscopic examination showed severe nonglandular mucosa ulceration and pathological changes along the pylorus in all horses. Two horses showed distal esophagitis. The duodenum was visible and endoscopically unchanged in two horses. Treatment was applied to four horses with different results. Follow up: Two horses are alive and they have partially or fully returned to their previous performance level. Five horses were euthanised because of clinical worsening and/or unsuccessful treatment. Four horses were examined <I>post mortem</I>. The final diagnosis of pyloric stenosis was made by gastroscopy in six horses. In the seventh horse it was confirmed by necropsy. Gastric or gastroduodenal ulceration was revealed as the cause of pyloric stenosis in five horses. In two horses the origins of pyloric changes were uncertain.

To analyse the potential changes in soil characteristics and associated impacts on the land price, the region of South Moravia was selected, strongly threatened by erosion and by claiming the most valuable land in suburban territories due to industrial and housing expansion. For the detailed analysis of the impacts of erosion and land appropriation in the region of South Moravia, the model territories of Brno surroundings with the municipality of Dolní Heršpice and Hustopeče surroundings with the municipality of Starovice were selected. The price of land degraded by potential erosion in the South Moravian region fluctuates between 88 and 2 400 EUR/ha. In the past 180 years, 148 ha of agricultural land in the total value of 822 815 EUR have been used for construction in the location under study in Dolní Heršpice. Further growth of the municipality should involve additional appropriation of agricultural land in the value of 411 000 EUR. In the studied land block of 100.5 ha, located in the Starovice municipality area, water erosion caused degradation in the total value of 92 000 EUR in the period 1978–2013. Extensive losses of fertile agricultural land are to be expected in the future. Their main causes are continuing land appropriation and degradation processes – soil erosion.

An 8-year-old Friesen mare was admitted to the Equine Clinic, University of Veterinary and Pharmaceutical Sciences, Brno, Czech Republic with ventral edema and weight loss which had proceeded over the course of a few weeks. Clinical examination revealed poor body condition, depression, weakness, pale mucous membranes, enlarged mandibular lymph nodes and ventral edema. Thoracic percussion revealed fluid level reaching the shoulder on both sides. CBC revealed a severe disproportion of red and white cells. The horse was anemic and there was leucocytosis with the majority being blast cells (leucocyte concentration was 450.4 × 10⁹/l) which included mitotic figures. The serum chemistry profile revealed hypoalbuminemia and increased alkaline phosphatase bone isoenzyme (BALP was 784.3 &mu;kat/l). Based on the number of precursors in the peripheral blood acute leukemia was diagnosed. The peripheral blood was examined by flow cytometry and cytochemistry. The final diagnosis was determined as acute B cell lymphoid leukemia. The mare was treated with corticosteroids. On the second day of treatment the white blood cell count and alkaline phosphatase level decreased. The improvement continued until the fifth day, when the mare’s status deteriorated and the horse was euthanized. Gross examination was carried out but no neoplastic mass was discovered. Final differentiation between primary and secondary lymphoid leukemia was not possible in this case.

Significant Early-Christian localities referring to the rich mining activities of this region were found on the Kopaonik Mountain or in the Silver Mountain, as it was named by Roman, Venetian, and Turkish sources. From broader point of view, even from the times of Roman provinces settlement on the Balkan, the area of Serbia with very thick settlements? net was used as a logistic and strategic support of the Roman Empire. The territory being the subject of our research is the zone where provinces Moesia Prima Mediterranean Dacia (Dacia Mediterranea) and Dardania meet. The sites that offer new data for the process of settlement and Christianization of these regions are CELESTIAL CHAIRS on the top of Kopaonik at the altitude of 1,800 m, DUB in Mala Vrbnica in the bottom of the Mountain and Gradac in Gornje Levice at 1,089 m altitude. They are in the northern part of Dardania, in the Province where silver with lead were dug as well as golden silver together with exploitation of iron, copper and mercury ores. The zone of these findings gravitates to Roman administrative center Municipium Dardanorum near to Socanica at Kosovo. Thus, it may be assumed that still non-referred northern border of Dardania could have covered eastern slopes of Kopaonik up to the bottom and border with Aleksandrovac Zupa. On the eastern slopes of Kopaonik three early-Christian basilicas were found; one in Celestial Chairs with floor mosaic; another in Gradac site in Gornje Levi}e within the fortress and the third one in the Dub site in a village Mala Vrbnica, with stone decorative plastic. All these buildings date from the period of 5-6th century based on archeological material. Sites in Celestial Chairs and the one in Gornje Levice have, as many castles in broader vicinity, continuity of 4-6th century proved by founding of secular objects like fibula with bent legs, cross-like fibulas, money, ceramic fragments with rake ornaments. Porkpie stated that Dardania had reconditioned 68 fortresses out of 70 original ones, and only 8 were new-built. Celestial Chairs visually dominate the whole area. From this place, one can see as on his palm Early-Byzantine fortresses on Vojetin, Cucaica and in Gornje Levice, as well as the mines in Zaplanina and Belo Brdo. Having in mind natural features of the terrain historical surrounding, and, first of all, archeological finding, we think that Celestial Chairs and Gornje Levice could be the spot to look for spiritual and administrative center of the northern part of Roman province Dardania.

AbstractThere is a boom of art historical studies on the globalisation of the arts or global art world. Sociological accounts are, despite the rise of cultural and art sociology in recent years, almost complete absent from this discussion. This paper makes a contribution to the globalisation of the arts, but from a sociological and quantitative perspective. The focus of this paper is on particular type of global institution – biennials and other types of art festivals or large-scale exhibitions. These institutions are seen being major places of exchange and formulation of norms and standards. They define what is hip and new. However, theories of globalisation, in combination with accounts from professionals of the field, claim that these institutions propagate only Western values or have a homogenising quality, because they only show caste works from artists of the Western hemisphere or that they repeat the same works and artists across the globe. However, based on a large-scale quantitative survey, this paper will demonstrate that picture is more complex and that we find tendencies to homogenisation and heterogenisation existing at the same time or that the locality of these events acts as a source of uniqueness and innovativeness. The paper proposes a new theoretical framework that interprets these findings as based on Niklas Luhmann’s idea of second-order observation and Bruno Latour’s and Harrison C. White’s conception of the network.

The usual postmodern suspicions about diligently deciphering authorial intent or stridently seeking fixed meaning/s and/or binary distinctions in an artistic work aside, this self-indulgent essay pushes the boundaries regarding normative academic research, for it focusses on my own (minimally celebrated) published creative writing’s status as a literary innovation. Dedicated to illuminating some of the less common denominators at play in Australian horror, my paper recalls the creative writing process involved when I set upon the (arrogant?) goal of creating a new genre of creative writing: that of the ‘Aboriginal Fantastic’. I compare my work to the literary output of a small but significant group (2.5% of the population), of which I am a member: Aboriginal Australians. I narrow my focus even further by examining that creative writing known as Aboriginal horror. And I reduce the sample size of my study to an exceptionally small number by restricting my view to one type of Aboriginal horror literature only: the Aboriginal vampire novel, a genre to which I have contributed professionally with the 2011 paperback and 2012 e-book publication of That Blackfella Bloodsucka Dance! However, as this paper hopefully demonstrates, and despite what may be interpreted by some cynical commentators as the faux sincerity of my taxonomic fervour, Aboriginal horror is a genre noteworthy for its instability and worthy of further academic interrogation.Surprising to many, Aboriginal Australian mythology includes at least one truly vampire-like entity, despite Althans’ confident assertion that the Bunyip is “Australia’s only monster” (16) which followed McKee’s equally fearless claim that “there is no blackfella tradition of zombies or vampires” (201). Gelder’s Ghost Stories anthology also only mentions the Bunyip, in a tale narrated by Indigenous man Percy Mumbulla (250). Certainly, neither of these academics claim Indigeneity in their ethnicity and most Aboriginal Australian scholars will happily agree that our heterogeneous Indigenous cultures and traditions are devoid of opera-cape wearing Counts who sleep in coffins or are repelled by crucifix-wielding Catholics. Nevertheless, there are fascinating stories--handed down orally from one generation to the next (Australian Aborigines, of course, have no ancestral writing system)--informing wide-eyed youngsters of bloodsucking, supernatural entities that return from the grave to feed upon still living blackfellas: hence Unaipon describes the red-skinned, fig tree-dwelling monster, the “Yara Ma Yha Who […] which sucks the blood from the victim and leaves him helpless upon the ground” (218). Like most vampires, this monster imparts a similarly monstrous existence upon his prey, which it drains of blood through the suckers on its fingers, not its teeth. Additionally, Reed warns: “Little children, beware of the Yara-ma-yha-who! If you do not behave yourselves and do as you are told, they will come and eat you!” (410), but no-one suggests this horrible creature is actually an undead human.For the purposes of this paper at least, the defining characteristics of a vampire are firstly that it must have once been an ordinary, living human. Secondly, it must have an appetite for human blood. Thirdly, it must have a ghoulish inability to undergo a permanent death (note, zombies, unlike vampires it seems, are fonder of brains than fresh hemoglobin and are particularly easy to dispatch). Thus, according to my criteria, an arguably genuine Aboriginal Australian vampire is referred to when Bunson writes of the Mrart being an improperly buried member of the tribe who has returned after death to feed upon the living (13) and when Cheung notes “a number of vampire-like creatures were feared, most especially the mrart, the ghost of a dead person who attacked victims at night and dragged them away from campsites” (40). Unfortunately, details regarding this “number of vampire-like creatures” have not been collated, nor I fear, in this era of rapidly extinguishing Aboriginal Australian language use, are they ever likely to be.Perhaps the best hope for preservation of these little known treasures of our mythology lies not with anthropologists but with the nation’s Indigenous creative writers. Yet no blackfella novelist, apparently, has been interested in the monstrous, bloodsucking, Aboriginal Undead. Despite being described as dominating the “Black Australian novel” (Shoemaker 1), writer Mudrooroo--who has authored three vampire novels--reveals nothing of Aboriginal Australian vampirology in his texts. Significantly, however, Mudrooroo states that Aboriginal Australian novelists such as he “are devoting their words to the Indigenous existential being” (Indigenous 3). Existentiality, of course, has to do with questions of life, death and dying and, for we Aboriginal Australians, such questions inevitably lead to us addressing the terrible consequences of British invasion and genocide upon our cultural identity, and this is reflected in Mudrooroo’s effective use of the vampire trope in his three ‘Ghost Dreaming’ novels, as they are also known. Mudrooroo’s bloodsuckers, however, are the invading British and Europeans in his extended ‘white man as ghost’ metaphor: they are not sourced from Aboriginal Australian mythology.Mudrooroo does, notably, intertwine his story of colonising vampires in Australia with characters created by Bram Stoker in his classic novel Dracula (1897). He calls his first Aborigine to become a familiar “Renfield” (Undying 93), and even includes a soft-porn re-imagining of an encounter between characters he has inter-textually named “Lucy” and “Mina” (Promised 3). This potential for a contemporary transplantation of Stoker’s European characters to Australia was another aspect I sought to explore in my novel, especially regarding semi-autobiographical writing by mixed-race Aboriginal Australians such as Mudrooroo and myself. I wanted to meta-fictionally insert my self-styled anti-hero into a Stoker-inspired milieu. Thus my work features a protagonist who is confused and occasionally ambivalent about his Aboriginal identity. Brought up as Catholic, as I was, he succumbs to an Australian re-incarnation of Stoker’s Dracula as Anti-Christ and finds himself battling the true-believers of the Catholic Church, including a Moroccan version of Professor Van Helsing and a Buffy-like, quasi-Islamic vampire slayer.Despite his once revered status, Mudrooroo is now exiled from the Australian literary scene as a result of his claim to Indigeneity being (apparently) disproven (see Clark). Illness and old age prevent him from defending the charges, hence it is unlikely that Mudrooroo (or Colin Johnson as he was formerly known) will further develop the Aboriginal Australian vampire trope in his writing. Which situation leaves me to cautiously identify myself as the sole Aboriginal Australian novelist exploring Indigenous vampires in his/her creative writing, as evidenced by my 312 page novel That Blackfella Bloodsucka Dance!, which was a prescribed text in a 2014 Indiana University course on World Literature (Halloran).Set in a contemporary Australia where disparate existential explanations including the Aboriginal Dreamtime, Catholicism, vampirism and atheism all co-exist, the writing of my novel was motivated by the question: ‘How can such incongruent ideologies be reconciled or bridged?’ My personal worldview is influenced by all four of these explanations for the mysteries of life and death: I was brought up in Catholicism but schooled in scientific methodology, which evolved into an insipid atheism. Culturally I was drawn to the gothic novel and developed an intellectual interest in Stoker’sDracula and its significance as a pro-Catholic, covert mission of proselytization (see Starrs 2004), whilst simultaneously learning more of my totem, Garrawi (the Sulphur-crested White Cockatoo), and the Aboriginal Dreamtime legends of my ancestral forebears. Much of my novel concerns questions of identity for a relatively light-complexioned, mixed ancestry Aboriginal Australian such as myself, and the place such individuals occupy in the post-colonial world. Mudrooroo, perhaps, was right in surmising that we Aboriginal Australian authors are devoted to writing about “the Indigenous existential being” for my Aboriginal vampire novel is at least semi-autobiographical and fixated on the protagonist’s attempts to reconcile his atheism with his Dreamtime teachings and Catholicism. But Mudrooroo’s writing differs markedly from my own when it comes to the expectations he has regarding the audience’s acceptance of supernatural themes. He apparently fully believed in the possibility of such unearthly spirits existing, and wrote of the “Maban Reality” whereby supernatural events are entirely tenable in the Aboriginal Australian world-view, and the way these matters are presented suggests he expects the reader to be similarly convinced. With this Zeitgeist, Mudrooroo’s ‘Ghost Dreaming’ novels can be accurately described as Aboriginal Gothic. In this genre, Chanady explains, “the supernatural, as well as highly improbable events, are presented without any comment by the magical realist narrator” ("Magic Realism" 431).What, then, is the meaning of Aboriginal Gothic, given we Aboriginal peoples have no haunted castles or mist-shrouded graveyards? Again according to Chanady, as she set out in her groundbreaking monograph of 1985, in a work of Magical Realism the author unquestioningly accepts the supernatural as credible (10-12), even as, according to Althans, it combines “the magical and realist, into a new perspective of the world, thus offering alternative ways and new approaches to reality” (26). From this general categorisation, Althans proposes, comes the specific genre of Aboriginal Gothic, which is Magical Realism in an Indigenous context that creates a “cultural matrix foreign to a European audience [...] through blending the Gothic mode in its European tradition with the myths and customs of Aboriginal culture” (28-29). She relates the Aboriginal Gothic to Mudrooroo’s Maban Reality due to its acting “as counter-reality, grounded in the earth or country, to a rational worldview and the demands of a European realism” (28). Within this category sit not only the works of Aboriginal Australian novelists such as Mudrooroo, but also more recent novels by Aboriginal Australian writers Kim Scott and Alexis Wright, who occasionally indulge in improbable narratives informed by supernatural beings (while steering disappointingly clear of vampires).But there is more to the Aboriginal Gothic than a naïve acceptance of Maban Reality, or, for that matter, any other Magical Realist treatments of Aboriginal Australian mythology. Typically, the work of Aboriginal Gothic writers speaks to the historical horrors of colonisation. In contrast to the usually white-authored Australian Gothic, in which the land down under was seen as terrifying by the awestruck colonisers, and the Aborigine was portrayed as “more frightening than any European demon” (Turcotte, "Australian Gothic" 10), the Aboriginal Gothic sometimes reverses roles and makes the invading white man the monster. The Australian Gothic was for Aborigines, “a disabling, rather than enabling, discourse” (Turcotte, "Australian Gothic" 10) whilst colonial Gothic texts egregiously portrayed the colonised subject as a fearsome and savage Other. Ostensibly sub-human, from a psychoanalytic point of view, the Aborigine may even have symbolised the dark side of the British settler, but who, in the very act of his being subjugated, assures the white invader of his racial superiority, moral integrity and righteous identity. However, when Aboriginal Australian authors reiterate, when we subjugated savages wrestle the keyboard away, readers witness the Other writing back, critically. Receivers of our words see the distorted and silencing master discourse subverted and, indeed, inverted. Our audiences are subjectively repositioned to see the British Crown as the monster. The previously presumed civil coloniser is instead depicted as the author and perpetrator of a violently racist, criminal discourse, until, eventually, s/he is ultimately ‘Gothicised’: eroded and made into the Other, the villainous, predatory savage. In this style of vicious literary retaliation Mudrooroo excelled. Furthermore, as a mixed ancestry Aborigine, like myself, Mudrooroo represented in his very existence, the personification of Aboriginal Gothic, for as Idilko Riendes writes, “The half caste is reminiscent of the Gothic monstrous, as the half caste is something that seems unnatural at first, evoking fears” (107). Perhaps therein lies a source of the vehemency with which some commentators have pilloried Mudrooroo after the somewhat unconvincing evidence of his non-Indigeneity? But I digress from my goal of explicating the meaning of the term Aboriginal Gothic.The boundaries of any genre are slippery and one of the features of postmodern literature is its deliberate blurring of boundaries, hence defining genres is not easy. Perhaps the Gothic can be better understood when the meaning of its polar opposite, the Fantastic, is better understood. Ethnic authorial controversies aside and returning to the equally shady subject of authorial intent, in contrast to the Aboriginal Gothic of novelists Mudrooroo, Scott and Wright, and their accepting of the supernatural as plausible, the Fantastic in literature is characterised by an enlightened rationality in which the supernatural is introduced but ultimately rejected by the author, a literary approach that certainly sits better with my existential atheism. Chanady defined and illustrated the genre as follows: “the fantastic […] reaffirmed hegemonic Western rational paradigms by portraying the supernatural in a contradictory manner as both terrifying and logically impossible […] My examples of the fantastic were drawn from the work of major French writers such as Merimee and Maupassant” ("Magic Realism" 430). Unfortunately, Chanady was unable to illustrate her concept of the Fantastic with examples of Aboriginal horror writing. Why? Because none existed until my novel was published. Whereas Mudrooroo, Scott and Wright incorporated the Magical Realism of Aboriginal Australian mythology into their novels, and asked their readers to accept it as not only plausible but realistic and even factual, I wanted to create a style that blends Aboriginal mythology with the European tradition of vampires, but ultimately rejects this “cultural matrix” due to enlightened rationality, as I deliberately and cynically denounce it all as fanciful superstition.Certainly, the adjective “fantastic” is liberally applied to much of what we call Gothic horror literature, and the sub-genre of Indigenous vampire literature is not immune to this confusion, with non-Australian Indigenous author Aaron Carr’s 1995 Native American vampire novel, The Eye Killers, unhelpfully described in terms of the “fantastic nature of the genre” (Tillett 149). In this novel,Carr exposes contemporary Native American political concerns by skillfully weaving multiple interactive dialogues with horror literature and film, contemporary U.S. cultural preoccupations, postmodern philosophies, traditional vampire lore, contemporary Native literature, and Native oral traditions. (Tillett 150)It must be noted, however, that Carr does not denounce the supernatural vampire and its associated folklore, be it European or Laguna/Kerasan/Navajo, as illogical or fanciful. This despite his “dialogues with […] contemporary U.S. cultural preoccupations [and] postmodern philosophies”. Indeed, the character “Diana” at one stage pretends to pragmatically denounce the supernatural whilst her interior monologue strenuously defends her irrational beliefs: the novel reads: “‘Of course there aren’t any ghosts,’ Diana said sharply, thinking: Of course there were ghosts. In this room. Everywhere” (197). In taking this stock-standard approach of expecting the reader to believe wholeheartedly in the existence of the Undead, Carr locates his work firmly in the Aboriginal Gothic camp and renders commentators such as Tillett liable to be called ignorant and uninformed when they label his work fantastic.The Aboriginal Gothic would leave the reader convinced a belief in the supernatural is non-problematic, whereas the Aboriginal Fantastic novel, where it exists, would, while enjoying the temporary departure from the restraints of reality, eventually conclude there are no such things as ghosts or vampires. Thus, my Aboriginal Fantastic novel That Blackfella Bloodsucka Dance! was intended from the very beginning of the creative writing process to be an existentially diametric alternative to Magical Realism and the Aboriginal Gothic (at least in its climactic denouement). The narrative features a protagonist who, in his defeat, realises the danger in superstitious devotion and in doing so his interior monologue introduces to the literary world the new Aboriginal Fantastic genre. Despite a Foucauldian emphasis in most of my critical analysis in which an awareness of the constructed status and nature of the subject/focus of knowledge undermines the foundations of any reductive typology, I am unhesitant in my claim to having invented a new genre of literature here. Unless there is, undiscovered by my research, a yet-to-be heralded work of Aboriginal horror that recognises the impossibility of its subject, my novel is unique even while my attitude might be decried as hubristic. I am also cognizant of the potential for angry feedback from my Aboriginal Australian kin, for my innovative genre is ultimately denigrating of all supernatural devotion, be it vampiric or Dreamtime. Aboriginal Fantastic writing rejects such mythologies as dangerous, fanciful superstition, but I make the (probably) too-little-too-late defence that it rejects the Indigenous existential rationale somewhat less vigorously than it rejects the existential superstitions of Catholicism and/or vampirism.This potential criticism I will forbear, perhaps sullenly and hopefully silently, but I am likely to be goaded to defensiveness by those who argue that like any Indigenous literature, Aboriginal Australian writing is inherently Magical Realist, and that I forsake my culture when I appeal to the rational. Chanady sees “magic realism as a mode that expresses important points of view, often related to marginality and subalternity” ("Magic Realism" 442). She is not alone in seeing it as the generic cultural expression of Indigenous peoples everywhere, for Bhabha writes of it as being the literature of the postcolonial world (6) whilst Rushdie sees it as the expression of a third world consciousness (301). But am I truly betraying my ancestral culture when I dismiss the Mrart as mere superstition? Just because it has colour should we revere ‘black magic’ over other (white or colourless) superstitions? Should we not suspect, as we do when seated before stage show illusionists, some sleight of (writing) hand? Some hidden/sub-textual agenda meant to entertain not educate? Our world has many previously declared mysteries now easily explained by science, and the notion of Earth being created by a Rainbow Serpent is as farcical to me as the notion it was created a few thousand years ago in seven days by an omniscient human-like being called God. If, in expressing this dubiousness, I am betraying my ancestors, I can only offer detractors the feeble defence that I sincerely respect their beliefs whilst not personally sharing them. I attempt no delegitimising of Aboriginal Australian mythology. Indeed, I celebrate different cultural imaginaries for they make our quotidian existence more colourful and enjoyable. There is much pleasure to be had in such excursions from the pedantry of the rational.Another criticism I might hear out--intellectually--would be: “Most successful literature is Magical Realist, and supernatural stories are irresistible”, a truism most commercially successful authors recognise. But my work was never about sales, indeed, the improbability of my (irresistible?) fiction is didactically yoked to a somewhat sanctimonious moral. My protagonist realises the folly and danger in superstitious devotion, although his atheistic epiphany occurs only during his last seconds of life. Thus, whilst pushing this barrow of enlightened rationality, my novel makes a somewhat original contribution to contemporary Australian culture, presenting in a creative writing form rather than anthropological report, an understanding of the potential for melding Aboriginal mythology with Catholicism, the “competing Dreamtimes, white and black” as Turcotte writes ("Re-mastering" 132), if only at the level of ultimately accepting, atheistically, that all are fanciful examples of self-created beyond-death identity, as real--or unreal--as any other religious meme. Whatever vampire literature people read, most such consumers do not believe in the otherworldly antagonists, although there is profound enjoyment to be had in temporarily suspending disbelief and even perpetuating the meme into the mindsets of others. Perhaps, somewhere in the sub-conscious, pre-rational recesses of our caveman-like brains, we still wonder if such supernatural entities reflect a symbolic truth we can’t quite apprehend. Instead, we use a totemic figure like the sultry but terrifying Count Dracula as a proxy for other kinds of primordial anxieties we cannot easily articulate, whether that fear is the child rapist on the loose or impending financial ruin or just the overwhelming sense that our contemporary lifestyles contain the very seeds of our own destruction, and we are actively watering them with our insouciance.In other words, there is little that is new in horror. Yes, That Blackfella Bloodsucka Dance! is an example of what I call the new genre of Aboriginal Fantastic but that claim is not much of an original contribution to knowledge, other than being the invention of an extra label in an unnecessarily formalist/idealist lexicon of literary taxonomy. Certainly, it will not create a legion of fans. But these days it is difficult for a novelist to find anything really new to write about, genre-wise, and if there is a reader prepared to pay hard-earned money for a copy, then I sincerely hope they do not feel they have purchased yet another example of what the HBO television show Californication’s creative writing tutor Hank Moody (David Duchovny) derides as “lame vampire fiction” (episode 2, 2007). I like to think my Aboriginal Fantastic novel has legs as well as fangs. References Althans, Katrin. Darkness Subverted: Aboriginal Gothic in Black Australian Literature and Film. Bonn: Bonn UP, 2010. Bhabha, Homi. Nation and Narration. London and New York: Routledge, 1990. Bunson, Matthew. The Vampire Encyclopedia. New York: Gramercy Books, 1993. Carr, Aaron A. Eye Killers. Norman: U of Oklahoma P, 1995. Chanady, Amaryll. Magical Realism and the Fantastic: Resolved versus Unresolved Antinomy. New York: Garland Publishing, 1985. Chanady, Amaryll. “Magic Realism Revisited: The Deconstruction of Antinomies.” Canadian Review of Comparative Literature (June 2003): 428-444. Cheung, Theresa. The Element Encyclopaedia of Vampires. London: Harper Collins, 2009. Clark, Maureen. Mudrooroo: A Likely Story: Identity and Belonging in Postcolonial Australia. Frankfurt: Peter Lang, 2007. Gelder, Ken. The Oxford Book of Australian Ghost Stories. Oxford: Oxford UP, 1994. Halloran, Vivien. “L224: Introduction to World Literatures in English.” Department of English, Indiana University, 2014. 2 Aug. 2014 ‹http://www.indiana.edu/~engweb/undergradCourses_spring.shtml›. McKee, Alan. “White Stories, Black Magic: Australian Horror Films of the Aboriginal.”Aratjara: Aboriginal Culture and Literature in Australia. Eds. Dieter Riemenschneider and Geoffrey V. Davis. Amsterdam: Rodopi Press (1997): 193-210. Mudrooroo. The Indigenous Literature of Australia. Melbourne: Hyland House, 1997. Mudrooroo. The Undying. Sydney: Harper Collins, 1998. Mudrooroo. The Promised Land. Sydney: Harper Collins, 2000. Reed, Alexander W. Aboriginal Myths, Legends and Fables. Sydney: Reed New Holland, 1999. Riendes, Ildiko. “The Use of Gothic Elements as Manifestations of Regaining Aboriginal Identity in Kim Scott’s Benang: From the Heart.” Topos 1.1 (2012): 100-114. Rushdie, Salman. “Gabriel Garcia Marquez.” Imaginary Homelands: Essays and Criticism 1981-1991. London: Granta and Penguin Books, 1991. Shoemaker, Adam. Mudrooroo. Sydney: Harper Collins, 1993. Starrs, D. Bruno. “Keeping the Faith: Catholicism in Dracula and its Adaptations.” Journal of Dracula Studies 6 (2004): 13-18. Starrs, D. Bruno. That Blackfella Bloodsucka Dance! Saarbrücken, Germany: Just Fiction Edition (paperback), 2011; Starrs via Smashwords (e-book), 2012. 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The thesis has been written on the basis of main architectural concepts and their application in real life within a historical context investigation. Main architectural concepts are represented in a harmony of architectural composition that deals with relations among form, structure and space in the unique art work. Genius loci play very important role in the architectural creation - it represents a special and extra-ordinary urban locality and its architectural value in the historical, geographical and cultural context. The origin of Ostravice village within the historical frame concept of Moravia domain is the topic of this thesis. Other historical documents gave information about Bruneswerde as the Brno Castle. That means Brno Castle had to be founded not in Brno (as it has been consid-ered for many years) but it was located in Beskydy at Ostravice. The sacred city – Civitas Dei had been located in Bruneswerde region in early ages as the centre of European culture, education and spiritual life. Civitas Dei – divine Jerusalem in the transcription of St. Augustine's book De civitate Dei – is not only glorification of God and religious fantasy. It is also one of significant clues for recognition of historical architecture. The depiction of unknown settlement from the book of unde-fined origin is a superb testimony about extinct architectural works. They are legible from cadastral maps. Brno Castle - residence of nobility and power served shelter to St. Vojtěch, St. Prokop, St. Václav and St. Ludmila as it is obvious for the mentioned picture. Three major temples, three com-position axes symbolized by three towers on coins are in analogical relation to Brno triangle of four saints - the Saint family of Brno temples. Powerful ambitions of Brno City principals and clergy are inscribed into the urban structure in the way of composition relations which are legible to them who devoted themselves to the mystery of harmony. The absence of historical continuity affects personal attitudes and also identity of the whole community. The architecture truly reflects the past state of polis and it is eloquent even after its death. The architectural composition relations influence the natural environment for long time, longer than the architectural work existence. The geometric order of Renaissance Brno existence has not been in attention of architects so far. The features were discovered in characteristic paintings by Albrecht Durer. They are evidently secret works of the genius. A meaningful collaborator and follower in the extensive project was also his friend Jan Čert from Brno and lately from Vienna. His noble genealogy played a significant role in history of Silesia and Moravia for centuries. It is tendency to consider him as Austrian or even German architect. It is because of the fact that the genealogy tree of his noble family had roots in Moravia. It is supposed that Durer with Jan Čert´s support created the extraordinarily monumental architectural and urban works in Brno. A remarkable consensus in the urban composition of two squares and transition of traditional urban structure of Ostravice Civitas Dei into the modern Brno is also confirmed due to the identification of noble creators and owners, who were at the foundation, transformation and extinction of elements of the Moravian urban structure.

This essay identifies in the materialist strand of world literature theory, especially Pascale Casanova and the Warwick Research Collective, a reliance upon a priori structures (the world-system) and prioritisation of the literary registration of inequality. By contrast, I contend, world-literary critics who wish to maintain the dissident spirit of postcolonialism ought to demonstrate a shared equality. By reference to the philosophies of Bruno Latour, Gilles Deleuze and Jacques Rancière, this essay sets out the case for an alternative to world-systems critique: one that maintains literature’s potential for creating new forms of resistance, dissent, and, crucially, equality.

The Eye Disease Case-Control Study was a clinic-based, case-control study that investigated risk factors for 5 retinal diseases—branch retinal vein occlusion (BRVO), central retinal vein occlusion (CRVO), neovascular age-related macular degeneration (AMD), idiopathic macular hole, and rhegmatogenous retinal detachment—using a similar protocol and the same large pool of controls. An increased risk of BRVO was found in persons with a history of systemic hypertension, cardiovascular disease, increased body mass index at 20 years of age, a history of glaucoma, and higher serum levels of alpha 2 globulin. An increased risk of CRVO was found in persons with systemic hypertension, diabetes mellitus, and open-angle glaucoma. The authors recommended that patients with BRVO and CRVO should be evaluated for risk factors for cardiovascular disease (hypertension, hyperlipidemia, and diabetes), as well as for open-angle glaucoma.

Prosecutor v. Jadranko Prlić, Bruno Stojić, Slobodan Praljak, Milivoj Petković, Valentin Ćorić and Berislav Pušić, Case No. IT-04-74-A, Appeals Chamber, Judgment, 29 November 2017 Contents ^** I. BACKGROUND OF THE CASE II. STANDARD OF APPELLATE REVIEW III. PRELIMINARY OBJECTIONS A. FAIR TRIAL AND INDICTMENT B....

On the first day of shooting, Hitchcock referred to Strangers on a Train (1951) as “my real first film,” and the Master drew a charismatic, shoot-the-works performance from Robert Walker, who was cast against type as the colorful psychopath Bruno Anthony. But then Hitchcock was annoyed by the extensively labored-over Method acting of Montgomery Clift in I Confess (1952), a case of an actor doing too much, albeit very expressively, underneath a surface that keeps cracking because of lack of control. He also had to use the breathy Anne Baxter when he would have preferred the Swedish actress Anita Bjork.

This chapter introduces a case study on the use of video summaries in a university setting. It presents a practical insight into a simple, yet complex and versatile activity that aims at improving the language and communication skills of students in authentic intercultural academic situations. This activity has been developed, implemented and used in language courses at Masaryk University (MU), Brno, Czech Republic, and Universidad Nacional del Sur (UNS), Bahía Blanca, Argentina, since February 2014. Students undertaking language courses at MU and UNS write texts and record video summaries outside of class. They then reflect and discuss linguistic, cultural and organisational topics in class or online discussion forums. The activity consists of a set of interconnected tasks that improve students' understanding of similarities and differences between written and spoken styles, encourage their learning autonomy and enhance the authenticity of their language development.

This introductory chapter sets up the core question of Signs in the Dust: how is cultural meaning related to natural materiality? How is culture related to nature? A brief orientation is given to the contemporary nature-culture discussion that is proceeding across the humanities and sciences. Special attention is given to Bruno Latour’s claim that modern thought is characterised by a nature/culture dichotomy—this view of Latour’s Moderns is the foil against which the theory of ‘natural culture and cultural nature’ is cast. The chapter also forecasts the argument that is made across the book and clarifies the scope of that argument.

In 1995 Binjamin Wilkomirski published a book that was to become a source of fierce controversy. Fragments: Memories of a Wartime Childhood recounts Wilkomirski’s experiences of surviving alone two concentration camps as a small Jewish child from Poland. Having lived most of his life as Bruno Dössekker, the adopted son of a Swiss couple, Wilkomirski claimed to have discovered his true identity through a long psychoanalytic process, which led to writing his story. The book quickly received popular and critical acclaim and won a number of literary prizes, including the National Jewish Book Award. What happened next is fairly well known: a 1998 newspaper article cast doubt as to the authenticity of Wilkomirski’s account, revealing instead the story of a Bruno Grosjean, the illegitimate son of an unmarried woman who had given him away for adoption in Switzerland. The book’s publisher then commissioned a historian to look into the allegations, which were consequently found to be correct. The book previously described as “achingly beautiful” and “morally important” was now declared as fake and its author a fraud. The Wilkomirski case has since figured in debates on Holocaust memory as a cautionary tale about the facility with which one can pass as a survivor— and convince a worldwide audience. The book was discontinued as memoir only later to be released in tandem with the historical study finding it false. While Wilkomirski’s memories may have been fabricated, the way they were depicted in the book is a fairly accurate description of traumatic memory. Even if the content of these memories is made- up their structure very much conforms to a psychology textbook entry on post- trauma. Evidently Wilkomirski was aware of this fact, as in the afterword to the book, he urges others in a similar situation to “cry out their own traumatic childhood memories.”

The Lexikon des frühgriechischen Epos (LfgrE) was founded by Bruno Snell after World War II at the University of Hamburg. The chapter’s author was responsible for LfgrE from 1984 until its completion in 2010. The focus of LfgrE is the lexical semantics of the words and the semantic fields that each one occupies. This chapter presents the author’s reflections on some of the lessons learned in those years of working on the Lexikon. It presents a sample set of case studies to check the quality of the information presented in Liddell and Scott against the results obtained during the author’s life-long research in the field of Greek lexicography, with an emphasis on early epic.

This chapter critically questions the strategy of applying the Actor-Network Theory to media studies. Arguing that an application of a fixed ANT-approach fundamentally opposes the ambition of Actor-Network Theory, this chapter outlines a different way of drawing inspiration from ANT. Based in the writings of the French cultural sociologist Antoine Hennion, who has been a pioneer in developing a cultural sociology inspired by ANT, and the recent writings of Bruno Latour addressing cultural production, the chapter suggests investigating the “anaphoric trajectories” of creative development processes. To illustrate this approach, the chapter analyzes the case of a failed film project and considers how the content of creative production processes may be incorporated into cultural production studies.

Drawing from Bruno Latour and using the case of La Luz del Mundo, a Mexican Pentecostal church in Atlanta, as an example, this chapter demonstrates the payoffs of a non-reductive, materialist, networks approach to the study of religion. By embedding embodied, historical human actors in vascularized and inter-active ecological figurations from which they have evolved, and through and within which they carve out shared and contested spaces of livelihood, this approach moves beyond the Cartesian-Kantian model of the sovereign, unified, and buffered subject dominant in Western modernity and religious studies, more specifically, allowing for a rich exploration of the multiple processes and materials that make religious phenomena efficacious. The chapter concludes by endorsing Isabelle Stengers’s notion of a cosmopolitics that is maximally inclusive in its engagement with alterity.

For development strategic planning in urban areas, it is important to take into account, that the area is not homogenous in terms of economic, social or environmental. Ensuring fair authority’s approach is crucial for sustainable development of the area. An environmental quality index for city districts of Brno is proposed in this study. The aim of this study is to create an index, which uses public data and enables identification of city districts, which show higher vulnerability to environmental injustice. Employing GIS, data, which represent both environmental benefits, such as green and blue infrastructure, as well as environmental burden, e. g. air pollutants and noise level, was processed. Then the composite indicator was constructed. The case study showed that two basic areas can be distinguished within the city of Brno. In the northern part, urban areas with higher index values are clustered, which shows that the environmental benefits outweigh the burden. On the other hand, in the south there are city districts with a lower index value. This means that the environmental burden here is high and is not balanced by environmental benefits, which is a cause of an overall deterioration of amenities of the local population. Thus, a higher risk of environmental injustice can be identified here.

Map reading is an important skill of the human population which varies from person to person depending on the age, education and many other circumstances. It is expected that some groups of adult population have higher skills in this area. Soldiers, architects, geography teachers and others belong to this group of people. The skills in reading paper maps are disappearing in current digital world. This is also observed in the case of students of the University of Defense in Brno. 228 students were tested in map reading and geographical knowledge of the Czech Republic to verify this fact. The examination of the map reading skills took place over a standard topographic map at a scale of 1 : 25 000 from the production of the Geographic Service of ACR. Testing of geographical knowledge of the Czech Republic was focused on drawing the map of district towns, rivers and geomorphological units of the Czech Republic. The results confirmed the initial assumptions about the decreasing level of these skills. In addition, there were also significant differences between individual groups of students caused mostly because of previous education as well as the currently studied specialization. The same testing was done on students of the Faculty of Education of Masaryk University in Brno to confirm these conclusions. This group of students achieved worse results in map reading, but on the other hand, they have better knowledge of the geography of the Czech Republic.

The paper presents the results of evaluation of the effectiveness of construction of four planned high-speed rail/HSR routes in the Czech Republic based on their potential impacts on development and environment of the relevant NUTS 3 regions (kraje) expressed by criteria of stimulation and sustainability. The methodology developed for the evaluation of the first criterion includes the most important segments of road and rail infrastructure assessed on the basis of relevant technical and operational parameters (the significance of road and rail transport was set at 5.5: 1). As regards the second criterion, the used methodology takes into account the potential impacts of construction on protected areas of European importance Natura 2000. According to the research results, the most significant stimulation effects can be expected for the RS 3 route Praha – Plzeň (München) and the longest RS 1 route Praha – Brno – Ostrava (Katowice). In the case of the sustainability criterion, the RS 3 route was again evaluated as the best and on the contrary, the RS 1 route was evaluated as the worst, i.e. the most environmentally conflicting. The obtained results represent an important basis for setting construction priorities.

The history of architectural and urban design has expanded its scope and started adopting new philosophical approaches from other disciplines to explore the built environment. Theorist discusses whether we still live in a humanist world where a human being has more priority over the unhuman things or not to answer that; should we design architecture and urban within an anthropocentric approach. As a recent pandemic show, things that are not human, like animals or viruses, could control and navigate a new style of living. This research will introduce Bruno Latour's ANT and Graham Harman's Object-Oriented Ontology (OOO) as a new constructive method to analyse how human and unhuman bodies are equally the affective actors of daily practices in the urban realm. 19th-century Great Stink and epidemic in Victorian London will be a case study to picture urban dwellers of London that shaped determined the destiny of health and hygiene of London in 1858.

Bubbly flows are of great importance in many technical areas, such as chemical engineering or biotechnology. Generally, bubbly flows are operated at relatively high gas volume fractions, resulting in strong interactions between bubbles and complex unsteady flow structures, as for example in a bubble column. A detailed experimental analysis of these phenomena can however only be performed using optical measurement techniques. For this purpose methods of pulse-light velocimetry (PLV) were extended for reliable applications in bubbly flows. Two approaches were developed namely a large scale PIV (particle image velocimetry) which may be applied for velocity measurements of both phases over an entire cross-section of a bubble column and a small scale PLV which provides detailed information on the flow structure in a bubble swarm and additionally yields the bubble size. The PIV system for the large scale flow analysis consists of a pulsed Nd-YAG Laser to produce a light sheet over the entire cross-section of the bubble column (diameter 140 mm). In order to determine the velocity of the fluid phase fluorescing tracer particles were added. For recording the scattered light of the bubbles and the fluorescing light of the tracer two CCD-cameras in a non-perpendicular arrangement were used, each having an appropriate optical filter. Hence, simultaneous velocity measurement of both phases were possible with a reliable discrimination between the phases. Using a fully automated traversing system the time-averaged flow field in the entire column was recorded (Bro¨der & Sommerfeld 2002 a). With this optical arrangement it was not possible to determine the bubble size, since in a light sheet the bubbles appear on the image only through their glair points. However, by employing a pulsed background illumination using a LED array, shadow images of the bubbles can be recorded. In order to realise this approach, only one CCD-camera was required, which however was equipped with a macro-lens yielding a small depth of focus (in this case about 4 mm). Hence, the image plane was not produced by a light sheet, but determined by the depth of focus of the macro-lens. For evaluating the bubble phase properties only sharply depicted bubbles were considered by using an edge detecting Sobel-filter as illustrated in Fig. 1. This method allowed to determine an equivalent bubble diameter based on their cross-section. Furthermore, other relevant parameters such as bubble orientation and bubble aspect ratio were evaluated. The bubble velocity was obtained using particle tracking velocimetry (PTV). A typical result of the aspect ratio of the bubbles as a function of their size is shown in Fig. 2. Bubbles below 1 mm are spherical as expected. A further increase of bubble size is coupled with a linear increase of the aspect ratio up to bubble sizes of about 1.8 mm. This result coincides with the findings of Duineveld (1994). For bubble sizes between 2 and 5 mm a slight decrease of the aspect ratio is found. With the same approach also images of tracer particles could be recorded simultaneously in the considered image plane (see Fig. 3a)), produced by back-lightning and a macro lens with a small depth of focus. For separating out-of-focus tracer particles from the image a filter called Laplacian of Gaussian (LoG) was used (Bro¨der & Sommerfeld 2002 b). The velocity field of the tracer was obtained with the PIV-technique using a hybrid approach combining the fast MAD (maximum absolute difference) and the accurate MQD (maximum quadratic difference) approaches. The later was developed by Gui & Merzkirch (1996, 2000). Hence, the flow structure within a bubble swarm (Fig. 3b)) could be determined and analysed. The above described method was also applied for measurements in a special laboratory loop reactor for analysing bubble coalescence.

Gas pipelines and networks are subject to multiple regulatory governance arrangements. One regime is economic regulation which is designed to ensure fair access to gas markets and emulate the price pressures of competition in a sector dominated by a few companies. Another regime is technical regulation which is designed to ensure pipeline system integrity is sufficient for the purposes of public safety, environmental protection and physical security of supply. As was highlighted in analysis of the San Bruno pipeline failure, these two regulatory regimes have substantially different orientations towards expenditure on things such as maintenance and inspection which ultimately impact public safety. Drawing on more than 50 interviews, document review and case studies of specific price determinations, we have investigated the extent to which these two regulatory regimes as enacted in Australia may conflict, and particularly whether economic regulation influences long-term public safety outcomes. We also draw on a comparison with how similar regulatory requirements are enacted in the United Kingdom (UK). Analysis shows that the overall orientation towards risk varies between the two regimes. The technical regulatory regime is a typical goal-setting style of risk governance with an overarching requirement that ‘reasonably practicable’ measures are put in place to minimize risk to the public. In contrast, the incentive-based economic regulatory regime requires that expenditure should be ‘efficient’ to warrant inclusion in the determination of acceptable charges to customers. How safety is considered within this remains an open question. Best practice in performance-based safety regimes such as those used in the UK and Australia require that regulators adopt an attitude towards companies based on the principle of ‘trust but verify’ as, generally speaking, all parties aim for the common goal of no accidents. Equally, in jurisdictions that favor prescriptive safety requirements such as the United States (US) the common goal remains. In contrast, stakeholders in the economic regulatory regime have significantly diverse interests; companies seek to maximize their individual financial returns and regulators seek to exert downward price pressures. We argue that these differences in the two regulatory regimes are significant for the management of public safety risk and conclude that minimizing risk to the public from a major pipeline failure would be better served by the economic regulatory regime’s separate consideration of safety-related from other expenditure and informed by the technical regulator’s view of safety.