Academic literature on the topic 'Knight U.S'

Ivan Raos (Medov Dolac kraj Imotskoga, 1921. – Split, 1987.) hrvatski je književnik vrlo raznolikoga, tematski i stilski vrlo razvedenoga opusa. Među Raosovim je romanima i Kraljičin vitez (1976.), za koji stručnjaci kažu da je povijesna fikcija u feljtonskom obliku. U podnaslovu romana piše “roman iz doba kraljice Jelene”. Na kraju romana Kraljičin vitez Raos je napisao “Napomenu”, u kojoj žali što za hrvatsku povijest nemamo više izvora. No književnika Raosa nisu povijesna znanja zanimala samo kao građa za njegova djela, nego ga je povijesna znanost zanimala kao takva, posebice znanost o hrvatskoj prošlosti i nije odolio da u rečenoj “Napomeni” ne predbaci hrvatskoj historiografiji nedosljednosti u rekonstruiranju događaja iz hrvatske povijesti. U ovom se radu najviše govori o tome kako Raos prikazuje hrvatske glagoljaše i kako vidi njihov odnos sa svećenicima latinskoga obreda. Na više mjesta u romanu upozorava na skromnost naših kulturnih spomenika i naše pismenosti, ali nas poziva da svoje volimo, da svoje istražujemo, da se svojim ponosimo, da ne padnemo pod utjecaj onih koji bi neprekidno u nama htjeli razvijati osjećaj maline i nemoći, ali isto tako da pokušamo realno vidjeti dimenzije svega ostvarenoga i da pri usporedbi s ostvarenjima drugih sredina ne iskazujemo navijačke strasti.

This paper contributes to the theory of recursively presented (see Higman [Subgroups of finitely presented groups, Proc. R. Soc. Ser. A 262 (1961) 455–475]) infinitely generated abelian groups with solvable word problem. Mal'cev [On recursive Abelian groups, Dokl. Akad. Nauk SSSR 146 (1962) 1009–1012] and independently Rabin [Computable algebra, general theory and theory of computable fields, Trans. Amer. Math. Soc. 95 (1960) 341–360] initiated the study of such groups in the early 1960's. In this paper, we develop a technique that we call iterated effective embeddings. The significance of our new technique is that it extends existing methods from the realm of iterated 0″ arguments to iterated 0‴ ones. This is a new phenomenon in computable algebra. We use this technique to confirm a 30 year-old conjecture of Ash, Knight and Oates [Recursive abelian p-groups of small length, https://dl.dropbox.com/u/4752353/Homepage/AKO.pdf ]. More specifically, Ash, Knight and Oates [Recursive abelian p-groups of small length. https://dl.dropbox.com/u/4752353/Homepage/AKO.pdf ] conjectured that there exists a computable reduced abelian p-group of Ulm type ω such that its effective invariants, defined using limitwise monotonic functions, cannot be found uniformly. We construct a computable reduced abelian p-group of Ulm type ω where its invariants are at the maximum possible level of non-uniformity. The result confirms the conjecture in a strong way, and it provides us with an explanation of why computable reduced p-groups of Ulm type ω seem hard to classify in general. We also use p-basic trees and their iterated embeddings to solve a problem posed in [W. Calvert, D. Cenzer, V. S. Harizanov and A. Morozov, Effective categoricity of abelian p-groups, Ann. Pure Appl. Logic 159(1–2) (2009) 187–197].

Autophagy, the major lysosomal degradation pathway in the cell plays a key role in the maintenance of metabolism, healthy mitochondria and limits reactive oxygen species, thus keeping the genome and proteome healthy. We demonstrated that erythroblasts rely on mitophagy as they differentiate into erythrocytes 1 and that hematopoietic stem cells (HSCs) require autophagy to survive and repopulate a new hematopoietic system 2. Genetic ablation of Atg7 in the hematopoietic system, which encodes a component of the autophagy system, resulted in a pre-leukemic phenotype, which predicted low autophagic flux found in blasts from patients with acute myeloid leukemia 3. Most recently, our studies indicate that autophagy provides free fatty acids for neutrophil differentiation by degrading lipid droplets 4. However, it is not clear what is degraded by autophagy in HSCs or whether autophagy is required to provide building blocks to the HSC and what the nature of these building blocks is. We are currently addressing this by using state-of-the-art in vivo techniques, and I will report our findings in my presentation. 1 Mortensen, M., Ferguson, D. J., Edelmann, M., Kessler, B., Morten, K. J., Komatsu, M. & Simon, A. K. Loss of autophagy in erythroid cells leads to defective removal of mitochondria and severe anemia in vivo. Proc Natl Acad Sci U S A 107, 832-837, doi:10.1073/pnas.0913170107 (2010). 2 Mortensen, M., Soilleux, E. J., Djordjevic, G., Tripp, R., Lutteropp, M., Sadighi-Akha, E., Stranks, A. J., Glanville, J., Knight, S., Jacobsen, S. E., Kranc, K. R. & Simon, A. K. The autophagy protein Atg7 is essential for hematopoietic stem cell maintenance. J Exp Med 208, 455-467, doi:10.1084/jem.20101145 (2011). 3 Watson, A. S., Riffelmacher, T., Stranks, A., Williams, O., De Boer, J., Cain, K., MacFarlane, M., McGouran, J., Kessler, B., Khandwala, S., Chowdhury, O., Puleston, D., Phadwal, K., Mortensen, M., Ferguson, D., Soilleux, E., Woll, P., Jacobsen, S. E. & Simon, A. K. Autophagy limits proliferation and glycolytic metabolism in acute myeloid leukemia. Cell Death Discov 1, doi:10.1038/cddiscovery.2015.8 (2015). 4 Riffelmacher, T., Clarke, A., Richter, F. C., Stranks, A., Pandey, S., Danielli, S., Hublitz, P., Yu, Z. R., Johnson, E., Schwerd, T., McCullagh, J., Uhlig, H., Jacobsen, S. E. W. & Simon, A. K. Autophagy-Dependent Generation of Free Fatty Acids Is Critical for Normal Neutrophil Differentiation. Immunity 47, 466-480, doi:10.1016/j.immuni.2017.08.005 (2017). Disclosures No relevant conflicts of interest to declare.

Studie je zaměřena na vzpomínkové knihy Ignáta Herrmanna, zejména na problematiku hranice mezi non-fikčním a fikčním vyprávěním. Herrmann svoje knihy vzpomínek koncipoval jako faktuální vyprávění, nicméně v některých jeho částech lze pozorovat zvláštní narativní techniky, jež fikcionalizují vyprávění. Naším cílem je tyto části detekovat a analyzovat na pozadí nejen ostatního Herrmannova faktuálního vyprávění, ale také ve srovnání s fikčním u Jana Nerudy.

(ruski) Nacinaja s 1921 goda so vtorogo vypuska zurnala, Juznoslovenski filolog, reguljarno publikuet svodnuju tekuscuju bibliografiju knig i statej po indoevropejskoj filologii i obscemu jazykoznaniju. Imenno ?tim on otlicaetsja ot ostal'nyh naucnyh zurnalov takogo tipa v Serbii. ?ta bibliografija daet materialja dlja izucenija ne tol'ko osnovnyh napravlenij razvitija otecestvennogo jazykoznanija, no i bibliograficeskoj naucno-issledovatel'skoj dejatel'nosti.

K lepšímu porozumění romské mentalitě a romské kultuře mohou posloužit nejen příběhy o Romech (např. Děvčátko, rozdělej ohníček od Martina Šmause), tvorba romských autorů, psaná v češtině nebo romštině, vydávaná např. v nakladatelství KHER, ale také portréty romských postav. Dvě komiksové trilogie O přibjehi (2010) a Nejisté domovy (2016) zpracovávají řadu aktuálních společenských problémů, přitom podloží jsou sociologické průzkumné sondy a autentické narativy jednajících postav. Zpracování látky je zpřístupněno umělecky, navíc komiksově, v obrazovém narativu. U zrodu projektů stojí romistka Markéta Hajská a sociální antropoložka Máša Bořkovcová, které pro spolupráci získaly přední komiksové tvůrce (např. Vojtěcha Maška). Vzniklo postupně šest svazků s pozoruhodným obsahem, pojednávající o šesti osudech Romů odlišného generačního a sociálního původu. Zaujmou svou civilností, autenticitou, věcností, přitom vedou čtenáře k lepšímu pochopení romipenu (romské identity), vynikají odlišným výtvarným rukopisem a hybridností žánrových znaků.

Recent conservation and restoration work on the icon of the Virgin and Child which stood on the altar in the Church of St. Nicholas at Prijeko in Dubrovnik has enabled a new interpretation of this paining. The icon, painted on a panel made of poplar wood, features a centrally-placed Virgin holding the Child in her arms painted on a gold background between the two smaller figures of St. Peter and St. John the Baptist. The figures are painted in the manner of the fifteenth- and sixteenth-century Dubrovnik style, and represent a later intervention which significantly changed the original appearance and composition of the older icon by adding the two saints and touching up the Virgin’s clothes with Renaissance ornaments, all of which was performed by the well-known Dubrovnik painter Nikola Božidarević. It can be assumed that the icon originally featured a standing or seated Virgin and Child. The Virgin is depicted with her head slightly lowered and pointing to the Christ Child whom she is holding on her right side. The chubby boy is not seated on his mother’s lap but is reclining on his right side and leaningforward while his face is turned towards the spectator. He is dressed in a red sleeveless tunic with a simple neck-line which is embroidered with gold thread. The Child is leaning himself on the Virgin’s right hand which is holding him. He is firmly grasping her thumb with one hand and her index finger with the other in a very intimate nursing gesture while she, true to the Hodegitria scheme, is pointing at him with her left hand, which is raised to the level of her breasts. Such an almost-realistic depiction of Christ as a small child with tiny eyes, mouth and nose, drastically departs from the model which portrays him with the mature face of an adult, as was customary in icon painting. The Virgin is wearing a luxurious gold cloak which was repainted with large Renaissance-style flowers. Her head is covered with a traditional maphorion which forms a wide ring around it and is encircled by a nimbus which was bored into thegold background. Her skin tone is pink and lit diffusely, and was painted with almost no green shadows, which is typical of Byzantine painting. The Virgin’s face is striking and markedly oval. It is characterized by a silhouetted, long, thin nose which is connected to the eyebrows. The ridge of the nose is emphasized with a double edge and gently lit whilethe almond-shaped eyes with dark circles are set below the inky arches of the eyebrows. The Virgin’s cheeks are smooth and rosy while her lips are red. The plasticity of her round chin is emphasized by a crease below the lower lip and its shadow. The Virgin’s eyes, nose and mouth are outlined with a thick red line. Her hands are light pink in colour and haveelongated fingers and pronounced, round muscles on the wrists. The fingers are separated and the nails are outlined with precision. The deep, resounding hues of the colour red and the gilding, together with the pale pink skin tone of her face, create an impression of monumentality. The type of the reclining Christ Child has been identified in Byzantine iconography as the Anapeson. Its theological background lies in the emphasis of Christ’s dual nature: although the Christ Child is asleep, the Christ as God is always keeping watch over humans. The image was inspired by a phrase from Genesis 49: 9 about a sleeping lion to whom Christ is compared: the lion sleeps with his eyes open. The Anapeson is drowsy and awake at the same time, and therefore his eyes are not completely shut. Such a paradox is a theological anticipation of his “sleep” in the tomb and represents an allegory of his death and Resurrection. The position, gesture and clothes of the Anapeson in Byzantine art are not always the same. Most frequently, the ChristChild is not depicted lying in his mother’s arms but on an oval bed or pillow, resting his head on his hand, while the Virgin is kneeling by his side. Therefore, the Anapeson from Dubrovnik is unique thanks to the conspicuously humanized relationship between the figures which is particularly evident in Christ’s explicitly intimate gesture of grasping the fingers of his mother’s hand: his right hand is literally “inserting” itself in the space between the Virgin’s thumb and index finger. At the same time, the baring of his arms provided the painter with an opportunity to depict the pale tones of a child’s tender skin. The problem of the iconography of the Anapeson in the medieval painting at Dubrovnik is further complicated by a painting which was greatly venerated in Župa Dubrovačka as Santa Maria del Breno. It has not been preserved but an illustration of it was published in Gumppenberg’sfamous Atlas Marianus which shows the Virgin seated on a high-backed throne and holding the sleeping and reclining Child. The position of this Anapeson Christ does not correspond fully to the icon from the Church of St. Nicholas because the Child is lying on its back and his naked body is covered with the swaddling fabric. The icon of the Virgin and Child from Prijeko claims a special place in the corpus of Romanesque icons on the Adriatic through its monumentality and intimate character. The details of the striking and lively Virgin’s face, dominated by the pronounced and gently curved Cimabuesque nose joined to the shallow arches of her eyebrows, link her with the Benedictine Virgin at Zadar. Furthermore, based on the manner of painting characterized by the use of intense red for the shadows in the nose and eye area, together with the characteristic shape of the elongated, narrow eyes, this Virgin and Child should be brought into connection with the painter who is known as the Master of the Benedictine Virgin. The so-called Benedictine Virgin is an icon, now at the Benedictine Convent at Zadar, which depicts the Virgin seated on a throne with a red, ceremonial, imperial cushion, in a solemn scheme of the Kyriotissa, the heavenly queen holding the Christ Child on her lap. The throne is wooden and has a round back topped with wooden finials which can also be seen in the Byzantine Kahn Virgin and the Mellon Madonna, as well as in later Veneto-Cretan painting. The throne is set under a shallow ciborium arch which is rendered in relief and supportedby twisted colonettes and so the painting itself is sunk into the surface of the panel. A very similar scheme with a triumphal arch can be seen on Byzantine ivory diptychs with shallow ciborium arches and twisted colonettes. In its composition, the icon from Prijeko is a combination ofthe Kyr i ot i ss a and the Hodegitria, because the Virgin as the heavenly queen does not hold the Christ Child frontally before her but on her right-hand side while pointing at him as the road to salvation. He is seated on his mother’s arm and is supporting himself by pressing his crossed legsagainst her thigh which symbolizes his future Passion. He is wearing a formal classical costume with a red cloak over his shoulder. He is depicted in half profile which opens up the frontal view of the red clavus on his navy blue chiton.He is blessing with the two fingers of his right hand and at the same time reaching for the unusual flower rendered in pastiglia which the Virgin is raising in her left hand and offering to him. At the same time, she is holding the lower part of Christ’s body tightly with her right hand.Various scholars have dated the icon of the Benedictine Virgin to the early fourteenth century. While Gothic features are particularly evident in the costumes of the donors, the elements such as the modelling of the throne and the presence of the ceremonial cushion belong to the Byzantine style of the thirteenth century. The back of the icon of the Benedictine Virgin features the figure of St. Peter set within a border consisting of a lively and colourful vegetal scroll which could be understood as either Romanesque or Byzantine. However, St. Peter’s identifying titulus is written in Latin while that of the Virgin is in Greek. The figure of St. Peter was painted according to the Byzantine tradition: his striking and severe face is rendered linearly in a rigid composition, which is complemented by his classical contrapposto against a green-gray parapet wall, while the background is of dark green-blue colour. Equally Byzantine is themanner of depicting the drapery with flat, shallow folds filled with white lines at the bottom of the garment while, at the same time, the curved undulating hem of the cloak which falls down St. Peter’s right side is Gothic. The overall appearance of St. Peter is perhaps even more Byzantine than that of the Virgin. Such elements, together with the typically Byzantine costumes, speak clearly of a skilful artist who uses hybrid visual language consisting of Byzantine painting and elements of the Romanesque and Gothic. Of particular interest are the wide nimbuses surrounding the heads of the Virgin and Child (St. Peter has a flat one) which are rendered in relief and filled with a neat sequence of shallow blind archesexecuted in the pastiglia technique which, according to M. Frinta, originated in Cyprus. The Venetian and Byzantine elements of the Benedictine Virgin have already been pointed out in the scholarship. Apart from importing art works and artists such as painters and mosaic makers directly from Byzantium into Venice, what was the extent and nature of the Byzantineinfluence on Venetian artistic achievements in the thirteenth and fourteenth centuries? We know that the art of Venice and the West alike were affected by the Fourth Crusade and the sack of Constantinople in 1204, and by the newly founded Latin Empire which lasted until 1261.The Venetians played a particularly significant political and administrative role in this Empire and the contemporary hybrid artistic style of the eastern Mediterranean, called Crusader Art and marked by the strong involvement of the Knights Templar, must have been disseminated through the established routes. In addition to Cyprus, Apulia and Sicily which served as stops for the artists and art works en route to Venice and Tuscany, another station must have been Dalmatia where eastern and western influences intermingled and complemented each other.However, it is interesting that the icon of the Benedictine Virgin, apart from negligible variations, imitates almost completely the iconographic scheme of the Madonna di Ripalta at Cerignola on the Italian side of the Adriatic, which has been dated to the early thirteenth century and whose provenance has been sought in the area between southern Italy (Campania) and Cyprus. Far more Byzantine is another Apulian icon, that of a fourteenth-century enthroned Virgin from the basilica of St. Nicholas at Bari with which the Benedictine Virgin from Zadar shares certain features such as the composition and posture of the figures, the depictionof donors and Christ’s costume. A similar scheme, which indicates a common source, can be seen on a series of icons of the enthroned Virgin from Tuscany. The icon of the Virgin and Child from Prijeko is very important for local Romanesque painting of the late thirteenth and early fourteenth century because it expands the oeuvre of the Master of the Benedictine Virgin. Anicon which is now at Toronto, in the University of Toronto Art Centre Malcove Collection, has also been attributed to this master. This small two-sided icon which might have been a diptych panel, as can be judged from its typology, depicts the Virgin with the Anapeson in the upper register while below is the scene from the martyrdom of St. Lawrence. The Virgin is flanked by the figures of saints: to the left is the figure of St. Francis while the saint on the right-hand side has been lost due to damage sustained to the icon. The busts of SS Peter and Paul are at the top.The physiognomies of the Virgin and Child correspond to those of the Benedictine Virgin and the Prijeko icon. The Anapeson, unlike the one at Dubrovnik, is wrapped in a rich, red cloak decorated with lumeggiature, which covers his entire body except the left fist and shin. On the basis of the upper register of this icon, it can be concluded that the Master of the Benedictine Virgin is equally adept at applying the repertoire and style of Byzantine and Western painting alike; the lower register of the icon with its descriptive depiction of the martyrdom of St.Lawrence is completely Byzantine in that it portrays the Roman emperor attending the saint’s torture as a crowned Byzantine ruler. Such unquestionable stylistic ambivalence – the presence of the elements from both Byzantine and Italian painting – can also be seen on the icons of theBenedictine and Prijeko Virgin and they point to a painter who works in a “combined style.” Perhaps he should be sought among the artists who are mentioned as pictores greci in Dubrovnik, Kotor and Zadar. The links between Dalmatian icons and Apulia and Tuscany have already been noted, but the analysis of these paintings should also contain the hitherto ignored segment of Sicilian and eastern Mediterranean Byzantinism, including Cyprus as the centre of Crusader Art. The question of the provenance of the Master of the Benedictine Virgin remains open although the icon of the Virgin and Child from Prijeko points to the possibility that he may have been active in Dalmatia.However, stylistic expressions of the two icons from Zadar and Dubrovnik, together with the one which is today at Toronto, clearly demonstrate the coalescing of cults and forms which arrived to the Adriatic shores fromfurther afield, well beyond the Adriatic, and which were influenced by the significant, hitherto unrecognized, role of the eastern Mediterranean.

Vážení čtenáři, milé kolegyně a milí kolegové, přátelé celoživotního vzdělávání, právě si prohlížíte třetí číslo časopisu Lifelong Learning – Celoživotní vzdělávání, které formálně patří ještě do roku 2020. Na tento rok budeme určitě ještě dlouho vzpomínat – a s poukazem na celosvětové události pravděpodobně ne úplně v dobrém. Doufejme, že rok 2021 bude alespoň o něco lepší a neponese v podobném – koronavirovém – duchu. Určitě vás zajímá, co zajímavého se v tomto čísle dočtete. Toto polytematické číslo vám nabízí tři studie, jednu recenzi a jednu zprávu. Kolegyně Lenka Emrová z Masarykova ústavu vyšších studií Českého vysokého učení technického v Praze se ve svém příspěvku zaměřuje na oblast zdravotnictví a zabývá se vnímáním sociálních kompetencí lékaře. Akcentuje zde potřebu sociálněpsychologické průpravy lékařů jak v pregraduální přípravě, tak i v postgraduální fázi, při výkonu povolání. Konkrétně se zaměřila na obor gynekologie. Při svém výzkumu realizovala ohniskové skupiny s lékaři a rozhovory s pacientkami. K jakým výsledkům došla, tedy jaké kompetence preferuje pro svoji vzájemnou interakci jedna či druhá skupina, se dočtete v její zajímavé studii. Přátelé z Pedagogické fakulty Univerzity Konštantina Filozofa v Nitre Ctibor Határ a Petra Jedličková se rozhodli ve své studii věnovat problematice aktivního stárnutí a aktivního stáří. Porovnávají a analyzují vzdělávací a sociální politiky tří států – konkrétně Slovenska, Německa a Španělska. Při své práci využívali zejména metod srovnávací andragogiky. Pomocí obsahové analýzy národních dokumentů tak dokázali identifikovat určité společné i rozdílné znaky. Aktuálnost tématu této studie rozhodně vzbuzuje touhu po jejím přečtení. Jedním z velmi zajímavých témat současnosti je také mezigenerační vzdělávání, kterému se věnujeme i u nás na Mendelově univerzitě v Brně. Kolegyně Barbora Tallová z Fakulty humanitních studií Univerzity Tomáše Bati ve Zlíně představuje ve svém článku téma mezigeneračních vztahů na příkladu dětí předškolního věku a seniorů. Pokládá si otázku, jaké jsou možnosti podpory těchto vztahů mezi uvedenými skupinami a do jaké míry se na jejich rozvoji podílejí různé mezigenerační projekty či rodinné prostředí. Petr Novotný s Miroslavou Dvořákovou z Ústavu pedagogických věd Filozofické fakulty Masarykovy univerzity nám zaslali k otištění zajímavou recenzní stať k publikaci Michala Černého, který nedávno vydal monografii pod názvem Digitální kompetence v transdisciplinárním nahlédnutí: mezi filosofií, sociologií, pedagogikou a informační vědou. Jejich podnětnou reflexi této knihy je určitě možné doporučit. I v letošním roce, konkrétně 9. září 2020, proběhla v brněnském hotelu Avanti pod záštitou rektorky Mendelovy univerzity v Brně, hejtmana Jihomoravského kraje a dalších významných osobností mezinárodní vědecká konference ICOLLE 2020, které se zúčastnili zástupci z několika evropských zemí. Podrobnou zprávu shrnující veškeré podstatné informace o této události připravila vedoucí marketingového oddělení vysokoškolského ústavu Institutu celoživotního vzdělávání Martina Urbánková. Vážené kolegyně a kolegové, přeji vám nejen příjemné chvíle ve společnosti našeho odborného časopisu, ale hlavně hodně sil, pedagogického optimismu, tvůrčích úspěchů, štěstí a ze všeho nejvíce zdraví v novém roce 2021. Petr Adamec předseda redakční rady

Kjær A, Knigge U, Matzen S, Warberg J. β-Adrenergic receptors are involved in histamine-induced secretion of proopiomelanocortin-derived peptides and prolactin in rats. Eur J Endocrinol 1995;132: 223–8. ISSN 0804–4643 The neurotransmitter histamine (HA) is involved in central regulation of secretion of prolactin (PRL) and the proopiomelanocortin (POMC)-derived peptides adrenocorticotropin (ACTH), β-endorphin (β-END) and α-melanocyte-stimulating hormone (α-MSH). The effect of HA on POMC-derived peptides and PRL release is, at least in part, indirect and may involve activation of catecholaminergic systems. Therefore, we investigated the effect of β-adrenergic receptor blockade on HA or HA agonist-induced release of ACTH, β-END, α-MSH and PRL. Central administration of HA, the H1-receptor agonist 2-thiazolylethylamine (2-TEA) or the H2-receptor agonist 4-methylhistamine (4-MeHA) stimulated the secretion of ACTH, β-END, α-MSH and PRL. Pretreatment with the β-adrenergic antagonist propranolol inhibited secretion of the POMC peptides in response to HA, 2-TEA or 4-MeHA. Propranonol only inhibited the PRL response to HA or 2-TEA, but had no effect on the PRL response to 4-MeHA. Administration of the β-receptor agonist isoproterenol stimulated ACTH, β-END, α-MSH and PRL two to five-fold. This effect was totally blocked by pretreatment with propranolol. We conclude that HA-induced secretion of POMC-derived peptides from the anterior and intermediate lobe of the pituitary gland and of PRL from the anterior lobe is, at least in part, mediated via catecholamines. β-Adrenergic receptors are involved in the mediation of the POMC response to H1- as well as H2-receptor activation, whereas β-receptors are involved only in the mediation of the PRL response to H1-receptor activation. Andreas Kjær, Department of Medical Physiology, Division of Endocrinology and Metabolism, The Panum Institute (Building 12.3), University of Copenhagen, Blegdamsvej 3c, DK-2200 Copenhagen N, Denmark

Treatises on four ultimate truths about the human condition in 16th and 17th century Czech literature an outline of issuesCzech literature of the 16th and 17th century was for readers of that time an important source of admonishment concerning death and afterlife. Manuals about the art of dying — ars moriendi books — provided ample advice on how to die a “good death”. Besides that, their authors focused also on other issues of ultimate importance for human beings, i.e. death, God’s judgment, heaven and hell. The aim of the treatises was to make readers lead a good life through constant pondering over death and the uncertainty of the soul’s fate in the afterlife. Descriptions of various tortures suffered by the damned in hell were meant to frighten sinners, make them repent and change their lives. Descriptions of heaven, on the other hand, were supposed to lure people into doing good. According to the Catholic dogma, after death, the soul can go to heaven, hell or purgatory. The Protestant Reformation rejected purgatory as wishful human fiction, and returned to a traditional dualistic view of the afterlife. Traktáty o čtyřech posledních věcech člověka v české literatuře 16. a 17. století náčrt problematikyČeská náboženská vzdělávací literatura 16. a 17. století představovala pro čtenáře důležitý zdroj poučení o smrti a posmrtném životě. Příručky šťastného umírání — knihy ars moriendi přinášely rady, jak má dobrá smrt vypadat. Kromě této problematiky se autoři zabývali tématy souvisejícími s posledními věcmi člověka, to je smrtí, božím soudem, peklem a nebem. Cílem traktátů bylo přimět čtenaře k dobrému životu prostřednictvím myšlenky na smrt a nejistý posmrtný osud duše. Líčení pekelných trestů mělo vyvolat u hříšníků hrůzu, přimět je, aby změnili své chování a nastoupili cestu pokání. Popisy ráje měly lákat a přitahovat. Podle katolíků duše po smrti mohla jít do nebe, pekla nebo ji čekal očistěc, kde měla smýt hříchy a poté vstoupit na nebesa. Reformace odmítla učení o očistci, a proto na něm protestanští autoři zdůrazňovali lidský výmysl.

This diploma thesis deals with the reading of pupils with hearing impairment, popularity of reading books at the 2nd level of primary school for the hearing impaired based on their specifics, which arise from their disability. Firstly, the thesis is devoted to reading literacy and reading in general, its anchoring in education and the view of hearing impairment in two disciplines. The thesis also describes the best-known research on reading literacy and reading. After that, reading and reading literacy topics are closely focused on pupils with hearing impairment, which is also closely related to the issue of acquiring the language of the majority among people with hearing impairment also due to the differences between Czech language and Czech sign language. Furthermore, the analysis of data and interpretation of the results of the research carried out at primary schools for the hearing impaired by means of questionnaires for pupils and their teachers is included. Some of the specifics typical for deaf pupils in relation to reading can be deduced from the outcomes of the research, but also the same elements that were found when compared with the research of reading by the hearing pupils in the Czech Republic.

The thesis deals with understanding the interpretation of life story, important people and agency in life story of young adult being expose to an adverse effect of their family. The theoretical part is focused on life story and life story work, namely methods of create life story book. The thesis defined young adult in institutional and foster care, their needs and rights. The special chapter is life story work with traumatized children. The empirical part consist of analysis of four autobiographical narratives collected by the method of narrative interview, life story book and lifeline. The collected information are analysed with holistic-content, holistic-formal and categorical-formal analysis. This work includes feedback participants in research probe reconstruction of life story and life story work. At the conclusion of work are recommended other methods for further research.