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Výroba a druhy másla
Skopalová, Eva
Butter is a dairy product that contains 80-90% milk fat, a maximum of 16% water and 2% non-fat ingredients, including proteins, saccharides and fat-soluble vitamins. Butter can be produced in three different ways - concentration, emulsification and churning. In the Czech Republic is mainly used the method of churning. The concentration and emulsification process is used for production in the USA. There are many kinds of butters on the market in the Czech republic. The main ones include fresh and table butter. The defects of butter that arise during the production and storage of the butter can be taste and aromatic or consistent. Buttermilk is a by-product of butter production. Buttermilk can be further processed as an additive to a variety of dairy products. Due to its composition and low fat content (0.5%) we rank it among healthy foods.
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Aby M. Warburg and the term of pathos formula in context of his thought
Skopalová, Eva ; Stejskal, Jakub (advisor) ; Váša, Ondřej (referee)
(in English): These presented papers focus on "pathos formula" and its evolution in Aby Warburg's thought. Warburg's considerations are complex; he does not focus on a precise time period, but history as a whole, using "Nachleben", a survival of picture schemes, gestures and concepts. Pathos formula oscillates between two polarities: apollonian and dionysian. The Apollonian side stands for sublime Antique while Dionysian stands for ecstatic, instinctive, irrational. It also includes a form of neokantism, inspired by Ernst Cassierer's philosophy. These two polarities have been transformed into his opus magnum, Atlas Mnemosyne. He develops the idea of relationships between human and world as such through the symbol. One of the central aspects of pathos formula is the tension between myth and rationality. The tension of history is represented by images. Atlas Mnémosyné is Warburg's greatest work, made up of 79 plates using the pathos formula. Through images he articulated the tension of history, by gesture and concepts he revealed a suppressed or unconscious memory, which the culture carries with. The pathos formula is highly emotive, expressive, gesture forms, which we can observe through time, Nachleben, and space by migration. Memory is preserved and defines our quotidian.
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Laberinto
Skopalová, Eva ; Konečný, Lubomír (advisor) ; Purš, Ivo (referee)
Laberinto is a type of book-form game, invented by Andrea Ghisi, and first printed in 1607. A second version was printed in 1616 and includes all the characters of the so-called tarocchi of Mantegna, with the addition of a new series of ten cards (following the logic of composition of the tarocchi). Another two versions of Laberinto (printed in 1607 and 1610) contain none of the Mantegna tarocchi characters. The rules of the game are based on the art of mathematical combinations. The aim of the game is to move through a visual labyrinth and discover which figure the opponent has in mind. The focus of this work will be on the 1616 version; my intention is to describe the problematic of the repetition of the original game concept a century and a half later, examining the conditions under which players used the allegorical field of the so-called Mantegna Tarocchi, and under which the cosmological meaning was secularized and the new series of ten cards added.
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Iconography of tarot cards, named Tarot of Mantegna
Skopalová, Eva ; Konečný, Lubomír (advisor) ; Purš, Ivo (referee)
The Iconography of Tarot Cards Known as the Mantegna Tarot Eva Skopalová Abstract: The text deals with a general idea of The So-Called Tarocchi of Mantegna. Individual sheets of the whole game are grouped by decades with letters E, D, C, B, A, and the total number of sheets is fifty. Each level of the system corresponds to a level of the universe in a way it was comprehended by a Renaissance man in the late 15th century in Northern Italy. The text brings out the idea of each level and the general idea of the whole system as well. I am connecting the system with thoughts of Raymond Lulle, which was an important element in thoughts of Nicolas of Cusa, who is considered to be a major creator of the idea of the ensemble. Subsequently, the reference of cards is dealt as the second life of the ensemble, firstly in the context of thoughts of Marsilio Ficino, but also as an idea of educative games of the 18th and 19th centuries.
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