Studie Milady Jonášové se zabývá využitím jmenované kantáty italského hudebního skladatele Benedetta Marcella operním impresáriem Antoniem Denziem v pasticciu "Sansone", provedeným v roce 1729 na scéně pražského divadla v paláci hraběte Františka Antonína Sporcka., Milada Jonášová., Rubrika: Studie, and České resumé na s. 51, anglický abstrakt na s. 5.
Studie Marie Škarpové se zabývá literárními prameny a okruhy duchovních písní, které byly inspirací pro repertoár kancionálu "Jesličky, staré a nové písničky", jehož autorem byl přední český barokní básník a duchovní Fridrich Bridelius., This study deals with that portion of the repertoire of the Czech Advent and Christmas songbook Jesličky (Prague, 1658) by Fridrich Bridelius, which newly appeared in Czech hymnography thanks to this song book, and it summarizes the various results of the search for textual sources from other languages for these “new” songs in Jesličky. It points out their ties to contemporary German written hymnography (of both German and Bohemian provenience) and to Latin hymnography, i.e. to contemporary Latin songs. The text is thus not only a contribution towards discovering the ways that Czech hymnographers of the 17th century became familiar with the new, i.e. baroque, poetic language, but also, above all, an attempt to stimulate further hymnological research on baroque hymnographic works in the early modern history of Central Europe and the interconnections and relationships between them., Marie Škarpová., Rubrika: Studie, and České resumé na s. 397, anglický abstrakt na s. 377.
Studie se zabývá rolí Caravaggia v českém diskursu o kubismu. Uvádí diskusi Vincence Kramáře a Karla Teiga z roku 1949. Teige se možná překvapivě odvolává na Caravaggia v koncepci kubistického „tektonického obrazu“: Caravaggiova malba je zaměřena na čistou plasticitu a méně na námět, což je pro avantgardního teoretika důvod dát jej do stejné řady, jakými jsou architecture plate et colorée Juana Grise nebo Picassovy „tektonické obrazy“, v nichž dominuje čistá plasticita hmot. Teige v uvedení Caravaggia jako předchůdce moderního plastického pojetí obrazu měl předchůdce v českém kubistickém malíři Emilu Fillovi (1882–1953), který v letech 1914–1920 v exilu v Holandsku dobře poznal díla starých holandských mistrů a zabýval se pojmem „věcnosti“ v jejich díle. V článku Holandské zátiší (1916), publikovaném v časopise Volné směry (XXII, 1924–1925), v úvodu uvádí jméno Caravaggia, kterého chápe jako zakladatele svébytného žánru zátiší. Na něj navazovali holandští mistři 17. století. Filla zdůrazňuje pojetí věcnosti, které není ani vědeckou dokumentárností, ani čirým objektivismem, ale je výsledkem akce subjektu, je tvořivou akcí malíře. Věcnost znamená pro Fillu vyrovnání objektivních a subjektivních složek malovaného předmětu. V roce 1925 vydal Filla rovněž ve Volných směrech studii Caravaggiovo poslání. Filla opět oceňuje Caravaggiovo plastické pojetí povrchu malby. Na Fillu záhy navázal jeho přítel a sběratel, mecenáš kubismu, historik umění Vincenc Kramář statí Vznik a povaha moderního zátiší. Tvůrčí čin Caravaggiův, uveřejněnou rovněž ve Volných směrech (XXIII, 1924–1925, s. 129–160, 177–179). Stejně jako Filla oceňuje Caravaggiovu autonomní vůli po plasticitě. Když Filla psal úvahy o Jan van Goyenovi, ale i o Caravaggiovi počátkem padesátých let na zámku Peruc, navštěvoval ho tam fotograf Josef Sudek, který na zámku fotografoval. Pozorně naslouchal poučeným malířovým výkladům o kubismu, holandském umění 17. století, ale i o Caravaggiovi. Sudkova fotografická aranžovaná zátiší na počest Caravaggia z roku 1956, vytvořená až po Fillově smrti (1953), lze chápat jako vzpomínky na Peruc a přítele Fillu i na roli Caravaggia ve Fillově teorii. and This study deals with Caravaggio’s role in Czech thought on Cubism. It begins with a discussion between Vincenc Kramář and Karel Teige which took place in 1949. Perhaps surprisingly, Teige refers to Caravaggio in his concept of Cubist ‘tectonic painting’: Caravaggio’s painting aims at pure plasticity and less so at subject matter, which is reason for the avant-garde theoretician to put him in the same category as the architecture plate et colorée of Juan Gris or Picasso’s ‘tectonic paintings’ in which the pure plasticity or sculpturality of matter dominates.
In presenting Caravaggio as a precursor of the modernist sculptural conception of painting, Teige was preceded by the Czech Cubist painter Emil Filla (1882–1953), who acquainted himself well with the works of the old Dutch masters during his exile in Holland in 1914–1920 and dealt with the idea of ‘objectivity’ in their work. In the introduction to ‘Dutch Still Life’ (1916), an article published in the magazine Volné směry (Free Directions) (XXII, 1924–1925), he mentions the name of Caravaggio, whom he takes to be the founder of a peculiar genre of still lifes which hearkened back to the Dutch masters of the 17th century. Filla emphasises the idea of objectivity which is neither a scientific documentary quality nor a pure objectivism, but the result of an action on the part of a subject – the creative act of a painter. For Filla, objectivity means a conciliation between objective and subjective factors in a painted object. In 1925, Filla published, also in Volné směry, a study on Caravaggio’s vocation. Once again, Filla holds Carvaggio’s sculptural conception of the surface of painting in high regard. Filla’s work is followed up by his friend and collector, the patron of Cubism and art historian Vincenc Kramář in his essay ‘The Inception and Character of the Modern Still Life: Caravaggio’s Creative Act’ (Volné směry XXIII, 1924–1925, pp. 129–160, 177–179). When Filla was writing his reflections on Jan van Goyen and on Caravaggio in the early 1950s at Peruc Castle, he was visited by the photographer Josef Sudek. Sudek’s photographically arranged still lifes in honour of Caravaggio of 1956 may be understood as a reminiscence of Peruc and his friend Filla as well as of the role of Caravaggio in Filla’s theory.
The article deals with the regulation of the use of Czech, German and classical languages in the administrative, school and Church spheres as it appears in the decrees published during Joseph II’s reign for the lands of the Bohemian crown. The author attempts to reconstruct the emperor’s vision of the usage of the different languages in the Czech lands, find the reasoning behind it, and identify the methods of this regulation. He also asks whether, in Joseph II’s case, one can speak about a "language policy" as a deliberate strategy to change the language situation in the Czech lands., Dmitrij Timofejev., and Obsahuje bibliografické odkazy
The 18th century sees the triumph of a cultural technique so self-evident to us that we hardly think that it might have a history at all: numbering. This technique assigns a number to an object or a subject - whether a house, a page in a book, a regiment, a tone pitch, a painting, a horse-drawn carriage or a policeman - in order to positively identify this object or subject. The article presents a hitherto nearly undiscovered research field by clarifying some of the basic terminology and draws on examples from all over Europe, focussing on the numbering of - mostly vagrant - people on one side, on spaces such as houses, rooms or even hospital beds on the other side. At the end some of the research questions to be asked about this topic in the future are presented., Anton Tantner ; translated by Brita Pohl., and Obsahuje bibliografické odkazy
This reflection is inspired by a discussion among leading intermedialists organized by UNISC, Brazil, fall 2021. It included contextualization and conceptualization, i.e. setting the current research within the context of the discipline’s development and the synchronic study of culture, proposing new concepts or defending old ones. The key term ‘in-between’ expresses both a trend in art, and in the self-reflecting intermedial methodology. It becomes obvious that intermedial research opens up wide to analyzing issues of social importance. In our exposition, we assess the debated concepts in terms of their analytical and educational potential in literary and cultural studies, and relate the debate to the Czech environment.
The author examines the clientele of the Bratislava booksellers Anton Löwe and Philip Ulrich Mahler in the context of the Hungarian book trade from 1770 to 1800. By analysing the extant correspondence of Michal Institoris Mošovský, a protestant pastor in Bratislava, she was able to partially identify one segment of their customer base - protestant clergymen. For many years these members of the petty intelligentsia purchased from the Bratislava booksellers, in particular imported works by the German pietists and Enlightenment theologians. The author also investigated the social and geographical limits of the distribution process, some of the contact and distribution networks, and the identity of key figures., Petronela Križanová., and Obsahuje bibliografické odkazy
This article deals with naming practices among the Czechs who lived in the first half of 20th century in two Bulgarian villages - Vojvodovo and Belinci. It is based on fieldwork carried out among the people who migrated in 1950 from Bulgaria and settled in several towns and villages in South Moravia (region of Mikulov and Valtice), and their descendants. Naming practices of the Bulgarian Czechs are analyzed in relation to naming strategies of the Bulgarians in the given period, and it is argued that the role that was fulfilled by surnames among the Czechs was fulfilled by first names among the Bulgarians. Relationship between the naming strategies and ideas about kinship and gender are discussed further.