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 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 study focuses on Marxist critique of Soviet systems in Czech oppositional thought during the period of so-called normalization (1970s–1980s). This analytical discourse was characterized by efforts to re-establish the critical debates that started as a part of Czechoslovak social-scientific critique in the 1960s and intended to provide a detailed analysis of the nature of the so-called Soviet-type systems (STS, i.e. the political systems of the Warsaw Pact countries). Thus, the STS theory was geopolitically defined and did not deal with analyzes of other communist regimes (for example, Yugoslavia or China). On the example of selected Czechoslovak thinkers (e.g. Pelikán, Mlynář, Strmiska, Hájek) the first part of the study addresses attempts to evaluate Czechoslovak development in the 1960s as a specific case of democratization of the Soviet-type system; in the second part I focus on interpretations of these discussions from the perspective of East-European totalitarian paradigm. Finally, the third part describes how these analyzes contributed to the formulation of possible political changes in the Eastern Bloc.
The paper focuses on the intellectual aspects of Bohumil Hrabal’s work and also on the concept of worldview. The starting point is Josef Zumr’s article “The Intellectual Inspiration of Bohumil Hrabal” (1989); the approaches of Jan Patočka (1942) and Jan Mukařovský (1947) are also mentioned. In his article Zumr presents Hrabal’s worldview as a mosaic of constitutive and affirmative influences. He formulates a thesis on the post-war continuity of the avant-garde, of which Hrabal’s work is a part. In this paper, Zumr’s interpretation is subjected to partial revision: it is not only about ideological influences, but also about their individual creative transformation. Hrabal has lost the optimism of the avant-garde, his work testifies to the turn of an epoch and combines humour with melancholy and historical scepticism. and Příspěvek se zaměřuje na ideové aspekty díla Bohumila Hrabala a také na pojem světového názoru. Referenčním textem je studie Josefa Zumra „Ideová inspirace Bohumila Hrabala“ (1989). Zmíněny jsou rovněž přístupy Jana Patočky (1942) a Jana Mukařovského (1947). Zumr ve své studii představuje Hrabalův světový názor jako mozaiku konstitutivních a konfirmativních vlivů. Formuluje tezi o poválečné kontinuitě avantgardy, které je Hrabalovo dílo součástí. V tomto příspěvku je Zumrova interpretace podrobena dílčí revizi: nejde jen o ideové vlivy, nýbrž také o jejich individuální tvůrčí transformaci. Hrabal ztratil optimismus avantgard. Jeho dílo je svědectvím o přelomu epoch a spojuje humor s melancholií a dějinnou skepsí.
The submitted article reconstructs the interactions between Richard
Nikolaus Coudenhove-Kalergi as the originator of the Pan-Europe idea, and the Prague newspaper Prager Presse, during the time from August 1921 until autumn 1926. The account notes and comments not only upon Coudenhove-Kalergi writings published in the paper, but also the reviews of his books and reports on his public appearances. Thus the article traces, how the philosopher, who comes up with a particular interpretation of the situation in Europe after the World War I, becomes a leader of the international movement, a politician and a diplomat striving to gain support for a specific model of European organisation. The final section of this article deals with how the Czech translation of Coudenhove’s book Pan-Europa originated and the circumstances it was accompanied by. and Článek zahrnuje poznámkový aparát pod čarou
When the nationalities of the multiethnic Austrian Empire began to demand national self-determination "on their own territory“, they
started the struggle for the national "Besitzstand“. The great nations like the Magyars, Czechs, Poles and Croats claimed for their historical "Staatsrecht“. The Austrian governments answered with the concept of national autonomy in national homogeneous districts on the basis of the existing historical "Kreise“. Palacky on the Krensierer Reichstag, Stadion in the Reichsverfassung of 1849, Ernest von Körber in the context of his deliberations to solve the "Bohemian question“ presented concepts for realization. When the
governments of Stürgkh, Clam Martinic and Seidler/Hussarek declarated the "Kreisordnung“ for Bohemia, there was no chance for acceptance, because the question of the settlement of a Czechoslovak State was decided., Článek zahrnuje poznámkový aparát pod čarou, and V křestním jméně pod názvem je chybně napsáno Helmt místo správného Helmut
This article examines the correspondence between the Austrian author Hermann Bahr and the Czech dramaturge, author and politician Jaroslav Kvapil. It focuses on the years during World War I and the increasingly divergent interests of these two figures. While Bahr is concerned with renewing Austria, Kvapil is engaged in nation building in the newly forming Czechoslovakia. and Článek zahrnuje odkazy pod čarou