The article focuses on early theatre criticism in Prague and Vienna at the end of the 18th century. It analyzes the argumentational forms and critical strategies. The 1790s are represented by three periodicals: Der Wahrheitsspiegel (Prague 1796-1798), Österreichische Monatsschrift (Prague - Vienna 1793-1794) and Der Theatralische Eulenspiegel (Prague 1797). The study is based on a close reading of six specific theatre critiques. It deals with epoch-typical critical postulates, with taste (Geschmack), impartiality (Unparteilichkeit) and the aesthetic concept of theatre as a real illusion (wahre Täuschung). This analysis of individual attitudes is also a contribution to the description and interpretation of theatre history and repertoire reforms., Alena Jakubcová jun., and Obsahuje bibliografické odkazy
Studie Jany Perutkové se zabývá provedením opery "Giulio Cesare in Egitto" od hudebního skladatele Georga Friedricha Händela v divadle U Korutanské brány v císařském hlavním městě Vídni a též širší recepci Händelovy hudby v habsburském soustátí v uvedeném časovém období., The goal of the study is to present certain Händel sources that are unknown or have not yet been researched and to investigate the connection of those sources with the capital city of the Habsburg Monarchy, Vienna. At the center of attention is a performance of a pasticcio of Giulio Cesare in Egitto at the Theater am Kärntnertor in Vienna (Kärntnertortheater) in 1731. The study introduces the printed libretto, which has heretofore been regarded as lost, as well as the score of the work that L. Bennett first brought to light. The rediscovery of the libretto has made possible the comparison of these two sources. Also brought to attention is a copy of a collection of arias from this pasticcio that is held in Bratislava. There is furthermore presentation of certain possibilities regarding the identity of the probable compiler of the pasticcio, the composer Francesco Rinaldi, whose three extant operas premiered in Vienna date from the years 1730–1732. Reference is made in the study to the increased interest in Händel’s works in Vienna around the year 1730, and in connection therewith, reference is also made to a Viennese copy of his opera Admeto, which is kept in Meiningen. The study also asserts that at least one of the scores of Händel’s Agrippina held in the Musiksammlung der Österreichischen Nationalbibliothek had been the property of Count Johann Adam von Questenberg., Jana Perutková., Rubrika: Studie, and České resumé na s. 121, anglický abstarkt na s. 95.
Příspěvek Jiřího Sehnala je zprávou o mezinárodní muzikologické konferenci, která se uskutečnila ve Vídni ve dnech 16. až 18. dubna 2012, Jiří Sehnal., Rubrika: Konference, and Cizojazyčné resumé není.
This study is the first part of a planned series of articles on the issue of disputations about Wyclif in connection with his 45 articles. It analyses the anonymous undated refutation of Oxford University’s testimonial on the blameless life and work of John Wyclif, and makes it accessible in a critical edition in the form of an appendix. By taking into consideration manuscript preservation, argumentation, and literary arrangement as well as chronology, the author proves for the first time the immediate relation of the refutation to the Carthusian cloister of Údolí Josafat (Valley of Josephat) in Dolany near Olomouc and its prior Štěpán of Dolany. A component of the study is an excursion into the issue of Archbishop Zbyněk’s synodal directive to surrender books by Wyclif. and Dušan Coufal.
This paper considers forms of cultural transfer in decorative design in Central Europe in the second half of the 18th century, focussing on works that combine aspects of both free creative art and artisan craftsmanship. Based on a detailed analysis of a number of works (or parts thereof), the authors show that trends in decoration that had hitherto been broadly interpreted as a somewhat uninventive adoption of fashionable French graphic pattern-books and picture albums in the "goût grec" style (Jean-François de Neufforge, Jean-Charles Delafosse et al.) in fact represented an innovative quest for an original modern synthesis taking its inspiration from classical Roman art (Giovanni Battista Piranesi, Giocondo Albertolli, Carlo Antonini) and developing ideas emerging from the recently introduced teaching of artistic design at the Vienna Academy and from circles close to the imperial court (Johann Baptist Hagenauer, Ignaz Josef Würth et al.). The whole phenomenon in considered within the wider context of official cultural policy at the time of Maria Teresa’s and Joseph II’s economic and administrative reforms and is interpreted as one of a number of processes and strategies which, for various reasons, led to a reduction in transcultural transfer. Decorative design in Central Europe in the latter half of the 18th century thus paid more than lip-service to the ideal of universal culture in the sense of transculturality, interpreting it in a specifically local, middle-European and to some extent "nationalized" way - and, from a historical perspective, with extraordinary success., Pavel Suchánek a Tomáš Valeš., and Obsahuje bibliografické odkazy