The study shows that Benjamin’s conception of revolution, put forth in his essay “Surrealism: The Last Snapshot of the European Intelligentsia,” can be understood as a way to bring about a long-term transformation of reality. To not exhaust revolution in a single moment is facilitated, above all, by the relationship of Benjamin’s revolution to evolving technology, which constantly enters (in the form of new objects) into the daily life of society. “Surrealism” offers an opportunity to look at new technological objects as images and to understand them in a specific way thanks to the method of profane illumination. Understanding new technology as an image – its “reading” – enables one to use its revolutionary potential towards an active transformation of society. Thanks to profane illumination, technology proves to be a part of the collective body. It thus becomes an organ of transformation rather than an instrument of control. Since Benjamin leaves the meaning of his concepts to a certain extent open, this study will try to present a concrete interpretation of the concepts of image and profane illumination and demonstrate how they establish the author’s conception of revolution. and Studie ukazuje, že Benjaminovu koncepci revoluce, předloženou v eseji „Surrealismus“, lze chápat jako způsob dlouhodobého transformování skutečnosti. Nevyčerpat se v jediném okamžiku umožňuje Benjaminově revoluci především její vztah k vyvíjející se technice, dlouhodobě vstupující (v podobě stále nových předmětů) do každodenního života společnosti. „Surrealismus“ nabízí možnost nahlížet nové technické předměty jako obrazy a poté jim specifickým způsobem rozumět díky metodě profánního osvícení. Porozumění nové technice jako obrazu – její „přečtení“ – umožňuje zužitkovat její revoluční potenciál k aktivní transformaci společnosti. Technika se díky profánnímu osvícení ukazuje být součástí kolektivního těla. Stává se tak orgánem transformace spíše než nástrojem ovládání. Benjamin však ponechává význam svých pojmů do jisté míry otevřený, a tak následující studie navrhne konkrétní interpretaci pojmů obrazu a profánního osvícení a předvede, jak zakládají autorovo pojetí revoluce.
The author focuses on the role of propositions and images in the constitution of the fictional world of a narrative literary work. He critically examines Martínez-Bonati's idea of the "alienation" of sentence-meanings in images, based on Husserl's notion of fulfillment (Erfüllung). In particular: 1. He points out that not only expressed propositions, but also other (emotional and style-determining) parameters of sentence-meanings and even failures or disturbances in expressing propositions can participate in generating acts of imagination with mimetic functions. 2. He argues that the notion of fulfillment (as applied to sentence meanings) should be extended so as to include all experiences with mimetic function: visual images should be approached as one of the variety of kinds of (literarily-productive) imaginative fulfillment. 3. He rejects the interpretation of fulfillment as alienation (or dissolution) of meanings in images: among other things, he argues that this would eliminate the communicative scheme within which the interpretation of a text of narrative fiction takes place., Petr Koťátko., and Obsahuje poznámky a bibliografii
This article deals with the image of the first rulers of the Grand Duchy of Lithuania in German chronicles. The aim of the work is to reconstruct the image of Pagan and Christian rulers of the emerging state, marking out similarities and differences, and to characterize the legitimacy of their status as monarchs in the eyes of German chroniclers based on the religion of the Lithuanian dukes. The article mainly focuses on Mindaugas, Vytenis and Gediminas, the most powerful and dynamic figures from the initial period of the foundation of the Grand Duchy of Lithuania.
This is an XML dataset of 17 lecture recordings randomly sampled from the lectures recorded at the Faculty of Informatics, Brno, Czechia during 2010–2016. We drew a stratified sample of up to 25 video frames from each recording. In each video frame, we annotated lit projection screens and their condition. For each lit projection screen, we annotated lecture materials shown in the screen. The dataset contains 699 projection screen annotations, and 925 lecture materials.