Obálkový název: Memento mori středověkých reformních postil and Memento mori in medieval reformatory postils. The depiction of life and death in the written tradition of medieval preaching.
From emblematic allegory to symbolic hypotyposis: On the changes of depicting death in Czech poetry at the close of the 19th century. and Od emblematické alegorie k symbolické hypotypóze - proměny zobrazování smrti v české lyrice na sklonu 19. století.
Between the Baroque and Romanticism attitudes to death and the discursive framework of the emotional experience of dying fundamentally changed among the Catholic high nobility. The ideal baroque death was supposed to take the form of an extreme point at which the dying person confessed their sins through theatrical gestures and utterances. The deathbed ritual explicitly confirmed the denominational and spiritual orientation of the family. In succeeding generations, both aristocrats and commoners were expected to be confirmed in that orientation by a written and iconographic testimony rich in symbols. Romanticism, on the other hand, imbued the process of dying with sentiment, loving care and family cohesion, which among the high nobility brought solace and a peaceful death. Finally, between the Baroque and Romanticism the relative status of private and public experience of the last moments changed. The Baroque "theatrical" deathbed, which was presented with the central figure of the dying individual and the priest, was a public event. Gradually it changed into a more intimate, quiet contemplation with only a few witnesses gathered in the family circle. Moreover, the doctor came to replace the priest as the chief attendant at the dying person’s bedside. What remained unchanged was the anxious determination to conform to expected patterns of behaviour. By trying to fulfil the contemporary ideal of a "good death", the counts of Martinice and the princes of Schwarzenberg tried to affirm their unique position in Bohemian (and European) aristocratic society. Their emotional experience of death was intended to serve as an example to their descendants and form one of the constitutive elements of the family’s collective memory., Václav Grubhoffer, Josef Kadeřábek., and Obsahuje bibliografické odkazy
Doprovodná publikace k výstavě z výstavního cyklu Národního muzea SMRT and Katalog výstavy, která se pokusila zmapovat obraz smrti ve folklorním podání a lidovém umění.
Hrob F II na dánském pohřebišti Stengade II (Langeland) pochází z doby vikinské. Po odkrytí kamenného závalu byly ve zbytcích pohřební komory nalezeny dvě kostry, jedna z nich s useknutou hlavou a svázanýma nohama. Tradičně bývá hrob vykládán jako doklad společného pohřbu pána s otrokem, který byl před nuceným spolupohřbením zabit. Tento výklad nově zpochybnil Zdeněk Smetánka, který interpretoval kameny, jimiž byl hrob zakryt, a stopy násilí na jednom z pohřbených jako doklady tzv. ‚bázně z mrtvých‘ (crainte des mortes). Autor předkládaného článku tento názor odmítá a s přihlédnutím k dochovaným literárním pramenům přiznává jistou pravděpodobnost tradiční interpretaci. Na závěr zvažuje, nakolik je možno poznat mentální svět společnosti doby vikinské pouze na základě archeologického svědectví. and Inhumation grave F II at the Viking Age burial site of Stengade II (Langeland, Denmark) is usually interpreted as an example of the burial of a man together with his slave. The decapitation and fetters on the body of the slave are taken to indicate the execution of the slave during the burial of the master. This view has recently been challenged by Zdeněk Smetánka, who argues (mostly on the basis of comparative evidence) that the traces of violence on the body are an expression of “crainte des mortes”, i.e. that the mutilated man was not a slave but rather a person suspected of becoming a revenant after his death. The author of the present article, relying mainly on surviving literary evidence, dismisses this theory, and pleads rather for the standard interpretation. The conclusion questions the possibility of understanding the mental world of Viking Age society solely on the basis of archaeological evidence.