This article presents a method for computer-assisted text analysis, which has been employed by the author in a number of studies. The inductive methodology is based on a frequency count analysis of the co-occurrence of words; and a visualization of the results of this text analysis in a two dimensional space. The main advantage of this text analysis technique is its potential for (a) exploring large amounts of textual data without any pre-coded or theoretically laden vocabularies or thesauri; and (b) the extraction of discursive patterns often only detectable in an a posteriori expert analysis. An example is used to demonstrate the use of this computer assisted text analysis method through an analysis of the transcripts of biographical interviews exploring life in Czech socialist society. The analysis presented uncovers both shared and distinctive discursive patterns found in the narratives of the interviewees who come from two distinct social groups.
This paper examines the variation in personal values and attitudes towards family and marriage in the Czech Republic and Slovakia. Czech and Slovak societies have been characterized by an intensive transformation process since 1989. The political and economic transformation was followed by intensive demographic changes (some even talk about a second demographic transition) that was similar in both societies. Here it is assumed that values are independent variables that have an impact on behaviour, and it is argued that demographic changes have been brought about by changes in values and attitudes concerning the family, marriage and children. Therefore, this article examines if the trends in value observed between 1991 and 2008 were accompanied by similar demographic changes. Data from three waves of the European Value Study (EVS) are used together with official vital demographic statistics.
The subject of this paper is a typological classification of the acanthus ornamentation of the Czech manuscripts from the 14th – 15th centuries. The definition of the four types of Czech acanthus ornaments is studied in relation to their genesis and their sources in the illumination in Bohemia, Italy and Western Europe. The ornamentation of the manuscripts of the followed period is confronted with its resources and parallels in the contemporary sculpture and applied arts. The modifications of the types of acanthus is followed in the context of the relations of the Prague workshops with the regional production in the Czech Lands and also from the standpoint of their possible influence on the evolvement of acanthus ornament in the illumination of the Western and Central Europe of the 15 and early 16th centuries. The paper deals also with the possibilities of the content interpretation of the ornament decoration of the Medieval manuscripts and offers other questions and problems to be solved in the further study of this theme.
The subject of this paper is a typological classification of the acanthus ornamentation of the Czech manuscripts from the 14th – 15th centuries. The definition of the four types of Czech acanthus ornaments is studied in relation to their genesis and their sources in the illumination in Bohemia, Italy and Western Europe. The ornamentation of the manuscripts of the followed period is confronted with its resources and parallels in the contemporary sculpture and applied arts. The modifications of the types of acanthus is followed in the context of the relations of the Prague workshops with the regional production in the Czech Lands and also from the standpoint of their possible influence on the evolvement of acanthus ornament in the illumination of the Western and Central Europe of the 15 and early 16th centuries. The paper deals also with the possibilities of the content interpretation of the ornament decoration of the Medieval manuscripts and offers other questions and problems to be solved in the further study of this theme.
By a detailed analysis of decoration and collation of this manuscript it was found out that three principal masters participated in its decoration. The top quality of the decoration can be found in the work of the first master continuing the Byzantine, Venetian, and Saxon-Thuringian creation. The second master uses the first master´s work. The work of the third master is quite different as it is connected with original Bohemian production – with the Mater verborum manuscript. This different quality of illuminations allows to suppose that the codex originated in a scriptorium acting somewhere in Bohemia and employing a number of artists and their helpmates.
By a detailed analysis of decoration and collation of this manuscript it was found out that three principal masters participated in its decoration. The top quality of the decoration can be found in the work of the first master continuing the Byzantine, Venetian, and Saxon-Thuringian creation. The second master uses the first master´s work. The work of the third master is quite different as it is connected with original Bohemian production – with the Mater verborum manuscript. This different quality of illuminations allows to suppose that the codex originated in a scriptorium acting somewhere in Bohemia and employing a number of artists and their helpmates.
On the basis of the formal and iconographical analysis, after evaluation of the existing literature and taking in consideration hypothetical cultural historical circumstances of the creation of the manuscript, the author of the paper suggests to consider the manuscript a Bolognese school product – from the style group dating to the turning of 1320s and 1330s (in connection with Master from 1328 and his circle and with ties to painters active before Vitale da Bologna, as a point of departure for further development in Val Padana and in Veneto) and supposes that the cardinal Bertrand du Pojet might be a receiver of the manuscript. Dating is shift ed between 1331–1333 on the basis of the research results and on connections with the historical activities of the Luxembourg dynasty members in Italy in that time.
On the basis of the formal and iconographical analysis, after evaluation of the existing literature and taking in consideration hypothetical cultural historical circumstances of the creation of the manuscript, the author of the paper suggests to consider the manuscript a Bolognese school product – from the style group dating to the turning of 1320s and 1330s (in connection with Master from 1328 and his circle and with ties to painters active before Vitale da Bologna, as a point of departure for further development in Val Padana and in Veneto) and supposes that the cardinal Bertrand du Pojet might be a receiver of the manuscript. Dating is shift ed between 1331–1333 on the basis of the research results and on connections with the historical activities of the Luxembourg dynasty members in Italy in that time.