The article tries to characterise the spiritual life of a group of members of the Czech Reformed exile community in Husinec near Strzelin in Silesia at the turn of the 18th and 19th century. It starts with a detailed analysis of a unique manuscript miscellany written there by certain senior Bureš in 1833 and containing Czech translations of various German texts, mostly sermons (especially of the famous Pietistic preacher Ludwig Hofacker), but also travel diaries of Herrnhut missionaries in North America and Greenland from the 1770s, translated by a certain J. S., probably the former local teacher Jan Sovák. It identifies both the scribe and the translator as diaspora sympathizers of the Herrnhut Unitas, striving to supply for themselves and other members of their community spiritual texts suitable for reading aloud during their worship. As a possible model for the miscellany, the article identifies Gemeinnachrichten, the German manuscript periodical of the Unitas, which also combined sermons with missionary reports and diaries and was accessible to a limited extent to diaspora sympathizers. Finally, the article characterizes the spiritual life of the Husinec diaspora as rather eclectic, but capable of active reception of various Pietistic spiritual impulses, partly, but not exclusively emanating from the Unitas. This seems to support the thesis that Early Modern Czech non-Catholic exile played an important role in the Czech-German literary, cultural and religious relations., Alena A. Fidlerová., and Obsahuje bibliografické odkazy
In contrary to general interpretations of opera buffa, the presence and importance of arias and ensembles based primarily on emotions (and not only action) are crucial for the genre’s dramaturgy as well as for its historical development. The presence of lyrical arias in opera buffa has its origins in the traditional comic dramaturgy (one or more couples of serious lovers), the number, form and functions of such arias, however, changed considerably during the 18th century. Not only the use of Tuscan Italian, but also adopting new music features of opera seria for lyrical arias of noble lovers (in 30ties) led to the rapid dissemination of the genre. Similarly, broadening of the typology of characters and its emotions in the works of Goldoni and his composers, mostly the including of the sentimental plots and its new kind of heroine, supported the popularity of opera buffa and its transformation to the leading operatic genre in the second half of 18th century., Marc Niubo., and Obsahuje bibliografické odkazy