This study is based on the author‘s paper entitled „Przemiany kulturowe na prełomie epok kamienia i brazu na Morawach i wokól Moraw w świetle przemysłów krzemieniarskich“ wirtten as part of a habilitation thesis completed at the Socio-Historical Faculty of the Rzeszów University. Polish and English versions of this paper are available on the Central Committee for Scientific Degrees and Titles (Warsaw, Poland) web page. Due to the wide scope of the issue, this work includes only a review of lithic industries from Young Eneolithic (Jevišovice, Bošáca and Globular Amphora cultures) until the end of the Early Bronze Age (the Věteřov group) on the territories of Moravia and Czech Silesia. Comprehensive analyses of typology, technology and changes in raw material preferences have revealed specific evolutionary patterns. Cultural transformations towards the end of the Stone Age resulted in the formation of the Bronze Age in eastern Central Europe. The research indicates that Moravia played an important role in these transformations, significantly influencing the adjacent regions (Lower Austria, Bohemia, Silesia and southwest Slovakia)., Lubomír Šebela., and Obsahuje seznam literatury
Since the 1950s the term “gombik” has been used in Czech and Slovak archaeological literature to describe artifacts from the Early Middle Ages resembling buttons, which appear as an accessory of modern Hungarian as well as some Slovak men’s and women’s clothing. The most frequent occurrence of spherical pendants was recorded in graves of women and children; a lesser occurrence was recorded in graves of adult men. We may presume that the class that is referred to in written sources as dukes or even as noble faithful men applied it to jewelry - the “gombik” was probably created in the cultural space of this class and thus became indentifying symbol. and Hana Chorvátová.
This article presents Christian Kyrill Schneider OFM, a significant yet not widely known Franciscan missionary who lived in the second half of the 18th century and worked in Egypt and surrounding Middle East Area. His autography that is only available as a manuscript and has never been presented before is fully described here. An excerpt of one chapter offers an insight into a catching egodocument from the beginning of the 19th century. This study is set in the context of Franciscan missions with an important focus on the activity of brothers from the Czech lands in the Middle East. The introductory chapter summarizes basic bibliography of history of Franciscan missionaries and their writings., Kateřina Holanová., and Obsahuje bibliografické odkazy
The article provides an investigation into the foundational activities of Kutná hora burghers at the turn of the 15th centruy. It summarizes data on the holdings of the patronage rights to rural parish churches in the hands of burgher families. It also presents an analysis of reports on the pious foundations of altars, chapels, or liturgical memorials by burghers in order to establish how much Kutná Hora burghers utilized these churches as family burial grounds and thus also places of family memory, representation, and legitimization of their power or social position., Vojtěch Vaněk., and Obsahuje literaturu a odkazy pod čarou
par une société de littérateurs sous la direction de J. Boldényi ; dessinateurs Janet-Lange, Freeman... [et al.] ; graveurs Trichon ... [et al.]. and Desky nejsou k dispozici.
František Hrubý., KČSN, Přílohy: Výběr z žerotínských korespondencí (41 listů z let 1594-1649), Obsahuje bibliografické odkazy a rejstřík, and Část. latinský a německý text
a1_The pastoral opera L’Amor non ha legge (premiered in Jaroměřice, 1728) was composed by the vicekapellmeister Antonio Caldara, based on libretto by Domenico Bonlini. It is the first attested dramatic musical composition written at the direct order of Count Johann Adam Questenberg (1678-1752), a connoisseur of music, skilled lute player, an occasional composer, and - above all - a passionate promoter of the Italian opera seria. The present article concerns with the generic examination of the plot of opera seria, with regard to its superior genre, favola pastorale. In L’Amor non ha legge, living in harmony with the Nature gains general appraisal, the Idyllic merry-making in the countryside being sharply contrasted with life in the city and at the (imperial) court. As a result, the main character, young aristocrat, having become enamoured with a shepherdess, leaves for the country where he is allowed to repose and forget the hustle and bustle of the city, as well as its corruptness. These characteristics seem to be fitting the personality of Count Questenberg himself, who sought a refuge from the city to his castle of Jaroměřice, set in the rural region of Southern Moravia. As Bonlini states in his introductory argomento, the aim of the opera is, primarily, to celebrate simple, undemanding Love. Not coincidentally, both meanings of the word ’Amor’ are made use of in the libretto; the abstract ’Love’, as well as the personified name of the God of Love - Amor. Love verses and lovely affections are abundant in the language and the plot of the opera; what Bonlini is most concerned with, especially in the arias, is to depict as many aspects of Love, hence the affects, as possible: constant love, love suffering, requited love, noble love, miserable love, vain love, martyred love, jealous love, despising love, even paternal love., a2_The message of the opera L’Amor non ha legge, therefore, is the imperative of symbiosis between Man and the Laws of Nature; the Law of Love, superior even to the obstacles of social inequality, should - according to Bonlini - always be in accordance with the Reason. Favorizing the pastoral environment over the court and city, in particular, can be read as a laud of the castle of Jaroměřice, which the Count was justly proud of, and which he identified with considerably., Jana Perutková., and Obsahuje bibliografické odkazy
The aim of the present study is to trace an interpretation of Rousseau’s novel Julie ou la Nouvelle Heloise on the basis of the difference between love and friendship. Starting with a brief reminder of Paul de Man’s interpretation of this novel in Allegories of Reading, the author turns to Jacques Derrida and borrows a key neologism from his book The Politics of Friendship: aimance or lovence, an affective modality which blurs and transcends the duality of love and friendship. On this basis, the author presents a few remarks concerning the literary form of the novel, the configuration of its characters and finally the place of Rousseau’s Julie in the context of his other works. Rather than being an isolated literary work, Julie seems to be an attempt to answer certain questions concerning the relation between individual and society from a different angle than that chosen in The Social Contract., Etienne Balibar ; překlad Josef Fulka., and Obsahuje bibliografické odkazy