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
Článek se věnuje výzkumu emocí prostřednictvím Mezinárodního systému fotografií pro výzkum emočních stavů. Jedná se o soubor fotografií, které se podle předpokladu autorů liší ve dvou základních dimenzích emocí – valenci a arousalu. Článek diskutuje výzkumy prováděné pomocí tohoto systému, teoretické souvislosti tohoto přístupu, jeho teoretické i metodologické nedostatky a možná východiska. Jako hlavní východisko formuluje potřebu zabývat se sémantickým obsahem snímků, tedy potřebu psychosémantického přístupu.
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
The paper reflects a long-term ambiguity in the theoretical concept of affective phenomena. The focal point of this study is the conceptualization of the term “affect” with regard to the other affective phenomena (specifically emotion and mood). Our definition of affect is substantially different than existing Czech terminology and we define affect as the necessary component of all affective processes. Contrary to the Czech traditional concept of affect, we do not attribute characteristics such as “high intensity” or “disorganising influence” on cognitive processes, behaviour, etc. per se. We define affect in accordance with many authors, as a point in the continuum of affective stream and the basic unit of all affective phenomena. Affective phenomena or processes we consider as an umbrella term for a complex phenomenon like affect, emotion, mood, emotional episode, interpersonal attitude, sentiment, passion and so on: their common component is the affect. We consider emotion as a figure that emerges in the affective stream as a complex reaction to the event that has meaning for an individual and is interpreted with respect to the experience, context, individual characteristic, and sociocultural environment of the individual. Contrary to the Czech tradition, emotions are viewed as “just” one type of affective phenomena with a relatively specific definitional framework. The moods are considered parts of the affective stream continuum that have a specific and for consciousness accessible quality. The concepts of affect, emotion and mood discussed in this paper are contrasted; however, we have described where they overlap conceptually. The relationships of all affective phenomena have been considered as interacting with a tendency to synchronize into one (for an individual typical) affective stream., I. Poláčková Šolcová, R. Trnka., and Obsahuje seznam literatury
The article looks at how emotion is represented in Bohemian folk chronicles, i.e. texts of a historiographic character, written by autodidacts - mostly peasants and artisans. At the core of our analysis is the most famous work of this kind, Paměti Františka Jana Vaváka z let 1770-1816 (Memoirs of František Jan Vavák 1770-1816). Other writings from the turn of the 19th century (e.g. those of Václav Jan Mašek, Jan Petr, Ondřej Lukavský) are also considered. Our initial question is: How, and in which contexts, did Czech-speaking authors of the late 18th and early 19th century, having no opportunity to get acquainted with contemporary philosophical theories, express affects? The study shows that the emotions, especially joy and grief, are expressed in a way recommended by early modern rhetoricians (e.g. Cypriano de Soarez or Bernard Lamy): particular figures are associated with particular affects. Though the principle is the same, the figures used by autodidacts differ from those recommended by the rhetoric manuals. Being unable to read Latin, German or French rhetorics, the authors had probably grasped the principles of how to represent affect from their reading, but adapted them according to their own talent and vision. As might be expected given the rural origin and values of the authors, joy is expressed mostly in the context of weather favourable for the harvest, while grief is realised in the context of rising prices and natural disasters., Dmitrij Timofejev., and Obsahuje bibliografické odkazy
Emotions and passions, especially the negative ones, played a major role in Seneca’s writing: the anger became the object of his philosophical treatise De ira and prevailed also in his tragedies. Seneca was probably the most important model for jesuit playwrigts which implies the question how these authors worked with his conception of anger and rage as destructive emotions, in which measure they took it over or changed it. Jesuit playwrights are represented here by Karel Kolčava whose plays are the only ones published as collected works during his life. In addition, there are (also published) Kolčava’s didactic letters, which gives us the opportunity to compare his theoretical view of anger with the Seneca’s one in the first part of the article. The realization of these conceptions is then observed on a few examples taken from the respective plays of both authors. Finally a special attention is paid to female characters in rage who are so important in Seneca’s tragedies and who can be found in Kolčava’s plays although women were not welcome on the jesuit stage even as characters., Eva Pauerová., and Obsahuje bibliografické odkazy
Vztah emocí a hudby je aktuálním tématem hudební psychologie a důležitý přístup zde představuje zkoumání tělesně prožívaných reakcí, jako jsou mrazení (chills), slzení, bušení srdce apod. Dotazníkové šetření vycházející metodologicky ze dvou zahraničních studií (Sloboda, 1991; Schönberger, 2006) z části potvrdilo jejich výsledky, v některých zjištěních se však s nimi rozchází. Častější prožívání tělesných reakcí při hudbě u žen, které zjistily předchozí studie, tento výzkum potvrzuje pouze u respondentů starších třiceti let a poukazuje na interakci s věkem. Dále bylo zjištěno častější prožívání těchto reakcí u profesionálních hudebníků než u amatérů a nehudebníků. Souhlasně s předchozími výzkumy se husí kůže a pocity mrazení ukazují jako nejčastější reakce. Diskutovány jsou vztahy mezi jednotlivými typy reakcí, příčiny vzniku pocitů mrazení a možné souvislosti s osobnostními faktory. and The relationship between emotion and music is an up-to-date topic of psychology of music. Studying physicaly experienced responses such as chills, tears and racing heart represents an important approach. A questionaire survey methodologicaly based on two foreign studies (Sloboda, 1991; Schönberger, 2006) partly confirmed their results but disagrees with them in some findings. More frequent physical responses when listening to music in women, which was reported by previous studies, was confirmed only for respondents older that 30 in this survey and an interaction with age was found. Further, more frequent physical responses in professional musicans than in amateur musicans and non-musicans were found. In accordance with previous studies, goose-pimples and chills appeared to be the two most frequent responses. Relations between particular types of responses are discussed, as well as sources of experiencing chills and possible relationships with personality factors.