When spectators see a baroque play staged with use of period means of expression, they often appreciate fine form, but lack emotions. Dealing with Jesuit school plays from the first half of the 18th century, whose theme is true friendship, this article illustrates that baroque drama actually combines stylized form and strong emotions. It was also the main aim of baroque theatre: to transfer the emotions through this form., Magdaléna Jacková., 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
This paper considers various approaches to love and morality in Protestant society in the late 18th century, as illustrated in Czechlanguage religious and educational literature (Korunka, aneb Wjnek Pannenský wssechněm pobožným a sslechetným Pannám toho Gazyku užjwagjcým, Litomyšl 1784; Kazatel Domovnj, Brno 1783). Our focus is on divine love, man’s love of God, marital love, parental and filial love, and definitions of immorality. We also examine some contemporary reactions to religious and educational writings in the memoirs of one of their readers, the rural preacher and Bible scholar Tomáš Juren (1750-1829), as well as the differences between the Christian confessions in their attitude to the emotions., Sixtus Bolom-Kotari., and Obsahuje bibliografické odkazy
Upon presenting perceptual theories of emotions and their main weaknesses we concentrate on Prinz’s account that characterizes emotions as valent embodied appraisals. Granting his assumptions we propose a counterargument against his proposal, based on Darwin’s work on bodily expression of emotions. We show that it is possible for non-emotional mental states to be brought about by perceptions of bodily changes and that these perceptions satisfy both the conditions of valence and externally directed semantics that Prinz believes are unique to emotions. and Juraj Hvorecký
In this article, the author presents the starting points for a discussion about cognitive phenomenality and, especially, the introspective arguments in its favor. These are based on the argument of abstracting away, in which we neglect its non-phenomenal parts from the selected cognitive state and the result of the operation is a pure phenomenal sense, associated with the cognitive state. The author describes the process of abstracting away with several examples. Immediately following other examples from the philosophy of emotions, he shows that in spite of its intuitive power, the method of abstracting away does not come with substantiated conclusions. This casts doubt on the strength of the introspective arguments that are raised in favor of cognitive phenomenology, especially in the context of a more general thesis about the unity of mind. Finally, the author comes to the conclusion that cognitive phenomenology needs other than introspective methods to defend itself. and V tejto stati autor predstavuje východiská diskusie o kognitívnej fenomenalite a najmä introspektívne argumenty v jej prospech. Tie sa opierajú o argument odmýšľania, keď od vybraného kognitívneho stavu abstrahujeme jeho nefenomenálne časti a výsledkom operácie je čistý fenomenálny pocit, spojený s kognitívnym stavom. Proces odmýšľania autor popisuje na niekoľkých príkladoch. Vzápätí na iných príkladoch z filozofie emócií ukazuje, že napriek jej intuitívnej sile neprichádza metóda odmýšľania so zdôvodnenými závermi. To spochybňuje silu introspektívnych argumentov vznášaných v prospech kognitívnej fenomenológie, najmä v súvislosti s všeobecnejšou tézou o jednote mysli. Napokon autor v tejto stati dospieva k záveru, že kognitívna fenomenológia potrebuje na svoju obhajobu iné než introspektívne metódy.
The article delimits emotionality and presents a brief survey of research of emotional interjections. The methodology of the research (the issues of classification of the semantic field of emotionality, semantics of interjections, selection of the analysed texts) is outlined. The core of the paper consists in the characteristics of the five basic types of emotions, described on the basis of the material of interjections: (1) psychical states, e.g. pleasure-displeasure, joy, sadness, relief, surprise etc., (2) egoistic emotions (e.g. fear), (3) altruistic emotions (e.g. liking-antipathy, mistrust, admiration, wrath etc.), (4) esthetical emotions (beauty, disgust), (5) ethical emotions (e.g. pity). The sixth part of the article investigates the displays and consequences of emotions (for example, laughing and crying are expressed by onomatopoeic interjections. The general conclusions of the paper are represented by the findings that emotional interjections often have no inherent meaning, but these interjections are usually polysemic (as one interjection expresses more emotions, e.g. ach, bože), and that some emotions are expressed by a number of synonymous interjections (e.g. ''joy'' jupí, juchú, ach, joj, jé, páni, bože etc.).
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
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