Studie Milady Jonášové se zabývá využitím jmenované kantáty italského hudebního skladatele Benedetta Marcella operním impresáriem Antoniem Denziem v pasticciu "Sansone", provedeným v roce 1729 na scéně pražského divadla v paláci hraběte Františka Antonína Sporcka., Milada Jonášová., Rubrika: Studie, and České resumé na s. 51, anglický abstrakt na s. 5.
Studie Marie Škarpové se zabývá literárními prameny a okruhy duchovních písní, které byly inspirací pro repertoár kancionálu "Jesličky, staré a nové písničky", jehož autorem byl přední český barokní básník a duchovní Fridrich Bridelius., This study deals with that portion of the repertoire of the Czech Advent and Christmas songbook Jesličky (Prague, 1658) by Fridrich Bridelius, which newly appeared in Czech hymnography thanks to this song book, and it summarizes the various results of the search for textual sources from other languages for these “new” songs in Jesličky. It points out their ties to contemporary German written hymnography (of both German and Bohemian provenience) and to Latin hymnography, i.e. to contemporary Latin songs. The text is thus not only a contribution towards discovering the ways that Czech hymnographers of the 17th century became familiar with the new, i.e. baroque, poetic language, but also, above all, an attempt to stimulate further hymnological research on baroque hymnographic works in the early modern history of Central Europe and the interconnections and relationships between them., Marie Škarpová., Rubrika: Studie, and České resumé na s. 397, anglický abstrakt na s. 377.
Studie se zabývá rolí Caravaggia v českém diskursu o kubismu. Uvádí diskusi Vincence Kramáře a Karla Teiga z roku 1949. Teige se možná překvapivě odvolává na Caravaggia v koncepci kubistického „tektonického obrazu“: Caravaggiova malba je zaměřena na čistou plasticitu a méně na námět, což je pro avantgardního teoretika důvod dát jej do stejné řady, jakými jsou architecture plate et colorée Juana Grise nebo Picassovy „tektonické obrazy“, v nichž dominuje čistá plasticita hmot. Teige v uvedení Caravaggia jako předchůdce moderního plastického pojetí obrazu měl předchůdce v českém kubistickém malíři Emilu Fillovi (1882–1953), který v letech 1914–1920 v exilu v Holandsku dobře poznal díla starých holandských mistrů a zabýval se pojmem „věcnosti“ v jejich díle. V článku Holandské zátiší (1916), publikovaném v časopise Volné směry (XXII, 1924–1925), v úvodu uvádí jméno Caravaggia, kterého chápe jako zakladatele svébytného žánru zátiší. Na něj navazovali holandští mistři 17. století. Filla zdůrazňuje pojetí věcnosti, které není ani vědeckou dokumentárností, ani čirým objektivismem, ale je výsledkem akce subjektu, je tvořivou akcí malíře. Věcnost znamená pro Fillu vyrovnání objektivních a subjektivních složek malovaného předmětu. V roce 1925 vydal Filla rovněž ve Volných směrech studii Caravaggiovo poslání. Filla opět oceňuje Caravaggiovo plastické pojetí povrchu malby. Na Fillu záhy navázal jeho přítel a sběratel, mecenáš kubismu, historik umění Vincenc Kramář statí Vznik a povaha moderního zátiší. Tvůrčí čin Caravaggiův, uveřejněnou rovněž ve Volných směrech (XXIII, 1924–1925, s. 129–160, 177–179). Stejně jako Filla oceňuje Caravaggiovu autonomní vůli po plasticitě. Když Filla psal úvahy o Jan van Goyenovi, ale i o Caravaggiovi počátkem padesátých let na zámku Peruc, navštěvoval ho tam fotograf Josef Sudek, který na zámku fotografoval. Pozorně naslouchal poučeným malířovým výkladům o kubismu, holandském umění 17. století, ale i o Caravaggiovi. Sudkova fotografická aranžovaná zátiší na počest Caravaggia z roku 1956, vytvořená až po Fillově smrti (1953), lze chápat jako vzpomínky na Peruc a přítele Fillu i na roli Caravaggia ve Fillově teorii. and This study deals with Caravaggio’s role in Czech thought on Cubism. It begins with a discussion between Vincenc Kramář and Karel Teige which took place in 1949. Perhaps surprisingly, Teige refers to Caravaggio in his concept of Cubist ‘tectonic painting’: Caravaggio’s painting aims at pure plasticity and less so at subject matter, which is reason for the avant-garde theoretician to put him in the same category as the architecture plate et colorée of Juan Gris or Picasso’s ‘tectonic paintings’ in which the pure plasticity or sculpturality of matter dominates.
In presenting Caravaggio as a precursor of the modernist sculptural conception of painting, Teige was preceded by the Czech Cubist painter Emil Filla (1882–1953), who acquainted himself well with the works of the old Dutch masters during his exile in Holland in 1914–1920 and dealt with the idea of ‘objectivity’ in their work. In the introduction to ‘Dutch Still Life’ (1916), an article published in the magazine Volné směry (Free Directions) (XXII, 1924–1925), he mentions the name of Caravaggio, whom he takes to be the founder of a peculiar genre of still lifes which hearkened back to the Dutch masters of the 17th century. Filla emphasises the idea of objectivity which is neither a scientific documentary quality nor a pure objectivism, but the result of an action on the part of a subject – the creative act of a painter. For Filla, objectivity means a conciliation between objective and subjective factors in a painted object. In 1925, Filla published, also in Volné směry, a study on Caravaggio’s vocation. Once again, Filla holds Carvaggio’s sculptural conception of the surface of painting in high regard. Filla’s work is followed up by his friend and collector, the patron of Cubism and art historian Vincenc Kramář in his essay ‘The Inception and Character of the Modern Still Life: Caravaggio’s Creative Act’ (Volné směry XXIII, 1924–1925, pp. 129–160, 177–179). When Filla was writing his reflections on Jan van Goyen and on Caravaggio in the early 1950s at Peruc Castle, he was visited by the photographer Josef Sudek. Sudek’s photographically arranged still lifes in honour of Caravaggio of 1956 may be understood as a reminiscence of Peruc and his friend Filla as well as of the role of Caravaggio in Filla’s theory.
The article deals with the regulation of the use of Czech, German and classical languages in the administrative, school and Church spheres as it appears in the decrees published during Joseph II’s reign for the lands of the Bohemian crown. The author attempts to reconstruct the emperor’s vision of the usage of the different languages in the Czech lands, find the reasoning behind it, and identify the methods of this regulation. He also asks whether, in Joseph II’s case, one can speak about a "language policy" as a deliberate strategy to change the language situation in the Czech lands., Dmitrij Timofejev., and Obsahuje bibliografické odkazy
This article deals with what is known as the Passional of Abbot Kunhuta and his association with this manuscript. It presents the life of the Abbot and focuses on selected aspects involving the compilation and usage of the Passional, e.g. the identities of the manuscript client and the addressee, the purpose behind the work and the layout of selected texts and painted decorations. A fresh analysis reveals the considerable influence of Colda of Colditz on the layout of the textual part of the Passional and its decorative scheme.
Egypt is considered to be one of the few countries in which Arab culture flourished among the Jews, in both the popular and the canonical fields. Some of Jews, such as Yacqūb Ṣanūc (James Sanua) (1839-1912), Togo Mizraḥī (1901-1987), and Laylā Murād (1918-1995), rose to prominence. However, on the whole, Jewish involvement was relatively limited in comparison to Iraq, probably because Arabic had low status among Egyptian Jews. A Jew as “a carbon copy of ibn al-balad” was never a desired option for most of the Egyptian-Jewish writers, artists, and intellectuals. Due to the peculiar demographic structure of Egyptian Jewry, the dreams of its members were much more infused with the spirit of Alexandrian cosmopolitanism, which was the product of a limited period and singular history – that of the crumbling Ottoman Empire.
The 18th century sees the triumph of a cultural technique so self-evident to us that we hardly think that it might have a history at all: numbering. This technique assigns a number to an object or a subject - whether a house, a page in a book, a regiment, a tone pitch, a painting, a horse-drawn carriage or a policeman - in order to positively identify this object or subject. The article presents a hitherto nearly undiscovered research field by clarifying some of the basic terminology and draws on examples from all over Europe, focussing on the numbering of - mostly vagrant - people on one side, on spaces such as houses, rooms or even hospital beds on the other side. At the end some of the research questions to be asked about this topic in the future are presented., Anton Tantner ; translated by Brita Pohl., and Obsahuje bibliografické odkazy
This reflection is inspired by a discussion among leading intermedialists organized by UNISC, Brazil, fall 2021. It included contextualization and conceptualization, i.e. setting the current research within the context of the discipline’s development and the synchronic study of culture, proposing new concepts or defending old ones. The key term ‘in-between’ expresses both a trend in art, and in the self-reflecting intermedial methodology. It becomes obvious that intermedial research opens up wide to analyzing issues of social importance. In our exposition, we assess the debated concepts in terms of their analytical and educational potential in literary and cultural studies, and relate the debate to the Czech environment.
The 48-hour "Aladin" forecast model can predict significant meteorological quantities in a middle scale area. Neural networks could try to replace some statistical techniques designed to adapt a global meteorological numerical forecast model for local conditions, described with real data surface observations. They succeed commonly a cut above problem solutions with a predefined testing data set, which provides bearing inputs for a trained model. Time-series predictions of the very complex and dynamic weather system are sophisticated and not any time faithful using simple neural network models entered only some few variables of their own next-time step estimations. Predicted values of a global meteorological forecast might instead enter a neural network locally trained model, for refine it. Differential polynomial neural network is a new neural network type developed by the author; it constructs and substitutes for an unknown general sum partial differential equation of a system description, with a total sum of fractional polynomial derivative terms. This type of non-linear regression is based on trained generalized data relations, decomposed into many partial derivative specifications. The characteristics of composite differential equation solutions of this indirect type of a function description can facilitate a much greater variety of model forms than is allowed using standard soft-computing methods. This adjective derivative model type is supposed to be able to solve much more complex problems than is usual using standard neural network techniques.
In the wake of the national and political conflict in the Middle East, Arab-Jewish culture has undergone a process of marginalization and negligence, as well as a gradual descent into utter oblivion, owing to both Arab-Musim and Hebrew-Jewish-Zionist national and culural systems. Both sides, each with its own form of limited reasoning and particularistic considerations, have refused to accept the legitimacy of Arab-Jewish hybridism highlighting instead "pure" nationally, culturally, and religiously exclusive identities. The article explores the gradual demise of Arab-Jewish cultural hybridism, which, from a historical point of view, coexisted with Arab-Muslim and Arab-Christian hybridisms during some periods. Following a short era in the twentieth century during which Arab-Jewish culture flourished, especially in Egypt and Iraq, we are currently witnessing the demise of that culture. Consequently, Israeli-Arab Jews, or those seen as their offspring, currently have, or will have in the near future, three man cultural options. The first - the revival of active Jewish involvement in Arab canonical culture - is probably impossible. The second option is involvement in popular Israeli culture; this option is characterized by a strong longing for legitimacy - Jewish musicians and singers of Arab origin have accomplished a great deal in this field. The third option is participation in the activities of the canonical Hebrew culture.
The author examines the clientele of the Bratislava booksellers Anton Löwe and Philip Ulrich Mahler in the context of the Hungarian book trade from 1770 to 1800. By analysing the extant correspondence of Michal Institoris Mošovský, a protestant pastor in Bratislava, she was able to partially identify one segment of their customer base - protestant clergymen. For many years these members of the petty intelligentsia purchased from the Bratislava booksellers, in particular imported works by the German pietists and Enlightenment theologians. The author also investigated the social and geographical limits of the distribution process, some of the contact and distribution networks, and the identity of key figures., Petronela Križanová., and Obsahuje bibliografické odkazy
This article deals with naming practices among the Czechs who lived in the first half of 20th century in two Bulgarian villages - Vojvodovo and Belinci. It is based on fieldwork carried out among the people who migrated in 1950 from Bulgaria and settled in several towns and villages in South Moravia (region of Mikulov and Valtice), and their descendants. Naming practices of the Bulgarian Czechs are analyzed in relation to naming strategies of the Bulgarians in the given period, and it is argued that the role that was fulfilled by surnames among the Czechs was fulfilled by first names among the Bulgarians. Relationship between the naming strategies and ideas about kinship and gender are discussed further.
The Croatian society is still coping with traumatizing events (World War II and civil war) and memories of them. The politics of memory, articulated by Tudjman´s strategy of generational and memory reconciliation of the society in the early 1990s, led to the relativization and even promotion of the pro-fascist Ustashe regime, and simultaneously to the marginalization and stigmatization of narratives relating to the role of national liberation struggle within multi-ethnic partisan movement. This also included members of local Czech minority. The study shows how - despite this - the narratives concerning the partisan resistance are still alive in family memory, and they form, through generational transmission, a value alternative to the contemporary nationally-oriented state ideology as well as to the cultural presentation of Czech minority. Family memory works as an autonomous ”intimate space/area” of expatriates in Croatia, which is based on searching for a generational value continuities in the period of post-communist social uncertainties.
The study focuses on Marxist critique of Soviet systems in Czech oppositional thought during the period of so-called normalization (1970s–1980s). This analytical discourse was characterized by efforts to re-establish the critical debates that started as a part of Czechoslovak social-scientific critique in the 1960s and intended to provide a detailed analysis of the nature of the so-called Soviet-type systems (STS, i.e. the political systems of the Warsaw Pact countries). Thus, the STS theory was geopolitically defined and did not deal with analyzes of other communist regimes (for example, Yugoslavia or China). On the example of selected Czechoslovak thinkers (e.g. Pelikán, Mlynář, Strmiska, Hájek) the first part of the study addresses attempts to evaluate Czechoslovak development in the 1960s as a specific case of democratization of the Soviet-type system; in the second part I focus on interpretations of these discussions from the perspective of East-European totalitarian paradigm. Finally, the third part describes how these analyzes contributed to the formulation of possible political changes in the Eastern Bloc.
Jan Blažek, a correspondent of the Czech Ethnological Society, wrote in 1982 a text that described representatives of selected socio-professional groups in the Czech countryside before World War I. He paid attention to beggars, vagrants, wanderers, and barrel organ players. Even though those people usually were on the margin of society, the author identifies peculiar features of each of the mentioned groups and he differentiates between them (he creates a particular characteristics for each of them). He deals with their social and material situation, majority ́s relationship to them (including possible stereotypes and expressions of solidarity), their life conditions (diet, accommodation, clothing etc.) and other features (way of earning livelihood, typical behaviour, or verbal expressions).
The study concerns provisional dwellings of poor village inhabitants, particularly a dwelling of a smallholder from Kostelec na Hané, which was continually inhabited for more than one hundred years. It was partly built under the road in the western part of the residential area. The entrance part of the basement that has for unknown reasons not been used for many years was modified. From the basement there is a system of tunnels under the town. Their use as a permanent dwelling was unique in central Moravia. The appearance of this house - its construction, space division, hearth, etc., is reconstructed in the study.
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The paper focuses on the intellectual aspects of Bohumil Hrabal’s work and also on the concept of worldview. The starting point is Josef Zumr’s article “The Intellectual Inspiration of Bohumil Hrabal” (1989); the approaches of Jan Patočka (1942) and Jan Mukařovský (1947) are also mentioned. In his article Zumr presents Hrabal’s worldview as a mosaic of constitutive and affirmative influences. He formulates a thesis on the post-war continuity of the avant-garde, of which Hrabal’s work is a part. In this paper, Zumr’s interpretation is subjected to partial revision: it is not only about ideological influences, but also about their individual creative transformation. Hrabal has lost the optimism of the avant-garde, his work testifies to the turn of an epoch and combines humour with melancholy and historical scepticism. and Příspěvek se zaměřuje na ideové aspekty díla Bohumila Hrabala a také na pojem světového názoru. Referenčním textem je studie Josefa Zumra „Ideová inspirace Bohumila Hrabala“ (1989). Zmíněny jsou rovněž přístupy Jana Patočky (1942) a Jana Mukařovského (1947). Zumr ve své studii představuje Hrabalův světový názor jako mozaiku konstitutivních a konfirmativních vlivů. Formuluje tezi o poválečné kontinuitě avantgardy, které je Hrabalovo dílo součástí. V tomto příspěvku je Zumrova interpretace podrobena dílčí revizi: nejde jen o ideové vlivy, nýbrž také o jejich individuální tvůrčí transformaci. Hrabal ztratil optimismus avantgard. Jeho dílo je svědectvím o přelomu epoch a spojuje humor s melancholií a dějinnou skepsí.