The article lays out Jonathan Israel’s central ideas on the European Enlightenment, as they have been developed in his Radical Enlightenment (2001), Enlightenment Contested (2006) and A Revolution of the Mind (2009). I explain his ‘controversialist method’ of intellectual history and point out the advantages and faults of this approach. Israel’s model of the heterogeneous Enlightenment is shown as a response to A. MacIntyre’s postmodern criticism, and to the older models of a ‘single Enlightenment’, as presented by P. Gay, or older models of multiple enlightenments, as presented by J. G. Pocock. However, Israel’s heterogeneous Enlightenment recognizes just one progenitor of the positive ‘modern values’, which is identified with the Radical wing. The article reviews Israel’ s narrative of the development and spread of the Radical Enlightenment in Europe and the struggles with the Enlightenment mainstream and within the Enlightenment mainstream. However, I also show some faults in Israel’s argument, mainly his view of the ‘secular morality’, which should have been the outcome of the Radical Enlightenment’s campaign. In conclusion, I point at the inconsistency of Israel’s reconstruction of the Enlightenment morals and the differences between his view and J. Schneewind’s interpretation., Ivo Cerman., and Obsahuje bibliografické odkazy
Despite the state borders, and the different socioeconomical and cultural contexts, productions of Italian opera in Prague and Dresden become considerably interconnected due the activity of the impresario Giuseppe Bustelli. During his directorship (1764-1777 in Prague, 1765-1777 in Dresden) and even in the next decade, more than 50% of the repertoire was shared. Furthermore, some of the artists performed in both cities, and the same or similar adaptations of operas were used. The main difference in repertoire consisted in opera seria productions in Prague until 1777, whereas in Dresden only opera buffa was staged since 1765. Analyses of selected works reveal some of both similar and different performing strategies and their aesthetical, practical as well as political connections., Marc Niubo., and Obsahuje bibliografické odkazy