The article deals with marriage traditions and customs in a traditional Armenian family (as described in the sources of ethnographers, travelers and missionaries from the end of the 19th century). The accent is placed in particular on wedding rituals. The traditional family can be perceived as one of the cornerstones of Armenian identity, the foundation of ethnic/national contruction and the meas of transmission of collective memory, language, and, of course, the sense of Armenianness itself., Petra Košťálová., and Obsahuje seznam literatury
The paper on Violence in Indian existencial-absurd drama deals with characteristics of Western dramatic genre and its alterations in service of modern Indian authors. The analysis centers around the motive of violence (in contrast to the heritage of Gandhian ethical imperative) which has provoked an ongoing interest of dramatic literature since the Independece. Modern scripts mirror contemporary life in India, misdeeds of postcolonial democratic development, crisis of its political leadership and difficulty of social transformation. As a result, Indian existential-absurd drama unlike its Western counterpart mainly strives to stress down-to-earth dilemma. Focusing on plays of Satish Alekar, B.M. Shah and Adya Rangacharya (each from a different part of subcontinent), the essay pays special attetion to the dramatic work of a leading figure of the absurd theatre in India, Badal Sircar from West Bengal., Šárka Švábová., and Obsahuje seznam literatury
The article deals withthe visit of the last Korean crown prince, Yi Ŭn (Gin Ri), and his Japanese spouse, Masako Ri (Yi Pangja), to Prague in December 1927. It is based on the so-far unknown sources of the Office of the President of the Republic (1927), Czech newspapers (October-December 1927), Korean internet sources and relevant works on Korean history. Their visit to Czechoslovakia was part of their extended visit to several European countries. In spite of its private character and the non-pursuit of diplomatic aims, the couple experienced a high level welcome. They were granted an audience with the Presiden of the Czechoslovak republic, T. G. Masaryk, during which they met the leading representatives of the Czechoslovak government and army (the minister of foreign affairs, E. Beneš, the promienent commanders of the Czechoslovak Legions in Siberia and Vladivostok in 1920). As part of the reception, Yi Ŭn was bestowed with the Order of the White Lion, the highest Czechoslovak award. The article provides a breif overview of Korean history from 1876 onwards and expalins the methods used by the Japanese to make the last Korean prince - the possible Korean emperor - their army officer., Zdenka Klöslová., and Obsahuje bibliografii
Japanese impacts asserted itself in the Czech theatre even before the First World War. The first domestic activities are associated with the expressionist director F. Zavřel, with his English productions of Gilbert and Sullivan operetta The Mikado, whose plot is situated in Japan. Even before that (in 1902) the Neues Deutsches Theatre in Prague hosted set of Japan´s „new wave theatre“. Its presentation of the shinpa performance at the end of the nineties of the 19th century pushed the traditional kabuki theatre to the „old wave theatre“ - kyūha. The star of the group was a leading Japanese actress Kawakami Sada Yakko (1871-1946). One of the most important representative of the Czech interwar avant-garde theatre, Jiří Frejka, produced the play Asagao by Kakashi Yamada in the Modern studio in 1929. This title became part of the meagre „golden treasure“ of the Czech puppet dramaturgy after the war. The indisputable highlight of the possibilities of our acquaintance with authentic Japanese theatre was the first performace of the imperial company gagaku (music) and bugaku (dance) outside Japan, which took place in the Spanish Hall of the Prague Castle on 30th June 1998. It was an official expression of the Japanese emperor´s respect to Vaclav Havel. and Jaromír Kazda, Petr Pavlovský.