As servants of their church community, teachers had to spend much of their time on activities that today we might consider secondary - tasks relating to their ancillary duties as cantor, organist or verger. But in rural communities the teachers, alongside the priests, were often the only educated men in the parish and played a not inconsiderable role in the early stages of the national revival movement. The school reforms passed in 18th century Hungary opened the way for teachers - even those in elementary schools - to improve their social standing and prestige, on condition they fulfilled certain expectations as formulated in the basic reform programme, Ratio educationis (1777). Our paper examines the new types of school (normal, preparatory) that offered teachers better chances of social advancement and public acceptance. Drawing on case studies of teachers in several schools, it documents how they managed to meet the demands made on them while still pursuing and realizing their own ambitions., Eva Kowalská., and Obsahuje bibliografické odkazy
The article considers the writings of the sculptor Andreas Schweigl (1735-1812) and the painters Ignaz Chambrez (1758-1842) and Josef Heřman Agapit Gallaš (1756-1840). Around the year 1800, these three Moravian artists recorded their thoughts and insights in a number of texts that variously combined the traditional literary genre of artist’s biography with artistic topography, art criticism and a historical interpretation of early Moravian art and culture. Since all three were in some way connected with the new system of art education, the aim of this study is to examine whether and in what way standardized education affected not only their professional careers, but also their thinking. For all three, that thinking was rooted in a historical interpretation of the early art and culture of Moravia. All three discuss the function of art, artistic ideals, and to some extent the concept of the creative genius, as well as reflecting, directly or indirectly, on the theme of decadence as one stage in the cyclical view of history, in line with the paradigm of the age. The author sets out to compare their texts and in general terms show 1) how artists themselves viewed the importance of art education at the end of the 18 century; 2) how they responded to the changing role of the artist in society; and 3) how they defined artistic ideals and the artist’s social purpose. It is the wider implications of these changes in the artist’s social status, and in the function of art in Moravia and Central Europe generally, that form the primary focus of this study., Pavel Suchánek., and Obsahuje bibliografické odkazy
During the medieval and early modern eras, most of the European urban authorities intended to rule their cities for the «common good», together with respecting the social hierarchy and privileged status. In the 18th century, however, many voices raised for improving the urban policing and reforming old regulations. Most of police officers claimed for equality of every inhabitant with regards to local police ordinances and petty police courts. But even if the urban rules agreed with their arguments for a more efficient policing, they could not prescribe an equality that would overthrow the Ancien Régime’s social order. Brussels in the 18th century is a good example of this contradiction. It was there impossible to reform the policing for the foreigners nor to create a professional night-watch, because of the strong reluctance of the city aldermen to abandon social privileges which were seen as fundamental freedoms of the country., Catherine Denys ; translated by Laura Bennett., and Obsahuje bibliografické odkazy