This article discusses women's political representation in Central and Eastern Europe in the fifteen years after the fall of the Berlin Wall and the adoption of liberal democratic political systems in the region. It highlights the deep-seated gender stereotypes that define women primarily as wives and mothers, with electoral politics seen as an appropriate activity for men, but less so for women. The article explores the ways in which conservative attitudes on gender roles hinders the supply of, and demand for, women in the politics of Central and Eastern Europe. It also discusses the manner in which the internalisation of traditional gender norms affects women's parliamentary behaviour, as few champion women's rights in the legislatures of the region. The article also finds that links between women MPs and women's organisations are weak and fragmented, making coalition-building around agendas for women's rights problematic.
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.
This study deals with the relationship of Prince Joseph Adam von Schwarzenberg to music and theatre and with the way in which his theatrical preferences revealed themselves in the repertoire of his private castle theatre in Cesky Krumlov from 1766 until 1768. Through a careful study of the extant sources (correspondence, libretti, scores and parts, accounting books etc.), the author has managed to specify the reasons for the precipitous renovation of the castle theatre in late 1765 and early 66 and to determine what specific dramatic works were performed there. Among other things, she has succeeded in compiling the entire list of performances planned for the fourteen-day wedding celebration in the summer of 1768. The author furthermore focuses on information about the musicians who were then in the princes services and also about commissioned musical instruments and musical scores and parts., Helena Kazárová., Obsahuje seznam literatury, and Anglické resumé na s. 45.
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.
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.