The submitted article reconstructs the interactions between Richard
Nikolaus Coudenhove-Kalergi as the originator of the Pan-Europe idea, and the Prague newspaper Prager Presse, during the time from August 1921 until autumn 1926. The account notes and comments not only upon Coudenhove-Kalergi writings published in the paper, but also the reviews of his books and reports on his public appearances. Thus the article traces, how the philosopher, who comes up with a particular interpretation of the situation in Europe after the World War I, becomes a leader of the international movement, a politician and a diplomat striving to gain support for a specific model of European organisation. The final section of this article deals with how the Czech translation of Coudenhove’s book Pan-Europa originated and the circumstances it was accompanied by. and Článek zahrnuje poznámkový aparát pod čarou
When the nationalities of the multiethnic Austrian Empire began to demand national self-determination "on their own territory“, they
started the struggle for the national "Besitzstand“. The great nations like the Magyars, Czechs, Poles and Croats claimed for their historical "Staatsrecht“. The Austrian governments answered with the concept of national autonomy in national homogeneous districts on the basis of the existing historical "Kreise“. Palacky on the Krensierer Reichstag, Stadion in the Reichsverfassung of 1849, Ernest von Körber in the context of his deliberations to solve the "Bohemian question“ presented concepts for realization. When the
governments of Stürgkh, Clam Martinic and Seidler/Hussarek declarated the "Kreisordnung“ for Bohemia, there was no chance for acceptance, because the question of the settlement of a Czechoslovak State was decided., Článek zahrnuje poznámkový aparát pod čarou, and V křestním jméně pod názvem je chybně napsáno Helmt místo správného Helmut
This article examines the correspondence between the Austrian author Hermann Bahr and the Czech dramaturge, author and politician Jaroslav Kvapil. It focuses on the years during World War I and the increasingly divergent interests of these two figures. While Bahr is concerned with renewing Austria, Kvapil is engaged in nation building in the newly forming Czechoslovakia. and Článek zahrnuje odkazy pod čarou
Na základě archivního materiálu, smlouvy Andrey Lanzaniho s hrabětem Kounicem o provedení maleb s přiloženým náčrtkem s rozměry a tvary malířských polí rekonstruuje předložený text v první části průběh malířských prací na zámku ve Slavkově u Brna, jejich dataci a pohyb malíře mezi Slavkovem a Vídní. Hlavní pozornost se však soustřeďuje na ikonografickou interpretaci celého cyklu Lanzaniho nástěnných maleb. Text se staví proti dosavadní interpretaci maleb Mariny Dell 'Omo jako cyklu s hlubšími významy morálními a mravně naučnými, odvozenými z Boěthiova spisu De consolatione philosophiae. Naopak nově interpretuje malby v souvislosti se svatbou hraběte Kounice a se sochařskou výzdobou zahrad od Giovanniho Giulianiho a nedochovanou malířskou výzdobou zahradního pavilonu jako cyklu maleb oslavujících témata milostná: alegorii ženské krásy, ukazující moc lásky, společně se Štěstěnou v lásce úzce spojené s chodem přírody a cykličností, které se objevují v severní polovině křídla zámku. Podařilo se rovněž nově zpřístupnit archiválii, která dokládá jako literární vzor použitý malířem pro výzdobu zahradního „Casina“ báseň Ercola Udineho Avenimenti amorosi di Psiche. Tento Lanzaniho rukopis přináší podrobný popis námětů maleb zahradního pavilonu a nově tak ukazuje na existenci jednotné ideové koncepce malířské a sochařské výzdoby zahrad slavkovského zámku s tématem Amora a Psyche. Z tohoto důvodu vnímáme slavkovský zámek a jeho výzdobu z přelomu 17. a 18. století jako moravské venkovské sídlo hraběte Kounice spíše než jako reprezentativní rezidenci. Tato stavba naplňovala svým výzdobným programem tradiční teorii, vyzdvihující decorum pro vztah funkce a výzdoby stavby podle starších traktátů, připouštějící pro vily a letní sídla „tutte le seduzioni della leggiadria e del diletto“. Článek rovněž přináší dvě objevené kresby z Biblioteca Ambrosiana z Milána, které sloužily jako přípravné kresby ke slavkovským malbám. and Based on archival material - the contract between Andrea Lanzani and Count Kounic for the execution of a series of paintings and the appended sketches with the dimensions and shapes of the areas to be painted on - the first part of this text reconstructs the course of the painting work done at Slavkov Castle, dates it and describes the painter’s travels between Slavkov and Vienna. Attention centres mostly, however, on the monographic interpretation of the entire cycle of Lanzani’s murals. The text contravenes previous interpretations of the Marina Dell’Omo paintings as a cycle of profound moral and didactic significance derived from Boethius’ De Consolatione Philosophiae. In contrast, it reinterprets the paintings in the context of the sculptural ornamentation of the gardens by Giovanni Giulani and the painted decorations (which have not been preserved) of the garden pavilion as a cycle of paintings celebrating themes of love: an allegory of female beauty, showcasing the power of love along with Fortuna in love bound tightly with the course of nature and its cyclical character, which is to be found in the northern half of the castle wing. At the same time, archival material has newly been made accessible which documents that the literary source used by the painter for the decoration of the garden’s ‘casino’ was the poem ‘Avenimenti amorosi di Psiche’ by Ercole Udine. Lanzani’s manuscript provides a detailed description of the subject matter of the paintings for the garden pavilion and thus points to the existence of a unified conception connecting the paintings and sculptures adorning the gardens of Slavkov Castle on the theme of Amor and Psyche. For this reason, we perceive Slavkov Castle and its decorations from the turn of the 17th and 18th centuries as the Moravian country residence of Count Kounic rather than as his representative palace. This building, with its ornamental programme, was a fulfilment of traditional theory, highlighting decorum in the relationship between the structure’s function and its ornamentation according to older treatises, allowing ‘tutte le seduzioni della leggiadria e del diletto’ for villas and summer residences. In addition, the article furnishes two drawings discovered at the Biblioteca Ambrosiana in Milan which served as preparatory sketches for the Slavkov paintings.
This review essay discusses How to Blow Up a Pipeline and Corona, Climate, Chronic Emergency by Andreas Malm. The texts are read not as academic research (presupposing methodological neutrality and objectivity of the author), but as an attempt to use the language and arguments of social sciences to revive strategic debates inside the climate movement, with the author openly disclosing his political positions and trying to convince others. Malm argues that the climate movement is now paralyzed by two myths: social-democratic temporality and non-violence. Both are based on flawed logic that advocacy and reformism can convince capitalism – as the primary cause of climate change – to commit suicide before it is too late, and on false historical analogies declaring that pacifism – not only towards people but towards private property as well – is strategically advantageous. But, he argues, since the climate crisis will only get worse and it is the status quo that creates and deepens it there is no time to wait. The climate movement should escalate conflict and directly attack capitalist economic system, not worrying too much about public support. Each book is thus an attempt to imagine an alternative to the movement’s current strategy: climate sabotage in the case of How to Blow Up a Pipeline and ecological leninism in Corona, Climate, Chronic Emergency.