The study deals with the dating and interpretation of the Latin text known under the title Ordo ostendendarum reliquiarum Crumlovii. The text is a detailed instruction of Corpus Christi processions and the subsequent exhibition and veneration of holy relics in the double monastery of the Minorites and the Poor Clares in Český Krumlov. According to the codicological analyses by Michal Dragoun (see Appendix II), the Ordo comes from the end of 1360s. The text is a rare monument also in terms of philology, because it contains the prescribed proclamations and responses of the faithful in both local languages, Czech and German. The study further deals with the displayed relics of the saints and their reliquaries. The hymns and songs in the course of the ceremony were determined by Hana Vlhová-Wörner., František Šmahel; komentáři v přílohách přispěli Michal Dragoun a Hana Vlhová-Wörner., Studie obsahuje 4 přílohy, and Obsahuje literaturu a odkazy pod čarou
The work tackles the question of wheter, and in what sense, Patočka's phenomenology is first philosophy and strict science. It does this by considering the problem ot the relationship of phenomenology, as a doctrine about appearing, to epistomology and to ontology. After an analysis of the conceptation of phenomenology which Patočka works with his dissertation and habilitation on the natural world, the study moves on to Patočka's late thinking, especially to the conception of an "asubjective phenomenology". The interpretation distinguishes various phenomenological approaches which are intertwined in the project of asubjective phenomenology, and its points to their weak points. Finally it identifies an acceptable conception of phenomenology in that which is presented in Patočka's lecture cycle Tělo, společenství, svět (Body, Community, Language, World). and Martin Ritter.
It is known that Miroslav Tyrš engaged intensively with philosophy, aesthetics and the history of creative art, even if his participation in the emergence of the sport and gymnastics organisation Sokol is more striking. In view of the fact that Tyrš’s work is an interesting symbiosis or eclecticism from several philosophical and aesthetic streams rather than a tight synthesis, I have attempted to point to one overlooked aspect of Tyrš’s work by stressing his affinity to the Czech aesthetic Herbartian tradition. Tyrš was a direct pupil of the eminent systematic Herbartian aesthetician Robert Zimmermann, and we can trace the influence of Zimmermann’s thought in Tyrš’s work, above all in the articles “Gymnastics from the Aesthetic Point of View” and “On the Laws of Composition in Creative Art”. Tyrš attempted to formulate the principles which every aesthetic creative aim should conform to, and he endeavoured to specificy the formal laws of compositional-construction in creative work, founded on empirical research. I treat it as demonstrable that this endeavour puts Tyrš in the tradition of concrete formalism, which is most prominently represented in Czech culture by Otakar Hostinský., Miloš Matúšek., and Obsahuje poznámky a bibliografii