When spectators see a baroque play staged with use of period means of expression, they often appreciate fine form, but lack emotions. Dealing with Jesuit school plays from the first half of the 18th century, whose theme is true friendship, this article illustrates that baroque drama actually combines stylized form and strong emotions. It was also the main aim of baroque theatre: to transfer the emotions through this form., Magdaléna Jacková., and Obsahuje bibliografické odkazy
In contrary to general interpretations of opera buffa, the presence and importance of arias and ensembles based primarily on emotions (and not only action) are crucial for the genre’s dramaturgy as well as for its historical development. The presence of lyrical arias in opera buffa has its origins in the traditional comic dramaturgy (one or more couples of serious lovers), the number, form and functions of such arias, however, changed considerably during the 18th century. Not only the use of Tuscan Italian, but also adopting new music features of opera seria for lyrical arias of noble lovers (in 30ties) led to the rapid dissemination of the genre. Similarly, broadening of the typology of characters and its emotions in the works of Goldoni and his composers, mostly the including of the sentimental plots and its new kind of heroine, supported the popularity of opera buffa and its transformation to the leading operatic genre in the second half of 18th century., Marc Niubo., and Obsahuje bibliografické odkazy
Článek přináší současné pohledy na koncept emoční komplexity. Cílem je představit tento pojem a jeho aplikační potenciál s důrazem na kognitivní souvislosti. V důsledku rozporů v definicích emoční komplexity (a emocí obecně) jsou prezentovány následující aspekty emoční komplexity: 1) dialektičnost, 2) relativní nezávislost mezi prožívanými emocemi, 3) emoční granularita, 4) úroveň emočního uvědomování. Je také diskutován vztah mezi emoční a kognitivní komplexitou. Kromě toho jsou uvedeny nejpoužívanější metodologické postupy spolu se svými nedostatky - deskripce minulé zkušenosti, způsoby zachycování aktuálního emočního prožívání, monitorování vlastních emocí a narativní přístupy. Článek se nakonec věnuje vývoji emoční komplexity a příbuzným psychologickým konstruktům (např. regulaci emocí) a na příkladech z klinické populace poukazuje na důležitost emoční komplexity u mnohých psychických poruch a na užitečnost tohoto konceptu v terapeutické praxi., The paper brings together current views on emotional complexity. Its aim is to introduce this term and its potential application with emphasis on cognitive aspects. Due to relatively high inconsistency in definitions of emotional complexity (and emotion in general), the following aspects of emotional complexity are presented: 1) dialecticism, 2) independence between experienced emotions, 3) emotional granularity, 4) level of emotional awareness. The relationship between emotional and cognitive complexity is discussed. Moreover, the methodologies employed most frequently - description of past experience, experience sampling measures, emotion self-monitoring, and narrative approaches - are debated with respect to their limitations.Lastly, the authors address the development of emotional complexity and related psychological constructs (e.g. emotion regulation). Examples from clinical populations are provided to illustrate an importance of emotional complexity in various psychological disorders and the usefulness of the concept in psychotherapy., Kristína Czekóová, Zuzana Pokorná, Tomáš Urbánek., and Obsahuje bibliografii a bibliografické odkazy
This paper considers various approaches to love and morality in Protestant society in the late 18th century, as illustrated in Czechlanguage religious and educational literature (Korunka, aneb Wjnek Pannenský wssechněm pobožným a sslechetným Pannám toho Gazyku užjwagjcým, Litomyšl 1784; Kazatel Domovnj, Brno 1783). Our focus is on divine love, man’s love of God, marital love, parental and filial love, and definitions of immorality. We also examine some contemporary reactions to religious and educational writings in the memoirs of one of their readers, the rural preacher and Bible scholar Tomáš Juren (1750-1829), as well as the differences between the Christian confessions in their attitude to the emotions., Sixtus Bolom-Kotari., and Obsahuje bibliografické odkazy
In this article, the author presents the starting points for a discussion about cognitive phenomenality and, especially, the introspective arguments in its favor. These are based on the argument of abstracting away, in which we neglect its non-phenomenal parts from the selected cognitive state and the result of the operation is a pure phenomenal sense, associated with the cognitive state. The author describes the process of abstracting away with several examples. Immediately following other examples from the philosophy of emotions, he shows that in spite of its intuitive power, the method of abstracting away does not come with substantiated conclusions. This casts doubt on the strength of the introspective arguments that are raised in favor of cognitive phenomenology, especially in the context of a more general thesis about the unity of mind. Finally, the author comes to the conclusion that cognitive phenomenology needs other than introspective methods to defend itself. and V tejto stati autor predstavuje východiská diskusie o kognitívnej fenomenalite a najmä introspektívne argumenty v jej prospech. Tie sa opierajú o argument odmýšľania, keď od vybraného kognitívneho stavu abstrahujeme jeho nefenomenálne časti a výsledkom operácie je čistý fenomenálny pocit, spojený s kognitívnym stavom. Proces odmýšľania autor popisuje na niekoľkých príkladoch. Vzápätí na iných príkladoch z filozofie emócií ukazuje, že napriek jej intuitívnej sile neprichádza metóda odmýšľania so zdôvodnenými závermi. To spochybňuje silu introspektívnych argumentov vznášaných v prospech kognitívnej fenomenológie, najmä v súvislosti s všeobecnejšou tézou o jednote mysli. Napokon autor v tejto stati dospieva k záveru, že kognitívna fenomenológia potrebuje na svoju obhajobu iné než introspektívne metódy.
a1_Předložená studie srovnává emocionalitu u souboru českých a slovenských vysokoškolských studentů: zaměřuje se na četnost prožívání vybraných emocí a na preferovaný způsob exprese těchto emocí. Primárním cílem šetření bylo ověřit stereotyp, zda jsou Slováci „emočnější“ než Češi a zjistit, zda stereotyp nevystihuje především odlišnou emoční expresivitu. Autoři předpokládali, že se soubory českých a slovenských vysokoškoláků nebudou lišit z hlediska četnosti prožívaných emocí, ale že se budou významně lišit z hlediska regulačních strategií, a to ve směru k otevřenějšímu projevu u slovenského souboru a k umírněnému projevu emocí u českého souboru. Čeští (N = 107) a slovenští (N = 144) vysokoškolští studenti zaznamenali do inventáře (seznam emocí získaný v předešlých šetřeních) emoční valenci, četnost emočního prožitku a preferovanou expresivní regulaci emoce. Získaná frekvenční data byla zpracována v podobě průměrných četností odpovědí pro jednotlivé položky. Pro porovnávání českého a slovenského souboru z hlediska četností prožívaných emocí autoři použili t-test pro dva nezávislé výběry a pro porovnání regulačních strategií chí-kvadrát test pro srovnání pozorovaných a očekávaných hodnot. Při korelaci jednotlivých emocí autoři použili neparametrický korelační koeficient Spearmanovo rho a emoce byly korelovány z hlediska četnosti jejich prožitku. Výsledky ukázaly, že emoční valence a konotace jsou u obou souborů podobné. Konotace se významněji liší u emoce hrdosti, která v českém souboru koreluje silněji s negativními emocemi než s pozitivními. Studenti ve slovenském souboru prožívají emoce mírně častěji než čeští respondenti., a2_Soubory se významně liší především z hlediska regulace emocí: slovenští respondenti projevují emoce signifikantně otevřeněji (projevím přesně to, co cítím) oproti českému souboru, který častěji uvádí mírně potlačený projev emocí (projevím méně, než cítím). Omezeními studie jsou skutečnosti, že soubory nebyly reprezentativní a že se na tvorbě původního seznamu srovnávaných emocí nepodíleli slovenští studenti., b1_Objectives. The primary objective of the study was to verify the stereotype that Slovaks are “more emotional” than Czechs. In the present paper authors compared the emotionality of Czech and Slovak undergraduates: study focused on the frequency of experienced emotions and on the preferred strategy of emotional expression. Authors assumed that the samples of Czech and Slovak undergraduates would not differ in terms of frequency of emotions but that they would differ in terms of their regulatory strategies. Sample and settings. The Czech (N = 107) and Slovak (N = 144) undergraduates recorded emotional valence, frequency of their emotional experience and their preferred expression of the emotion into a specific questionnaire (an inventory of 80 emotions obtained in previous investigations). Statistical analysis. The collected data was processed based on the average frequency of responses for each emotion. For the comparison of Czech and Slovak frequency of experienced emotion, authors used the t-test for two independent samples and to compare the expressive strategies the chi-square test for comparing the observed and expected values. For the correlation of emotions, authors used the nonparametric Spearman rho correlation coefficient., b2_Results. The results have shown that the emotional connotations are predominantly similar in both samples; however analyses found different connotations for the emotion of pride, which correlated more strongly with negative emotions rather than positive in the Czech sample. Students in the Slovak sample experienced emotions slightly more often than Czech respondents. The samples differ significantly in terms of emotion regulation: the Slovak undergraduates express emotions more openly as compared to Czech students who often deamplify their emotional expressions. Study limitations. The limitations of this study are the facts that the samples were not representative and that the Slovak undergraduates were not involved in the construction of the used inventory of emotions., and Iva Poláčková Šolcová, Peter Tavel, Peter Kolarčik.
The article delimits emotionality and presents a brief survey of research of emotional interjections. The methodology of the research (the issues of classification of the semantic field of emotionality, semantics of interjections, selection of the analysed texts) is outlined. The core of the paper consists in the characteristics of the five basic types of emotions, described on the basis of the material of interjections: (1) psychical states, e.g. pleasure-displeasure, joy, sadness, relief, surprise etc., (2) egoistic emotions (e.g. fear), (3) altruistic emotions (e.g. liking-antipathy, mistrust, admiration, wrath etc.), (4) esthetical emotions (beauty, disgust), (5) ethical emotions (e.g. pity). The sixth part of the article investigates the displays and consequences of emotions (for example, laughing and crying are expressed by onomatopoeic interjections. The general conclusions of the paper are represented by the findings that emotional interjections often have no inherent meaning, but these interjections are usually polysemic (as one interjection expresses more emotions, e.g. ach, bože), and that some emotions are expressed by a number of synonymous interjections (e.g. ''joy'' jupí, juchú, ach, joj, jé, páni, bože etc.).
a1_The pastoral opera L’Amor non ha legge (premiered in Jaroměřice, 1728) was composed by the vicekapellmeister Antonio Caldara, based on libretto by Domenico Bonlini. It is the first attested dramatic musical composition written at the direct order of Count Johann Adam Questenberg (1678-1752), a connoisseur of music, skilled lute player, an occasional composer, and - above all - a passionate promoter of the Italian opera seria. The present article concerns with the generic examination of the plot of opera seria, with regard to its superior genre, favola pastorale. In L’Amor non ha legge, living in harmony with the Nature gains general appraisal, the Idyllic merry-making in the countryside being sharply contrasted with life in the city and at the (imperial) court. As a result, the main character, young aristocrat, having become enamoured with a shepherdess, leaves for the country where he is allowed to repose and forget the hustle and bustle of the city, as well as its corruptness. These characteristics seem to be fitting the personality of Count Questenberg himself, who sought a refuge from the city to his castle of Jaroměřice, set in the rural region of Southern Moravia. As Bonlini states in his introductory argomento, the aim of the opera is, primarily, to celebrate simple, undemanding Love. Not coincidentally, both meanings of the word ’Amor’ are made use of in the libretto; the abstract ’Love’, as well as the personified name of the God of Love - Amor. Love verses and lovely affections are abundant in the language and the plot of the opera; what Bonlini is most concerned with, especially in the arias, is to depict as many aspects of Love, hence the affects, as possible: constant love, love suffering, requited love, noble love, miserable love, vain love, martyred love, jealous love, despising love, even paternal love., a2_The message of the opera L’Amor non ha legge, therefore, is the imperative of symbiosis between Man and the Laws of Nature; the Law of Love, superior even to the obstacles of social inequality, should - according to Bonlini - always be in accordance with the Reason. Favorizing the pastoral environment over the court and city, in particular, can be read as a laud of the castle of Jaroměřice, which the Count was justly proud of, and which he identified with considerably., Jana Perutková., and Obsahuje bibliografické odkazy