Karl Jaspers proslul v meziválečné době jako zakladatel nové filosofie existence, která však byla v kombinaci s jeho psychologickým školením, zaostřením na ,,mezní situace“ lidského prožívání a kritikou filosofických systémů často dezinterpretována jako forma subjektivismu či iracionalismu. Předložená studie se pokouší vystihnout jádro Jaspersova využití filosofie existence pro novou rekonstrukci lidské racionality, univerzálních charakteristik lidství. Jejich pochopení mělo podle Jasperse vzdorovat pokořování lidské důstojnosti v moderních totalitách a v globálním ekonomicko-technologickém provozu, pro něž hodnoty lidství, jak je definuje Jaspersova filosofie, přestaly být určujícími měřítky. Studie ukazuje Jaspersovo ukotvení existence ve vztahu k transcendenci a individuality v komunikaci s druhým a jeho kritiku monistického myšlení, které pluralitu ve smyslu jeho filosofické koncepce neumožňuje., Karl Jaspers received much attention in the interwar period as the founder of a new philosophy of existence that, however, was – in tandem with his psychological training, focus on “borderline situations” of human experience, and critique of philosophical systems – often misinterpreted as a form of subjectivism or irrationalism. The study presented here strives to depict the substance of Jaspers’ use of the philosophy of existence for a new reconstruction of human rationality, of the universal characteristics of humanity. Understanding these characteristics shall, in his estimation, help us to resist the degradation of human dignity in modern totalitarianism and in the global economic-technological system, in which the values of humanity, as defined by Jaspers’ philosophy, have ceased being decisive criteria. The study presents Jaspers’ anchoring of existence in the relationship to transcendence and of individuality in the communication with others, as well as his critique of monistic thinking, which in his philosophical conception does not allow for plurality., and Karl Jaspers wurde in der Zwischenkriegszeit als Begründer der Existenzphilosophie bekannt, die jedoch im Zusammenhang mit der psychologischen Ausbildung Jaspers’, der Konzentration auf „Grenzsituationen“ des menschlichen Erlebens und der Kritik philosophischer Systeme oft als eine Form von Subjektivismus bzw. Irrationalismus fehlinterpretiert wurde. In der vorliegenden Studie wird der Versuch unternommen, den Kern von Jaspers’ Nutzung der Existenzphilosophie für eine Rekonstruktion der menschlichen Rationalität und der universalen Merkmale des Menschseins zu erfassen. Deren Erkenntnis sollte laut Jaspers der Demütigung der Menschenwürde in modernen totalitären Regimen und im globalen ökonomisch-technologischen Betrieb widerstehen, in denen die in Jaspers’ Philosophie definierten Werte des Menschseins kein Maßstab mehr sind. In der Studie wird Jaspers’ Verankerung der Existenz in der Beziehung zur Transzendenz und zur Individualität in der Kommunikation mit anderen und seine Kritik am monistischen Denken aufgezeigt, das keine Pluralität im Sinne seines philosophischen Konzepts ermöglicht.
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
The aim of this study is to show how the emotions - in particular the so-called "passions of the soul" - were understood and interpreted in the medical thinking of the late Enlightenment. We focus chiefly on three innovations in 18th century medicine: the "discovery" of the neuro-cerebral system (the ’birth’ of neurology); the search for the "seat" of illnesses in particular organs (the "birth" of pathological anatomy); and the gradual separation of the body and the soul as objects of medical enquiry (the "birth of psychiatry). We consider whether, and to what extent, these innovations contributed to the breakdown of the "old" diagnostic paradigms of the "passions of the soul", or whether in fact they helped to maintain them. We also discuss to what extent the consideration of these passions fostered a new approach to the relationship between the body and the soul in Enlightenment medicine. Some of the phenomena studied are illustrated by specific examples of (erotic) love and melancholy. and Obsahuje bibliografické odkazy
This study examines how love was represented in late 18th century Czech fiction, as exemplified in the works of Antonín Josef Zíma and Prokop Šedivý. First we place Czech writing in its historical context with reference to contemporary French literature. We then focus on the formal features of works on love, discuss the influence of Sentimentalism on Czech culture, and finally consider the relationship between love and morality. Our study concludes that there is no evidence of originality in attitudes to love in late 18th century Czech fiction; instead, writers looked to foreign literatures for their themes. The resonance they produced in the Czech context, however, was different from that in countries with a richer literary tradition., Tomáš Dufka., and Obsahuje bibliografické odkazy
Liebesleid und Liebeslust: Zwei vešrbundene Gefäße. Ein Probevergleich ausgewählter deutscher und tschechischer Liedtexte aus der Zeit um das Jahr 1460.