This study examines the possibilities and limitations of centralizing reforms within the western part of the Habsburg monarchy, as illustrated by the problematic issue of ennoblement in the Czech lands. The administrative reforms of 1749 resulted in the administrative union of both state entities in a single whole of (all) so-called Hereditary Lands. They also led to the closure of separate offices at court representing the Czech and Austrian lands, replacing them with a single Directorium in publicis et cameralibus, which took over the ennoblement programme hitherto operated by those two offices. Despite the apparently centralizing tendency of the reforms, this did not extend to any unification of entitlements to ennoblement, which continued to be based on particular ranks and titles specific to either the Kingdom of Bohemia or the Archduchy of Austria. It was not until 1752 that, on the urging of Maria Theresa herself, a unified, legally binding system for dispensing preferment and privilege, including a unified scale of aristocratic titles for all the Hereditary Lands, was introduced. In practice, ennoblement rights in the two state entities remained differentiated as to specific titles up until the early 19th century, when the two systems were superseded by a new Austrian Imperial ranking. Thus one of the last relics of the conception of the Czech Crown Lands as an autonomous historical entity finally ceased to exist., Jiří Brňovják., and Obsahuje bibliografické odkazy
The main aim of this paper is to propose an adequate interpretation of the concept esse apparens (apparent being) which was used by Franciscan philosopher and theologian Peter Auriol (c. 1280-1322), especially focusing on his account of sensory perception. Drawing on an analysis of the relevant passages of the commentary on the Sentences by Auriol, first, I introduce his famous account of sensory illusions, and then his own claims about the nature of esse appparens (Auriol refuses to treat it either as a separate entity serving as a mediator of perception, or as only an extrinsic denomination of the perceived object). In the next part, I reject the interpretation which identifies esse apparens with mental representation. In my opinion, it is more appropriate to place this concept into the context of scholastic doctrine of objectiver or intentional being (popularized mainly by Duns Scotus and his disciples). At the end of the paper, I return to Auriol's account of illusions and show that it is compatible with esse apparens being understood as mode of being., Lukáš Lička., and Obsahuje poznámky a bibliografii
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.
We suggest and use a test for evaluation of the accuracy of the harmonic coefficients in the Earth gravity field models (EMs), in which just the harmonics of the order mmin ≤ mm ≤ mmax and degree m ≤ 1 ≤ 1max are selected from the whole EMs. These parts will be called "frequency window(s)" (FWs). We treat the FWs of various recent EMs. One FW has been constructed solely from the resonant results for 12 ≤ m ≤ 15; we call it RFW. This RFW is used as a standard, sometimes independent, for comparing and testing other FWs. By means of the FWs, radius-vectors of the relevant parts of gecid are determined and compared to those of RFW. We intend to evaluate the differences between the EMs and to distinguish the models, FWs differ significantly from the RWF. and Celý článek bude publikován v Bull. Astron. Instit., sv..1985
Berlin critic Leo Berg (1862-1908), once linked with Naturalism, later on highly influenced by Nietzsche, publishes four articles in the Viennese magazine Die Zeit (1895 and 1899). In letters to the Viennese critic Moriz Necker he reflects his difficulties in gaining stronger foothold in the Viennese press scene. and Článek zahrnuje poznámkový aparát pod čarou
V době, kdy snad všechny oblasti lidské činnosti i zájmů mají své ilustrované encyklopedie, si zaslouží připomenout, že dochovaným pravzorem pro ně je Komenského Orbis sensualium pictus, nevelká knížka obsahující všech hlavních věcí na světě, všech výkonů života vymalování a jmenování., Ivo Kraus., and Ilustrace