Dosavadní rozšíření výrazného typu bronzové spony středolaténské konstrukce se zdobeným štítkovým lučíkem se omezuje pouze na středoevropský prostor s jednoznačným těžištěm výskytu v Čechách a na Moravě. Tato skutečnost opravňuje jejich J. Wernerem navržené označení jako „bójské“ spony. Spony získané z oppidálního prostředí ukazují na jejich rámcové datování do rozmezí stupňů LT C2-D1. and The existing distribution of a distinct type of bronze fibula of the Middle La Tène construction with a decorated plate bow is restricted to Central Europe, with a pronounced concentration of finds in Bohemia and Moravia. This fact justifies their designation as “Boiian” fibulae, as proposed by J. Werner. The fibulae acquired from oppida indicate a general dating in the phases LT C2-D1.
This discussion piece relates to Erazim Kohák’s book Domov a dálava (Hearth and Horizon), a book that has opened up an interesting and fruitful perspective for consideration of the question: What does it mean today to be a Czech? Inspired by Kohák’s emphasis on the attempt of the foremost Czech intellectuals to model their ideals of Czech culture in the context of the wider development of Europe as a whole, the author asks why Europe was the source of the nationalistic way of thinking and he considers how this thinking was the result of certain (unfortunate) conditions and decisions, and how the overcoming of this thinking is what may (paradoxically it would seem) be the new task of the Czech nation.
Author of the study presents, on the basis of the analysis of the modifications of the story on the origins of the Přemyslid dynasty in medieval narrative sources (Legend of Kristián, Chronicle of Kosmas, Old Czech Chronicle of the so called Dalimil, ...) as well as their comparison.
The article focuses on the social and political implications of the ballet and social dance of the 17th and early 18th centuries. By the end of the 1660s, the idea of demonstration of French power through the allegorical ballets lost its importance, and the court dance functions were transferred to the balls. There, the dancers had to present themselves according to the social hierarchy, and in the manner appropriate to their rank. The fact that the dance ideal, which developed from the late 16th century, and reached its peak during the reign of Louis XIV, applied for the social dance deep into the 18th century, showed itself not only in the period ways of dance music performance, but also in its development.
This text deals with the contruction of national identity through sports discourse in media, with the main attention paid to the "failed" performance of Slovak sportsmen at the Olympic Games in London 2012. As Slovaks didn´t repeat their previous medal achievements in London 2012, therefore the media ironically labeled their performance as the "Bronze Age". This study presents the findings of a discourse analysis, which was applied to the sport commentaries published in Slovak press after the London 2012 Olympics. The method of analysis is based on the approach of Norman Fairclough, and therefore social identities, relations and systems of knowledge are distinguished within the studied articles.
Housework has always been one of the main issues of feminist debates. The aim of the article is to show how the housewife became the subject of political debate. The article focuses on the feminist and political discourse surrounding household chores in post-war Czechoslovakia (1945–1947). Drawing on an analysis of the journal Our Household (Naše domácnost) and discussions in parliament, we argue that after WWII the women’s movement and the National Socialists called for the recognition of domestic work as equal to occupations outside the home. This article contributes to the debates about the recognition of housework by showing how the issue of housework was addressed in a particular period of Czech history and what strategies were employed to improve the representation of household chores and the position of housewives in society
Studie Milady Jonášové se zabývá využitím jmenované kantáty italského hudebního skladatele Benedetta Marcella operním impresáriem Antoniem Denziem v pasticciu "Sansone", provedeným v roce 1729 na scéně pražského divadla v paláci hraběte Františka Antonína Sporcka., Milada Jonášová., Rubrika: Studie, and České resumé na s. 51, anglický abstrakt na s. 5.
The paper focuses on the social situation and social practices of female care migrants (at the age of 50 and above) from the South Moravia (the region of Mikulov, Břeclav) who migrate for work to Austria as domestic workers-caregivers for seniors at regular intervals (circular migration). The main aim of the text is to argue that translocal female migrants paradoxically perceive their labour migration as a specific form of emancipation, despite the fact that they work in the so-called live-in-service jobs (where they live and work in private households) and often experience indignity. While in Austria they work in gendered and very demanding jobs with low wages, circular care migration provides them with the possibility to extend their gender power in the transforming Czech society. There is thus a paradox in that while they are marginalized in Austria, they are empowered on the Czech side of the border. This is achieved through paid reproductive work and better access to income, which leads to personal consumption based on their own interests and overall personal benefit. Special attention is paid to new forms of translocal care chains and new forms of these women’s partner cohabitation (living apart together).
Autor reaguje na publikaci archeologického výzkumu na tabulové hoře Úhošť z pera Zdeňka Smrže. Diskusí procházejí přírodní parametry, otázka opevnění a umělého pahorku. Příspěvek zařazuje Úhošť do kontextu dalších tabulových hor ve střední Evropě, které vydaly doklady svého využití od doby bronzové do středověku. and The author responds to the publication of an archaeological excavation conducted at the Úhošť mesa by Zdeněk Smrž. The article addresses the site’s natural parameters, the issue of fortifications and the man-made hilltop, and also places Úhošť in the context of other mesas in Central Europe that have produced evidence of their use from the Bronze Age to the Middle Ages.
The municipal elections of 1919 and the parliamentary/senate elections of 1920 gave women their first opportunity to exercise their new right to vote, and as such were important milestones in the forming of women’s new status as equal citizens. The paper analyses election campaigns aimed at female voters in selected periodicals published by the Czech Catholic People’s Party in 1919 and 1920: the newspaper Lid (The People) and the newly established magazine Žena (Woman). It explores the main topics and strategies of the campaign and identifies the underlying concepts of women’s political interests and motivations. The main focus is on the magazine Žena and its attempts to reconcile traditional Catholic femininity and the ‘separate spheres’ model with women’s newfound status as political actors and to create a picture of a new, politically active Catholic woman for its readership.
The Academies of St John presented by the Society of Bohemian Journalists in the form of a series of orchestral concerts held in Prague took place as a part of celebrations in honour of St John of Nepomuk held each May from 1878 until 1885. The Society of Bohemian Journalists held the events for the purpose of raising money, and on an ideological level, the events were intended to create room for the presentation of orchestral works by Bohemian composers. The organizer of the Academy was the writer, poet, and journalist Jan Neruda, whose feuilletons and reviews in the newspaper Národní listy reflect on the academies that they produced, but on a broader level, they also reveal his attitude towards the saint and the traditional veneration of John of Nepomuk. As a source, this period correspondence of the direct or indirect participants in the Academies of St John or in another project with similar aims (the Slavonic Concerts of the Academic Readers Association) has not previously been exhaustively studied, and it offers insight into Prague’s concert life at the time., Petra Kolátorová., Rubrika: Studie, Obsahuje seznam literatury, and Anglické resumé na s. 296-298.
Studie se zaměřuje na kontext, který umožňuje porozumění Jungově Červené knize (Liber Novus). Tato kniha je chápána jako dokument o Jungově vlastní aktivní imaginaci. Aktivní imaginace je proces zprostředkovávající mezi vědomou, záměrnou snahou já na jedné straně, a spontánní, autonomní aktivitou nevědomí na straně druhé. Studie se zaměřuje na několik základních aspektů aktivní imaginace a jejich realizaci v Červené knize. and The study focuses on context, which enables the understanding of Jung´s Red book (Liber Novus). This book is understood as a document about Jung´s own active imagination. The active imagination is process mediating between conscious, intentional activity of ego on the one side and spontaneous, autonomous activity of unconsciousness on the other. The study focuses on some basic aspects of active imagination and their realization in the Red Book.
Studie Marie Škarpové se zabývá literárními prameny a okruhy duchovních písní, které byly inspirací pro repertoár kancionálu "Jesličky, staré a nové písničky", jehož autorem byl přední český barokní básník a duchovní Fridrich Bridelius., This study deals with that portion of the repertoire of the Czech Advent and Christmas songbook Jesličky (Prague, 1658) by Fridrich Bridelius, which newly appeared in Czech hymnography thanks to this song book, and it summarizes the various results of the search for textual sources from other languages for these “new” songs in Jesličky. It points out their ties to contemporary German written hymnography (of both German and Bohemian provenience) and to Latin hymnography, i.e. to contemporary Latin songs. The text is thus not only a contribution towards discovering the ways that Czech hymnographers of the 17th century became familiar with the new, i.e. baroque, poetic language, but also, above all, an attempt to stimulate further hymnological research on baroque hymnographic works in the early modern history of Central Europe and the interconnections and relationships between them., Marie Škarpová., Rubrika: Studie, and České resumé na s. 397, anglický abstrakt na s. 377.
The paper explores the relationship between normalising bodies and normalising political orders by investigating medical discourses in Germany in the second half of the 19th century. It argues that medical scientists not only presented knowledge about bodies, health, and pathologies, but also used this knowledge to promote a specific form of political order as the ‘true’ and ‘proper’ political order. In the paper, discourses from two different medical fields are analysed. The first part focuses on physiology, because it was not only key in promoting new medicine as a natural science, but also because many of its proponents were involved in the revolution of 1848, and continued to advance democratic ideas after the failed revolution, throughout the second half of the 19th century. It is argued that even though physiologists favoured democracy, their understanding of it was nonetheless narrow and androcentric. The second part focuses on medical sub-disciplines that specifically addressed sexuality and gender, such as psychiatry and sexology. Instead of seeking to advance a democratic political order, protagonists here used their epistemological clout to pathologise and thereby actively discredit ongoing political struggles such as the feminist movement and the socialist movement that aimed to establish a fundamentally different political order. From a feminist perspective the paper reveals how the powerful constructions of ‘sex’ and ‘sexuality’ structured both discourses: Imaginations of ‘sex’ and ‘sexuality’ were deployed to produce and legitimate medical regimes of truths about the body and, as a consequence, about a specific political order.
The aim of the article is to critically reassess relation between moral and economy of agents from the poorest class. The relational concept of the poorest class designates here homeless, drug-users, and some poor individuals generally that all have common particular social practices on the one hand and a position within of the social space on the other hand.
In this paper, we build on the ongoing disciplinary debate in cultural anthropology concerning changing understanding of contemporary ethnographic practice and consider our pedagogical work with students as a form of what Kim Fortun recently defined as "ethnographic experiment" for contemporary. We describe our methodology in which we are inspired especially by the tradition of educational anthropology and participatory action research to create spaces of collaborative encounters that we call urban laboratories.
V roce 2013 uplynulo 170 let od přijetí tzv. „systému tří period“ (doba kamenná, bronzová a železná) v české archeologii. V jeho praktickém použití patří priorita Dánu Ch. J. Thomsenovi (publikováno 1836) před soudobými německými badateli (Lisch, Danneil), pro německojazyčnou sféru (včetně české) měl zásadní význam překlad Thomsenova textu do němčiny (1837). V Čechách jej poprvé jednoznačně aplikoval J. V. Hellich, první kustos archeologie v Národním muzeu v Praze, v rukopise rukověti české archeologie z roku 1843 – tedy souběžně s jeho přijetím ve většině evropských zemí jižně od Dánska. Silný odpor proti „skandinavismu“ v německé archeologii 2. pol. 19. stol. neměl v Čechách širší ohlas, spíše tento systém narážel na přetrvávající zaměření české vědy k etnohistorickým interpretacím; teprve na počátku 20. stol. byl zápas obou směrů vybojován ve prospěch plného uplatnění třídobé periodizace v duchu artefaktuálního pozitivismu. and The year 2013 marked the 170th anniversary of the adoption of the ‘three-age system’ (the Stone Age, Bronze Age and Iron Age) in Bohemian archaeology. The Dane Christian Jurgensen Thomsen, who published his findings in 1836, is given more credit for the practical application of the three-age system than his contemporaries, the German scholars Lisch and Danneil. The translation of Thomsen’s text into German in 1837 was of fundamental importance for the German-speaking sphere (including Czech). The three-age system was first unambiguously applied in Bohemia by J. V. Hellich, the first curator of archaeology at the National Museum in Prague, in an 1843 manual of Bohemian archaeology, i.e. simultaneously with the adoption of the system in the majority of European countries south of Denmark. The strong resistance to ‘Scandinavism’ in German archaeology in the second half of the nineteenth century was not widely shared in Bohemia. Instead, this system probably ran up against the lingering focus of Bohemian research on ethnohistorical interpretations. It wasn’t until the beginning of the twentieth century that the conflict between the two directions was settled in favour of the full application of the three-age periodisation in the spirit of artefactual positivism.
The article summarises the position of George Frideric Handel, Joseph Haydn and Felix Mendelssohn-Bartholdy in the music history of the Bohemian Lands, especially in the 18th and 19th centuries. Haydn became one of the leading figures of Bohemian music life during his life-time. Handel’s sacred compositions were known in Bohemia soon after he settled permanently in England. Handel’s and Haydn’s oratorios belonged to the core repertoire both of the Bohemian 19th century music societies and of private concert organisers; Handel’s music was performed arranged either by Mozart or by the controversial Viennese Kapellmeister and composer Ignaz Franz von Mosel. Mendelssohn was the only composer who matched Handel and Haydn in the number of performances of his oratorios in Bohemia.
The paper aims to demonstrate how the techniques of disciplinary power in prenatal care affect pregnant women. I will illustrate my argument using the results of ethnographic research conducted at the Division of Risk Pregnancy at the Department of Obstetrics and Gynaecology in a hospital in Central Slovakia. The analysis of ethnographic material indicates that although pregnant women are objectified and disciplined in prenatal care, they consider and evaluate the practices of the medical staff. Prenatal care interferes with other social roles which pregnant women play in their life. I interpret the ethnographic material in terms of the concept of disciplinary power developed by Michel Foucault, and in the terms of the theory of moral emotions by Jonathan Haidt. I argue that risk assessment is a part of the techniques of disciplinary power, and that the explicit ascription of feelings of the uncertainty, fear, guilt, and shame to a certain kind of behaviour in pregnancy helps to identify norms that regulate biological reproduction.
This article analyses anti-obesity discourse in post-war Czechoslovakia, particularly in the country’s late socialist period. The article conceives of the discourse on obesity as a tool of biopolitical, rather than totalitarian, power, examining the ways expert knowledge, power, and morality worked together to produce a socialist subject. On the first level, it analyses the expert anti-obesity discourse as an example of the expertisation of public discourse in socialist Czechoslovakia. Second, it shows the construction of obesity in contrast to bodily ability, and the stigmatisation of the ‘fat’ body. On the last level, the article focuses on the gendered aspects of the discourse and demonstrates the ways in which the anti-obesity campaign supported the heteronormative framework of late socialism. By examining expert and media discourses, the article argues that the campaign against obesity served as a means to construct a proper socialist body and induce a moral panic about the state of socialism.
Velká Morava patří ke kontroverzním tématům středoevropské medievistiky. Nejedná se totiž o běžný předmět akademického výzkumu, ale o fenomén, který je trvale přítomen v novodobém politickém diskurzu střední Evropy. Myšlenka, že Velká Morava byla nejstarším státem (státním útvarem) středoevropských Slovanů, na který přímo navazovala státnost českých Přemyslovců, polských Piastovců a uherských Arpádovců, tak zůstává ve středoevropském regionu stále živá. Slabina dosavadních přístupů spočívá v tom, že stát byl chápán jako axiom, o jehož existenci se nepochybuje. Současný proud bádání přistupuje k velkomoravské státnosti mnohem kritičtěji. Obrací se, stejně jako moderní evropská medievistika, k etnologii či sociální a kulturní antropologii, v níž hledá opory pro svoje interpretační modely i nové pojmosloví. and Great Moravia is a controversial theme within Central European Medieval studies. Rather than being a standard subject of academic research it is a phenomenon that has been a constant in Central European modern political discourse. The idea that Great Moravia was the earliest state of Central European Slavs, which was a direct predecessor of the statehood of the Czech Přemyslids, the Polish Piasts and the Hungarian Arpáds family, remains very much alive in the Central European region. The weak point of the earlier approaches consists in the fact that the state was taken to be an axiom, the existence of which was not questioned. The contemporary line of research examines Great Moravian statehood from a more critical point of view. Just as with modern European medieval studies it turns to ethnology as well as social and cultural anthropology, where it hopes to find support for its interpretational models and new terminology.
Leo Kestenberg worked from 1918–1932 for the Prussian Ministerium für Wissenschaft, Kunst und Volksbildung (Ministry of Science, Arts and Public Education). His department looked after opera houses and all music teaching institutions, from nurseries to the Academy of Arts. Implementing the policy of modern thinking, Kestenberg had a decisive influence in shaping the music development of the Weimar Republic, including bringing Paul Hindemith, Franz Schreker, Artur Schnabel and Otto Klemperer to Berlin. Based on his ideas, music education became law; in the field of music education, Prussia became the leading region inside Germany. Kestenberg succeeded due to the post-war situation: besides caring for political and military matters, the political system paid great attention also to culture and especially music. While Kestenberg’s activities at first enjoyed a postive response, even among conservative circles, in the following years, especially after 1933, as a socialist, democrat, Jew and foreigner, he was seen as the epitomy of the hated ‘Weimar System’.
Studie se zabývá rolí Caravaggia v českém diskursu o kubismu. Uvádí diskusi Vincence Kramáře a Karla Teiga z roku 1949. Teige se možná překvapivě odvolává na Caravaggia v koncepci kubistického „tektonického obrazu“: Caravaggiova malba je zaměřena na čistou plasticitu a méně na námět, což je pro avantgardního teoretika důvod dát jej do stejné řady, jakými jsou architecture plate et colorée Juana Grise nebo Picassovy „tektonické obrazy“, v nichž dominuje čistá plasticita hmot. Teige v uvedení Caravaggia jako předchůdce moderního plastického pojetí obrazu měl předchůdce v českém kubistickém malíři Emilu Fillovi (1882–1953), který v letech 1914–1920 v exilu v Holandsku dobře poznal díla starých holandských mistrů a zabýval se pojmem „věcnosti“ v jejich díle. V článku Holandské zátiší (1916), publikovaném v časopise Volné směry (XXII, 1924–1925), v úvodu uvádí jméno Caravaggia, kterého chápe jako zakladatele svébytného žánru zátiší. Na něj navazovali holandští mistři 17. století. Filla zdůrazňuje pojetí věcnosti, které není ani vědeckou dokumentárností, ani čirým objektivismem, ale je výsledkem akce subjektu, je tvořivou akcí malíře. Věcnost znamená pro Fillu vyrovnání objektivních a subjektivních složek malovaného předmětu. V roce 1925 vydal Filla rovněž ve Volných směrech studii Caravaggiovo poslání. Filla opět oceňuje Caravaggiovo plastické pojetí povrchu malby. Na Fillu záhy navázal jeho přítel a sběratel, mecenáš kubismu, historik umění Vincenc Kramář statí Vznik a povaha moderního zátiší. Tvůrčí čin Caravaggiův, uveřejněnou rovněž ve Volných směrech (XXIII, 1924–1925, s. 129–160, 177–179). Stejně jako Filla oceňuje Caravaggiovu autonomní vůli po plasticitě. Když Filla psal úvahy o Jan van Goyenovi, ale i o Caravaggiovi počátkem padesátých let na zámku Peruc, navštěvoval ho tam fotograf Josef Sudek, který na zámku fotografoval. Pozorně naslouchal poučeným malířovým výkladům o kubismu, holandském umění 17. století, ale i o Caravaggiovi. Sudkova fotografická aranžovaná zátiší na počest Caravaggia z roku 1956, vytvořená až po Fillově smrti (1953), lze chápat jako vzpomínky na Peruc a přítele Fillu i na roli Caravaggia ve Fillově teorii. and This study deals with Caravaggio’s role in Czech thought on Cubism. It begins with a discussion between Vincenc Kramář and Karel Teige which took place in 1949. Perhaps surprisingly, Teige refers to Caravaggio in his concept of Cubist ‘tectonic painting’: Caravaggio’s painting aims at pure plasticity and less so at subject matter, which is reason for the avant-garde theoretician to put him in the same category as the architecture plate et colorée of Juan Gris or Picasso’s ‘tectonic paintings’ in which the pure plasticity or sculpturality of matter dominates.
In presenting Caravaggio as a precursor of the modernist sculptural conception of painting, Teige was preceded by the Czech Cubist painter Emil Filla (1882–1953), who acquainted himself well with the works of the old Dutch masters during his exile in Holland in 1914–1920 and dealt with the idea of ‘objectivity’ in their work. In the introduction to ‘Dutch Still Life’ (1916), an article published in the magazine Volné směry (Free Directions) (XXII, 1924–1925), he mentions the name of Caravaggio, whom he takes to be the founder of a peculiar genre of still lifes which hearkened back to the Dutch masters of the 17th century. Filla emphasises the idea of objectivity which is neither a scientific documentary quality nor a pure objectivism, but the result of an action on the part of a subject – the creative act of a painter. For Filla, objectivity means a conciliation between objective and subjective factors in a painted object. In 1925, Filla published, also in Volné směry, a study on Caravaggio’s vocation. Once again, Filla holds Carvaggio’s sculptural conception of the surface of painting in high regard. Filla’s work is followed up by his friend and collector, the patron of Cubism and art historian Vincenc Kramář in his essay ‘The Inception and Character of the Modern Still Life: Caravaggio’s Creative Act’ (Volné směry XXIII, 1924–1925, pp. 129–160, 177–179). When Filla was writing his reflections on Jan van Goyen and on Caravaggio in the early 1950s at Peruc Castle, he was visited by the photographer Josef Sudek. Sudek’s photographically arranged still lifes in honour of Caravaggio of 1956 may be understood as a reminiscence of Peruc and his friend Filla as well as of the role of Caravaggio in Filla’s theory.
Práce se zabývá mlecími nástroji z období kultury s vypíchanou keramikou (STK; 5100/5000 – 4500/4400 cal.BC). Vedle ujednocení české terminologie vztahující se k pravěkým mlecím zařízením a kromě morfometrické či surovinové analýzy nálezového souboru, bylo záměrem této práce studium postupu při výrobě mlýnků z křemenného porfyru (paleoryolitu) a interpretace jejich „životního cyklu“ (chaîne opératoire; operational sequence). Zdroje nejdůležitější suroviny na výrobu mlýnků se nacházejí ve vzdálenosti do 5 km od lokality. Dalším cílem práce bylo interpretovat roli sídelního areálu s rondelem na základě komplexního studia ručních kamenných mlýnků a v konfrontaci s dřívějšími analýzami jiných typů nálezů. Vzhledem k přítomnosti rondelu, zdrojů surovin a strategické komunikační poloze sídelního areálu je možné uvažovat o jeho centrální funkci pro širší okolí. and The paper deals with grinding tools from the Stroke Pottery culture period (STK; 5100/5000 – 4500/4400 cal. BC). Apart from unification of the Czech terminology relating to prehistoric grinding tools and apart from the morphometric or raw material analyses of the find assemblage, this work aims to study the production procedure of millstones from quartz porphyry (palaeorhyolite) and the interpretation of their “life cycle” (chaîne opératoire; operational sequence). The outcrop of the most important raw material for the production of millstones is situated within 5 km far from the site. Another aim of this work was to interpret the possible role of the settlement area with a rondel (circular enclosure, Kreisgrabenanlage) based on a complex study of hand millstones in the light of earlier analyses of other types of finds. With regard to the presence of the rondel, raw material sources and strategic communications location of the settlement area, it is possible to consider its central function within the wider surroundings.
"(...) and thus her Majesty most graciously orders this malady to be endicated as well". Empress Maria Theresa as a Patroness of the Theresian Foundation for Noblewomen in Prague.
"...and the duke sat down in the carriage beside the princely bride...". A Contribution to the Cognition of the Court Ceremonials of the Last Piasts on the Example of George III of Brieg.
Příloha: Umělci v korespondenci a dalších dokumentech hraběte Ingáce Dominika Chorynského z Ledské. and "... mit solchen Männern, wie Sie sind, haben Sr Excellenz mein Hochgräfl: gnädiger Herr Principal gerne zu thun." Count Ignatz Dominik Chorynský of Ledská and His Artists Franz Anton Sebastini, Ignatz Raab, Franz Laurenz Korompay, Andreas Schweigl, David Roentgen et alii.
"...bestimmt habe ich zeitlebens nie so viele Hart- und Trotzköpfe gesehen..." oder ein kurzer Einblick ins Leben der Bewohner von Kasejovice (Kassejowitz) im Jahr 1680 während der Pestepidemie in Böhmen.
"...So that really poor people are provided for and the begging stops...". The role of the Roman Catholic Church in fighting poverty at the turn of 18th century.