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.