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
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
The paper deals with the topic of evangelical preachers of the Helvetic and the Augsburg Confession coming from the Hungarian part of the Habsburg Monarchy, after the Patent of Toleration was issued, and establishing tolerance evangelical congregations in Bohemia and Moravia. Based on studying the sources of particular tolerance Czech congregations (for example Moraveč, Humpolec, Dvakačovice, Lozice, Raná, Sány, Prague), the process of forming a new social stratum of the petty intelligentsia, whose creation was conditioned by the Enlightenment reforms, is outlined. The text shows how the Hungarian preachers made the first contacts with the emerging evangelical communities, gives an idea of the circumstances of their arrival, describes the way of their adapting to an unfamiliar environment and their effort to stabilize the congregations. These particular findings are generalized in order to define some common characteristics typical of this group of Enlightenment intellectuals., Gabriela Krejčová Zavadilová a Hana Stoklasová., and Obsahuje bibliografické odkazy
The article lays out Jonathan Israel’s central ideas on the European Enlightenment, as they have been developed in his Radical Enlightenment (2001), Enlightenment Contested (2006) and A Revolution of the Mind (2009). I explain his ‘controversialist method’ of intellectual history and point out the advantages and faults of this approach. Israel’s model of the heterogeneous Enlightenment is shown as a response to A. MacIntyre’s postmodern criticism, and to the older models of a ‘single Enlightenment’, as presented by P. Gay, or older models of multiple enlightenments, as presented by J. G. Pocock. However, Israel’s heterogeneous Enlightenment recognizes just one progenitor of the positive ‘modern values’, which is identified with the Radical wing. The article reviews Israel’ s narrative of the development and spread of the Radical Enlightenment in Europe and the struggles with the Enlightenment mainstream and within the Enlightenment mainstream. However, I also show some faults in Israel’s argument, mainly his view of the ‘secular morality’, which should have been the outcome of the Radical Enlightenment’s campaign. In conclusion, I point at the inconsistency of Israel’s reconstruction of the Enlightenment morals and the differences between his view and J. Schneewind’s interpretation., Ivo Cerman., and Obsahuje bibliografické odkazy
Despite the state borders, and the different socioeconomical and cultural contexts, productions of Italian opera in Prague and Dresden become considerably interconnected due the activity of the impresario Giuseppe Bustelli. During his directorship (1764-1777 in Prague, 1765-1777 in Dresden) and even in the next decade, more than 50% of the repertoire was shared. Furthermore, some of the artists performed in both cities, and the same or similar adaptations of operas were used. The main difference in repertoire consisted in opera seria productions in Prague until 1777, whereas in Dresden only opera buffa was staged since 1765. Analyses of selected works reveal some of both similar and different performing strategies and their aesthetical, practical as well as political connections., Marc Niubo., and Obsahuje bibliografické odkazy