Search

Start Over Language English Subject emoce Date Unknown

2. Amabimus nos!: (Láska, žárlivost a nenávist na jevištích jezuitských gymnázií)

Creator:
Jacková, Magdaléna
Format:
print, bez média, and svazek
Type:
model:article and TEXT
Subject:
jezuitské divadlo, barokní drama, emoce, Jesuit theater, baroque drama, emotions, 8, and 94(437)
Language:
Czech and English
Description:
When spectators see a baroque play staged with use of period means of expression, they often appreciate fine form, but lack emotions. Dealing with Jesuit school plays from the first half of the 18th century, whose theme is true friendship, this article illustrates that baroque drama actually combines stylized form and strong emotions. It was also the main aim of baroque theatre: to transfer the emotions through this form., Magdaléna Jacková., and Obsahuje bibliografické odkazy
Rights:
http://creativecommons.org/publicdomain/mark/1.0/ and policy:public

3. Emoce a dramaturgie opery buffa

Creator:
Niubó, Marc
Format:
print, bez média, and svazek
Type:
model:article and TEXT
Subject:
opera buffa, operní dramaturgie, operní árie, emoce, opera dramaturgy, opera arias, emotions, ansámbl, ensemble, 8, and 94(437)
Language:
Czech and English
Description:
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
Rights:
http://creativecommons.org/publicdomain/mark/1.0/ and policy:public

6. Evangelická láska: Bůh, člověk a ctnostné mravy mezi tradicí a osvícenstvím

Creator:
Bolom, Sixtus
Format:
print, bez média, and svazek
Type:
model:article and TEXT
Subject:
osvícenství, protestantismus, etika, emoce, enlightenment, Protestantism, ethics, emotions, 8, and 94(437)
Language:
Czech and English
Description:
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
Rights:
http://creativecommons.org/publicdomain/mark/1.0/ and policy:public

7. From Care of the Emotions to Apetheia of the Passions: A New Pastoral Politics of Emotions in Paul /

Creator:
Ribeiro, Luiz Felipe
Type:
text and studie
Subject:
Přirozená teologie. Náboženská filozofie, pastorace, emoce, křesťanství, filozofie, antický svět, sociologie, psychologie, sociologové, psychologové, and teologie, ikonografie, zbožnost, hagiografie
Language:
English
Description:
Od péče o emoce k Apathei ve vztahu k vášním: Nová pastorační politika emocí u apoštola Pavla.
Rights:
unknown

8. Láska proti zákonu v libretu pastorální opery: L’Amor non ha legge (Jaroměřice 1728)

Creator:
Perutková, Jana
Format:
print, bez média, and svazek
Type:
model:article and TEXT
Subject:
<<z >>Questenberka, Jan Adam, 1678-1752, Bonlini, Domenico, pastorale, libreta, emoce, láska, zákony, příroda, venkov, pastorals, librettos, emotions, love, laws, nature, countryside, 8, and 94(437)
Language:
Czech and English
Description:
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
Rights:
http://creativecommons.org/publicdomain/mark/1.0/ and policy:public

9. Od teatrality k intimitě?: Emoce a smrt u Martiniců a Schwarzenbergů v období baroka a romantismu

Creator:
Grubhoffer, Václav and Kadeřábek, Josef
Format:
print, bez média, and svazek
Type:
model:article and TEXT
Subject:
Martinitz (rod), Schwarzenbergové (rod), smrt, umírání, emoce, death, dying, emotions, poslední okamžiky, dobrá smrt, last moments, good death, 8, and 94(437)
Language:
Czech and English
Description:
Between the Baroque and Romanticism attitudes to death and the discursive framework of the emotional experience of dying fundamentally changed among the Catholic high nobility. The ideal baroque death was supposed to take the form of an extreme point at which the dying person confessed their sins through theatrical gestures and utterances. The deathbed ritual explicitly confirmed the denominational and spiritual orientation of the family. In succeeding generations, both aristocrats and commoners were expected to be confirmed in that orientation by a written and iconographic testimony rich in symbols. Romanticism, on the other hand, imbued the process of dying with sentiment, loving care and family cohesion, which among the high nobility brought solace and a peaceful death. Finally, between the Baroque and Romanticism the relative status of private and public experience of the last moments changed. The Baroque "theatrical" deathbed, which was presented with the central figure of the dying individual and the priest, was a public event. Gradually it changed into a more intimate, quiet contemplation with only a few witnesses gathered in the family circle. Moreover, the doctor came to replace the priest as the chief attendant at the dying person’s bedside. What remained unchanged was the anxious determination to conform to expected patterns of behaviour. By trying to fulfil the contemporary ideal of a "good death", the counts of Martinice and the princes of Schwarzenberg tried to affirm their unique position in Bohemian (and European) aristocratic society. Their emotional experience of death was intended to serve as an example to their descendants and form one of the constitutive elements of the family’s collective memory., Václav Grubhoffer, Josef Kadeřábek., and Obsahuje bibliografické odkazy
Rights:
http://creativecommons.org/publicdomain/mark/1.0/ and policy:public

10. Radost a smutek v Pamětech Františka Jana Vaváka

Creator:
Timofejev, Dmitrij
Format:
print, bez média, and svazek
Type:
model:article and TEXT
Subject:
Vavák, František Jan, 1741-1816, rétorika, emoce, historiografie, rhetoric, emotions, historiography, historická stylistika, lidové kroniky, historical stylistics, folk chronicles, 8, and 94(437)
Language:
Czech and English
Description:
The article looks at how emotion is represented in Bohemian folk chronicles, i.e. texts of a historiographic character, written by autodidacts - mostly peasants and artisans. At the core of our analysis is the most famous work of this kind, Paměti Františka Jana Vaváka z let 1770-1816 (Memoirs of František Jan Vavák 1770-1816). Other writings from the turn of the 19th century (e.g. those of Václav Jan Mašek, Jan Petr, Ondřej Lukavský) are also considered. Our initial question is: How, and in which contexts, did Czech-speaking authors of the late 18th and early 19th century, having no opportunity to get acquainted with contemporary philosophical theories, express affects? The study shows that the emotions, especially joy and grief, are expressed in a way recommended by early modern rhetoricians (e.g. Cypriano de Soarez or Bernard Lamy): particular figures are associated with particular affects. Though the principle is the same, the figures used by autodidacts differ from those recommended by the rhetoric manuals. Being unable to read Latin, German or French rhetorics, the authors had probably grasped the principles of how to represent affect from their reading, but adapted them according to their own talent and vision. As might be expected given the rural origin and values of the authors, joy is expressed mostly in the context of weather favourable for the harvest, while grief is realised in the context of rising prices and natural disasters., Dmitrij Timofejev., and Obsahuje bibliografické odkazy
Rights:
http://creativecommons.org/publicdomain/mark/1.0/ and policy:public