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.
The revival of the UN Security Council’s regulatory powers after the end of the Cold War as well as new challenges to international peace and security have led to the development and diversification of UN operational tools. In the absence of United Nations’ own material capacities to undertake necessary military action, due to the non-conclusion of agreements provided for in Article 43 of the UN Charter by which UN Member States would commit to provide the necessary force and other assistance to the Security Council upon its call, the latter developed other means. Today, there co-exist two mandated operations by the Security Council vested with the power to use force, each however within a different scope, limits and objective: UN-led “Blue Helmets” and UN-authorized military operations. This functional rapprochement causes nevertheless a great confusion, both in practice and recently in the judicial sphere. Hence, the clarification of the legal regime of each is essential. While the UN-led Blue Helmets vested with the limited power to use force represent the new generation of peacekeeping operations, the UN-authorized operations constitute a decentralized execution of the Council’s enforcement measure. In the latter case the Security Council turns to UN Member States or regional organizations and delegates them its exclusive power to use force under Article 42 of the UN Charter to execute it under set conditions. The limitation of the use of force by the UN-led operation to the strict defence of its civilian mandate does not exempt it from the regime of coercion established under Chapter VII of the UN Charter either. This raises a question of the legal status of this UN-led operation and whether possibly such tool approaches the original concept of UN enforcement forces laid down in Article 43. Analysis of the converging and diverging elements of both operations shows the complexity of this operational domain, the clarification of which is proposed in this article via a legal perspective.
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.
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.
"... Alle Häuser als ain Corpus gedachtes unsers Fürstenthums ganz steiff beysamben verbleiben". Dietrichteinische Paläste in böhmischen Länder im 17. und 18. Jahrhunderts.
Together with the hitherto unpublished letter of 6 September 1831, Tomášek sent the score of his Requiem op. 70 to the Zurich publisher, music writer and composer Hans Georg Nägeli. The author of the letter expressed his firm belief that due to the “prosperity of music practice in Switzerland” and the influence of the reputable Nägeli, it should not be a problem to find opportunity and funding to put on the enclosed work in that country. With gratitude, Tomášek puts Nägeli in mind of the fact that he had published some of his piano works between 1803 and 1805, calling him “the one to determine the spirit in the music world”. He briefly mentions several of his earlier compositions and, with a great deal of sarcasm, criticizes the contemporary “swamp of bad taste”, in which the audience has recently fallen, misguided by the “mendacious” Rossini and his followers. Tomá‰ek draws Nägeli’s attention to an enclosed article of his called “On Criticism in Relation to Music”, in which he appealed to “all respectable priests of art” to cultivate sensible criticism. He encourages Nägeli not to let his “whip” (meaning his feared sharp pen) “rest until things have changed”.
The article deals with the regulation of the use of Czech, German and classical languages in the administrative, school and Church spheres as it appears in the decrees published during Joseph II’s reign for the lands of the Bohemian crown. The author attempts to reconstruct the emperor’s vision of the usage of the different languages in the Czech lands, find the reasoning behind it, and identify the methods of this regulation. He also asks whether, in Joseph II’s case, one can speak about a "language policy" as a deliberate strategy to change the language situation in the Czech lands., Dmitrij Timofejev., and Obsahuje bibliografické odkazy
"...ein uhralter Kirchen-brauch." Festivities connected with laying cornerstones and consecrations of patronage churches on the Schwarzenberg estates in the 18th century.