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42. " Staging Encounters" through anthropological and pedagogical practices in urban Central Europe
- Creator:
- Červinková, Hana and Golden, Juliet
- Type:
- article, model:article, and TEXT
- Subject:
- ethnography, educational anthropology, participatory action research, pedagogy, memory, and urban laboratory
- Language:
- Czech
- Description:
- 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.
- Rights:
- http://creativecommons.org/licenses/by-nc-sa/4.0/ and policy:public
43. " Stars and flowers": Handel, Haydn, and Mendelssohn in the music history of the Bohemian Lands – a brief account
- Creator:
- Freemanová, Michaela
- Type:
- article, model:article, and TEXT
- Language:
- Czech
- Description:
- 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.
- Rights:
- http://creativecommons.org/licenses/by-nc-sa/4.0/ and policy:public
44. „ Tabuľkové tehotenstvo“ a riziko: naratívy žien o tehotenstve
- Creator:
- Pešťanská, Zuzana
- Type:
- article, model:article, and TEXT
- Subject:
- disciplinary power, risk, and emotion
- Language:
- Czech
- Description:
- 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.
- Rights:
- http://creativecommons.org/licenses/by-nc-sa/4.0/ and policy:public
45. " The Humies" podruhé
- Creator:
- Sekanina, Lukáš
- Type:
- article, model:article, and TEXT
- Language:
- Czech
- Rights:
- http://creativecommons.org/licenses/by-nc-sa/4.0/ and policy:public
46. " Tlusté“ tělo v normalizačním Československu: povinná zdatnost a gender v kampani proti obezitě
- Creator:
- Appeltová, Michaela
- Type:
- article, model:article, and TEXT
- Subject:
- obesity, gendered body, embodiment, dis/ability, physical fitness, expert discourse, and late socialism
- Language:
- Czech
- Description:
- 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.
- Rights:
- http://creativecommons.org/licenses/by-nc-sa/4.0/ and policy:public
47. " To control" a "kontrolovat"
- Creator:
- Tichánek, Bohumír and Loucká, Pavla
- Type:
- article, model:article, and TEXT
- Language:
- Czech
- Rights:
- http://creativecommons.org/licenses/by-nc-sa/4.0/ and policy:public
48. " Výchova k lidskosti prostřednictvím hudby“: Leo Kestenberg jako hudební politik v Berlíně 1918–1933
- Creator:
- Fontaine, Susanne
- Type:
- article, model:article, and TEXT
- Language:
- Czech
- Description:
- 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’.
- Rights:
- http://creativecommons.org/licenses/by-nc-sa/4.0/ and policy:public
49. " We are searching in history for our own loves": Still-Life, Caravaggio and Cubism : A Czech reading
- Creator:
- Lahoda, Vojtěch
- Format:
- bez média and svazek
- Type:
- model:article and TEXT
- Language:
- Czech
- Description:
- 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.
- Rights:
- http://creativecommons.org/licenses/by-nc-sa/4.0/ and policy:public
50. " Základy ekologie" - pre koho základ, pre koho nie?
- Creator:
- Vladimír
- Type:
- article, model:article, and TEXT
- Language:
- Czech
- Rights:
- http://creativecommons.org/licenses/by-nc-sa/4.0/ and policy:public