The study strives to complexly understand the tools the mining community used to represent itself within the society of Kutná Hora. The miners were not among the wealthy nor those that were exposed in society, although their corporation was well respected and its representations were visible in various contexts of municipal life. The esteem in which the mining community was held balanced the insignificant position of the miners themselves within the entire community. This also created a demand for power that the miners did not hesitate to use beginning at the end of the 15th century. Thanks to its skilful communication and reasoning of its importance, the mining community was able to force its will and influence political decisions.
The article includes a look at the respective meanings of two types of literary embellishments in the monumental inscriptions of the Gupta dynasty; namely poems praising kings in eight verses, or eight clauses, and a description of the conquest of India (digvijaya) by a king taking place in a counter clockwise direction. It is argued that the eight verses, or the eight relative clauses, represent a selection out of an endless list of the king´s good qualities: he is such a great person that, given the time, or space, the poet could have easily continued praising the king for hours. The counter clockwise direction of the digvijaya is explained by the fact that the king responsible for the conquest was no longer alive at the time of the composition of the inscription´s text and the erection of the monument. In the interpretation of these inscriptions, both features should be regarded as historical documents.
The discovery was made in 2005 in an early La Tène settlement of a stamped body sherd, apparently from an early La Tène Linsenflasche. The zoomorphic decoration is regarded as being most closely related to material generally from the south and west which certainly may well have included the ‘situla art’ of Este and neighbouring regions. General parallels in nomadic art are dismissed and the paper closes with some speculative observations on the significance of the horse in Celtic belief systems. and Z raně laténského sídliště v Kaníně pochází zlomek kolkované keramiky, patrně čočkovité lahve. Zoomorfní výzdoba je srovnávána s nálezy z jižní a západní Evropy, včetně atestinského situlového umění, souvislost s nomádským uměním je přitom odmítnuta. Příspěvek uzavírají úvahy o významu koně v duchovním světě Keltů.
This essay deals with fundamental features of Arab oneirology that formed medieval Muslim attitudes towards dreams and their interpretation. Since the rise of Islam, Muslims kept voluminous records of the famous dreams of important historical figures, the dreams´ hidden meanings, and methods of explanation. Medieval Islamic thought considered oneirology an important part of human knowledge and education. Oneirological literature received wide spread attention among Muslim scholars. This essay focuses on the basic characterization of the medieval perception of dreams and aims to put forth the fundamental principles of dream interpretation essential for the correct understanding of this part of spiritual Muslim heritage.
Článek se zabývá Levinasovou ideou „transcendence slov“. Sleduje úvahy tohoto autora o rozdílu mezi významem slov ve vztahu k Jinému a rolí slov v estetické události obrazu. Soustřeďuje se na Levinasovo zdůraznění kontrastu mezi tichem obrazu a zvukem dialogu., Dealing with Levinas’s idea of the “transcendence of words”, the article follows his treatment of the difference between the meaning of the words in relation to the Other and the role of the words in the aesthetic event of the image. The focus is on the way that Levinas emphasises the contrast between the silence of an image and the sound of a dialogue., and Miloš Ševčík.
Following study follows transformation of the philosophical concept of art in the late thought of Friedrich Nietzsche and in the work of Martin Heidegger. The connection between the two authors is established through Heidegger’s lectures on Nietzsche, dating from the second half of the 1930s. The main focus of the study is to interpret the main features of Nietzsche’s concept of art from his notes to the unfinished work Der Wille zur Macht (Will to Power), and to thematize its relation to Heidegger’s thinking of art. The intention of the article was to show in what sense both Nietzsche and Heidegger depart from the aestheticizing approach to art, returning to its preconditions and revealing a deeper problem of the question of art itself. and Studie sleduje proměnu filosofického pojetí umění v pozdním myšlení Friedricha Nietzscheho a v díle Martina Heideggera. Svorník mezi oběma autory je veden skrze Heideggerovy přednášky o Nietzschem z druhé poloviny 30. let. Hlavním záměrem studie je interpretovat hlavní rysy Nietzschova pojetí umění z poznámek k nenapsanému dílu Der Wille zur Macht a tematizovat jeho příbuznost s Heideggerovým myšlením umění. Motivací článku je ukázat, v jakém smyslu Nietzsche i Heidegger odstupují od estetizujícího přístupu k umění, vracejí se k jeho předpokladům a odkrývají původnější problém otázky po umění.
Vilém Santholzer byl český radiolog, který v druhé polovině dvacátých let na stránkách avantgardních periodik publikoval ke třem desítkám článků a několik vlastních fotografií radiového záření. Článek sleduje tuto jeho aktivitu a zasazuje ji do kontextu zájmu evropské avantgardy o strojovou estetiku na jedné straně a vědeckou fotografii na straně druhé. Ukazuje, že pro Santholzera je krása vždy přímým důsledek jiných vlastností objektu spojených s pravdou: stroje jsou podle něho krásné, jsou-li účelné, fotografie, jsou-li autentické. Zatímco jeho úvahy věnované strojové estetice můžeme dát do souvislostí s myšlenkami ruského konstruktivismu, Le Corbusiera, Karla Teiga či Wernera Graeffa, v případě jeho fotografií lze hledat paralely u autorů tematizujících možnosti fotografie zviditelnit neviditelné, tedy především u László Mohly-Nagye a opět u Karla Teiga. Zvláštním rysem Santholzerova myšlení pak zůstává jeho přesvědčení o kráse čisté, neaplikované matematiky, které je představeno prostřednictvím Santholzerovy polemiky s Karlem Honzíkem na stránkách Pásma. and Vilém Santholzer was a Czech radiologist who in the second half of the 1920s published around thirty articles and several of his own photographs of radiation on the pages of avant-garde journals. The article explores his activities and situates them in the context of the interest of the European avant-garde in the machine aesthetic on the one hand and scientific photography on the other. It shows that for Santholzer beauty was always the direct result of other properties of an object associated with truth; in his view, machines were something beautiful if they were functional, and photographs were beautiful if they were authentic. While we can connect his thought on the machine aesthetic with the ideas of Russian constructivism, Le Corbusier, Karel Teige or Werner Graeff, in the case of his photographs we can find parallels among authors interested in the power of photography to make the invisible visible, i.e. above in the work of László Moholy-Nagy and once again Karel Teige. What then remains a peculiar feature of Santholzer’s thought is his belief in the beauty of pure, unapplied mathematics, which he set out in his polemics with Karel Honzík on the pages of Pásmo.