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.
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
This article discusses women's political representation in Central and Eastern Europe in the fifteen years after the fall of the Berlin Wall and the adoption of liberal democratic political systems in the region. It highlights the deep-seated gender stereotypes that define women primarily as wives and mothers, with electoral politics seen as an appropriate activity for men, but less so for women. The article explores the ways in which conservative attitudes on gender roles hinders the supply of, and demand for, women in the politics of Central and Eastern Europe. It also discusses the manner in which the internalisation of traditional gender norms affects women's parliamentary behaviour, as few champion women's rights in the legislatures of the region. The article also finds that links between women MPs and women's organisations are weak and fragmented, making coalition-building around agendas for women's rights problematic.
The 18th century sees the triumph of a cultural technique so self-evident to us that we hardly think that it might have a history at all: numbering. This technique assigns a number to an object or a subject - whether a house, a page in a book, a regiment, a tone pitch, a painting, a horse-drawn carriage or a policeman - in order to positively identify this object or subject. The article presents a hitherto nearly undiscovered research field by clarifying some of the basic terminology and draws on examples from all over Europe, focussing on the numbering of - mostly vagrant - people on one side, on spaces such as houses, rooms or even hospital beds on the other side. At the end some of the research questions to be asked about this topic in the future are presented., Anton Tantner ; translated by Brita Pohl., and Obsahuje bibliografické odkazy