The first Noble Colleges were founded in the 17th and 18th centuries by Jesuits and Piarists as an extension of existing secondary schools with the aim of providing education for the sons of impoverished gentlefolk. In the context of the Counter-Reformation these institutions placed especial emphasis on religious education and the formation of moral and ethical values in their pupils. They were intended chiefly for Catholics of noble birth and Catholic converts who would otherwise have received no education because their parents could not afford it or had died young. After the accession of Marie Theresa and the introduction of new legislation (Articles 74/1715 and 70/1723), the state took charge of these establishments, and with them their scholars, their welfare and their upbringing. Religious education and rote-learning of a narrow curriculum was now supplemented by foreign languages (German, Hungarian and French) and other subjects (calligraphy, arithmetic and geography). In the latter half of the 18th century the Viennese court set up a number of noble academies, including several in Hungary where young Hungarian noblemen could acquire an education commensurate with their social standing. Under Marie Theresa’s system of royal scholarships many poor students from the middle and lower nobility were able to receive an education. During her reign scholarship places in the academies and noble colleges became an instrument of social policy used by senior civil servants as rewards for services rendered, thus ensuring a new generation of public officials indebted and loyal to the Viennese Court., Ingrid Kušniráková., and Obsahuje bibliografické odkazy
This article presents Christian Kyrill Schneider OFM, a significant yet not widely known Franciscan missionary who lived in the second half of the 18th century and worked in Egypt and surrounding Middle East Area. His autography that is only available as a manuscript and has never been presented before is fully described here. An excerpt of one chapter offers an insight into a catching egodocument from the beginning of the 19th century. This study is set in the context of Franciscan missions with an important focus on the activity of brothers from the Czech lands in the Middle East. The introductory chapter summarizes basic bibliography of history of Franciscan missionaries and their writings., Kateřina Holanová., and Obsahuje bibliografické odkazy
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