The study is based on an analysis of content and themes of the correspondence of the wellknown Enlightenment Era "provincial intellectual", a bank clerk from Čáslav Jan Ferdinand Opiz (1741-1812), with a country priest from the highlands on the border of Bohemia and Moravia, Karel Killar (1745-1806). Their correspondence - in most part hitherto unstudied - is deposited in the National Museum in Prague. It consists of more than 300 letters, written over a long period of 16 years (1793-1806), and it is fascinating for several reasons: it is conducted in French, which represents one of the very rare testimonies of a good knowledge of French in some members of other classes than the nobility in the 18th and 19th centuries; in this case, the use of French can be read as an implicit adherence to (French) Enlightenment, and perhaps even to the principles of the French Revolution. And it is the Enlightenment, the French Revolution and Napoleonic Wars around which the entire correspondence revolves. Thanks to this we may not only form a deeper and more nuanced insight into Opitz, a wellknown sympathizer of the French Revolution, but also into the lesser known figure of Killar, a man of universal education and an Enlightenment era priest of Josephine stamp, who tried to integrate both the Enlightenment and the French Revolution within his firm Christian (Catholic) worldview., Daniela Tinková., and Obsahuje bibliografické odkazy
This paper considers forms of cultural transfer in decorative design in Central Europe in the second half of the 18th century, focussing on works that combine aspects of both free creative art and artisan craftsmanship. Based on a detailed analysis of a number of works (or parts thereof), the authors show that trends in decoration that had hitherto been broadly interpreted as a somewhat uninventive adoption of fashionable French graphic pattern-books and picture albums in the "goût grec" style (Jean-François de Neufforge, Jean-Charles Delafosse et al.) in fact represented an innovative quest for an original modern synthesis taking its inspiration from classical Roman art (Giovanni Battista Piranesi, Giocondo Albertolli, Carlo Antonini) and developing ideas emerging from the recently introduced teaching of artistic design at the Vienna Academy and from circles close to the imperial court (Johann Baptist Hagenauer, Ignaz Josef Würth et al.). The whole phenomenon in considered within the wider context of official cultural policy at the time of Maria Teresa’s and Joseph II’s economic and administrative reforms and is interpreted as one of a number of processes and strategies which, for various reasons, led to a reduction in transcultural transfer. Decorative design in Central Europe in the latter half of the 18th century thus paid more than lip-service to the ideal of universal culture in the sense of transculturality, interpreting it in a specifically local, middle-European and to some extent "nationalized" way - and, from a historical perspective, with extraordinary success., Pavel Suchánek a Tomáš Valeš., and Obsahuje bibliografické odkazy
Autor přibližuje hlavní myšlenky knihy Matěje Spurného Nejsou jako my: Česká společnost a menšiny v pohraničí (1945–1960) (Praha, Antikomplex 2011), kterou hodnotí jako významný přínos k sociálním dějinám poválečného Československa. Spurný se v ní totiž pokouší nejen postihnout proměňující se vztah majoritní české společnosti a jejích tehdejších politických elit vůči minoritním skupinám (Němcům, Romům a volyňským Čechům), ale i zachytit myšlenkový svět a sociální praxi, které se po válce rodily v pohraničí na pozadí tamních procesů vysidlování a osidlování. Autor zdůrazňuje hlavně Spurného tezi, že dění v pohraničí se stalo v jistém smyslu laboratoří celostátního vývoje, zpochybňuje však opodstatněnost spojování analýz volyňských Čechů s dalšími skupinami reemigrantů. Kniha podle něj přináší mnoho nových poznatků o českém pohraničí a jeho obyvatelích, a navíc může inspirovat diskusi nad obecnějšími otázkami o české poválečné historii a jejích interpretacích., In this article the author discusses the main ideas in Matěj Spurný’s Nejsou jako my: Česká společnost a menšiny v pohraničí (1945–1960) (They Are Not Like Us: Czech Society and Minorities in the Borderlands, 1945–60; Prague: Antikomplex, 2011). He considers the book an important contribution to the social history of post-war Czechoslovakia, since Spurný attempts not only to identify the changing attitude of majority Czech society and its political élites towards minority groups (Germans, Roma, and Volhynian Czechs), but also to identify the Sinnwelt and social practice which emerged in the borderlands after the Second World War against the background of the local processes of expulsion and resettlement. The author focuses on Spurný’s argument that events in the borderlands became, in a certain sense, a laboratory for state-wide developments. But he expresses doubts about the justifiability of linking analyses of the Volhynian Czechs with other groups of remigrants. According to the author of the article, Spurný’s Nejsou jako my adds much to our knowledge about the Czech borderlands and their inhabitants, and is likely to encourage debate about more general questions related to post-war Czech history and its interpretation., David Kovařík., and Tři hlasy k jedné knize
This essay aims to describe hitherto unknown notes of aesthetics lectures given by August Gottlieb Meißner (1753-1807) at Prague University. It compares these notes (made by a certain Wagner, and deposited in the Wienbibliothek im Rathaus) with notes deposited in Czech libraries, and seeks to determine their place chronologically amongst notes made by others attending Meißner’s lectures over the years. The most important difference in content between the earlier known notes and Wagner’s is Meißner’s negative attitude towards the Schlegel brothers. This attitude slightly alters our existing notion of his views on the relationship between literature and morality. Taken alone, the collections of notes in Czech libraries had led one to conclude that this Prague ordinarius was an ardent libertine, who dared, even at a conservative Austrian university, to push for the autonomy of art, including a thorough split between art and morality, regarding not only works of art, but also, to a certain extent, the artists themselves. By contrast, the Vienna MS as a matter of priority restricts this split to art, and limits it to the higher, moral aims of the artist as citizen. His approach to questions of morality and to the Schlegel brothers demonstrates that while Meißner considered himself part of the liberally enlightened current of contemporaneous literature, which made moving the emotions the central aim of art, he was no longer an adherent of upandcoming Romanticism with its extreme conviction about unlimited authorial liberty, which stemmed from the philosophical Idealism of the times. This attitude to the Schlegel brothers also suggests that Wagner attended Meißner’s lectures in aesthetics and rhetoric in the winter of 1800/1., Tomáš Hlobil., and Obsahuje bibliografické odkazy