The aim of the present text is to consider 18th century language genealogies, as proposed by Rousseau and Condillac, in relation to the question of gesture and affectivity. For it seems that a certain form of affect - need in Condillac, passion in Rousseau - comes to play a central role in the speculations concerning the possible origin of human communication whose nature is invariably considered to be gestural as well as vocal. Our aim will be to show that the insights both thinkers present on the subject corresponds, quite remarkably, with certain findings of modern linguistics and psychology. It is, of course, impossible to treat the issue in all its complexity; all that we will attempt to do is concentrate on certain significant passages and pinpoint what we consider to be the most remarkable arguments., Josef Fulka., and Obsahuje bibliografické odkazy
Studie Jany Perutkové se zabývá provedením opery "Giulio Cesare in Egitto" od hudebního skladatele Georga Friedricha Händela v divadle U Korutanské brány v císařském hlavním městě Vídni a též širší recepci Händelovy hudby v habsburském soustátí v uvedeném časovém období., The goal of the study is to present certain Händel sources that are unknown or have not yet been researched and to investigate the connection of those sources with the capital city of the Habsburg Monarchy, Vienna. At the center of attention is a performance of a pasticcio of Giulio Cesare in Egitto at the Theater am Kärntnertor in Vienna (Kärntnertortheater) in 1731. The study introduces the printed libretto, which has heretofore been regarded as lost, as well as the score of the work that L. Bennett first brought to light. The rediscovery of the libretto has made possible the comparison of these two sources. Also brought to attention is a copy of a collection of arias from this pasticcio that is held in Bratislava. There is furthermore presentation of certain possibilities regarding the identity of the probable compiler of the pasticcio, the composer Francesco Rinaldi, whose three extant operas premiered in Vienna date from the years 1730–1732. Reference is made in the study to the increased interest in Händel’s works in Vienna around the year 1730, and in connection therewith, reference is also made to a Viennese copy of his opera Admeto, which is kept in Meiningen. The study also asserts that at least one of the scores of Händel’s Agrippina held in the Musiksammlung der Österreichischen Nationalbibliothek had been the property of Count Johann Adam von Questenberg., Jana Perutková., Rubrika: Studie, and České resumé na s. 121, anglický abstarkt na s. 95.