V první části příspěvku se autor kriticky zamýšlí nad současnou většinovou produkcí české historiografie soudobých dějin. Vedle nevyužitých možností v podobě potenciálně ,,velkých'' témat, jež by mohla zaujmout i zahraniční publikum, jimž se ale věnují pohříchu jen jednotlivci, zde identifikuje jako chronický neduh podezřívavost či ignoranci vůči jakýmkoli teoretickým konceptům a hlubší metodologické reflexi. Tato slabina se podle něj projevuje jednak důslednou orientací na prameny, v horším případě „opisováním archivů“, jednak přebíráním aktuálních západních teoretických a metodologických přístupů a jejich mechanickou aplikací na zdejší historickou materii. Poté autor tyto své teze volně vztahuje ke knize Přemysla Houdy, která mu však nemá sloužit jako exemplární příklad oněch nedostatků, ale představuje prostě jeden titul z široké množiny srovnatelných., Houda se sice podle něj chopil důležitého a dosud málo zkoumaného tématu českého folku v sedmdesátých a osmdesátých letech minulého století, i on však trpí úzkou specializací, nedůvěřuje teorii a částečně pomíjí relevantní literaturu. Nešpor probírá jednotlivé kapitoly a poukazuje na problematické momenty, jako je pominutí kontinuity mezi šedesátými lety a dobou „normalizace“ na folkové scéně, scházející definice folku, příliš úzký výběr interpretů a stručný rozbor jejich písňových textů, nedostatečná pozornost věnovaná podstatě a proměnám tak mnohostranného žánru. Lépe než v obecných kapitolách se podle něj autorovi dařilo v případových studiích věnovaných vybraným fenoménům folkové hudby. Celkově je Houdova kniha důležitým kamenem do mozaiky poznání, k drahokamu má však daleko., In the fi rst part of this review article, the author critically considers mainstream Czech contemporary history writing as a whole. Apart from the missed opportunities to tackle potentially ''big'' topics that might also be of interest to readers outside the Czech Republic - which unfortunately only a few individuals have devoted themselves to - he argues that historians’ being suspicious of, or ignoring, any kind of theoretical concept and profounder methodological consideration is a chronic malady of the fi eld here. This weakness, according to him, is manifested both in a stubbornly one-sided orientation to primary sources (in the worst case merely ‘copying out archive records’), and, on the other hand, adopting current Western theoretical and methodological approaches and applying them mechanically to Czech historical material. The author then freely relates his theses to Přemysl Houda’s Intelektuální protest, nebo masová zábava? Folk jako společenský fenomén v době tzv. normalizace (Intellectual protest or mass entertainment? Folk music as a social phenomenon in the ‘Normalization’ period), published in 2014., The reviewer, however, does not aim to use this book as a prime example of these shortcomings - instead, it represents for him simply one publication of a whole range of comparable ones. Houda, argues the reviewer, has tackled the important and so far little-researched topic of Czech folk music in the 1970s and 1980s, but he too suffers from overly narrow specialization and from mistrust of theory, and he also partly neglects the relevant literature. The reviewer considers each chapter in the book, and points out the problems, for example, the author’s neglecting the continuity on the folk-music scene between the 1960s and the period of ‘Normalization’ (after the crushing of the Prague Spring reform movement), the lack of a defi nition of ‘folk music’, the excessively narrow selection of singer-songwriters he considers, the overly brief analysis of their lyrics, and insuffi cient attention to the essence of such a diverse genre and the transformations it went through. Better than in the book’s more general chapters, the author has, according to the reviewer, succeeded in the case studies devoted to particular folk-music phenomena. Though Houda’s book is on the whole an important stone in the mosaic of our knowledge, the reviewer concludes, it is far from a gem., and Zdeněk R. Nešpor.
This article is an archaeological report on the results of the excavation carried out around the fi lled-up river branch and bridge No. 1 in Mikulčice in 2012 (excavation B 2012). The main aim of the research was to complete the fi eld works at bridge No. 1, which was discovered during the large-scale excavations performed at the defunct river channel in front of the NW gate of the bailey in 1966-1968. At the same time, the question of how the river channel developed at the site of the bridge was investigated, as well as the topic of the settlement in the wider area between the bailey and the north-western suburb. Presented along with the interpretation of the movable fi nds from the defunct river branch were two possible variants on how the settlement developed in relation to the gradual fi lling-up of the river channel. After analysing the fi nd circumstances in area B 2012, the authors inclined towards the second variant and thus revised the existing theories concerning the evolution of sedimentation in the area of the extinct riverbed. This has helped to resolve some key questions regarding the existence and demise of the power centre in Mikulčice., Marek Hladík, Lumír Poláček., and Obsahuje seznam literatury
Abstract Intercultural relations of the Przeworsk Culture population in the Carpathian area at the turn of the Early and Younger Roman Periods as refl ected by cemetery at Prusiek, site 25, commune Sanok. The contribution deals with the characteristics of the cemetery at Prusiek, dated to the end of the Early Roman Period and the beginnings of the Younger Roman Period. This is the fi rst necropolis of the Przeworsk Culture discovered in the Polish Carpathian Mountains, in the upper San River basin. The rich grave goods helped to determine directions of the contacts of the population connected with the graveyard. Clearly visible are its links with so-called eastern zone of the Przeworsk culture as well as with Wielbark culture area and other areas located in the Baltic Sea basin., Renata Madyda-Legutko, Judyta Rodzinska-Nowak., and Obsahuje seznam literatury
On August 21, 1968, the Soviet and its Warsaw Pact allies invaded the Czechoslovak Republic, after negotiations failed, to prevent Alexander Dubcek´s Prague Spring reforms from continuing. The Soviets mustered thousands of troops from most Warsaw pact countries. The invasion was successful in stopping democratization reforms and strengthening the authority of the Communist Party of Czechoslovakia. and Jitka Vondrová.
Secularism and state policies toward religion represent one of the most important issues in Turkey aver since the establishment of the republic in 1923. This contribution briefly summarizes the interpretation of secularism a la turca under the Kemalist leadership and highlights the significant changes that have happened in this area under the AKP government of Prime Minister Recep Tayip Endogan after 2002. The AKP's attempts to introduce Islam-based morality into public space waswelcomed by various religious communities while diminished pressure from the state authorities allowed religiously oriented Turkish movements to act more freely. With the AKP's consolidation of power, the Hizmet movement of Fethullah Gülen finally forged a closer alliance with Ergodan's government and so became an important source of political and economic support both in Turkey and abroad. THe article also shows that the "moderate" secularism as experienced under the current government relaxed the pressure on vocational schools for imams and preachers and transformed the understanding of the state Sunni-Muslim "Church" organization (Diyanet) in the eyes of former hard-line Islamists. Secular circles, however, reject these developments and new trends as signs of continuous Islamization., Gabriel Pirický., and Obsahuje bibliografii
Despite the state borders, and the different socioeconomical and cultural contexts, productions of Italian opera in Prague and Dresden become considerably interconnected due the activity of the impresario Giuseppe Bustelli. During his directorship (1764-1777 in Prague, 1765-1777 in Dresden) and even in the next decade, more than 50% of the repertoire was shared. Furthermore, some of the artists performed in both cities, and the same or similar adaptations of operas were used. The main difference in repertoire consisted in opera seria productions in Prague until 1777, whereas in Dresden only opera buffa was staged since 1765. Analyses of selected works reveal some of both similar and different performing strategies and their aesthetical, practical as well as political connections., Marc Niubo., and Obsahuje bibliografické odkazy