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21. Mechanismus vášní v "économie animale". K otázce vášní duše v osvícenské medicíně /

Creator:
Tinková, Daniela,
Type:
studie
Subject:
Lékařské vědy. Lékařství, osvícenství, lékařství, psychiatrie, fyziologie, emoce, světové dějiny 1648-1789, světové dějiny 1789-1918, dějiny zdravotnictví, lékaři, and literatura, spisovatelé
Language:
Czech
Description:
The Mechanism of Passions in the "économie animale". Passions of the Soul in the 18th Century Medical Thought.
Rights:
unknown

22. Mezinárodní systém fotografií pro výzkum emocí: jeden ze současných přístupů ke zkoumání emočních stavu

Creator:
Czekóová, Kristína and Urbánek, Tomáš
Type:
article, model:article, and TEXT
Subject:
emotions, emotion research, IAPS, psychosemantics, emoce, výzkum emocí, and psychosémantika
Language:
Czech
Description:
Článek se věnuje výzkumu emocí prostřednictvím Mezinárodního systému fotografií pro výzkum emočních stavů. Jedná se o soubor fotografií, které se podle předpokladu autorů liší ve dvou základních dimenzích emocí – valenci a arousalu. Článek diskutuje výzkumy prováděné pomocí tohoto systému, teoretické souvislosti tohoto přístupu, jeho teoretické i metodologické nedostatky a možná východiska. Jako hlavní východisko formuluje potřebu zabývat se sémantickým obsahem snímků, tedy potřebu psychosémantického přístupu.
Rights:
http://creativecommons.org/publicdomain/mark/1.0/ and policy:public

24. Od teatrality k intimitě? Emoce a smrt u Martiniců a Schwarzenbergů v období baroka a romantismu /

Creator:
Grubhoffer, Václav,
Type:
studie
Subject:
Smrt. Pohřby. Obyčeje při úmrtí, Bořitové z Martinic (rod), Schwarzenbergové (rod), rody šlechtické, smrt, emoce, rituály, české země 1526-1792, české země 1792-1847, šlechta, buržoazie, měšťanstvo, podnikatelé, and dějiny zvyků, obřadů, zábavy, pohostinství
Language:
Czech
Description:
Emotions and Death of the Counts of Martinice and the Princes of Schwarzenberg between the Baroque and the Romanticism.
Rights:
unknown

25. Od teatrality k intimitě?: Emoce a smrt u Martiniců a Schwarzenbergů v období baroka a romantismu

Creator:
Grubhoffer, Václav and Kadeřábek, Josef
Format:
print, bez média, and svazek
Type:
model:article and TEXT
Subject:
Martinitz (rod), Schwarzenbergové (rod), smrt, umírání, emoce, death, dying, emotions, poslední okamžiky, dobrá smrt, last moments, good death, 8, and 94(437)
Language:
Czech and English
Description:
Between the Baroque and Romanticism attitudes to death and the discursive framework of the emotional experience of dying fundamentally changed among the Catholic high nobility. The ideal baroque death was supposed to take the form of an extreme point at which the dying person confessed their sins through theatrical gestures and utterances. The deathbed ritual explicitly confirmed the denominational and spiritual orientation of the family. In succeeding generations, both aristocrats and commoners were expected to be confirmed in that orientation by a written and iconographic testimony rich in symbols. Romanticism, on the other hand, imbued the process of dying with sentiment, loving care and family cohesion, which among the high nobility brought solace and a peaceful death. Finally, between the Baroque and Romanticism the relative status of private and public experience of the last moments changed. The Baroque "theatrical" deathbed, which was presented with the central figure of the dying individual and the priest, was a public event. Gradually it changed into a more intimate, quiet contemplation with only a few witnesses gathered in the family circle. Moreover, the doctor came to replace the priest as the chief attendant at the dying person’s bedside. What remained unchanged was the anxious determination to conform to expected patterns of behaviour. By trying to fulfil the contemporary ideal of a "good death", the counts of Martinice and the princes of Schwarzenberg tried to affirm their unique position in Bohemian (and European) aristocratic society. Their emotional experience of death was intended to serve as an example to their descendants and form one of the constitutive elements of the family’s collective memory., Václav Grubhoffer, Josef Kadeřábek., and Obsahuje bibliografické odkazy
Rights:
http://creativecommons.org/publicdomain/mark/1.0/ and policy:public

26. Příspěvek k teorii afektivních procesů

Creator:
Iva Poláčková Šolcová and Trnka, R.
Format:
print, bez média, and svazek
Type:
article, studie, model:article, and TEXT
Subject:
Psychologie, psychologie, afekty, emoce, nálada, psychology, affections, emotions, mood (psychology), afektivní proud, figura, affective stream, figure, 17, and 159.9
Language:
Czech
Description:
The paper reflects a long-term ambiguity in the theoretical concept of affective phenomena. The focal point of this study is the conceptualization of the term “affect” with regard to the other affective phenomena (specifically emotion and mood). Our definition of affect is substantially different than existing Czech terminology and we define affect as the necessary component of all affective processes. Contrary to the Czech traditional concept of affect, we do not attribute characteristics such as “high intensity” or “disorganising influence” on cognitive processes, behaviour, etc. per se. We define affect in accordance with many authors, as a point in the continuum of affective stream and the basic unit of all affective phenomena. Affective phenomena or processes we consider as an umbrella term for a complex phenomenon like affect, emotion, mood, emotional episode, interpersonal attitude, sentiment, passion and so on: their common component is the affect. We consider emotion as a figure that emerges in the affective stream as a complex reaction to the event that has meaning for an individual and is interpreted with respect to the experience, context, individual characteristic, and sociocultural environment of the individual. Contrary to the Czech tradition, emotions are viewed as “just” one type of affective phenomena with a relatively specific definitional framework. The moods are considered parts of the affective stream continuum that have a specific and for consciousness accessible quality. The concepts of affect, emotion and mood discussed in this paper are contrasted; however, we have described where they overlap conceptually. The relationships of all affective phenomena have been considered as interacting with a tendency to synchronize into one (for an individual typical) affective stream., I. Poláčková Šolcová, R. Trnka., and Obsahuje seznam literatury
Rights:
http://creativecommons.org/licenses/by-nc-sa/4.0/ and policy:public

27. Radost a smutek v Pamětech Františka Jana Vaváka

Creator:
Timofejev, Dmitrij
Format:
print, bez média, and svazek
Type:
model:article and TEXT
Subject:
Vavák, František Jan, 1741-1816, rétorika, emoce, historiografie, rhetoric, emotions, historiography, historická stylistika, lidové kroniky, historical stylistics, folk chronicles, 8, and 94(437)
Language:
Czech and English
Description:
The article looks at how emotion is represented in Bohemian folk chronicles, i.e. texts of a historiographic character, written by autodidacts - mostly peasants and artisans. At the core of our analysis is the most famous work of this kind, Paměti Františka Jana Vaváka z let 1770-1816 (Memoirs of František Jan Vavák 1770-1816). Other writings from the turn of the 19th century (e.g. those of Václav Jan Mašek, Jan Petr, Ondřej Lukavský) are also considered. Our initial question is: How, and in which contexts, did Czech-speaking authors of the late 18th and early 19th century, having no opportunity to get acquainted with contemporary philosophical theories, express affects? The study shows that the emotions, especially joy and grief, are expressed in a way recommended by early modern rhetoricians (e.g. Cypriano de Soarez or Bernard Lamy): particular figures are associated with particular affects. Though the principle is the same, the figures used by autodidacts differ from those recommended by the rhetoric manuals. Being unable to read Latin, German or French rhetorics, the authors had probably grasped the principles of how to represent affect from their reading, but adapted them according to their own talent and vision. As might be expected given the rural origin and values of the authors, joy is expressed mostly in the context of weather favourable for the harvest, while grief is realised in the context of rising prices and natural disasters., Dmitrij Timofejev., and Obsahuje bibliografické odkazy
Rights:
http://creativecommons.org/publicdomain/mark/1.0/ and policy:public

30. Senekovo pojetí hněvu v díle jezuitského dramatika Karla Kolčavy

Creator:
Pauerová, Eva
Format:
print, bez média, and svazek
Type:
model:article and TEXT
Subject:
Seneca, asi 4 př. Kr.-65 po Kr, Kolčava, Karel, 1656-1717, jezuitské divadlo, tragédie, emoce, hněv, Jesuit theater, tragedies, emotions, anger, 8, and 94(437)
Language:
Czech and English
Description:
Emotions and passions, especially the negative ones, played a major role in Seneca’s writing: the anger became the object of his philosophical treatise De ira and prevailed also in his tragedies. Seneca was probably the most important model for jesuit playwrigts which implies the question how these authors worked with his conception of anger and rage as destructive emotions, in which measure they took it over or changed it. Jesuit playwrights are represented here by Karel Kolčava whose plays are the only ones published as collected works during his life. In addition, there are (also published) Kolčava’s didactic letters, which gives us the opportunity to compare his theoretical view of anger with the Seneca’s one in the first part of the article. The realization of these conceptions is then observed on a few examples taken from the respective plays of both authors. Finally a special attention is paid to female characters in rage who are so important in Seneca’s tragedies and who can be found in Kolčava’s plays although women were not welcome on the jesuit stage even as characters., Eva Pauerová., and Obsahuje bibliografické odkazy
Rights:
http://creativecommons.org/publicdomain/mark/1.0/ and policy:public