This paper describes the metric structure of accentual verse and its place in the panoply of versification systems. The author compares the definitions of this type of verse for both Czech and foreign authors and examines the reasons behind their differences. She describes the category of time isochrony as a feature of a language in which the tonic principle operates and presents the concept of tonism in Polish, English, Russian and German. The next section summarizes the period and contemporary reception of texts by six Czech authors (F. L. Čelakovský, K. J. Erben, P. Bezruč, F. Gellner, O. Theer and J. Kainar), whose verse is either considered by some theorists to be accentual or which has been discussed in this light in the past. The final chapter focuses on the issues surrounding translations of accentual verse into Czech and the association between tonism and the metric base of other types of verse, as well as the aural nature of accentual verse in general. It is not primarily the aim of this paper to prove or refute the existence of Czech accentual verse or its usage by particular authors. What is far more important here is the presentation of possible views of this metrical category and the quest for an answer to: a) what is and should be a generally applicable yardstick for the occurrence of a specific verse form in national literature, and b) what is the importance of objectively identifiable features of verse and on the other hand the national, cultural, historical and literary-historical context for its final designation, and thus also for the interpretation of entire poetic texts. and Práce popisuje metrickou strukturu tónického verše a jeho místo v soustavě versifikačních systémů. Autorka porovnává definice tohoto typu verše u českých a zahraničních a autorů a zkoumá důvody jejich odlišností. Popisuje kategorii izochronie taktů jako vlastnost jazyka, z níž tónický princip vychází a představuje pojetí tónismu v polštině, angličtině, ruštině a němčině. V další části shrnuje dobovou i současnou recepci textů šesti českých autorů (F. L. Čelakovského, K. J. Erbena, P. Bezruče, F. Gellnera, O. Theera a J. Kainara), jejichž verš někteří teoretici za tónický považují, případně se o něm v tomto smyslu v minulosti diskutovalo. Poslední kapitola práce je věnována problematice překladů tónických veršů do češtiny a souvislosti tónismu s metrickou základnou jiných typů verše, a také zvukovému charakteru tónického verše obecně. Cílem této práce není v prvé řadě prokázání či vyvrácení existence českého tónického verše či jeho výskytu u konkrétních autorů. Daleko spíše v ní jde o předestření možných náhledů na tuto metrickou kategorii a hledání odpovědí na to, co je a má být obecným měřítkem výskytu konkrétní veršové formy v národní literatuře a jaký je význam objektivně zjistitelných rysů verše a na druhé straně národního, kulturního, historického i literárně-historického kontextu pro jeho finální určení, a tím i interpretaci celého básnického textu.
The Czech ''Silesian identity'', obvious throughout the twentieth century, was based on a mixture of strong regional, even local, patriotism, which was determined by historical developments. This patriotism developed on the ethnically mixed territory of Czech Silesia (formerly Austrian Silesia). After the Second World War, this phenomenon was quickly revived, but unlike in the pre-war period, it took a clearly Czech national form. The territorial factor, by contrast, receded into the background. Behind this activity and new interpretation stood intellectual circles and institutions in Opava, some leading fi gures from Ostrava, and the Silesian Cultural Institute in Prague. In addition to cultural-educational activity, their efforts were concentratedon claiming some border areas of Polish and German Silesia as being historically Czech, and also on ensuring the distinctive administrative status of the territory of Silesia in Czechoslovakia, the seed of which they saw in the Ostrava branch of the Moravian National Committee (Zemský národní výbor) in Brno. During the Communist regime, according to the authors, the top state authorities showed an intentional lack of interest in the problems of Silesia when solving related economic and other questions. A consequence of this was a ''silencing of the offi cial sources'' about Silesia. In the 1950s, the ''Silesian-ness'' was condemned as a form of ''bourgeois nationalism'' and was identifi ed with the period of Czech-Polish national friction in the region. From the administrative point of view, Silesia was dissolved in the Ostrava area, later in the North Moravian Region, and was recalled practically only by artistic expressions of an ''Old Silesian-ness'', such as folklore and museum exhibitions. Silesian organizations and societies were, with few exceptions, dissolved or renamed and the newly established Silesian Research Institute in Opava had to orient its historical research chiefl y to the labour movement. The works of the poet Petr Bezruč (born Vladimír Vašek, 1867-1958) and his collection of verses, Slezské písně (Silesian Songs), presented a problem because of their questionable depiction of Silesian identity, and the publication of the complete collection led to disputes in cultural policy. The Ostrava-based arts and politics periodical Červený květ (Red Flower), which repeatedly included debates about regionalism, began to be published in the mid-1950s. At the end of the decade, however, the Communist Party launched a campaign against parochialism (lokálpatriotismus), which was refl ected also in the condemnation of publications seeking to exonerate the poems and ideas of Óndra Łysohorsky (born Ervín Goj, 1905-1989), who during the war promoted the theory of a ''Lach nation.'' In the 1960s, the local authorities and fi gures of Opava again began to emphasize the role of their town as a regional centre. During the Prague Spring of 1968, there were calls for the restoration of Silesian self-government, but that remained more or less limited to the Opava region, and consequently some ''Silesian'' cultural initiatives from this period were of greater importance.