Search

The term laus terrae (praise of the land) refers to a very positive description of the homeland which appears frequently at the beginning of medieval historiographic works. The paper analyzes the composition of such texts in the oldest known extensive Polish, Czech, and Hungarian chronicles. The three works in question give very similar descriptions of the homeland, which is presented as a wealthy land abounding in various natural resources, whose qualities are also underlined in a similar manner. The existence of those analogies is not surprising as the authors of those works were clearly influenced by the same literary motifs. Their choice to present the homeland as a locus amoenus (pleasant place) was of course related to their intention to emphasize the position of the country whose past they related as well as the power of the current and previous rulers of this territory., Termin laus terrae (pochwała ziemi) oznacza bardzo pozytywny opis ojczyzny, który pojawia się zazwyczaj na początku średniowiecznych dzieł historiograficznych. W artykule dokonano analizy kompozycji tego typu tekstów w najstarszych obszernych kronikach polskich, czeskich i węgierskich. W omawianych utworach odnotowuje się liczne podobieństwa w opisie ojczyzny ukazanej jako żyzna kraina obfitująca w rozmaite zasoby, których walory podkreślane są w tekstach w podobny sposób. Istnienie tych analogii nie dziwi, gdyż autorzy analizowanych dzieł pozostawali pod wpływem tych samych motywów literackich. Decyzja podjęta przez trzech kronikarzy, by ojczyznę ukazać jako locus amoenus (miejsce przyjemne) wiązała się z chęcią podkreślenia pozycji państwa, którego przeszłość relacjonowali, oraz potęgi obecnych i dawnych władców tych terytoriów.

The connection between fashion and literature finds its epicenter in the cultural milieu of the nineteenth century, a time when Honoré de Balzac stands out—both in essayistic and narrative aspects—in his analysis of the relationship between society and attire. Drawing from sociology, fashion theory, and authorial studies, the present text addresses Lost Illusions (1837) in the light of the social contexts of the aristocracy, the bourgeoisie, and the artists., La vinculación entre moda y literatura halla su epicentro en el ambiente cultural del siglo XIX, donde resalta Honoré de Balzac tanto en el aspecto argumentativo como el narrativo a la hora de analizar la sociedad en relación con su indumentaria. Con motivo de ello, el presente texto pone en paralelo Tratado de la vida elegante (1830) y Las ilusiones perdidas (1837) al trasluz de los contextos sociales de la aristocracia, la burguesía y los artistas de vida bohemia, a los cuales nos aproximaremos desde la sociología, la teoría de la moda y los estudios autoriales., Le lien entre la mode et la littérature trouve son épicentre dans l'ambiance culturelle du XIXe siècle, où Honoré de Balzac se distingue à la fois dans l'argumentation et la narration lorsqu'il analyse la société en relation avec sa tenue vestimentaire. À cette fin, le présent texte met en parallèle Traité de la vie élégante (1830) et Illusions perdues (1837) à la lumière des contextes sociaux de l'aristocratie, de la bourgeoisie et des artistes de la vie bohème, que nous aborderons à travers la sociologie, la théorie de la mode et les études auctoriales.

This article responds to the concern to discuss the concept of bohemia, in the context of Valparaíso in the 1960s and 1970s, with the purpose of describing the subject that composes and inhabits it, analyzing its implications from the perspectives of landscape, public space, and the symbolic place. In this endeavor, the scenic and festive nightlife spaces and their relevance in the processes of interaction and cultural transmission are approached and analyzed, deepening in the boîtes, revue theaters and dinner houses. In this sense, the article develops a conceptual discussion around the definition of bohemia, the bar as a space of sociability and social gathering, also discussing the scenic spaces and festive expression, the liminal character of this port city night and the peculiarity of the places of celebration and transmission of knowledge between artists. Subsequently, these subjects are confronted with documentary information from press posters, and with the contents of three interviews with artists from the period under study, who were protagonists of Valparaiso's bohemian life: Kim MKeywords: bohemia, landscape, nightlife, festival., Este artículo nace de la inquietud por abordar el concepto de bohemia, en el contexto del Valparaíso de las décadas de 1960 y 1970, con el propósito de dar cuenta del sujeto que la conforma y habita, analizando sus implicancias desde las discusiones sobre el paisaje, el espacio público, y el lugar simbólico. En este empeño, se abordan y analizan los espacios escénicos y festivos de vida nocturna, y su relevancia en los procesos de interacción y trasmisión cultural, profundizando en las boîtes, teatros de revista y casas de cena. En este sentido, el artículo desarrolla una discusión conceptual en torno a la definición de bohemia, al bar como espacio de sociabilidad y encuentro, dialogando también sobre los espacios escénicos y de expresión festiva, el carácter liminar de la noche porteña y la peculiaridad de los lugares de fiesta y transmisión de conocimientos entre artistas. Posteriormente se confrontan estos temas con información documental proveniente de afiches de prensa, y con contenidos de tres entrevistas realizadas a artistas del período de estudio, que fueron protagonistas de la bohemia de Valparaíso: Kim Marcel, vedette, Fernando Montes, cantante y crooner, y Carlos Cifuentes, saxofonista de rock & roll.

Pozdně gotický kostel Narození sv. Jana Křtitele v Českém Rudolci na jihozápadní Moravě představoval v období 15. a 16. století významné pohřebiště rytířských rodů Drhů z Dolan,vladyků z Maříže, Hodických z Hodic a Hodějovských z Hodějova. V době osmdesátých let 15. století, kdy rudolecké panství spravoval Václav z Maříže, došlo k přestavbě kostela na dvoulodí podle vzoru kostel sv. Jakuba v Telči, přestavěného pány z Hradce. Václav z Maříže dal kostel patrně i vybavit nástěnnými malbami a pořídil malovaný oltář a křtitelnici. V kostele se nachází i jeho náhrobník z roku 1480, který vznikl ještě za Václavova života, a náhrobky dalších členů jeho rodiny. Příklad aktivit Václava z Maříže ukazuje lokální variantu uměleckého mecenátu v jagellonské době. V roce 1582 v kostele vznikl štukový epitaf rodiny rytíře Jana Hodějovského z Hodějova, která sídlila v sousední vsi Markvarec. Umělecky velmi kvalitní, monumentální památník zobrazující Jana Hodějovského s manželkou a dětmi v životní velikosti, je v kontextu našeho renesančního sepulkrálního sochařství ojedinělý užitím polychromovaného štuku. Nejbližší analogii představují štukové figury Zachariáše z Hradce a Kateřiny z Valdštejna na tumbě v pohřební kapli Všech svatých na zámku v Telči. Blízká přátelská vazba je doložena i mezi objednavateli obou sepulkrálních monumentů Janem Hodějovským a Zachariášem z Hradce. Formální podobnosti obou děl jsou natolik těsné, že lze uvažovat o stejném autorovi. Kostel Narození sv. Jana Křtitele v Českém Rudolci, který fungoval pod patronátem místní rytířské šlechty, vypovídá o dosud velmi málo probádaných nárocích na uměleckou reprezentaci nižší aristokracie. Zároveň v sepulkrálních památkách uchovává informace o členech rytířských rodů, k nimž se vztahuje jen minimální množství písemných pramenů., The Late Gothic church of the Nativity of St John the Baptist in southwest Moravia was a significant cemetery of the knightly families of the Drhs of Dolany, the vladyks (lowest rank of the nobility) from Maříž, Hodickýs from Hodice and the Hodějovskýs from Hodějov in the period of the 15th and 16th centuries. In the period of the 1480s, when the Rudolec estate was administered by Václav of Maříž, the church was rebuilt into a two-nave following the model of the church of St. James in Telč, reconstructed by the lords of Hradec. Václav of Maříž apparently also had the church furnished with murals and purchased a painted altar and baptistry. The church also houses his tombstone from 1480, which was built still during Václav’s life, and the tombstones of other members of his family. The example of the activities of Václav of Maříž demonstrate the local variation of artistic patronage in the Jagiellonian Period. In 1582, a stucco epitaph was created in the church of the family of the knight Jan Hodějovský of Hodějov, which was headquartered in the neighbouring village of Markvarec. The artistically high quality, monumental memorial depicting Jan Hodějovský with his wife and children in life size is unique in the use of polychrome stucco in the context of our Renaissance sepulchral sculpture. The closest analogy are the stucco figures of Zachariáš of Hradec and Kateřina of Valdštejn on the tomb in the funeral chapel of All Saints at the chateau in Telč. A close friendly connection is also documented between the commissioners of the two sepulchral monument, Jan Hodějovský and Zachariáš of Hradec. The formal similarities of both works are so close that the same author can be considered. The church of the Nativity of St John the Baptist in Český Rudolec, which functioned under the patronage of the local knightly nobility, testifies to the hitherto very little researched demands of the lower aristocracy for artistic representation. At the same time, in sepulchral monuments i

Příspěvek představuje archivní, restaurátorský a materiálový průzkum torza renesančního památníku nejvyššího kancléře Českého království Jáchymova z Hradce (1526–1565) v kostele Nanebevzetí Panny Marie v Jindřichově Hradci, který dala v letech 1568–1578 vytvořit manželka zesnulého Anna Hradecká z Rožmberka (1530–1580). Dnešní epitaf je tvořen přízední edikulou se štukovou dekorací a nápisy, ovšem v archivních pramenech a starší vlastivědné literatuře je zaznamenána existence tumby, na níž se měla nacházet klečící postava Jáchyma z Hradce při modlitbě. Figura mohla být provedena buď v reliéfu nebo jako samostatná, plně plastická postava. Na vzniku díla se podílelo několik italských zedníků a štukatérů, přičemž jméno hlavního autora je neznámé, v pramenech je označen pouze jako “Vlach”. Dále je doložena účast kameníka Šimona Kouřimského, který vytesal nedochovaný mramorový náhrobek Jáchyma z Hradce a pasovského sochaře Hanse Maurera, jenž patrně vytvořil tumbu. Tumba byla zničena při požáru kostela v roce 1801 a edikula prošla obnovou. Restaurátorský a materiálový průzkum se soustředil na otázky po původním ztvárnění povrchu dochované části, opravným zásahům provedeným v minulosti a technologickým aspektům díla. Ačkoliv se ani na základě široce pojatého interdisciplinárního průzkumu nepodařilo zmíněné skutečnosti zcela objasnit, přesto náš výzkum vedl k ustavení dvou teorií o původní barevné podobě památky, které by však bylo možno ověřit až v průběhu konzervátorského zásahu, jenž se z pohledu znovunabytí kvalit původní modelace díla jeví jako více než žádoucí., The paper presents the archival, restoration and material research of the fragment of the Renaissance memorial of the supreme chancellor of the Kingdom of Bohemia Joachim of Hradec (1526–1565) in the church of the Assumption of the Virgin Mary in Jindřichův Hradec, which the deceased’s wife Anna Hradecká of Rožmberk (1530–1580) had created in 1568–1578. Today’s epitaph consists of an aedicule with stucco decoration and inscriptions, but in archival sources and older local historical literature the existence of a tomb is recorded, on which the kneeling figure of Joachim of Hradec in prayer was supposed to be present. The figure could have been executed either in relief or as a separate, fully plastic figure. Several Italian bricklayers and plasterers took part in the creation of the work, while the name of the main author is unknown, he is marked in the sources only as “Vlach” (Italian). The participation of the stonemason Šimon Kouřimský, who carved the unpreserved marble tomb of Joachim of Hradec, and the sculptor Hans Maurer of Passau, who probably created the tomb, are also documented. The tomb was destroyed in the fire of the church in 1801 and the aedicule underwent a renewal. The restoration and material research focused on questions about the original rendering of the surface of the preserved part, corrective interventions made in the past and technological aspects of the work. Although even on the basis of broadly conceived interdisciplinary research it was not possible to fully elucidate these facts, our research led to the establishment of two theories about the original colour appearance of the monument, which could be verified only during the conservation intervention, which in terms of regaining the qualities of the original modelling seems more than desirable.

Michel Tremblay's novel relates a young Montrealer's gay nocturnal adventures in January 1960, as he tries to lose his virginity on the pretext of an opera soirée. It is a multiple initiation: first to the opera houses on the other side of the city, then to the night world, to new music, to the gay "milieu" and, finally, to sexual fulfilment. This report aims to analyse the role of music in a narrative that depicts a heterogeneous nocturnal and urban universe: the bourgeois “grande culture”, represented by the world of opera, mixing with the brand-new folk generation of beatnik singers who are beginning to flourish in this key year. As a matter of fact, after the end of the ultraconservative Duplessis regime, a new freedom of thoughts and morals is emerging which will lead to the Révolution Tranquille., La novela La Nuit des princes charmants (1995), del escritor quebequés Michel Tremblay, narra las aventuras nocturnas de un joven gay de Montreal que, en enero de 1960, busca perder su virginidad con el pretexto una velada en la ópera. Es una iniciación múltiple: primero a las salas de ópera del otro lado de la ciudad, luego a los bares, a la nueva música, al "ambiente" gay y, finalmente, a la realización sexual. Este análisis se centrará en el papel ineludible de la música en una narración que describe un universo nocturno y urbano heterogéneo: la "alta cultura" burguesa representada por el mundo de la lírica se codea con la flamante generación de cantantes populares que comienza a florecer en este año crucial. En efecto, el régimen ultraconservador de Duplessis acababa de dar paso a una nueva libertad de pensamiento y moral, que desembocaría en la Revolución Tranquila., Le roman La Nuit des princes charmants (1995) de Michel Tremblay raconte les aventures nocturnes d’un jeune homme gay montréalais qui, l’hiver 1960, cherche à perdre sa virginité à la faveur d’une sortie à l’opéra. Il s’agit d’une multiple initiation traversant des étapes successives : les salles d’opéra de l’autre bout de la ville, les bars, les boîtes de nouvelles musiques, et le « milieu » gay pour aboutir enfin, à l’accomplissement sexuel. Cette analyse portera sur le rôle incontournable de la musique dans un récit qui dépeint un univers nocturne et urbain hétéroclite : la « grande culture » bourgeoise, représentée par l’art lyrique côtoie ici la toute nouvelle génération des chanteurs à paroles qui commencent à s’épanouir dans cette année charnière. En effet, le régime ultraconservateur de Duplessis vient de céder la place à une nouvelle liberté dans la pensée et dans les mœurs amorçant la Révolution Tranquille.

[EN] ‘Asturicystis’ havliceki Fatka & Kordule from the middle Cambrian of Bohemia (Czech Republic) is re-described based on its type material. Several features, including the extension of the food grooves and presence of ventral swellings suggest that ‘A.’ havliceki does not belong to Asturicystis, and is placed in the new genus Bohemiacinctus. To ascertain the phylogenetic position of Bohemiacinctus havliceki, we conducted Bayesian fossil tip-dating and parsimony-based phylogenetic analyses of 24 species spanning all major groups of cinctan higher taxa. Results show a high degree of congruence between tree topologies recovered by both tip-dated and parsimony-based analyses. Both methods indicate B. havliceki is phylogenetically distant from Asturicystis and is most likely to be an early representative of the family Sucocystidae. Overall, our phylogeny is broadly similar to previous estimates of cinctan relationships, including a more conventional phylogenetic position of controversial taxa such as Protocinctus. These results point to the sensitivity of small clades such as cinctans to taxon sampling effects, and highlights the importance of taxonomy and accurate morphological character descriptions in phylogenetic analyses of fossil taxa.

The text focuses on three attitudes through which the modern artist, in a ritualistic manner, publicly expressed distinction in nineteenth-century Paris: flânerie, dandyism and bohemianism. These attitudes distinguish him on the stage of a metropolis taken over by the masses and the bourgeoisie in which the artist identifies himself, mainly, with the flâneur, a key figure of modernity who creates a new type of gaze on a city which, in turn, also observed him. So was analyzed by Georg Simmel, Walter Benjamin, Siegfried Kracauer, as by Charles Baudelaire himself, the epitome of the modern artist and of a way of life continued by accursed poets such as Paul Verlaine and Arthur Rimbaud. The analysis of these attitudes is supported by lithographic works, mostly signed by Honoré Daumier and Paul Gavarni, where some of the key features of metropolitan life and its most characteristic types are revealed from an acute and sarcastic perspective., Este texto analiza tres actitudes con las que el artista moderno, a modo de ritual, expresó públicamente sus signos de distinción en el París decimonónico: la flânerie, el dandismo y la bohemia. Estas actitudes lo distinguen en el escenario de una metrópoli tomada por las masas y la burguesía en la que el artista se identifica, principalmente, con el flâneur, figura clave de la modernidad que inaugura un nuevo tipo de mirada sobre una ciudad que, a su vez, lo observa. Así lo exponen tempranamente Georg Simmel, Walter Benjamin o Siegfried Kracauer, además del propio Charles Baudelaire, epítome del artista moderno y de un modo de vida continuado por célebres del “malditismo” como Paul Verlaine y Arthur Rimbaud. El análisis de estas actitudes se ilustra con algunas obras litográficas, fundamentalmente de Honoré Daumier y Paul Gavarni, cuya perspectiva aguda y sarcástica revela algunos de los rasgos claves de la vida metropolitana y de sus tipos más característicos.

Since its professional beginnings, social work has been a major actor and instrument of social policy. This study is a reconstruction of the development of social work in enterprises implemented as part of enterprise social policy in the territory of Bohemia and Moravia between the years 1876-1989. Using a hermeneutical approach based on historical research, the author explores the transformation of societal institutions, communities and structures. In current specialized literature, social work in enterprises is only described in fragments, without any link to the content or the implementation of social policy realized in individual enterprises. The current volume presents an approach to fill this blank space, using a hermeneutical research design in correspondence to the concept of social and economic history. As the author is able to show, social policy measures realized in the Vítkovice Ironworks, Baťa, can be seen as comprehensive programmes of care for workers which created a supportive environment for the constitution of professional social work in the area.

The text focuses on three attitudes through which the modern artist, in a ritualistic manner, publicly expressed distinction in nineteenth-century Paris: flânerie, dandyism and bohemianism. These attitudes distinguish him on the stage of a metropolis taken over by the masses and the bourgeoisie in which the artist identifies himself, mainly, with the flâneur, a key figure of modernity who creates a new type of gaze on a city which, in turn, also observed him. So was analyzed by Georg Simmel, Walter Benjamin, Siegfried Kracauer, as by Charles Baudelaire himself, the epitome of the modern artist and of a way of life continued by accursed poets such as Paul Verlaine and Arthur Rimbaud. The analysis of these attitudes is supported by lithographic works, mostly signed by Honoré Daumier and Paul Gavarni, where some of the key features of metropolitan life and its most characteristic types are revealed from an acute and sarcastic perspective., Este texto analiza tres actitudes con las que el artista moderno, a modo de ritual, expresó públicamente sus signos de distinción en el París decimonónico: la flânerie, el dandismo y la bohemia. Estas actitudes lo distinguen en el escenario de una metrópoli tomada por las masas y la burguesía en la que el artista se identifica, principalmente, con el flâneur, figura clave de la modernidad que inaugura un nuevo tipo de mirada sobre una ciudad que, a su vez, lo observa. Así lo exponen tempranamente Georg Simmel, Walter Benjamin o Siegfried Kracauer, además del propio Charles Baudelaire, epítome del artista moderno y de un modo de vida continuado por célebres del “malditismo” como Paul Verlaine y Arthur Rimbaud. El análisis de estas actitudes se ilustra con algunas obras litográficas, fundamentalmente de Honoré Daumier y Paul Gavarni, cuya perspectiva aguda y sarcástica revela algunos de los rasgos claves de la vida metropolitana y de sus tipos más característicos.

Studie ke zaměřená na fenomém čtenářství českých žen v dlouhém 19. století, The advent of the phenomenon of female readership was determined bywomen‘s literacy, which was related to women‘s access to education. It is therefore only natural that the fi rst female readers were noble women, oft enmembers of religious orders. In the Renaissance period Bohemia, nume rous noblewomen together with literate female burghers were interested in reading. In the Enlightenment period, thanks to the establishment of pub lic schools, the number of literate women increased. However, the ability to read as such did not automatically lead to improving women‘s interest inreading. Back then, just as today, the family background was crucial in this matter. Th e female reader in the author‘s sense of the word did not appear until the 19th century when education was booming and stabilized and the book market was emerging. Th e fi rst half of the 19th century saw the emer gence of literature for girls and women in the Czech milieu.

[Resumen] Este texto analiza tres actitudes con las que el artista moderno, a modo de ritual, expresó públicamente sus signos de distinción en el París decimonónico: la flânerie, el dandismo y la bohemia. Estas actitudes lo distinguen en el escenario de una metrópoli tomada por las masas y la burguesía en la que el artista se identifica, principalmente, con el flâneur, figura clave de la modernidad que inaugura un nuevo tipo de mirada sobre una ciudad que, a su vez, lo observa. Así lo exponen tempranamente Georg Simmel, Walter Benjamin o Siegfried Kracauer, además del propio Charles Baudelaire, epítome del artista moderno y de un modo de vida continuado por célebres del “malditismo” como Paul Verlaine y Arthur Rimbaud. El análisis de estas actitudes se ilustra con algunas obras litográficas, fundamentalmente de Honoré Daumier y Paul Gavarni, cuya perspectiva aguda y sarcástica revela algunos de los rasgos claves de la vida metropolitana y de sus tipos más característicos, [Abstract] The text focuses on three attitudes through which the modern artist, in a ritualistic manner, publicly expressed distinction in nineteenth-century Paris: flânerie, dandyism and bohemianism. These attitudes distinguish him on the stage of a metropolis taken over by the masses and the bourgeoisie in which the artist identifies himself, mainly, with the flâneur, a key figure of modernity who creates a new type of gaze on a city which, in turn, also observed him. So was analyzed by Georg Simmel, Walter Benjamin, Siegfried Kracauer, as by Charles Baudelaire himself, the epitome of the modern artist and of a way of life continued by accursed poets such as Paul Verlaine and Arthur Rimbaud. The analysis of these attitudes is supported by lithographic works, mostly signed by Honoré Daumier and Paul Gavarni, where some of the key features of metropolitan life and its most characteristic types are revealed from an acute and sarcastic perspective.

Diplomová práce se zabývá vývojem živnostenských organizací v Čechách od jejich počátků až po současný stav. Konkrétně popisuje, jakými pravidly se cechy, obchodní a živnostenské komory a živnostenská společenstva řídily. Práce je zaměřena zejména na vývoj živnostenských společenstev v oblasti Chrudimska mezi lety 1841-1952 a sleduje návaznost živnostenských společenstev na práci cechů a hlavní úkoly, kterými se společenstva zabývala. Porovnává členy, klade důraz na odborné zaměření společenstev a rovněž na součinnost s ostatními institucemi a orgány státní správy., This Master's thesis deals with a development of trade associations in the Bohemian territory since their origins, till nowadays. The thesis specifically describes which rules, which guilds, trade associations and trade chambers followed. The author focuses especially on the development of the trade associations in the Chrudim region between 1841-1952 and observes main tasks and labor continuity, which the associations took over from the guilds. It compares members and emphasizes on trade association's specializations. At last, but not least the topic focuses on cooperation between the associations and state authorities., Fakulta filozofická, 1. Studentka představila strukturu své DP, hlavní záměry a prameny. 2. Doc. Panoch přečetl, resp. shrnul posudek vedoucího práce, doc. Jiránka, navržené hodnocení C až D. 3. Doc. Macková shrnula svůj oponentský posudek, navrhla hodnocení C. 4. Diskuse - studentka se vyjádřila k otázkám a výhradám z posudků., Dokončená práce s úspěšnou obhajobou

Studie zkoumá postavení porodních asistentek v českých zemích v letech 1920 - 1950 a je mikrosondou do konkrétních osudů venkovské porodní asistentky z Benešeova u Semil., The study adresses the role of midwives, who in years 1920 to 1952 carried out her duties in a small industrial area under the mountains of the North-East Bohemia.

A half of a mould made from an alloy of copper, tin, zinc and a considerable percentage of lead intended for the production of brooches of Type Almgren 132 was discovered at a Germanic settlement in the cadastral area of Koci, Eastern Bohemia, dated by other finds to the period of the Marcomannic Wars. Finds of production waste indicate that non-ferrous metals were worked there some time around the Marcomannic Wars. Brooches of Type Almgren 132 have been very rarely documented from the territory of Bohemia and Moravia. J. Tejral points out the specific situation in the Central Danube region after Commodus had made peace with the Germans, as we encounter an intensive inflow of Roman imports into the East Germanic milieu while products of East Germanic origin also appear there. J. Tejral explains this situation in the rise of specific conditions for mutual cultural exchange, in which the hinterland of Noricum and Pannonia held an extraordinary position. The territorial impact of these manifestations was probably much greater than it has seemed so far, however., Polovina formy ze slitiny mědi, cínu, zinku a značného množství olova, určená k odlévání spon typu Almgren 132 byla nalezena na germánském sídlišti na katastru obce Kočí ve východních Čechách a pomocí ostatních nálezů byla datována do období Markomanských válek. Nálezy výrobního odpadu ukazují, že se zde v době někdy okolo markomanských válek pracovalo s barevnými kovy. Z prostoru Čech a Moravy je výskyt spon typu A. 132 doložen jen velmi vzácně. J. Tejral poukazuje na specifickou situaci ve středním Podunají po uzavření Commodova míru, kdy se setkáváme s intenzivním přílivem římských importů do východogermánského prostředí. Ve středním Podunají se zároveň objevují výrobky východogermánského původu. J. Tejral vysvětluje tuto situaci vznikem specifických podmínek pro vzájemnou kulturní výměnu, v čemž mimořádné postavení zaujímá předpolí Norica a Pannonie. Tyto projevy ale patrně měly mnohem větší územní dopad, než se doposud zdálo.

The literary, cultural and historical phenomenon that is the "Beat Generation" is most well-known for its iconoclasm during the 1950s. Responding to Cold War America's conformist conceptions of selfhood and culture as not being "authentic", Beat enacted the countercultural function of organicising and lyricising the exploration of a self in crisis. While its initial notoriety as a group of licentious, nihilistic anti-intellectuals galvanised Beat's anti-establishment legacy, this thesis contends that these qualities of oppositionality by which Beat is most recognised today have not been properly analysed, and work to ossify later twentieth and twenty-first century readings and canonical constructions of Beat. This thesis sets out to recast Beat from a monolithically oppositional, mid-century "movement" to a living network and tradition of literary and cultural dissidence which resists definition or easy periodisation. Through an historical materialist approach,this thesis challenges the purity of the Beat canon and emphasises Beat as a fluid site of common and diverging antecedents, influences, and associations. Further, this thesis re-evaluates the oft-cited antagonism between "the Beats" and the mid-century liberal critics in order to underscore Beat's unique conceptions of the self and the search for authenticity as a process of becoming. Using the schema of "authenticating subjectivity", this thesis re-appraises Allen Ginsberg’s Howl and Other Poems (1956), Jack Kerouac’s On the Road (1957), and William S. Burroughs’ Naked Lunch (1959) as each representing a different phase of the search for authenticity – one that moves from confrontation and ambivalence, to dualism and liminality, to a final dissolution of the notion of authenticity itself. By examining this canonical triumvirate as decentralised texts and key sites of transition in their respective authors' artistic development, this thesis seeks to complicate their long-held status as a defining model for cr

Diplomová práce se zabývá rekonstrukcí každodenního života horníků v Čechách v první polovině 20. století. Práce pomocí jednotlivých kapitol analyzuje faktory, které ovlivňovaly každodennost horníků. Mezi hlavní témata práce patří stravování, bydlení, odívání, volný čas, život hornických žen a dětí, motivace k výběru profese horníka nebo také profesní růst horníka. Nedílnou součástí práce jsou i výzkumy sociálních determinantů spojených s důlním odvětím, stávky, mzdové poměry a pracovní úrazovosti horníků, doplňovány dobovými příklady., This master thesis focuses on reconstruction of day-to-day life of the miners from Bohemian region in the first half of the 20th century. An analysis of the factors which influenced miners' everyday life is carried out through the chapters of the paper. To name some of the main topics of the thesis, they are the diet, housing, clothing, free time, the life of miners' wives and children, motivation for choosing the mining as one's job or even professional growth of the miners. What cannot be left out is the research of social determinants connected to the mining industry, strikes, wages and injuries that happened during work in the mines, accompanied by contemporary examples., Fakulta filozofická, 1. Představení práce studentem. 2. Přečtení posudků. 3. rozprava - otázka srovnání různých časových úseků, zeměpisné vymezení,sociopolitické souvislosti, stavovské uvědomění, srovnání s dělnictvem, Dokončená práce s úspěšnou obhajobou

This study looks at contacts between Prague’s Jews and merchants in Italy’s market centres (Bolzano, Verona, Venice) during the period prior to the Battle of White Mountain. It also looks at the business activities of some Italian immigrants who operated in Rudolfine Prague., Studie se zabývá kontakty pražských Židů s obchodníky ve významných tržních centrech Itálie (Bolzano, Verona, Benátky) během předbělohorského období. Současně je zaměřena na podnikatelské aktivity některých italských přistěhovalců, kteří působili v rudolfinské Praze.

After the establishment of the First Czechoslovak republic, many Czech experts settled in Slovakia, including young architects Alois Balán and Jiří Grossmann. In Bratislava, they significantly contributed to the establishment of modern principles with their architectural works, dealt with the regulation of the city and also produced intensive publishing activity. After 1939 they were forced to return to Bohemia, where they continued with their activities. Architects are considered to be important actors of interwar architecture in Slovakia, however they are still not well known in Czech historiography, even though Alois Balán was active on the architectural scene in Moravia. The aim of this paper is to contribute to the complete picture of the phenomenon of Czech architects in Slovakia and to recall the importance of their work for both Slovak and Czech history of architecture., Po vzniku prvej Československej republiky sa na Slovensko prisťahovalo množstvo odborníkov z Čiech, medzi nimi aj mladí architekti Alois Balán a Jiří Grossmann. V Bratislave výrazne prispeli k etablovaniu moderných princípov svojimi dielami, riešili reguláciu mesta, vyvíjali intenzívnu publikačnú aktivitu. Po roku 1939 boli prinútení odísť naspäť do Čiech, kde ďalej pokračovali vo svojej činnosti. Architekti sú na Slovensku považovaní za významných aktérov medzivojnovej architektúry, v rámci českej historiografie sú však doposiaľ málo rozpoznávaní, hoci Alois Balán pôsobil aj na domácej architektonickej scéne na Morave. Zámerom príspevku je doplnenie celkového obrazu fenoménu českých architektov na Slovensku a pripomenúť ich význam z pohľadu slovenských ako aj českých dejín architektúry.

В статье на материале российской драматургии конца XIX — начала XX в. и ранней советской драматургии второй половины 1920-х гг. раскрыты несколько основных контекстов употребления понятий «пошлость» и «мещанство». Выявлены ключевые значения, которыми наделялись эти понятия, трансформации значений с приходом советской культуры, а также роль данных понятий в укреплении и поддержке социокультурных различий внутри общества, маргинализации индивидов и социальных групп., The key contexts of the use of the concepts of ‘’vulgarity” and “philistinism” are revealed based on the material of Russian drama of the late XIX — early XX century and early Soviet drama of the second half of the 1920s. The basic meanings of these concepts, transformation of meanings in the early Soviet culture are considered. The role of the concepts of “vulgarity” and “philistinism” in strengthening and supporting socio-cultural differences within the society, marginalization of individuals and social groups is shown.

An overview is presented of past and future factors which have affected and will influence the territorial ecological limits on open-cast lignite mining in Northern Bohemia, Czech Republic established by the government in 1991. Included within these limits are the Czechoslovak Army mine, Vrasny mine and Bilina mine, with the former and latter mines expected to reach the limits in 2023/4 and 2021, respectively. In 2015, the Czech government significantly diluted the limits and loosened the restrictions on coal mining. Historic factors which have affected the existence of the limits such as the inscrutable position of various political parties, the on-going disunity in the pro-mining camp and the lack of conceptual clarity in coal mining and consumption policies are described. Future factors affecting the limits including the fate of new nuclear sources, the price of resuming mining at the Czechoslovak Army site and the strength of the local opposition are discussed., An overview is presented of past and future factors which have affected and will influence the territorial ecological limits on open-cast lignite mining in Northern Bohemia, Czech Republic established by the government in 1991. Included within these limits are the Czechoslovak Army mine, Vrasny mine and Bilina mine, with the former and latter mines expected to reach the limits in 2023/4 and 2021, respectively. In 2015, the Czech government significantly diluted the limits and loosened the restrictions on coal mining. Historic factors which have affected the existence of the limits such as the inscrutable position of various political parties, the on-going disunity in the pro-mining camp and the lack of conceptual clarity in coal mining and consumption policies are described. Future factors affecting the limits including the fate of new nuclear sources, the price of resuming mining at the Czechoslovak Army site and the strength of the local opposition are discussed.

In this work we approach, from the perspective of a transvaluation of certain values, the formative a personal trajectory, of an artist, in the circumstance of what is called and esteemed as bad life, to locate its meaning on the edge of the happiness and misfortune, face and seal in the vital personal trajectory. In the same way, it is about studying a character and his double, and, in a second moment, about the relationship of the artist and his circumstance, in terms of Ortega y Gasset. Methodologi- cally, it is about the realization of a critical hermeneutical phenomenology that, from the narrative, let us understand how you get to be what you are of an artist. Specifically, it is makes reading of the biographical (historical) story related to a historical character and bohemian life, Daniel Santos El Inquieto Anacobero, in the contemporary Latin American historical context and its music., En este trabajo se aborda, desde la perspectiva de una transvaloración de ciertos valores, la trayecto- ria formativa de una persona, de un artista, en la circunstancia de aquello que se llama y estima como mala vida, para ubicar su sentido en el filo de la felicidad y el infortunio, cara y sello en la trayectoria vital de una persona. De igual manera, se trata de estudiar un personaje y su doble, y, en un segundo momento, la relación del artista y su circunstancia, en términos de Ortega y Gasset.  Metodológica- mente, se trata de la realización de una fenomenología hermenéutica crítica que, desde la narrativa, nos permita comprender el cómo se llega a ser lo que se es de un artista. Específicamente, se realiza la lectura del relato biográfico (histórico) relacionado con un personaje histórico y de la vida bohemia, Daniel Santos El Inquieto Anacobero, en el contexto histórico latinoamericano contemporáneo y de su música.

After the establishment of the First Czechoslovak republic, many Czech experts settled in Slovakia, including young architects Alois Balán and Jiří Grossmann. In Bratislava, they significantly contributed to the establishment of modern principles with their architectural works, dealt with the regulation of the city and also produced intensive publishing activity. After 1939 they were forced to return to Bohemia, where they continued with their activities. Architects are considered to be important actors of interwar architecture in Slovakia, however they are still not well known in Czech historiography, even though Alois Balán was active on the architectural scene in Moravia. The aim of this paper is to contribute to the complete picture of the phenomenon of Czech architects in Slovakia and to recall the importance of their work for both Slovak and Czech history of architecture., Po vzniku prvej Československej republiky sa na Slovensko prisťahovalo množstvo odborníkov z Čiech, medzi nimi aj mladí architekti Alois Balán a Jiří Grossmann. V Bratislave výrazne prispeli k etablovaniu moderných princípov svojimi dielami, riešili reguláciu mesta, vyvíjali intenzívnu publikačnú aktivitu. Po roku 1939 boli prinútení odísť naspäť do Čiech, kde ďalej pokračovali vo svojej činnosti. Architekti sú na Slovensku považovaní za významných aktérov medzivojnovej architektúry, v rámci českej historiografie sú však doposiaľ málo rozpoznávaní, hoci Alois Balán pôsobil aj na domácej architektonickej scéne na Morave. Zámerom príspevku je doplnenie celkového obrazu fenoménu českých architektov na Slovensku a pripomenúť ich význam z pohľadu slovenských ako aj českých dejín architektúry.

After the establishment of the First Czechoslovak republic, many Czech experts settled in Slovakia, including young architects Alois Balán and Jiří Grossmann. In Bratislava, they significantly contributed to the establishment of modern principles with their architectural works, dealt with the regulation of the city and also produced intensive publishing activity. After 1939 they were forced to return to Bohemia, where they continued with their activities. Architects are considered to be important actors of interwar architecture in Slovakia, however they are still not well known in Czech historiography, even though Alois Balán was active on the architectural scene in Moravia. The aim of this paper is to contribute to the complete picture of the phenomenon of Czech architects in Slovakia and to recall the importance of their work for both Slovak and Czech history of architecture., Po vzniku prvej Československej republiky sa na Slovensko prisťahovalo množstvo odborníkov z Čiech, medzi nimi aj mladí architekti Alois Balán a Jiří Grossmann. V Bratislave výrazne prispeli k etablovaniu moderných princípov svojimi dielami, riešili reguláciu mesta, vyvíjali intenzívnu publikačnú aktivitu. Po roku 1939 boli prinútení odísť naspäť do Čiech, kde ďalej pokračovali vo svojej činnosti. Architekti sú na Slovensku považovaní za významných aktérov medzivojnovej architektúry, v rámci českej historiografie sú však doposiaľ málo rozpoznávaní, hoci Alois Balán pôsobil aj na domácej architektonickej scéne na Morave. Zámerom príspevku je doplnenie celkového obrazu fenoménu českých architektov na Slovensku a pripomenúť ich význam z pohľadu slovenských ako aj českých dejín architektúry.

After the establishment of the First Czechoslovak republic, many Czech experts settled in Slovakia, including young architects Alois Balán and Jiří Grossmann. In Bratislava, they significantly contributed to the establishment of modern principles with their architectural works, dealt with the regulation of the city and also produced intensive publishing activity. After 1939 they were forced to return to Bohemia, where they continued with their activities. Architects are considered to be important actors of interwar architecture in Slovakia, however they are still not well known in Czech historiography, even though Alois Balán was active on the architectural scene in Moravia. The aim of this paper is to contribute to the complete picture of the phenomenon of Czech architects in Slovakia and to recall the importance of their work for both Slovak and Czech history of architecture., Po vzniku prvej Československej republiky sa na Slovensko prisťahovalo množstvo odborníkov z Čiech, medzi nimi aj mladí architekti Alois Balán a Jiří Grossmann. V Bratislave výrazne prispeli k etablovaniu moderných princípov svojimi dielami, riešili reguláciu mesta, vyvíjali intenzívnu publikačnú aktivitu. Po roku 1939 boli prinútení odísť naspäť do Čiech, kde ďalej pokračovali vo svojej činnosti. Architekti sú na Slovensku považovaní za významných aktérov medzivojnovej architektúry, v rámci českej historiografie sú však doposiaľ málo rozpoznávaní, hoci Alois Balán pôsobil aj na domácej architektonickej scéne na Morave. Zámerom príspevku je doplnenie celkového obrazu fenoménu českých architektov na Slovensku a pripomenúť ich význam z pohľadu slovenských ako aj českých dejín architektúry.

After the establishment of the First Czechoslovak republic, many Czech experts settled in Slovakia, including young architects Alois Balán and Jiří Grossmann. In Bratislava, they significantly contributed to the establishment of modern principles with their architectural works, dealt with the regulation of the city and also produced intensive publishing activity. After 1939 they were forced to return to Bohemia, where they continued with their activities. Architects are considered to be important actors of interwar architecture in Slovakia, however they are still not well known in Czech historiography, even though Alois Balán was active on the architectural scene in Moravia. The aim of this paper is to contribute to the complete picture of the phenomenon of Czech architects in Slovakia and to recall the importance of their work for both Slovak and Czech history of architecture., Po vzniku prvej Československej republiky sa na Slovensko prisťahovalo množstvo odborníkov z Čiech, medzi nimi aj mladí architekti Alois Balán a Jiří Grossmann. V Bratislave výrazne prispeli k etablovaniu moderných princípov svojimi dielami, riešili reguláciu mesta, vyvíjali intenzívnu publikačnú aktivitu. Po roku 1939 boli prinútení odísť naspäť do Čiech, kde ďalej pokračovali vo svojej činnosti. Architekti sú na Slovensku považovaní za významných aktérov medzivojnovej architektúry, v rámci českej historiografie sú však doposiaľ málo rozpoznávaní, hoci Alois Balán pôsobil aj na domácej architektonickej scéne na Morave. Zámerom príspevku je doplnenie celkového obrazu fenoménu českých architektov na Slovensku a pripomenúť ich význam z pohľadu slovenských ako aj českých dejín architektúry.

After the establishment of the First Czechoslovak republic, many Czech experts settled in Slovakia, including young architects Alois Balán and Jiří Grossmann. In Bratislava, they significantly contributed to the establishment of modern principles with their architectural works, dealt with the regulation of the city and also produced intensive publishing activity. After 1939 they were forced to return to Bohemia, where they continued with their activities. Architects are considered to be important actors of interwar architecture in Slovakia, however they are still not well known in Czech historiography, even though Alois Balán was active on the architectural scene in Moravia. The aim of this paper is to contribute to the complete picture of the phenomenon of Czech architects in Slovakia and to recall the importance of their work for both Slovak and Czech history of architecture., Po vzniku prvej Československej republiky sa na Slovensko prisťahovalo množstvo odborníkov z Čiech, medzi nimi aj mladí architekti Alois Balán a Jiří Grossmann. V Bratislave výrazne prispeli k etablovaniu moderných princípov svojimi dielami, riešili reguláciu mesta, vyvíjali intenzívnu publikačnú aktivitu. Po roku 1939 boli prinútení odísť naspäť do Čiech, kde ďalej pokračovali vo svojej činnosti. Architekti sú na Slovensku považovaní za významných aktérov medzivojnovej architektúry, v rámci českej historiografie sú však doposiaľ málo rozpoznávaní, hoci Alois Balán pôsobil aj na domácej architektonickej scéne na Morave. Zámerom príspevku je doplnenie celkového obrazu fenoménu českých architektov na Slovensku a pripomenúť ich význam z pohľadu slovenských ako aj českých dejín architektúry.

Abweichender Titel laut Übersetzung der Verfasserin/des Verfassers, Arbeit an der Bibliothek noch nicht eingelangt - Daten nicht geprüft, Innsbruck, Univ., Diss., 2018, Arbeit gesperrt

Cuando José Juan Tablada introdujo algunos de sus versos, tanto en “Li-Po” como en otros poemas, con la frase “y Li escribe así”, fue mucho más exacto en su traducción de lo que hasta ahora se había pensado. En vez de simplemente evocar el tono del estilo chino, Tablada traduce en estos versos una de las creaciones más famosas del gran poeta chino. En 1983, Adriana García de Aldridge dio a conocer las fuentes chinas que habían servido de inspiración para varios poemas de Tablada, y más tarde, Michele Pascucci asoció esa inspiración con un libro de Paul-Louis Couchoud. A pesar de estos esfuerzos por encontrar las “fuentes chinas”, no se ha podido esclarecer del todo la naturaleza del tema sobre un gran poeta chino de la antigüedad. A través de la lectura de traducciones del chino mandarín al francés y al inglés, Tablada habría conocido los versos de muchos poetas chinos. Ahora bien, ¿por qué escogió Li-Po en particular como su tema principal? Más aún, Li-Po no sólo atrajo el interés de Tablada, sino que también apareció en los versos de Rubén Darío y en las traducciones del colombiano Guillermo Valencia. ¿Cuál es la vinculación entre el poeta chino y el modernismo hispanoamericano?

[ES] El artista checo František Kupka (1871-1957) se inicia en los estudios teosóficos desde muy joven, especialmente cuando comienza a estudiar en Praga, pero será durante su estancia en Viena, cuando sus contactos con los fundamentos de esta corriente filosófica comiencen a tener una mayor impronta en sus perspectivas teóricas como prácticas. El artista, asiduo lector de las filosofías herméticas y orientales, sobre todo de los tratados realizados por H.P. Blavatsky, A. Besant y C. W. Leadbeater, comenzará a extraer información concreta, en torno a los principios de la génesis, así como las interrelaciones entreciencia y doctrina ocultista, que irán configurando la construcción de su universo pictórico. Las alusiones a la génesis, mediante la configuración representativa del loto, el agua,el feto y el huevo áureo le adentrarán en las teorías emanacionistas de la teosofía. Igualmente, muchos de estos elementos formales demuestran su interés por la imaginería hinduista., [EN] The Czech artist František Kupka (1871-1957) starts in theosophical studies very young, especially when he began to study in Prague, but it will be during his stay in Vienna, where his contacts with the philosophical statements will have a greater impression on his theoretical and practical projects. The artist, assiduous reader of the hermetic and Eastern philosophies, especially of the books made by HP Blavatsky, A. Besant and C. W. Leadbeater, begins to extract specific information about the early origins and connections between science and occultist doctrine that will use to build his pictorial universe. Allusions to Genesis, by means of configuration golden egg will go into emanationist theories of theosophy. Also, many of these formal elements show his knowledge about the Hindu imagery.

The chronicle of the so-called Dalimil is the first chronicle written in the Czech language, dating from the early 14th century. In the context of the succession crisis (interregnum of 1306-1310) entailed by the death of Venceslas III, murdered without descent, and the extinction of the Přemyslide dynasty, its author's plane was to establish the political role of the Czech nobility. Next to the emphasis on the election of the ruler by the Lords, the justification of the tyrannicide had to play a crucial role. In front of a king who could be weak (Henry of Carinthie), foreign (John the Blind) or too young (Venceslas II at the beginning of his reign), the nobility had to embody the durability of the State, the "community of the realm", in a dialectic that connected the Lords in the idea of constituting the "mystic body of king". In this text, the necessity of the application of the tyrannicide is not however presented as a novelty, but as a fundamental and almost moral duty of the nobility, which was abandoned because of the rise of the authoritarian exercise of the power by the ruler when the duchy of Bohemia became a Kingdom, A crónica do chamado Dalimil é primeira crónica escrita em língua checa, datando de inícios do século XIV. No contexto da crise de sucessão (interregno de 1306-1310) criada pela morte de Venceslau III, assassinado sem descendência, e pela extinção da dinastia Přemyslide, o objectivo do autor da crónica era estabelecer o papel político da Nobreza checa. Após enfatizar a eleição do Rei pelos nobres, a justificação do tiranicídio tinha de desempenhar um papel central. Perante um Rei que podia ser fraco (Henrique de Carinthie), estrangeiro (João, o Cego), ou muito jovem (Venceslau II no início do seu reinado), a nobreza do reino tinha de garantir a estabilidade do Estado e a “comunidade do reino”, numa dialéctica que os apresentava como se fossem “o corpo místico do rei”. Nesta Crónica, a necessidade do tiranicídio não é apresentada, porém, como uma novidade, mas como um dever fundamental e quase moral da Nobreza, que fora abandonado devido ao exercício autoritário do poder pelo monarca, quando o ducado da Boémia se transformara num reino

[ES] El artista checo František Kupka (1871-1957) se inicia en los estudios teosóficos desde muy joven, especialmente cuando comienza a estudiar en Praga, pero será durante su estancia en Viena, cuando sus contactos con los fundamentos de esta corriente filosófica comiencen a tener una mayor impronta en sus perspectivas teóricas como prácticas. El artista, asiduo lector de las filosofías herméticas y orientales, sobre todo de los tratados realizados por H.P. Blavatsky, A. Besant y C. W. Leadbeater, comenzará a extraer información concreta, en torno a los principios de la génesis, así como las interrelaciones entreciencia y doctrina ocultista, que irán configurando la construcción de su universo pictórico. Las alusiones a la génesis, mediante la configuración representativa del loto, el agua,el feto y el huevo áureo le adentrarán en las teorías emanacionistas de la teosofía. Igualmente, muchos de estos elementos formales demuestran su interés por la imaginería hinduista., [EN] The Czech artist František Kupka (1871-1957) starts in theosophical studies very young, especially when he began to study in Prague, but it will be during his stay in Vienna, where his contacts with the philosophical statements will have a greater impression on his theoretical and practical projects. The artist, assiduous reader of the hermetic and Eastern philosophies, especially of the books made by HP Blavatsky, A. Besant and C. W. Leadbeater, begins to extract specific information about the early origins and connections between science and occultist doctrine that will use to build his pictorial universe. Allusions to Genesis, by means of configuration golden egg will go into emanationist theories of theosophy. Also, many of these formal elements show his knowledge about the Hindu imagery.

Cuando José Juan Tablada introdujo algunos de sus versos, tanto en “Li-Po” como en otros poemas, con la frase “y Li escribe así”, fue mucho más exacto en su traducción de lo que hasta ahora se había pensado. En vez de simplemente evocar el tono del estilo chino, Tablada traduce en estos versos una de las creaciones más famosas del gran poeta chino. En 1983, Adriana García de Aldridge dio a conocer las fuentes chinas que habían servido de inspiración para varios poemas de Tablada, y más tarde, Michele Pascucci asoció esa inspiración con un libro de Paul-Louis Couchoud. A pesar de estos esfuerzos por encontrar las “fuentes chinas”, no se ha podido esclarecer del todo la naturaleza del tema sobre un gran poeta chino de la antigüedad. A través de la lectura de traducciones del chino mandarín al francés y al inglés, Tablada habría conocido los versos de muchos poetas chinos. Ahora bien, ¿por qué escogió Li-Po en particular como su tema principal? Más aún, Li-Po no sólo atrajo el interés de Tablada, sino que también apareció en los versos de Rubén Darío y en las traducciones del colombiano Guillermo Valencia. ¿Cuál es la vinculación entre el poeta chino y el modernismo hispanoamericano?

The chronicle of the so-called Dalimil is the first chronicle written in the Czech language, dating from the early 14th century. In the context of the succession crisis (interregnum of 1306-1310) entailed by the death of Venceslas III, murdered without descent, and the extinction of the Přemyslide dynasty, its author's plane was to establish the political role of the Czech nobility. Next to the emphasis on the election of the ruler by the Lords, the justification of the tyrannicide had to play a crucial role. In front of a king who could be weak (Henry of Carinthie), foreign (John the Blind) or too young (Venceslas II at the beginning of his reign), the nobility had to embody the durability of the State, the "community of the realm", in a dialectic that connected the Lords in the idea of constituting the "mystic body of king". In this text, the necessity of the application of the tyrannicide is not however presented as a novelty, but as a fundamental and almost moral duty of the nobility, which was abandoned because of the rise of the authoritarian exercise of the power by the ruler when the duchy of Bohemia became a Kingdom, A crónica do chamado Dalimil é primeira crónica escrita em língua checa, datando de inícios do século XIV. No contexto da crise de sucessão (interregno de 1306-1310) criada pela morte de Venceslau III, assassinado sem descendência, e pela extinção da dinastia Přemyslide, o objectivo do autor da crónica era estabelecer o papel político da Nobreza checa. Após enfatizar a eleição do Rei pelos nobres, a justificação do tiranicídio tinha de desempenhar um papel central. Perante um Rei que podia ser fraco (Henrique de Carinthie), estrangeiro (João, o Cego), ou muito jovem (Venceslau II no início do seu reinado), a nobreza do reino tinha de garantir a estabilidade do Estado e a “comunidade do reino”, numa dialéctica que os apresentava como se fossem “o corpo místico do rei”. Nesta Crónica, a necessidade do tiranicídio não é apresentada, porém, como uma novidade, mas como um dever fundamental e quase moral da Nobreza, que fora abandonado devido ao exercício autoritário do poder pelo monarca, quando o ducado da Boémia se transformara num reino

[ES] El artista checo František Kupka (1871-1957) se inicia en los estudios teosóficos desde muy joven, especialmente cuando comienza a estudiar en Praga, pero será durante su estancia en Viena, cuando sus contactos con los fundamentos de esta corriente filosófica comiencen a tener una mayor impronta en sus perspectivas teóricas como prácticas. El artista, asiduo lector de las filosofías herméticas y orientales, sobre todo de los tratados realizados por H.P. Blavatsky, A. Besant y C. W. Leadbeater, comenzará a extraer información concreta, en torno a los principios de la génesis, así como las interrelaciones entreciencia y doctrina ocultista, que irán configurando la construcción de su universo pictórico. Las alusiones a la génesis, mediante la configuración representativa del loto, el agua,el feto y el huevo áureo le adentrarán en las teorías emanacionistas de la teosofía. Igualmente, muchos de estos elementos formales demuestran su interés por la imaginería hinduista., [EN] The Czech artist František Kupka (1871-1957) starts in theosophical studies very young, especially when he began to study in Prague, but it will be during his stay in Vienna, where his contacts with the philosophical statements will have a greater impression on his theoretical and practical projects. The artist, assiduous reader of the hermetic and Eastern philosophies, especially of the books made by HP Blavatsky, A. Besant and C. W. Leadbeater, begins to extract specific information about the early origins and connections between science and occultist doctrine that will use to build his pictorial universe. Allusions to Genesis, by means of configuration golden egg will go into emanationist theories of theosophy. Also, many of these formal elements show his knowledge about the Hindu imagery.

There are some bohemian characters that arrived later than Rafael Villasus or Max Estrella. They were made as opposed to the principal character because Pio Baroja did not like bohemian life and, precisely, Alejandro Sawa was the most significant bohemian writer, so many researches have wanted to see Sawa behind those characters. The problem is that there is not a deep analysis about them. This research is a comparison between fiction and reality so, at the end, we will know if these bohemians could be Sawa., Mucho anteriores a Rafael Villasús o al famoso Max Estrella valleinclanesco son otros personajes bohemios que Pío Baroja creó para sus novelas como contraposición a sus protagonistas. El escritor vasco no simpatizaba con un tipo de vida que se ejemplificaba en Alejandro Sawa, de tal modo que los estudiosos han querido ver tras esos personajes al propio escritor sevillano, pero sin profundizar en un exhaustivo análisis comparativo entre realidad y ficción. Este estudio pretende justificar tanto las posibles asociaciones como dar motivos para rechazar otras.

The article defi nes the main characteristic features of the Chronicle of the Monk of Sazava, one of a number of Bohemian Latin historiographic works that belong to the group of so-called continuations of Cosmas’s chronicles (Continuationes Cosmae); the article compares the method of the Monk of Sazava with the method used in Old Russian historiography of the same period, namely in the Kievan Chronicle. It focuses on the role of the chronological line in the narrative structure of both texts, and reveals their tendency to break the chronological narrative frame. This tendency, however, is not consistent, and the chronological line is not replaced by another structural principle (as happens, for example, in the Ga li cian-Volhynian Chronicle). Such an approach is defi ned as hybridization of anna listic structure. The tendency to break the year-by-year structure is related to the inser tion of inde pendent literary works into the chronologically organized his to rical nar ration, which is particularly evident in the way in which the Monk of Sazava incorporated the text entitled De exordio Zazavensis monasterii into the chrono logical narration of Cosmas. The typological similarity of the Chronicle of the Monk of Sazava and the Kievan Chronicle is also evident in their ability to in cor porate the texts of a nonliterary (legal) character. In both chronicles under consi deration, the role of the author is more important than in annals, however, the im portance of the author is still lower (particularly in the case of the Kievan Chro nicle) than in such Latin medieval works by an individual author, as in the Chro nicle of Bohemians by Cos mas of Prague. In this respect, the texts analysed here are defi ned as texts that exceed ed the frame of the genre of annals, but did not become chronicles, since their authors could not overcome the diverse character of the sources they used; they were not able to provide the text with a unifi ed nar ra tive perspective and thus to a

Gegenwärtig sind wir damit beschäftigt, auf der Basis der internationalen Zusammenarbeit die Resonanz des Phänomens "Mozart" in den Ländern Mittel-und Osteuropas zu bilanzieren und verschiedene Perspektiven und Interpretationen dieses Phänomens zu konfrontieren. Meine Aufgabe ist es, die Mozart-Rezeption in Böhmen zu erörtern.

This article seeks to explore the historical circumstances surrounding the European voyage of Baron Leon of Rozmital, a Bohemian noble related to the Hussite king George of Podebrady, between the end of 1465 and the beginning of 1467, focusing particular attention on his passage through the peninsular territories of the Crown of Aragon at a moment marked by the warlike conflicts between John II and the Principality of Catalonia. It also bring to light some unpublished documents that attest to the passage of Rozmital and his entourage through Aragon and Catalonia toward the end of 1466., En este artículo se intenta refl exionar acerca de las circunstancias históricas en las que se desarrolló el periplo europeo del barón León de Rozmital, noble bohemio emparentado con el rey husita Jorge de Podebrady, entre finales de 1465 e inicios de 1467. Se hace especial hincapié en su paso por los territorios peninsulares de la Corona de Aragón, en un momento marcado de lleno por el conflicto bélico que enfrentaba a Juan II con el Principado de Cataluña. Se aportan, igualmente, algunos documentos inéditos que atestiguan el paso de Rozmital y de su séquito por Aragón y Cataluña a finales de 1466.

Die Arbeit befaßt sich überwiegend mit dem Ringen um die Vorherrschaft zwischen Preußen und Österreich in der Zeit vom Dreißigjährigen Krieg bis zur kleindeutschen Vereinigung im Jahre 1871. Akzentuiert werden die führenden Persönlichkeiten der jeweiligen Zeit. Vor allem Friedrich der Große, Maria Theresia oder Otto von Bismarck. Zum Hauptthema wurde der Siebenjährige Krieg und der Preußisch Österreichische Krieg im Jahre 1866. Ausführlich widmet man sich der Schlacht bei Königgrätz. Im Detail beschreibt man den Verlauf der Schlacht, Ausrüstung und Waffen beider kämpfenden Seiten. Das Ziel der Arbeit ist, die Beziehungen und Ereignisse zwischen den beiden deutschen Staaten, die um die Vorherrschaft im Mitteleuropa bemüht waren, zu rekapitulieren und die Ereignisse in den Böhmischen Ländern, die der Ort der kriegerischen Begegnung der beiden Mächte waren, in den geschichtlichen Kontext zu setzen, This bachelor thesis deals with conflicts between Prussia and Austria (Later Austria-Hungary) since the Thirty Years War until the unification of Germany in 1871. We take a closer look at leaders of that time, mainly Frederick the Great, Maria Theresa and Otto von Bismarck. The main topics are the Seven Years War and the Austro-Prussian War in 1866. A part is dedicated to the battle at Königgrätz by studying the various battle stages, the equipment and armament of both fighting sides. The main goal of this work is to recapitulate the relations between the two German states, constantly competing with each other for the superiority in central Europe and to situate the events in Bohemia and Moravia within the historical context of Europe., Fakulta filozofická

Disertační práce zkoumá parodii v satiře a světském dramatu ve 14. a na počátku 15. století. Hermeneutickým přístupem na základě intertextuálních vztahů je v textu zkoumána parodie ve středověkých skladbách Mastičkář, Podkoní a žák a Svár vody s vínem. Práce poukazuje na mechanizmus tvorby parodie na úrovni architextuality, paratextuality a intertextuality. Disertační práce sleduje také recepci vybraných děl dobovým čtenářem., This thesis analyses parody in satires and secular drama in the 14th and early 15th Centuries. A hermeneutic approach, drawing on the intertextual relations of parody, is used to analyse the works Mastičkář, Podkoní a žák and Svár vody s vínem. This analysis reveals the creative mechanisms producing parody at the architextual, paratextual and intertextual levels. The thesis traces reception of these selected works by contemporary audiences., Fakulta filozofická, 1)Představení práce 2) Posudek oponentů 3) Diskuse Otázky: - kontext s lucemburskou dobou, - chronologické vymezení, - torzovitost středověkého díla, Dokončená práce s úspěšnou obhajobou

Este artículo ha sido escrito en el marco del proyecto de I+D: “La recepción de la filosofía grecorromana en la filosofía y las ciencias humanas en Francia y España desde 1980 hasta la actualidad” FFI2014 -53792-R (2015-2017)., Este artículo ofrece una introducción histórica a la teoría y la práctica situacionista en conexión con la arquitectura funcionalista, las economías urbanas, ejemplos de acción política contracultural y su reincorporación a las lógicas de organización tecnocrática de las ciudades. Ello permite definir, desde una perspectiva histórica, algunas claves interpretativas de los rasgos ideológicos y económicos fundamentales de los sistemas urbanos contemporáneos, lo cual, a su vez puede establecer un contexto desde el que reflexionar sobre las posibilidades actuales de un urbanismo socialmente comprometido., Aquest article presenta una introducció històrica a la teoria i la pràctica situacionista en connexió amb l'arquitectura funcionalista, les economies urbanes, exemples d'acció política contracultural i la seva reincorporació a les lògiques d'organització tecnocràtica de les ciutats. Això permet definir, des d'una perspectiva històrica, algunes claus interpretatives dels trets ideològics i econòmics fonamentals dels sistemes urbans contemporanis, la qual cosa, al seu torn pot establir un context des del qual reflexionar sobre les possibilitats actuals d'un urbanisme socialment compromès., This article offers a historical introduction to situationist theory and practice in connection with functionalist architecture, urban economies, examples of countercultural political action and their recuperation within the logics of technocratic organization of cities.This allows us to define, from a genealogical perspective, some key interpretations of the main ideological and economic features of contemporary urban systems, which in turn can provide with a context to reflect upon current possibilities for a socially committed urbanism., Peer Reviewed

Among the admirers of Hus and the Hussites abroad was the president of the All-Russian Evangelical Christian Union, Ivan Stepanovich Prokhanov (1869-1935), who visited Czechoslovakia in 1924. During his six-week stay, he studied the Hussite movement with some care and on 1 April was ordained by an association of Czechoslovak Baptists who had named themselves after Petr Chelčický (?1390-?1443), a theologian of the Hussite period, who asserted the separation of church and state and practiced baptism on profession of faith. Since Prokhanov had many international connections, what factors may have motivated him to seek ordination from this group in particular? This paper presents a basic sketch of the contributions of Jan Hus and Petr Chelčický and describes how the Bohemian Reformation became a central part both of the historical narrative of the nation of Czechoslovakia and of the identity of Baptists. It concludes with an examination of Prokhanov’s own reflections on the meaning of these historical figures and events for the Russian evangelical movement., Среди поклонников Яна Гуса и гуситов за границей был президент Всероссийского Союза Евангельских христиан, Иван Степанович Проханов (1869–1935), который посетил Чехословакию в 1924 г. Во время своего шестинедельного пребывания, он изучал гуситское движение и 1 апреля был рукоположен ассоциацией чехословацких баптистов, которые так называли себя после того, как Петр Хельчицкий (ок.1390–ок.1443), богослов гуситского периода, утверждал разделение церкви и государства и практиковал крещение по вере. Так как у Проханова было много международных связей, какие факторы могли мотивировать его искать рукоположение от этой группы, в частности? Эта статья представляет собой основной обзор вклада Яна Гуса и Петра Хельчицкого и описывает, как чешская Реформация стала центральной частью исторического нарратива народа Чехословакии и идентичности баптистов. В заключение рассмотрены собственные размышления Проханова о значении этих исторических личностей и событий для российского евангельского движения.

Im ersten Teil des Aufsatzes werden anhand der jungbronzezeitlichen Horte in Böhmen Grundstrukturen der Depotkomposition aufgezeigt: Ganz unterschiedliche Hortmodelle basieren auf der Hortbronzentrias Beil-Sichel-Armring. Diese Modelle werden aufgrund ihrer langfristigen Wirksamkeit als Teil des kulturellen Gedächtnisses beschrieben. Anschließend wird anhand einer Inhaltsanalyse des Hortes von Rydec in Nordböhmen gezeigt werden, dass es sich bei den sogenannten Brucherzdepots um eine verbindliche Auswahl aus Einzelweihungen verschiedener Personen handelt. Die verschiedenen räumlichen, zeitlichen und sozialen Ebenen solcher Komplexe offenbaren einen langfristigen Thesaurierungsprozess. Durch die strukturelle Parallelisierbarkeit mit Flussopferplätzen und antiken griechischen Heiligtümern können entsprechende Horte als sekundärer Niederschlag ganz ähnlicher Dedikationspraktiken identifiziert werden., The first part of the essay uses the Early Bronze Age hoards in Bohemia to illustrate the fundamental structures of deposit composition: very different hoard models are based on the Bronze hoard triad of axes, sickles, and bracelets. These models are described because of their long-term effectiveness as part of the cultural memory. The paper then uses a content analysis of the Rydec hoard in northern Bohemia to show that deposits of so-called scrap metal represent an authoritative selection of the individual dedications of various people. The different spatial, temporal, and social levels of such complexes reveal a long-term process of accumulation. Structural parallelism with sites of river sacrifice and ancient Greek sanctuaries can help to identify the corresponding hoards as secondary deposits of very similar practices of dedication.

The term "Euro-Region Neisse" is misleading to the extent that it suggests that a common region currently exists or that it will be realised in the near future. In fact, three separate border regions exist in Germany, Poland and the Czech Republic. These are preferably orientated towards their respective national territories. They exhibit considerable differences in their historical background, the language and nationality of the inhabitants, the standards of living and with regards to the demographic structures. Longterm derivative effects resulted from the expulsion of the Germans and the resettlement of Lower Silesia and North Bohemia with Polish and Czech immigrants. An additional barrier effect is caused by the role of the eastern German border as the outer border of the EU. The importance of the "Euro-Region Neisse" can be found in its function as a promotor and catalyst of mutual understanding and co-habitation of Germans, Poles and Czechs in the "triangle of states" around Zittau, Liberec, Jelenia Gora and Görlitz.

Der Beitrag setzt sich mit den Grenzräumen in Deutschland auseinander, wobei er vorrangig auf die grenzüberschreitende Entwicklung und die grenzübergreifende Kooperation eingeht. Einleitend wird der Forschungsstand im zeitlichen Verlauf skizziert. Dabei werden sowohl fachwissenschaftliche Aspekte als auch deren praktische Umsetzung thematisiert. Besonderes Augenmerk erfährt die Betrachtung der Entstehungsgeschichte grenzüberschreitender Regionen in Mitteleuropa seit den 1990er Jahren, die als Ausgangspunkt zur Herausbildung von Euroregionen in der Bundesrepublik Deutschland verstanden wird. Einen weiteren Schwerpunkt stellt die Analyse der Zusammenarbeit und ihrer Grundlagen speziell an der deutschen Ostgrenze dar, die in den Jahren nach der politischen Wende im Fokus des fachwissenschaftlichen Interesses steht. Außerdem erfolgt eine Zwischenbilanz der grenzübergreifenden Zusammenarbeit am Beispiel der deutsch-tschechischen und deutschpolnischen Euroregionen. Dabei werden sowohl die positiven Aspekte als auch die Probleme der grenzübergreifenden Zusammenarbeit angesprochen. Weiterhin werden Erkenntnisse zur wirtschaftlichen Kooperation von Unternehmen in der Grenzregion Südwestsachsen und Nordwestböhmen aufgezeigt und interpretiert, die auf originären Primärerhebungen basieren. Schließlich beinhaltet das Fazit diverse Hinweise zur Einschätzung der Entwicklung und Zusammenarbeit der deutschen Grenzregionen bzw. ihrer Akteure mit ihren ausländischen Nachbarn. Als Ausblick bleibt festzuhalten, dass die Grenzgebiete ihren hohen Stellenwert langfristig behalten bzw. ausweiten dürften. Sie werden wohl auch in Zukunft wichtige "Scharniere" zwischen den Staaten Europas bleiben, da sie bedeutsame Aufgaben für den gesamten Kontinent wahrnehmen. Außerdem sind die Euroregionen als kleinräumige "Laboratorien" der europäischen Integration anzusehen, deren Akteure sich in zunehmendem Maße emanzipieren. Diese könnten sich in den noch nicht der EU angehörenden Ländern zu "Motoren" e, The article deals with the border regions in Germany, focusing primarily on the cross-border development and the cross-border cooperation. Th e introduction traces the current state of research over the course of time. It relates to specialist, scientific aspects and also their practical implementation. There is particular at tention to the consideration of the emergence history of cross-border regions in central Europe since the nineteen nineties, which are understood to the starting point for the crystallisation of European regions in the Federal Republic of Germany. Another focus is the analysis of cooperation and its foundations, specifically on the eastern border, which are the focus of academic interest after the political transformation. An intermediate appraisal of the cross-border cooperation is also made, using the example of the German-Czech and German-Polish EuroRegions. It mentions both the positive aspects and also the problems of the cross-border cooperation. There is also a presentation and interpretation of insight from the economic cooperation between companies in the south-west of Saxony and north-west of Bohemia, based on original, primary surveys. Finally, the summary contains various comments for appreciating the development in cooperation in the German border regions or the protagonists therein, with their foreign neighbours. As an outlook, it remains to be said that the border regions should retain and even expand their high significance. In future, they will remain important "hinges" between the European states, as they manage significant tasks for the entire continent. Additionally, the EuroRegions can be seen as miniature "laboratories" of European integration, whose protagonists are becoming increasingly emancipated. They may indeed even emerge as "engines" of ongoing European expansion in the countries that do not yet belong to the EU. However, substantial intensification of the cross-border cooperation will only really be possible if th