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The discovery of a very distinct and rather isolated group of the Middle to Early Upper Palaeolithic sites around the Svitava River to the north of Brno has been made very late. This study focuses on the new collections assembled by Petr Gadas and comprising all groups of artefacts. The Horky Hill above Bořitov was the site of one of the biggest centers of the Middle Palaeolithic Micoquian. Despite the presence of one of the Cretaceous spongolite (i.e., the most numerous raw material) outcrops directly on the hillside this was not a workshop site; the quantity of retouched tools even outnumbers the contents of all the Middle Palaeolithic levels in the Kůlna Cave altogether. Both sites fundamentally differ in a much stronger representation of prismatic cores, blades, and characteristic Upper Palaeolithic types at Bořitov V; the dominant hill certainly draw attention even after the demise of the Micoquian. However, the degree of patination is identical in all types of cores and tools. A part of progressive elements in the sphere of technology (blades and blade cores) and typology (end scrapers, often with pronounced side retouch) can occur even in the late phase of the Micoquian, perhaps the main period of occupation of the site. [ABSTRACT FROM AUTHOR]

In the course of 2012/2015 Martin Baják carried out occasional field survey, and he gathered a larger quantity of predominantly lithic tools from thus far unknown Neolithic finding place at Jehnice (Brno-City District). The collection is interesting from the raw material point of view. This newly found locality complements a hitherto blank space in the generally densely settled Brno basin and its northern margin in the period of the Lengyel culture. This paper brings the first evidence on prehistoric settlement in the cadastral area of Brno-Jehnice being presented to the specialist and lay public. [ABSTRACT FROM AUTHOR]

Copyright of Urbanismus a Uzemni Rozvoj is the property of Institute for Spatial Development and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Urbanismus a Uzemni Rozvoj is the property of Institute for Spatial Development and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The study analyses the iconographic programme of ephemeral decoration and the content of the introductory homily of the parish priest of St. James Jodocus (Jošt) Mannenbach on the occasion of the celebration of the canonization of the third general of the Society of Jesus, Francis Borgia, at the Brno Jesuits. The decoration for the occasion at the Jesuit Church of the Assumption of the Virgin Mary included rich sculptural and emblematic decoration, which, like the delivered homily, accentuated the virtues and exemplary piety of St Francis Borgia. A comprehensive analysis of the decoration of the church and Mannnenbach’s sermon is complemented by an overview of the highly prestigious events of the entire solemn liturgical octave, in the form of processions of the religious fraternities with the active involvement of city representatives and the aristocracy. [ABSTRACT FROM AUTHOR]

Copyright of Zprávy Vlastivědného Muzea v Olomouci is the property of Vlastivedne Muzeum v Olomouci and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper surveys the posters by Czech graphic designer Blažej Juřena for HaDivadlo (or Hanácké divadlo, ie. "Hanakian Theatre"), an alternative Czechoslovak scene established by Svatopluk Vála and Josef Kovalčuk in 1974 in the Moravian city of Prostějov, and still alive in Brno. It advocates for posters to have a research value in Theatre Studies beyond their role as a mere source of documentary meta-information. The posters work as a part of the general theatrical communication, they have a quality of a paratheatrical activity, and contribute to understanding theatrical semiotic complexity. Using four posters as an example, this study will reflect on several principles that are typical for the visual communication of the 70s and 80s studio theatres of communist Czechoslovakia as a whole: Strategies by which theatre through of posters, relates reflexively to its "behind the scenes" conditions; that is in accordance with searching for authenticity, and finally, how posters and playbills constitute parallel semantic narratives and quasi-scenographic realities. In particular, the study clarifies the organisational, institutional, but also political background that determined the function, themes, form and artistic quality of the given graphic design. [ABSTRACT FROM AUTHOR]

Ephemeral decorations such as festive and triumphal arches or funerary architecture were an indelible part of the art and culture of the age of the baroque. This paper focuses on a print by engraver Johann Christoph Laidig († 1717) of Brno depicting a festive arch and fireworks device erected to celebrate the wedding of Emperor Joseph I to Duchess Wilhelmine Amalia in Brno on 24 February 1699. The paper looks first at the preparations for this celebration and goes on to describe and interpret the emblems that formed the dominant feature of the decorations applied to the festive arch. These emblems, always in pairs, were primarily an expression of the predestined nature of the couple's union and of the newlyweds' personal, moral, and dynastic affinity. This paper primarily seeks to critically reflect on the significance of the emblematic decorations on the festive arch within the context of art history, but also from a sociopolitical perspective, as the imperial wedding was looked on above all as a guarantee of peace, a happy future, and the eternal glory and rule of the Habsburg dynasty. The paper also includes a transcription of the German edition of the festive fireworks' programme translated into Czech. [ABSTRACT FROM AUTHOR]

Copyright of Archeologické Rozhledy is the property of Academy of Sciences of the Czech Republic, Institute of Archaeology and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)