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Copyright of Studia Historica Brunensia is the property of Masaryk University, Faculty of Arts 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 paper presents the state of the art within the discussion about the 'discoursive approach' of cultural learning in the field of German as a second and foreign language. It is argued, that the 'discoursive' approach is accepted by many as an interesting and promising paradigm shift that has created a new base of thinking about cultural learning and its relevance for learners of German, but that on the other hand some crucial questions and challenges still have to be answered: What do we mean by 'discoursive'? What about teaching simple knowledge of 'facts'? What level of language proficiency do learners need to be ready for 'discoursive' learning? Some of these questions are discussed in the paper and it will be shown, that we urgently need more efforts to implement the new approach in teaching and learning of German as a second or foreign language. [ABSTRACT FROM AUTHOR]

Copyright of Studia Historica Brunensia is the property of Masaryk University, Faculty of Arts 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 Brünner Beiträge zur Germanistik und Nordistik is the property of Masaryk University, Faculty of Arts 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 article discusses lexical borrowings from German into Czech. It is a continuation of our previous paper which deals with German-Czech language contact in Central Europe (Zeman 2021). Due to the longstanding coexistence of both the Czech and German/Austrian ethnics, lots of German/Austrian loan-words became domesticated in the Czech. A significant language contact area in Central Europe is the contact area which is based on the former centre of the Austro-Hungarian Empire. From this contact area, a remarkable territory emerged in Vienna that was particularly affected by the influence of Czech on German. Although there has been a high degree of inter-national mixing at various stages in history, there was never any real harm done to the essence of either of the two languages. A fascinating aspect is the parallel changes in pronunciation in both languages, for example, in vowel sounds and diphthongs. Today it is generally accepted that, to make these sound changes, both languages had to develop similar internal expectations and that these developed in parallel. Aim is a short description of phonological and morphological adaptation of the German loan words in south Moravian variety. The paper enabled to confirm that the phonological and morphological structures of German loan words in south Moravian variety are more differentiated than those of German. [ABSTRACT FROM AUTHOR]

Foreign language teaching represents a place that combines linguistic and cultural learning. The Alps as a culturally diverse living space are suitable as a topic for culturally reflective teaching. The focus of the paper is to explore how the concepts of Places of Memory (Erinnerungsorte) and Patterns of Interpretation (Deutungsmuster) can be used inclusively in teaching German as a foreign language. After an introduction of the two concepts, considerations of compatibility and didactic potential are made. This is followed by a presentation of the two concepts using the Alps as an example. On the one hand it is about life in mountain villages and cultural identity, on the other hand it is about traditional costume. The goal of the exercises is a critical examination from different perspectives. Specifically, they aim at providing access to Patterns of Interpretation as well as the development of discourse competence and symbolic competence for orientation in official German-speaking regions and, beyond that, one's own positioning. [ABSTRACT FROM AUTHOR]

The paper seeks to show that the use of dialect literature in the teaching of German as a Foreign Language (DaF) can be very enriching for students. It argues that this practice creates awareness that the German language is not homogeneous across German-speaking countries, but is characterised by variety (the pluricentricity of German). In addition, working with dialect texts allows learners to be immersed in the everyday reality of their target language by experiencing the diglossia that is prevalent in most German-speaking areas. In this way, the texts help students realise that there is not just one standardised form of expression in German that is correct and permissible. The unadulterated tone and idiosyncrasies of literary works in dialect also offer an insight into the emotional world of the people who use the language and into their unique culture and mentality. This is illustrated with the help of two dialect poems ("Drei Vëigl fliagn" and "Die 5 Johreszeitn") by the South Tyrolean author Maridl Innerhofer (1921-2013). [ABSTRACT FROM AUTHOR]

In Marianne Gruber‘s latest novel Erinnerungen eines Narren (2012), the theme of fear appears in various forms – first as a part of life and later as an inexplicable fear. This paper examines the forms of fear in Marianne Gruber‘s novel, basing the research on Sigmund Freud’s conceptualization of fear. Another aim of the paper is to find out how dealing with fear is treated in literature. [ABSTRACT FROM AUTHOR]

Since over a century, the narrative of Brno literature has been one based on the principle of genius loci – Brno, the “Manchester of Moravia”, a city of industry and proletarians “produces” industrial and proletarian literature. The – rarely questioned – problem with this unity of place and art has been that at the same time, the Czech version of this narrative excluded the literature of Brno written in German from it, and vice versa. The present paper suggests to take advantage of the theory of literary field (Bourdieu) as a tool for analyzing the literary field of the city to challenge the monolingual and monocultural approach to the history of Brno literature. Using the synchronic “cuts” of the 1860s when a new literature emerged following the easing of restrictions of Austrian magazine and book production as well as of activities of readers’ and writers’ associations in 1860/1861, and of the 1920s as a period of differentiated literary field(s) with popular fiction, bourgeois literature and various modernist and avantgarde groups, the paper attempts to show how the literary field(s) of Brno evolved. In the 1860s, in spite of already existing nationalist ideologies, there still was a largely unified field of Brno literature, based mainly on the fact that publishing houses operated in both languages and published parallel periodicals in German and Czech, whereas in the 1920s, this field was split in two structured monolingual segments which, however, still display numerous intersections and parallelisms. [ABSTRACT FROM AUTHOR]

The paper analyses and compares two italian librettos written in the 1st half of the 18th century: Agostino Piovene' libretto of the opera Porsena, performed in Venice during the carnival seasons of 1712 and 1713; and the libretto by Pietro Pariati written for the festa teatrale Costanza e Fortezza, performed in Prague in 1723 at the coronation of the Holy Roman Emperor Charles VI as King of Bohemia. Both librettos are inspired by historical events documented by the Roman historian Livy (59 BC - AD 17), recounting the overthrow of the last Tarquin king and the subsequent siege of Rome by Porsenna who tried to help restore the Tarquin dynasty and, according to Livy, failed to do so. Before arriving at the Vienna court in 1714, Pariati lived in Venice and thus was probably familiar with Piovene's libretto. The paper argues that the differences between the two librettos are caused also by the fact that Pariati in his Costanza e Fortezza from 1723 adapted the characters as well as the overall tone of certain episodes to serve the current dynastic and political interests of Charles VI. The paper is based on the close reading of selected character lines, the main points of comparison being the characters and their portrayal, as well as different adaptations of particular episodes in both librettos. The most apparent differences between the two adaptations are understandably caused by the different genres (Piovene's dramma per musica being an opera seria, while Pariati's festa teatrale was rather a form of courtly entertainment written in celebration of a ruler). The deeper and more fundamental difference, though, lies in Pariati's implicit defence of the Pragmatic Sanction expressed through allegorical nuances in the dialogue. One of the key differences, which upholds Charles VI's politics, is the Romans' adamant refusal of peace secured through marriage between the enemies of Rome and Roman girls in Costanza e Fortezza; while in Piovene's story, the Romans are willing to negotiate with their enemies about a marriage offer. The other key difference, perhaps surprising in the context of the Habsburg rule, is the Costanza e Fortezza's greater emphasis on the concept of republican freedom that the Romans gained in opposition to the tyranny of the Tarquin dynasty. The paper will explain the particular emphasis on these themes in Pariati's work, in light of the political situation in which it was written. The paper builds upon the authors previous study The Giovanni Bononcini's Opera Muzio Scevola (1710) and the Johann Joseph Fux' Festa teatrale Costanza e Fortezza (1723). From a Music Dramma to an Allegory published in 2018 in the Supplementum to the journal Musicologica Brunensia. [ABSTRACT FROM AUTHOR]

The paper deals with the use of metaphors in newspaper editorials. Using the results of Christa Baldauf’s study (1997) as a basis, it gives a short overview of the kinds of conceptual metaphors in a sample of 20 editorials in the daily Mährisches Tagblatt published in the last quarter of the 19th century. Afterwards, it focuses on the description of the conceptual metaphor POLITICS IS WAR / BATTLE. Attention is paid to the expressions themselves and their position in the text. [ABSTRACT FROM AUTHOR]

This paper aims to outline a dissertation project, which was presented at the conference Aktuelle landeskundliche Ansätze in DaF/DaZ (Actual cultural studies on didactic in German as a foreign language and second language). Furthermore, I want to conceptualize two terms, that focus to this perspective - migrationssensibel (migrational sensitive) and heimatkritisch (home critic). The paper starts with a short historical overview and a debate on the role of the concepts of Landeskunde and Erinnerungsorte (Spaces of memory). It also presents the methodological design that will be used for this dissertation project (Grounded Theory, and City Walks). Finally, I will describe the expected outcome of this dissertation project. [ABSTRACT FROM AUTHOR]

Copyright of Brünner Beiträge zur Germanistik und Nordistik is the property of Masaryk University, Faculty of Arts 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 didactic epos Φαινόμενα καὶ Διοσεμεῖα by Aratus of Soloi was very popular among the Romans. Thus, it was translated into Latin by several Roman authors including Marcus Tullius Cicero and Germanicus Iulius Caesar. The aim of this paper is to find out whether these two authors only translated the information contained in Aratus' text or whether they also managed to imitate the didactic tone of the poem. Did both translators manage to play their roles as teachers? Did they try to make the lectures more interesting and perhaps to interact with the reader? Or did they minimize the didactic aspects of the epos and concentrated on other features of the text? The main goal of my paper is to analyse the ways in which Cicero and Germanicus applied the features of the didactic poetry genre in their translations. This includes a comparison of these with Aratus' text and with each other. [ABSTRACT FROM AUTHOR]

A guide of an underworld tour is one of the significant features in medieval visionary literature as well as in ancient catabases and Jewish-Christian apocalyptic. It represents an archetype and universal motif of many otherworld journeys through the centuries and cultures. This paper based on a huge collection of sources investigates this topos in medieval visionary accounts composed between the 6th and 13th century. Here the most frequent appearing guide figure is an angel, especially an archangel or a guardian angel. In many other visions a saint holds the role of an instructor and protector. It is almost always possible to find a closer relation between the saint and the visionary - a kind of patronage (personal or local patron). The third usual guide type represents a human connected to the visionary with a spiritual bond (confrère, superior) or a blood relationship (family member). This paper introduces a short characteristic of these three basic otherworld guides and offers a list of all visionary records from the mentioned period including this figure. [ABSTRACT FROM AUTHOR]

In his De errore profanarum religionum, Firmicus Maternus fiercely attacks the traditional cults of the Roman Empire as well as the mysteries, which he considers to be the invention of the devil and a complete perversion of Christian sacraments. This paper analyses the motif of blood in his work. A close reading of the text reveals that Firmicus applies dichotomic functions to the use of blood in ritual contexts, such as poison and remedy, purity and pollution, and salvation and damnation. These dichotomies serve two purposes for him: First, they allow him to construct clear boundaries between the pagan religion (deliberately constructed as 'one' system and suppressing its diversity) and Christianity as two opposing religious systems. Second, by turning the tables, they allow him to undermine the traditional conceptions concerning ritually used blood. Thus, he presents 'pagan' blood as being venomous, polluting, and only leading on the road to perdition, whereas only the blood of Christ truly has the power to heal, to cleanse, to redeem, and to grant eternal salvation. [ABSTRACT FROM AUTHOR]

Copyright of Studia Historica Brunensia is the property of Masaryk University, Faculty of Arts 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.)

Two aims are pursued in this paper. On the one hand, a connecting line between the novels and the essay work of Ludwig Winder should be shown here by way of example, based on the journalistic treatment of ’people of will and power’ who are also central to Winder’s novels. On the other hand, based on selected journalistic articles in the Deutsche Zeitung Bohemia (DZB), Winder is to be anchored in the cultural and political milieu of the first Czechoslovak Republic. Both goals should arrive to one conclusion: For Ludwig Winder, many more cultural-political contexts are relevant, than just the few in which his writing to date, primarily in Jewish and German literature in Prague, has been put. The context the relevance of which for Winder is outlined in this article is the one that unfolds from the position of a journalist from Czechoslovakia who writes in German (taking into account, however, the culture, politics and literature in Czech language too). [ABSTRACT FROM AUTHOR]

There was no ‘zero hour’ (Stunde Null) in German literature, though nazification and denazification had serious impact on the book market. The paper shows this by looking at bestselling books in East and West Germany before and after 1945. Entertaining books and factual novels were among the most successful books in the Third Reich. Freed of their political time reference, many of the texts from the Nazi era lived on after the end of the war. Both genres consequently left a long-term mark on the book market. Some authors like Karl Aloys Schenzinger were close to the National Socialist Party, others like Ehm Welk were critical to the regime. [ABSTRACT FROM AUTHOR]

This paper deals with the early reception (using the concept of the “early wave of reception” [prvotní recepční vlna] suggested by Dalibor Tureček) of Ludwig Winder’s novel Der Thronfolger which was published in November 1937 in Switzerland and in the spring of 1938 in Czechoslovakia in Czech translation. The reviews of the novel are researched in both the German-speaking and the Czech-speaking contexts in Czechoslovakia, in Austria and in the German-speaking exile, especially in Switzerland. Special attention is paid to the strategies of the publisher and the author when presenting the work to the public. [ABSTRACT FROM AUTHOR]

This paper contextualizes the contributions on architecture in rowohlts deutsche enzyklopädie in the years 1955-1962. It explains the influence of Hans Sedlmayr on this publication. [ABSTRACT FROM AUTHOR]

If one attempts to establish periods of the development of German poetry in the 20th century, the year 1945 proves to be rather an ambivalent date. On the one hand, the political upheaval clearly had its effects on poets; on the other hand, a strong continuity can be observed in the style and subject-matter of many works written in the 1930s and the 1940s or even later. The aim of this paper is to show whether and how the year 1945 influenced German-language poetry by examining texts written by authors as different as Nazi-sympathizer Hans Egon Holthusen, resistance fighter Albrecht Haushofer, authors of the so-called ‘Innere Emigration’ – Gottfried Benn, Marie Luise Kaschnitz and Günter Eich – and by taking into account the famous poem about the Shoa, Death Fuge by Paul Celan, who emigrated. [ABSTRACT FROM AUTHOR]

The paper introduces the topic of the lecture series and outlines the problem areas to which the cycle sought an answer. It briefly presents the program of several magazines of the first post-war years (Wandlung, Frankfurter Hefte, Der Ruf), then focuses on the program statements of the magazine Merkur by interpreting them from contemporary contexts. Finally, he presents one of the publishers of the magazine, Joachim Moras, whose projects from 1947– 1961 demonstrate that post-war research cannot be carried out without a network analysis of “longer-lasting” continuities and discontinuities, at least of the period 1930–1960. [ABSTRACT FROM AUTHOR]

In scientific text types the specific language configurations represent a register of language typicality which is regularly used in similar contexts of scientific discourse. It is obvious, that the appropriate knowledge about these structures is a condition for competent scientific outputs. The configured structures as specific patterns are manifested in different forms and functions both on the lexical and the textual level. The paper explains the theoretical premises for researching these structures and discusses the methodological potential of the frequency-oriented n-gram analysis as a challenging base for the qualitative analysis of linguistic data. [ABSTRACT FROM AUTHOR]

Copyright of Musicologica Brunensia is the property of Masaryk University, Faculty of Arts 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 paper examines the means of expressing indirect (inferentive and reportative) evidentiality in Latin narrative prose of I-II A. D. on the material Petron's Satyricon and Apuleius' Meta-morphoses. Morphological forms and syntactic constructions treated as evidential strategies are taken into account, since their main meanings are within the pattern of the grammatical categories (tense, mood etc.), and the information about the source and/or means of access to information is contextually motivated side effect. The result of the research reveals singling out eight strategies to express indirect evidentiality. Inferentive evidentiality is represented by five evidential strategies, while the reportative -- by the three. Different use of evidential strategies in both works relates to context and personal choice of the authors. [ABSTRACT FROM AUTHOR]

The paper presents the Middle High German Conceptual Database as a tool and research infrastructure for analysing older German texts; the available functionality and typical use cases are discussed, including the conceptual framework and the representation of semantic features of the lexical units. The present options for retrieving this kind of data are outlined and some currently running projects are briefly characterised, which are aiming at enhancing the current functionality and enabling other kinds usage in multiple areas. [ABSTRACT FROM AUTHOR]

The paper discusses traditional and innovative elements in three Old Czech alba - songs about meeting and departing of lovers in the morning after spending the night together. The traditional, constitutive features of the genre are discussed as well as specific innovations of the respective texts. [ABSTRACT FROM AUTHOR]

The majority of the medieval poetry-(sub)genres has already been established in the classical period. The 'mainstream' genres coexisted with the so called hybrid texts, which often united two different subgenres within one song. In this paper I focus on examples of such mutations/ interferences, which combine two specific genres that can be positioned into a different spot within the time/ space-specter, such as an early combination of the domestic Wechsel with a dawn song by Morungen or a later down song/ pastourelle by an anonymous Czech author. In accordance with Eco's theory on open texts and Bachtin's idea of polyphony, the extent to which multivocalism represents an intended strategy of the producer of a lyrical text is to be discussed. [ABSTRACT FROM AUTHOR]

This paper starts with a short debate on the role of the research method of "linguistic landscapes", which is part of the ethnographic paradigm. It presents multilingualism, or rather metrolingualism in the market place; a space where languages meet and intermingle and multilingual repertoires collaborate to make linguistic actions possible. The socio-demographic element of linguistic landscapes is also shown in the existence of China Town in Vienna. Multilingualism "from below" is contrasted to the official language policies of the country. [ABSTRACT FROM AUTHOR]

The learning and teaching of German as a foreign language at universities seems to be a very suitable place, which offers a wide space for the memory-historical approach in the context of a culture-reflective foreign language teaching. The main purpose of this paper is to examine how the concept of the Places of Memory can be used in this lesson. Initially, the concepts of collective and cultural memory as well as (the) culture of remembrance are included, which are central for the concept of Places of Memory from the point of view of common scientific theories. Afterwards, the concept of Places of Memory will be briefly presented and in the following some reflections on the didactic potential of this concept will be represented by means of a concrete example. The example is anchored in the context of high school, specifically in teaching German as a foreign language, and the discourse space is represented by the Czech city of Brno, specifically the Jewish cemetery. [ABSTRACT FROM AUTHOR]

This paper attempts to reconstruct different paradigms, attitudes and experiences that underlie the understanding and action of non-professional teachers of German as a foreign language. The analysis shows that some of these teachers explain the problems of their students via a national-cultural affiliation, while other attempts to understand the students' challenges can also be observed. Participating observation of an academic congress on German as a foreign language makes clear that competing explanatory approaches are also present in specialist discourse. In this respect, the divergent categories of explanations observed in the field may appear to be based less on a teachers' lack of disciplinary socialisation than on different migration and diversity-related attitudes and views that originate from different social milieus. [ABSTRACT FROM AUTHOR]

Protokolle der Angst (Protocols of Fear), written by Gruber in 1983, is a collection of stories based on real situations yet connected through a certain absurdity. Fear, death or suicide, sorrow and absurdity are typical features of Grubers works that deal with the meaning of life and develop a therapeutic potential of literature. This paper aims to connect the literary scientific analysis of a philosophically motivated literary text with possibilities of a corpus-based linguistical analysis demonstrated on the example of the motive/Lexeme “Fear". [ABSTRACT FROM AUTHOR]

This paper aims to treat the latest novel TYLL by Daniel Kehlmann with an approach of literary studies as well as to make it didactically useful. With regard to the didactic approach, this contribution seeks to offer literary (recommended) instructions for its application in literature courses at university on the one hand and literary didactic tasks for the field of German as a foreign language on the other hand. These can be used from level B2 / C1 in different teaching and learning contexts, especially in adult education. [ABSTRACT FROM AUTHOR]

Copyright of Opera Slavica is the property of Masaryk University, Faculty of Arts 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 Studia Historica Brunensia is the property of Masaryk University, Faculty of Arts 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 Studia Historica Brunensia is the property of Masaryk University, Faculty of Arts 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.)

L'eroe cinese is a very important work in the history of operatic theatre in Warsaw (that was a cultural centre of the Polish-Lithuanian Commonwealth) as it is the first opera seria in the strict sense of the term that was staged here and the first of a series of Johann Adolf Hasse's opere serie staged subsequently between 1759 and 1763 in the King's Opernhaus of August III in Warsaw (the theatre itself was opened in 1748). It is probable that 1754 performance was led by the composer himself. The opera was accompanied by ballets choreographed by Antoine Pitrot, including the concluding ballet chinois pantomime (possibly a ballet d'action, thus one of the earliest examples of the genre) and L'adoration de la pagode. L'eroe cinese was, therefore, of particular importance for the theatrical and literary culture of Polish-Lithuanian Commonwealth. The libretto by Metastasio was printed in Warsaw in its original Italian version as well as Italian-French and Italian-German editions. Moreover, in 1755 a Polish translation Bo- hatyr chinski was issued in print. To stage the opera in Warsaw in honour of August III's birthday (7 October), the 150-strong artistic and technical personnel serving Dresden Electoral Court moved to the Polish capital. Amongst the numerous spectators of the eight performances were not only the King and the Queen, their two sons and almighty Minister Heinrich von Brühl but also aristocratic elite of the Commonwealth including the future King Stanislaw August Poniatowski. The focus of the paper is placed on the special circumstances of Warsaw staging of L'eroe cinese, then the Author deals with ideological overtones and form of the Metastasian libretto (Vienna, 1752) as well as its musical setting by Hasse (Hubertusburg, 1753), in both cases Warsaw version bearing minor differences from original settings. [ABSTRACT FROM AUTHOR]

In the 1710s and 1720s, librettist Pietro Pariati and composer Francesco Bartolomeo Conti cultivated the highly specific genre of tragicommedia per musica at the Habsburg court in Vienna. Of particular interest is their tragicomedy Penelope (1724), which depicts Ulysses as a ridiculous hero guided by his furious jealousy through a comedy of errors where mistaken identity and buffo servants play a relevant role. Far from being new, this tragicomic interpretation of Ulysses's return to Ithaca belonged to a long-running tradition: Nicolò Minato's Penelope (Vienna 1670) inspired Matteo Noris's Penelope la casta (Venice 1685), on which Pariati in turn based his spoken tragicomedy La casta Penelope (Milan 1707) and the 1724 Viennese tragicommedia per musica. The present paper focuses on the dramaturgical evolution of this plot and shows a case study of bidirectional librettistic influence along the Vienna-Venice axis. [ABSTRACT FROM AUTHOR]

The music inventory from 1763 is one of the most important sources of sacred music in Brno related to the parish church St. James. The paper focuses on the methodological aspects as well as on the heuristic problems of working with this source. This is shown in the example of the records, which were registered between 1763 and 1781. In this time was Peregrin Gravani the chapel; master and he should buy and register all new music sheets in the inventory. Furthermore, the results of the concordance of the entries and the St. James music collection, as well as with the database RISM are presented. [ABSTRACT FROM AUTHOR]

Based on the re-analysis of the evidence this paper demonstrates that a variety of Celtic was indeed spoken in Pannonia at least until the end of the 2nd c. AD. It also argues that most of the proposals regarding the influence of Celtic on Pannonian Latin cannot be upheld, because there were no demonstrable Celtic features that could have triggered such a change. The remaining cases are attested outside of the Celtic speaking areas too, and thus Celtic could at best have reinforced these changes. Only the sound change a > e might be attributed to Celtic influence. [ABSTRACT FROM AUTHOR]

In Vulgar Latin, the nominative and the accusative are used as neutral forms of nouns to replace the oblique cases, whose meaning and functions they can duly acquire. In this paper, I analyse the examples of such uses in the epigraphic corpus of early and late Lusitania, with special attention to the development of the Ibero-Romance system. [ABSTRACT FROM AUTHOR]

The paper analyses and compares two italian librettos written in the 1st half of the 18th century: Agostino Piovene' libretto of the opera Porsena, performed in Venice during the carnival seasons of 1712 and 1713; and the libretto by Pietro Pariati written for the festa teatrale Costanza e Fortezza, performed in Prague in 1723 at the coronation of the Holy Roman Emperor Charles VI as King of Bohemia. Both librettos are inspired by historical events documented by the Roman historian Livy (59 BC – AD 17), recounting the overthrow of the last Tarquin king and the subsequent siege of Rome by Porsenna who tried to help restore the Tarquin dynasty and, according to Livy, failed to do so. Before arriving at the Vienna court in 1714, Pariati lived in Venice and thus was probably familiar with Piovene's libretto. The paper argues that the differences between the two librettos are caused also by the fact that Pariati in his Costanza e Fortezza from 1723 adapted the characters as well as the overall tone of certain episodes to serve the current dynastic and political interests of Charles VI. The paper is based on the close reading of selected character lines, the main points of comparison being the characters and their portrayal, as well as different adaptations of particular episodes in both librettos. The most apparent differences between the two adaptations are understandably caused by the different genres (Piovene's dramma per musica being an opera seria, while Pariati's festa teatrale was rather a form of courtly entertainment written in celebration of a ruler). The deeper and more fundamental difference, though, lies in Pariati's implicit defence of the Pragmatic Sanction expressed through allegorical nuances in the dialogue. One of the key differences, which upholds Charles VI's politics, is the Romans' adamant refusal of peace secured through marriage between the enemies of Rome and Roman girls in Costanza e Fortezza; while in Piovene's story, the Romans are willing to negotiate with their enemies about a marriage offer. The other key difference, perhaps surprising in the context of the Habsburg rule, is the Costanza e Fortezza's greater emphasis on the concept of republican freedom that the Romans gained in opposition to the tyranny of the Tarquin dynasty. The paper will explain the particular emphasis on these themes in Pariati's work, in light of the political situation in which it was written. The paper builds upon the authors previous study The Giovanni Bononcini's Opera Muzio Scevola (1710) and the Johann Joseph Fux' Festa teatrale Costanza e Fortezza (1723). From a Music Dramma to an Allegory published in 2018 in the Supplementum to the journal Musicologica Brunensia.

Copyright of Studia Archaeologica Brunensia is the property of Masaryk University, Faculty of Arts 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 Studia Archaeologica Brunensia is the property of Masaryk University, Faculty of Arts 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 Studia Archaeologica Brunensia is the property of Masaryk University, Faculty of Arts 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 Gorgias is frequently read as a dialogue in which Socrates fails to convince especially his last interlocutor Callicles to adopt a philosophical way of life. Instead, Callicles becomes increasingly indignant about the repeated refutation of his personal convictions and eventually refuses to participate in the conversation any longer. In general scholars explain this result by Callicles' recalcitrance. It is supposed that the dialogue illustrates the impossibility of persuasion if an interlocutor refuses to cooperate - which would imply certain limitations of the Socratic elenchus. In contrast, this paper demonstrates that Socrates indeed achieves his aim of shaking Callicles' faith. By decoding the medicine and court imagery, ubiquitous throughout the whole dialogue, it will be argued that, far from being an illustration of failure, the text instead indicates that Socrates' conversation with Callicles is successful - and thus proves the efficacy of the elenctic method even on reluctant opponents. [ABSTRACT FROM AUTHOR]

For Seneca (and the Stoics in general) benefactions are the essential element for social bonding: they are meant to be reciprocal and thus create relationships. But as he points out in the beginning of De beneficiis they often remain unanswered (and thus fail to create or stabilize community life) because of the recipients' ingratitude. What Seneca undertakes in De beneficiis is to teach people how to avoid ingratitude. As he points out in the beginning of the treatise, a real philosopher's duty is to heal people's souls, so his approach is a therapeutic one. In my paper I present Seneca's therapy of ingratitude. I argue that it is rooted in Stoic Ethics and at the same time adapted to his non-sage readers. [ABSTRACT FROM AUTHOR]

Lucian, one of the most prolific authors during the Second Sophistic, is famous for his multifaceted and manifold literary production. His works are dealing with different topics such as literary criticism, philosophy and myth, and display a wide range of various stylistic devices such as irony, parody and satire. Especially the art of rhetoric is highly present in his texts. This has been emphasized in different works regarding his theoretical writings. This reflects the importance of the rhetorical handbooks, the progymnasmata, which were flourishing during the Second Sophistic and had a strong influence on Lucian. However, the rhetorical approach in Lucian's shorter dialogues has not attracted much attention. An exhaustive commentary on the dialogues is also missing. This paper focusses on Dialogue of the Dead (28) and analyses the rhetoric used by the figures in this dialogue. It is shown that Lucian - in a playful manner - displays different modes of persuasion (especially logos and pathos) with the help of his figures Protesilaos and Pluto arguing in the dialogue with each other. In addition to this treatment of the dialogue, the influence of the progymnasmata is also discussed. Further, it is argued that the dialogue can be seen as a 'model' for rhetoric in practice. Therefore, the dialogue fulfills two purposes: rhetorical education and entertainment by using myth. [ABSTRACT FROM AUTHOR]

Copyright of Studia Historica Brunensia is the property of Masaryk University, Faculty of Arts 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.)