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V roce 2018 byla při rekonstrukci domu na náměstí Míru v Šumperku náhodně zachráněna kolekce pozdně gotických kachlů. Archeologické nálezy sesbíral majitel domu a s odstupem času byly předány Josefu Bláhovi do Olomouce. Získaný konvolut obsahuje několik desítek komorových, nádobkových a necičkových kachlů, obkládací desky, torza keramických desek a kusy mazanice. Na základě charakteristických morfologických znaků, celkového provedení a ikonografie na čelních vyhřívacích stěnách lze vznik těchto kachlů klást do doby po roce 1500.

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Díky systematickému archeologickému výzkumu v městském jádru i na předměstích někdejšího královského věnného města Chrudimi je řešeno celé spektrum otázek týkajících se každodenního života ve středověkém a raně novověkém městě. Samostatný okruh otázek se dotýká hygienických podmínek ve městě a na předměstích (vodní režim, nakládání s odpadem, zdravotní stav populace ad.). Odpověď na tyto otázky přináší komparace historických a archeologických pramenů společně s poznatky přírodních věd.

Studie se věnuje vyhodnocení archeologického výzkumu ve Vrchlabí, který proběhl v prostoru náměstí Míru v blízkosti novogotického kostela sv. Vavřince, stavby ze závěru 19. století. Výzkum rozpoznal relikty původního kostela, který byl současným kostelem nahrazen. Jeho podoba byla známa z historických pramenů. Zároveň se podařilo identifikovat starší církevní stavbu, která předcházela výstavbě původního kostela ze 16. století. Získané nálezy z kontextu hrobových jam odpovídají zejména průběhu novověku (18. století). Antropologická analýza přináší informace o rozložení věku a pohlaví ve zkoumaném souboru a také základní paleopatologické zhodnocení.

Urban tourism, one of the leading products across Europe, has undergone significant transformation, evolution, and innovations in the new millennium. This process has been initiated by changes in consumer habits on the demand side, particularly with the inclusion of experience-based travel. The aim of the presented article is to showcase the results of a theoretical analysis, evaluating the perspective of urban tourism including its future. [ABSTRACT FROM AUTHOR]

Copyright of Archaeologia Historica 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 Archaeologia Historica 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.)

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Archeologické prameny dokládají existenci středověkého Ústí nad Orlicí od závěru 13. či počátku 14. století. Nálezy se překvapivě nesoustřeďují do okolí ústředního náměstí, ale do prostoru severně od náměstí a východně od barokního kostela zaujímajícího místo někdejšího středověkého svatostánku.

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The article takes a look at four literary texts and analyses them from the perspective of literary flaneurship. In doing so, the study accentuates the category of subject and space of the city from the point of view of their mutually given constitution and the parameters of media fixation of the flaneur act. Textual analysis is based on the understanding of flaneurship as a way of reorganising of the objective city space. The article looks at Ján Rozner’s autobiographical novels Sedem dní do pohrebu ([Seven days to the funeral] 2009) and Noc po fronte ([Night after the front] 2010) in the context of textual creation of Bratislava as a palimpsest, uncovering layers of city’s history in the intersection between personal memory and history. Stanislav Rakús’ novel Temporálne poznámky ([Temporal notes] 1993) is read primarily through the prism of literary flaneurship seen as a way of resisting disciplinary mechanisms of totalitarian power attempting at utilitarian structuration of space and time. The analysis of Peter Macsovszky’s Mykať kostlivcami ([Making skeletons dance] 2010) accentuates the intertextual handling of the space. [ABSTRACT FROM AUTHOR]

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The article offers an interpretation of Malé veľké mesto ([Little big city] 2008), the third book of poetry/long poem by the contemporary Slovak poet and writer Katarína Kucbelová (1979), the author of four books of poetry and a novella. From the point of view of poetics, Malé veľké mesto is a transitional text, a breaking point in the development of the author's style. The book embodies a change towards a more concrete way of expression and contains topics, motives and language typical of Kucbelová's later works. The article tackles two mutually intertwined aspects of the poem - the city and the subject. The central principle of the poem is the projection of the subject into the time and space. The city (specified as Bratislava) can be analysed from the point of view of urban studies as outlined by Olivier Mongin - through his theses on the urban situation and various forms of flows in the city and the creation of bonds with it. The issue of identity that is intimately connected with the city is read on the background of various forms the speaking subject in Katarína Kucbelová's poetry takes. In her early work, the subject focuses on biological and physical traits, later she moves onto the analysis of her individualised experience complex and, finally, in her fourth book of poetry Vie, čo urobí ([He knows what he will do] 2013), the subject turns her attention to the society. A discussion of Malé veľké mesto illustrates the gradual abandonment of the fragmented (non)subject bearing traces of postmodernist subjectivity and a move towards a more decisive delineation of the boundaries of an individual. [ABSTRACT FROM AUTHOR]

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The paper explores the everyday life presented in Ranko Marinković's novel Cyclops. Previous studies on this novel have most often focused on emphasizing the uniqueness of the protagonist's experience and bypassed the commonness of everyday life in which the plot takes place. By insisting on the shift of everyday experiences from the realm of the ordinary to the realm of the unusual world of myths, or by understanding everyday life as carnival time, the meanings of the novel that are more concerned with the micropolitics of the individual as opposed to the macropolitics of the world disappear from the research focus. Distinguishing between places and non-places in contemporary anthropology allows us to discover new meanings of the novel Cyclops which primarily relate to the problematization of the impact of politics on the life of an individual as well opportunities of resistance to these politics. If Cyclops is a swan song of carnival everyday life, it is even more so a farewell for the everyday life that the protagonist experiences in non-places from which he is constantly attempting to run. Supra-modernity that imposes loneliness associated with the fabrication of non-places on the individual is anticipated in the novel in a very convincing way. By placing the protagonist into a world filled with non-places from which it is possible to escape only by accepting its multi-level nature, Marinković's Cyclops has anticipated our modern woes. The paper concludes that Cyclops, as one of the artistically most valuable novels in Croatian literature, has its place in understanding the present as well, because its relationally constructed spaces are also inhabited by individuals for whom constant escape is the only way of release from fear. [ABSTRACT FROM AUTHOR]

Copyright of Archaeologia Historica 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 article addresses the problem of the city as a semiotic space that is defined by its boundary. The first part of the paper presents some of the models of this semiotic boundary and then looks at the city in Bohumil Hrabal's novel Svatby v domě (In-House Weddings; 1984). Methodologically, the article draws on semiotic works of J. M. Lotman and K. H. Stierle. Hrabal's novel provides an image of the city in the period of political upheaval. This can be seen as a recoding of the old arrangement of the city to a new one and is exemplified on the fates of several characters. Several borderline protagonists, namely the central protagonist -- the narrator -- and the character of the doctor come to the fore in this process. These, rather than creating the outer limits of the city, form its inner boundaries. They share some features with the inhabitants of the city, but also occupy the position of strangers. They belong neither to the old nor the new political establishment and attempt to flee the city or view it from the position that is different from both relatively static establishments. Further on, a key role in this respect is played by elements of disorder owing to which the city's semiosphere vanishes into unrestrained chaos. In this respect, it is possible to relate Hrabal's text to the catastrophic model that exceeds the purely semiotic approach. [ABSTRACT FROM AUTHOR]

The article looks at the ways Bratislava is portrayed in Milo Urban's (1904 -- 1982) memoirs and journalistic texts. It starts with the reflection of an essay published in the mid-1930s in Elán magazine and continues with an analysis of the topographic outline of the city presented in the second and third part of Urban's memoirs. The latter texts provide a look at the city from the point of view of a stranger, newcomer. The descriptions give an insight into the emotional state of the narrator and his view of Bratislava, characterised by his exclusion from the social space of the city. The texts also contain musings on urban imagination. Common attributes of all analysed texts lie in the confrontation of modernisation with Slovak tradition. The article also outlines the possibilities of further research into Urban's work through the analysis of urban topoi: the formerly unfamiliar Bratislava gradually becomes a known and natural space -- although this process is a problematic and not finite one. [ABSTRACT FROM AUTHOR]

At the turn of the 21st century, the spatial turn that took place in various fields of humanities and social sciences could also be observed in literary studies. On the international level, research was inspired by topics and theories from such fields as architecture, urban studies, sociology or anthropology. Slovak literary studies, however, has not been significantly inspired by geopoetics and has not devoted systematic attention to the study of urban locations and motives. This article provides a basic overview of existing research into the representations of urban settings in Slovak literature. It maps topics and methodological background of individual research initiatives with a special focus on literary and artistic representations of Bratislava. The paper also outlines new lines of inquiry, such as the relationship between literary representations of the city in the post-socialist Central Europe and the phenomenon of nostalgia. It also suggests the possibilities of comparative research. With regards to the latter, the author argues that juxtaposing literary representations of Bratislava with representations of urban settings in the literatures of other European "small nations" (Miroslav Hroch) offers more fruitful ground for research than searching for similarities in culturally and geographically closer Hungarian or Czech literature. The article also provides a list of selected literature on the problematics of urban representations in Slovak literature and culture. [ABSTRACT FROM AUTHOR]

Sezimovo Ústí leží v jižních Čechách nedaleko Tábora. Jeho středověké dějiny jsou bezprostředně spjaty s počátky husitství. Město bylo založeno před polovinou 13. století. Během své více než stopadesátileté historie získalo podobu vrcholně středověkého poddanského města řemeslnicko-zemědělského charakteru s opevněním, farou, farním kostelem, špitálem, klášterem a výstavnými měšťanskými domy kolem náměstí. Bylo vybudováno na pravém břehu řeky Lužnice v prostoru dnešního Sezimova Ústí I a postupně bylo obklopeno třemi předměstími. Město zaniklo za dramatických okolností 30. března roku 1420. Po zániku zůstala plocha města až do počátku 19. století neosídlena. V roce 1828 zde byla založena osada Starý Tábor (Alt Tabor), od roku 1920 znovu přejmenovaná na Sezimovo Ústí. Studie je věnována podobě středověkého města, jak vyplývá z archeologických výzkumů prováděných na lokalitě více než sto let.

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Copyright of Creativity Game / Igra Ustvarjalnosti is the property of University of Ljubljana, Faculty of Architecture 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.)

Odpadní jímky jsou významným pramenem pro poznání životní úrovně a řemesla v případě, že o majiteli parcely, na níž se nacházejí, nejsou dochovány písemné zprávy. Výzkum zároveň ukazuje, že jejich zaplňování může být opakované, střídané s úplným či částečným vybíráním v delším časovém období. Příkladem je i jímka 962 z Chrudimi, v jejíž výplni byly rozlišeny dva časové horizonty, jimž odpovídá složení souboru keramiky a skla. Nálezový soubor patří z hlediska středověké Chrudimi k průměrným, jen s ojedinělými doklady luxusu a nenaznačuje řemeslo uživatele.

Skozi zgodovino je človek oblikoval bogato besedišče, ki poimenuje posamezne geografske pojave in forme krajine, s katerimi je tisočletja živel in jih spoznaval. Ko si človek prisvoji naravno krajino, pa ta ne izgine, temveč postane nov habitat, grajeno tkivo, in tako ponuja drugačno paleto pojavov. S tvorjenjem novih izrazov za prostor ozaveščamo svojo urbano okolico ter jo pretvarjamo v zaznavno družbeno krajino. Bogastvo kompleksnega urbanega prostora in mejnih območij med naravnim in grajenim ostaja v veliki meri nepoimenovano. Cesta, ulica, avenija, stolpnica, trg – do sem naša jezikovna in kognitivna sposobnost še sežeta. Kaj pa vse majhne variacije, ki jih zaznamujejo in razločujejo med seboj? Kako bi ti označevalci vplivali na našo percepcijo prostora mesta? Članek s pomočjo analize načinov generiranja sodobne urbane krajine ter procesov poimenovanja prostora razišče prostorsko besedotvorje kot potencialno možnost vzgajanja pomenljive povezave med uporabnikom in mestom ter kot orodje reapropriacije mestnega prostora.

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This paper is about Heidegger's conception of space and place, with regard to the role of artworks and art in his later philosophy. I will use three main examples - namely, temple, bridge and sculpture - to present the relationship between Heidegger's thinking of space, place and artworks. Therefore, I will analyze The Origin of the Work of Art (1935-36), Building Dwelling Thinking (1951) and The Art and Space (1969). My aim is to use the analysis to show that Heidegger's later understanding of space and place is essentially bound to his interpretation of art and artworks. I will also present the dynamics of change of the connotations of place and space in later Heidegger's philosophy. Resulting from the analysis, the problem of space will be presented as one of the key points for the interpretation of Heidegger's philosophy of art. In conclusion, I suggest an interpretation of Heidegger's philosophy of art which would not be orientated to his definition of the essence of all arts, but which would accentuate the differences between multiple phenomena of artworks. [ABSTRACT FROM AUTHOR]

Copyright of Archaeologia Historica 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.)

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Copyright of Archaeologia Historica 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 Slavica Litteraria 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.)

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Prispevek obravnava mesto v nočnem času. Posebnost obravnavane tematike je časovna razsežnost prostora ter območja – kraji, ki »živijo« ponoči. Noč ima ekonomsko, kulturno, oblikovno in socialno vsebino in prav te lastnosti določajo spoznavanje mesta v nočnem času. Izpostavljene so naslednje teme: kraji potrošnje, kraji dela, kraji zabave, kraji nočne podobe mesta ter kraji družbeno nesprejemljivega, delikventnega vedenja. Empirični del se nanaša na mesto Maribor.

V rámci "Obnovy retenční nádrže Jordán", prováděné městem Tábor, byl v letech 2012–2015 realizován archeologický výzkum, na který v letech 2013–2017 navázaly specializované analýzy odebraných vzorků na domácích i zahraničních pracovištích, prvotní evidence nálezů včetně kresebné a fotografické dokumentace vybraných artefaktů, zpracování plánové dokumentace a zařazení fotografické i filmové dokumentace. Jednotlivé nálezové celky jsou postupně vyhodnocovány a zveřejňovány. K nejvýznamnějším novým poznatkům patří: a) doklady o pravěkém osídlení údolí, které leželo nedaleko táborského ostrohu a před založením Jordánu jím protékal potok, b) objev pozdně středověké cihlářské huti a c) zjištění i odkryv výpustných systémů v hrázi Jordánu. Jejich popisu a dataci je věnována předkládaná studie. Postupně byly v jordánské hrázi objeveny dvě spodní výpusti a jedna výpusť horní. Pracovaly na čapovém principu, tj. k regulaci vody bylo používáno otevírání nebo uzavírání otvoru v horní ploše vodorovné výpustné dřevěné roury pomocí svislého uzávěru (čapu, čepu).

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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.)