In 2015, we remember the 120th anniversary of the Czech-Slavic Ethnographic Exhibition which was held in Prague between 15th May and the 31st October 1895. The Czech-Slavic Ethnographic Exhibition played a significant role in the formation of stage folklorism – a cultural and social phenomenon introduced with its new functions at the Exhibition. These included national defence, collective integration and art. The efforts were to show at the Ethnographic Exhibition the “real” life of the folk, especially its customs, habits, feasts, music, dance etc. They came to a head at ethnographic festivities the largest from which – The Moravian Days – took place from 15th to 21st August 1895. It demonstrated both the annual cycle (Little Queen processions, the Ride of the Kings) and the customs associated with farming (Harvest Thanksgiving, gathering of flax spinners). The performers were active bearers of folklore traditions – these were village groups which – if needed - were set together by local amateur ethnographers – teachers, priests, students and local intelligentsia. Folklore expressions presented at the Exhibition fulfilled the criteria which were defined for so-called folklorism later – a conscious and intentional care of folklore and cultivation of folk culture in modern society whose integral part folklorism became.
The article analyses data obtained from anonymous excerpts of records from the parish registers for the historical centre of Prague. It was found that the city's growth was fed primarily by immigration, as the high mortality rates hindered growth by natural increase. The level of infant and child mortality observed was on the whole higher than what was found in other locations in the Czech lands. Even in Prague in the 17th and 18th centuries features of the 'urban' reproductive regime were discovered: low nuptiality, a low fertility rate, and conversely a high mortality rate. A specific feature was the structural changes in fertility toward the end of the 18th century, with an unprecedented increase in the number of children born to unmarried mothers (mostly of whom were originally from outside Prague). The stagnation of population growth in Prague at the end of the Thirty Years War continued into the 1660-70s and the population only began growing again in the 1680s. This positive development was interrupted in the 1730s and then especially during the wars in the middle of the 18th century, but toward the end of the 18th century the pace of population growth began to accelerate.
The study focuses on the changes in Apostolic Nunciature in Prague in the interwar Czechoslovakia. It is not only an approximation to the personalities of Holy See envoys, who held the position of apostolic nuncio in that time - Clemente Micara (1879 – 1965), Francesco Marmaggi (1870 – 1949), Pietro Ciriaci (1885 –1966) and Saverio Ritter (1884 – 1951) - while at the same time their agenda and activities in the Czechoslovak affairs. It strives to be a comprehensive survey, which deals with the current administration office, personnel, buildings or financial issues that were part of their everyday life in the background of the Church history in the First Republic (1918 – 1938). Taking into consideration that the Czech archives do not offer a sufficient basis for this probe, the study is primarily based on the research of the Vatican Secret Archives in Rome.
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In 2005 an extensive monograph on Prague in prehistoric times was published. Its editors were Michal Lutovsky and Lubor Smejtek. This work comprises texts and a wealth of pictorial documentation, which does not merely relate to the prehistoric period but it also deals with the Early Middle Ages (until the 10th century) and at the same time with the history of archaeological research, the natural features of the city's territory and the etymology of its geographical names.
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On the example of the Prague urbanonymy, the paper analyses the formation of street names derived from toponyms. It has been shown that not all names of the analysed category are derived using the most usual suffix -ská and its variants. Also the suffixes -ná, -ní, -ová and -ova are occasionally used in the formation of detoponymic urbanonyms. A number of urbanonyms is derived from toponyms by a zero suffix. Some street names have been formed using irregural, unusual means of derivation. Besides the suffixation, also composition of urbanonyms is devoted some attention in the paper. The use of prefixation (combined with derivation) is rare in the analysed material, as well as the creation of multiple-word names.
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This article provides a critical edition and exposition of several phrases from scholastic poems (or from two or four combined poems) with the incipit Ex fideli veterum scriptura cognovi (Walther, Initia No. 5984), whose authorship is ascribed to the protonotary of Vaclav IV., Vlachnik of Weitmile (died 1399), inspired by the intellectual atmosphere of the Prague Court.
The text discusses the Wenceslas Chapel of St. Vitus’ Cathedral in Prague as an ensemble of architecture and images that were intended to serve both liturgical and communicative purposes. The view of the exterior made clear which roles the saint buried in the chapel played in the spiritual and political life of the kingdom and its capital. The interior defined Wenceslas’ functions as a model of Christian life and as an intercessor at Mary’s side.
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At the beginning of the 19th century, Prague has become the centre of strong Mozart cult. The study focuses on one of its prominent demonstrations, the creation of the Mozart’s monument in the Klementinum building. It illuminates the motivation for its erection that was clearly rooted in the opposition to the activities of the Mozart’s native city of Salzburg. Based on the study of historical sources, it refuses the often-repeated assumption that Prague was the first to honour Mozart with a memorial place. On the other hand, the study also stresses the unique nature of this Prague Mozart’s monument which lies in the fact that the monument presents the artist’s personality as mediated and publicised through his work.
The history of the immovable and movable property of the Czech Technical University after closing of all Czech universities in November 1939 has been studied primarily from the preserved testimonies of Czech witnesses about its state in May 1945. In the article, the history has been reconstructed on basis of official German documents. The initial assumption that the 'Deutsche Technische Hochschule in Prag' (German Technical University in Prague) acquired the main parts of the property for its own use turned out to be incorrect. Most of the movable property not destroyed by army forces during the first week of occupation decayed unused in unsuitable storehouses. Buildings were used by other institutions of the occupation forces and the Protectorate. In 1942, when the original three-year deadline after which the Czech universities were to be reopened expired, K. H. Frank decided on a thorough stocktaking of the property. It was to serve as the basis for the property to be taken over for use by the German Technical University. Nevertheless, the catastrophic condition of the stored instruments, devices, books, and so on showed up during the inventory. Academic buildings and premises used for various other purposes were also in poor condition (see the attached document). As a result, the situation differed significantly from the fate of the property of the Czech University in Prague, which the 'Deutsche Universitaet in Prag' (German University in Prague) acquired.
The article exemplifies typical possibilities of use of the classical patterns during the late 19th century. This period was marked by a broad exploitation of the ancient heritage in its lively surviving parts. The sculpted decoration of façade of the Mortgage bank’s building could be a good example of it. It added some well articulated notions to the classical repertory, responding to the contemporary developments of economics. The main decoration of the building’s façade merged different elements to mediate a message of owners of the bank to both its clients and broader public. The use of classical repertory’s elements included their intentional fusion. The rhetoric of the bank façade’s decoration culminated in a sculpted personification of “Capital”. This sculpture mixed elements of an image of Roman imperator/victor with Fortuna in a sophisticated and inventive way. It covered a reality of modern market economics with its turbulencies by an image of a both powerful and supportive being to create an attractive sign of the bank.
The article identifies certain elements of bohemianism, and its relevance to the development of the Prague art scene. It provides a brief outline of the artists’ movement in the 19th-century Prague and of its opposition to the local official art institutions. The development of bohemianism in the city was chiefly determined by the existence of a comparatively numerous community of local artists. Their manifestations of opposition corresponded with the overall frustration felt by this community, resulting from its awkward status on the fringe of society. Several reproductions of art works and related visual documents are supplemented, exemplifying certain radical gestures with which artists addressed the general public.
The typical conceptualisation of baroque art was evident even in the art of the Jesuit order. The most famous and first theologically coherent program of temple decoration was realized in the mother church of Il Gesù in Rome. The decoration programs of other order churches, e.g. the first program of the St. Ignatius church in Prague's New Town were designed also equally consistently. The pre-phase of creating wall paintings in Jesuit buildings wasn’t different from other sacral or profane realizations. The suitable theme, iconographic-iconological concept, was generally created by the sponsor or his artistic advisors. The specific source of the Jesuit order is the annual reports, or Litterae annuae. In them, although usually appear only information about completing the painting by "skilled brush", or that the work was made by an artist, but despite of this, the annual report may be the only source of information on works already extinct.
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The article deals with two inhumation graves of warriors from LaTène period discovered in 2008 and 2011 in Prague-Jiviny (cadaster Ruzyně) and Prague-Bubeneč – „Podbaba“ (cadaster Bubeneč). The grave from Bubeneč contained complete weaponry of warrior (sword, spear and a shield), including two brooches. Interesting find is a belt chain used for attaching sword around the waist. It was made using a specific method which has its origin in the Mediterranean world. Chains of this type appear mainly in Celtic graves of north-eastern France. In Bohemia it is probably a unique exemplar which has been published. The Jiviny-grave was equipped only with a sword, poorly preserved belt chain and fragment of spear. Both graves can be dated to the 3rd century BC, to LaTène period stage LTB2 – C1.
The paper discusses the life of children during the First World War and the problem of delinquency and criminality of young people. The article uses the memories of Miroslav Mužík and Stanislav Řada. Stanislav Řada spent the war as a delinquent child - he stole coal, food and he roamed the streets of Prague while Miroslav Mužík spent his youth and the war in the reformatory. The paper describes the causes of the rising delinquency and also the lives of young delinquents. It compares the two life experiences. The war changed everything - influenced life in the institution and also the life out of the institution.
The paper presents data from interviews conducted in 2006–2007 with four representatives of the Prague street art and graffiti scene who worked in the Czech capital city at the beginning of the 2000s. A part of the article deals with creative activities in the Prague subway where most of the interviewed authors created their works. The author thus offers the perspective of the authors of the Prague street art and graffiti scenes and presents their view of the (il)legal works of art from around ten years ago in the context of the current discourse in social sciences. Over the last twenty years, this discourse has evolved to such an extent that it now enables to see the phenomenon of urban public works of art as a phenomenon full of paradoxes. Graffiti and street art therefore cannot be interpreted only from the point of view of legality or the art of resistance. Their definition must remain sufficiently open, since certain ambivalence, contradiction and ghostliness are characteristic of it equally as of life in a modern global city that is inherently tied to it.
Recently, a parchment written in angular Croatian Glagolitic was found in the M. Lacko´s Archive of the Centre for East-West spirituality (Archív Centra spirituality Východ-Západ M. Lacka). By further investigation, we found out that it is a text in Old Czech written by angular Croatian Glagolitic originally from the Prague monastery Na Slovanech, where such manuscripts used to be created in the last quarter of the 14th century and the first quarter of the 15th century. The aim of this paper is to describe the fragment, check its content and to place it among the other known manuscripts of this type.
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This study is the biography of Nicolaus Puchnik (†1402), general vicar of The Prague archbishopric. The author speaks on the topic of life of Puchnik and his activities at The University of Prague as professor of canon law, his occupation in the office of general vicar and beneficial agenda. High concern is focused on important turning-points in Puchnik’s life e.g. controversies between archbishop John of Jenstejn (and his general vicars Puchnik and future saint John of Pomuk) on one side and emperor Wenceslas IV. on the other side, which had fatal ending for John of Pomuk.
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The period of industrialization brought with it important changes in the life of our cities. A host of negative influences related to the growth of industries sparked a critique of urban development, which led, in turn, to a renewed interest in urban landscape, greenery and nature. In the course of the 19th century, public greenery of a modern type emerged as a reaction to the worsening of environmental conditions in the cities. In addition, the importance of highquality suburban nature for life in the city came to be appreciated.
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The study represents the life and artistic career of today's almost forgotten theatre director Milan Svoboda (1883 - 1948). It is based on the extensive Svoboda estate, located in the Theatre Department of the National Museum. It follows the artist from his amateur beginnings in Roudnice nad Labem, through his career as a pedagogue at the Prague Conservatory, theatre director at the Slovak National Theatre, guest director at the National Theatre in Prague, to his post-war effort to create high-quality stage art in the border villages abandoned by the Germans. Thanks to the substantial and rich material found in his estate, the study demonstrates the conflict of creative ideals and the desire to seek an aesthetic beauty in a world within a regimented state, grand political scheming, critics and "progressive" theatrical colleagues.
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Electoral geographical research into urban territories shows a distinction in voting behaviour between a city centre and its surroundings. A recent exploratory study of the electoral geography of Prague found that distance from the city centre was the variable that best explained the spatial variation of votes, which might follow a concentric pattern and, thus, it recommended seeking a theoretical explanation in urban sociology, e.g. in the Burgess model of the city. Following this recommendation, I compared spatial patterns of voting behaviour in two cities – Warsaw and Prague. Using component analysis, I reduced the number of analysed variables to one for each city representing the main spatial polarisation. In Prague, voting behaviour showed a distinction between the city centre, inner suburbs and outer suburbs. While the city centre and the outer suburbs were conservative, the inner suburbs tended to vote for the left. This partially follows the Burgess model. On the other hand, the electoral geography of Warsaw showed a different structure. In this article I present a way of visualising urban electoral data in maps that avoid distortion caused by varying polygon size.
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