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Jazykový purismus v Čechách a v Lužici v poslední třetině 19. a v první třetině 20. století

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Brankačkec K., Martínek F., Futtera L.
Naše řeč (Our Speech)
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2017
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vol. 100
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issue 4
243-257
EN
Although we identify a wide range of similarities in the language situation and the standardisation process of Czech, Upper and Lower Sorbian during the end of the 19th century and the first four decades of the 20th century, there are also a number of specifics: in development, Czech was ahead of Upper Sorbian, and in turn, Lower Sorbian reached its "revival" later than Upper Sorbian. Czech reached the stage of a fully functional standard language, while both varieties of Sorbian, in contrast, only achieved a lower stage of development. These specifics result in a differing range of puristic interventions and puristic successes.
2
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Postava barda z Rukopisu královédvorského poprvé v české opeře : Josef Leopold Zvonař: Záboj (1859-1862) : Rozbor opery s edicí libreta

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Fránek M., Kopecký J.
Hudební věda (Musicology)
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2017
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vol. 54
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issue 3
245-288
EN
This study is devoted to analysis and an edition of the libretto to the opera Záboj by the Czech composer and music theorist Josef Leopold Zvonař (1824–1865), composed to a libretto by the writer Alois Vojtěch Šmilovský (1837–1883). The subject matter is taken from the poem Záboj, which is in turn from the Dvůr Králové Manuscript, a supposedly medieval text that was “discovered” in 1817 by Václav Hanka. This literary forgery, together with the Zelená Hora Manuscript, is a specifically Czech manifestation of European Ossianism, profoundly influenced Czech culture and society. It is here that the figure of the bard makes its first appearance in Czech opera – a singer and warrior who leads an uprising against German conquerors. The work has never been performed as a whole, but it represents a noteworthy documentation of the efforts to achieve a Czech national style before the arrival of Bedřich Smetana.
CS
Studie Michala Fránka a Jiřího Kopeckého je věnována analýze libreta opery Záboj od hudebního skladatele Josefa Leopolda Zvonaře (1824-1865); autorem libreta je Alois Vojtěch Šmilovský (1837-1883). Námět pochází z Rukopisu královédvorského, jednoho Hankových padělků "objeveného" v roce 1817. Analýza se zabývá významovým výkladem libreta v kontextu specificky české manifestace v rámci národního obrození. Zvonařovo dílo je prvním operním zpracováním tohoto literárního námětu a poprvé též pracuje s postavou barda. Zajímavostí je, že opera zatím nebyla nikdy provedena jako celek. Součástí studie je edice libreta.
3
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Počátkové českého básnictví a německá metrika : K proměnám českého verše v nadnárodním kontextu

80%
Dobiáš D.
Česká literatura (Czech Literature)
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2012
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vol. 60
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issue 3
355-367
EN
The work Počátkové českého básnictví, obzvláště prozódie (The principles of Czech verse, with special reference to prosody, 1818) by Pavel Josef Šafařík (1795-1861) and František Palacký (1798-1876) (and Jan Blahoslav Benedikti [1796-1847]) and its influence on early-nineteenth discussions about the character of Czech verse have till now usually been considered in the context of Czech (and Slovak) literature. By contrast, this article, after a characterization of the work, considers its relation to the German concepts of prosody and meter (Friedrich Gottlieb Klopstock, Gottfried Hermann, and Johann August Apel), and also to Josef Jungmann´s (1773-1847) no-longer extant Nepředsudné mínění o prozódii české (An impartial opinion on Czech prosody, 1804). This article explores Šafařík and Palacký´s treatment of those relationships. Although the authors of Počátové turned it only selectively, Hermann´s work appears to have been an important intellectual basis for Šafařík and Palacký´s endeavour to develop a complex delineation of modern Czech verse, which had much in common with the principles of music. In its conclusions, the article thus follows on from Miroslav Červenka´s later ideas that it would be useful to study the history of Czech verse in its European context, without detracting from what made Czech verse special.
4
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V jazyce naše... maskulinita : Případ obrozenského diskurzu

80%
Filipowicz M. Ł.
Česká literatura (Czech Literature)
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2012
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vol. 60
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issue 5
663-693
EN
It is the aim of this article to examine the relations between the conception of masculinity and the Czech language. This conception can be reconstructed on the basis of academic, journalistic and artistic National Revival texts. This research focuses on the period in which fundamental changes were taking place in European thinking on language and gender order. The article attempts to prove that on the basis of statements made on language, much can be learnt of the way in which Czech National Revivalists conceived their own masculinity. The question is foregrounded whether Czech was perceived as a language that was so masculine that it could even guarantee the conceived masculinity of its male users.
5
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Thámův Veleslavínův nomenklátor

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Černá A. M.
Naše řeč (Our Speech)
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2018
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vol. 101
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issue 3
158-175
EN
In 1598, Daniel Adam of Veleslavín published the systemic dictionary entitled Nomenclator quadrilinguis Boemico-Latino-Graeco-Germanicus. This dictionary significantly influenced the works of younger lexicographers. However, one such work that drew from Veleslavínʼs quadrilingual dictionary the most, more precisely, it completely reproduced the Nomenclator’s content excluding the Latin and Greek entries, has remained somewhat forgotten. The work in question is Nejnovější ouplný česko-německý slovník (Neuestes vollständig böhmisch-deutsches Wörterbuch; Prag 1807 and 1808), whose author is Karel Ignác Thám. In this paper, we compare the macro- and microstructures of the two dictionaries.
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