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1

“DOMA JE LEN DOMA”. VÝZNAMY DOMOVA SLOVENSKÝCH MIGRANTIEK V LONDÝNE

100%
Bacová D.
Etnologické rozpravy (Ethnological Disputes)
|
2012
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vol. 19
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issue 1-2
75 – 84
EN
The life beyond the borders of mother land brings a lot of changes. It changes identities of the individual persons, the way of identification with their own home and constructions of its meanings. In this paper the author deals with analysing the home meanings of Slovak women migrants living in ethnically mixed marriages in London. By analysis of research data gathered from interviews with respondents she outlines how ideas about home have shaped during their migration process. In the traditional sense home is understood as territorial place. Currently, for which migration is a reality, the emerging awareness about new global facts, which influence perceptions of home of migrants uprooted from mother homeland. This awareness is built on de-territorial basis, through the memories and those places that migrants currently do not or cannot inhabit. The aim of her contribution will uncover the essential internal mechanisms which are activated by creating images of home of her respondents and their imaginations connected with coming back to their mother land.
2

PORTLAND STONE AND THE ARCHITECTURAL HISTORY OF LONDON: AN OVERVIEW

100%
Bianco L.
Mesto a dejiny
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2017
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vol. 6
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issue 1
33 – 47
EN
Prior to the advent of frame structures, British architecture consisted of essays in local geology. The exception is London. From the 1620s onwards the utilisation of Portland stone as a construction material in the City and in Westminster increased significantly until the early twentieth century. Its choice depended on a number of parameters. These included availability and suitability for the intended use, the cost of transport from the quarry to the building site, and fashion. Although limestone and ornament were banned by the Modernists, Portland stone was still used in post Second World War British Modern architecture. Its use was governed by propriety imposed by the planning regulator(s). To illustrate this point reference is made to two iconic high-rise Modernist buildings in London, the Shell Centre (1953–1963) and the Economist Development (1962–1964).
3
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[recenzja] Jolanta Chwastyk-Kowalczyk: Londyński „Dziennik Polski i Dziennik Żołnierza” 1944-1989. Gazeta codzienna jako środek przekazu komunikatów kulturowych, Kielce 2008

88%
Gzella G.
Toruńskie Studia Bibliologiczne
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2009
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vol. 2
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issue 1(2)
155-157
EN
The presentation of publication including information about 'Dziennik Polski i Dziennik Zolnierza' - the periodical form established in London in 1944 and dedicated information about literary and cultural life of Polish emigration society.
4
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MERCHANT FAMILIES AND BUSINESS NETWORKS IN THE ANGLO-DUTCH TRADE OF 1668-1680: (BASED ON THE MARESCOE-DAVID LETTERS)

75%
Makarov A.
Český časopis historický (The Czech Historical Review)
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2011
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vol. 109
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issue 2
283-293
EN
This research article will examine merchant families and their businesses involving shipments between England and the Netherlands during the late seventeenth century. Despite the fact that historians have paid sufficient attention to merchant families during the pre-industrial period, these studies are still very important. This paper raises, illustrates and discusses the following questions: What role did merchant families play in early modern merchant settlements in England and the Netherlands in this period? Which goods were exchanged through export/import? The questions and answers in the paper are built on a detailed analysis of published primary sources: a select set of 74 personal business letters sent to the Marescoe-David Company of London (an inter-related London-based merchants family) from prominent Dutch merchants between 1668 and 1680.
5
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NOH THEATRE IN THE WEST - A JAPANESE BRIDGE OVER ONE CENTURY - FROM W. B. YEATS TO JANNETTE CHEONG (No na zapade - japonsky most cez jedno storocie - od W. B. Yeatsa po Jannette Cheong)

63%
Rumanek R. V. I.
Slovenské divadlo (Slovak Theatre)
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2010
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vol. 58
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issue 2
150-165
EN
In the 19th century, the period of intensive contacts between the West and Japan was renewed. Two waves can be identified in the process of re-introduction of Japanese culture to the West until the continuous reciprocal cultural exchange as we know it after World War II. Fascination of Europe with the Japanese woodcraft (since 1862) that influenced Impressionism and later Art Nouveau can be identified as the first wave, the second wave is characterised by broader familiarity with Japanese culture and literature due to the fact that more and more Westerners mastered the secrets of the Japanese language and the first translations into the European languages appeared. Noh theatre emerged in the West as part of the second wave. It was during the U.S. and European tour of actor Kawakami Otojiro (1864 - 1911) who owned a private theatre Kawakami, and his wife, a former geisha Sadayakko (1871 - 1946), one of the first female actresses in modern Japan. Europe began to realize the authentic form of Noh. In London, the increase in popularity of Noh can be traced into the crucial moment, when a young American poet Ezra Pound (1885-1972,) came here in 1908 longing to get to know the Irish poet W. B. Yeats (1865-1939). Western authors appreciated how the Japanese Noh combines drama, music and dance into the monolithic unit and they considered mask an excellent means of an 'alienation effect', leading the spectators to feel separated from the events on stage and giving them an opportunity to think about the deeper meaning of events. Analysing the history of Noh in the West, we note two milestones, two points in this development which brings in mind two ends of Monet's Pont Japonais (Japanese Bridge) in his garden in Giverny, stretching over the century of its naturalization in the West. One is the work of William Butler Yeats at the beginning of the 20th century and - a century later, Jannette Cheong's work, the latest piece of the Western Noh. Both were written in English and premiered in London.
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