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1

Mezi dvory, kláštery a městy : střední Evropa jako prostor kulturní výměny

100%

Jakubec O.

Umění (Art)

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2018

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vol. 66

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issue 4

313-318

EN

The review of the book by Thomas DaCosta Kaufmann presents a treatise on the Central European art and culture of the Early Modern Age as a specific type of synthesis that, in art-historical elaboration, links the cultural-historical approach (in the Gombrich tradition) with the concept of the so-called geography of art (also known as the geohistory of art). The review not only takes note of the principles of interpretation on which the book stands, but also considers, on the basis of these, how the contemporary approach of so-called world art history, which is actually represented by Thomas DaCosta Kaufmann, is also present in its elaboration. In this approach the voice is heard once again of the humanistic and universal ethos of art history, which interprets artworks as the products of live communication and exchange in concrete historical time and space and as the products of distinctive human cultures.

CS

Recenze knihy Thomase DaCosty Kaufmann o středoevropském umění a kultuře raného novověku představuje toto pojednání jako specifický typ syntézy, která v uměleckohistorickém zpracování propojuje kulturněhistorický přístup (v gombrichovské tradici) s konceptem tzv. geografie umění (či tzv. geohistory of art). Tato reflexe si všímá nejen toho, na jakých interpretačních principech stojí kniha sama, ale vycházejíc z ní se zamýšlí také nad tím, jak je v jejím zpracování přítomen i aktuální přístup tzv. world art history, reprezentovaný právě Thomasem DaCostou Kaufmannem. V tomto přístupu se znovu hlásí ke slovu humanistický a univerza listický étos dějin umění, který vykládá umělecká díla jako produkty živé komunikace a výměny v konkrétním historickém časoprostoru a jako produkty osobitých lidských kultur.

2

Claudel a střední Evropa

67%

Alexandre D.

Slovo a smysl - Word & Sense

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2016

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vol. 13

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issue 25

104-120

EN

Claudelʼs geopolitics are torn between the founding myth of a Catholic central Europe, agitated by heresy and schism, and a disenchanted and melodramatic realism. His writing incorporates his lived experience of Bohemia in Prague, then of Poland in Germany, in order to idealize it in his spiritual poetry, critique it in his diary, and reveal its tragic impasses in his theater.

3

Some Latin contrafacta of Ars Nova songs in Central European sources from the first half of the fifteenth century:

67%

Gondko M., Vomáčka I.

Hudební věda (Musicology)

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2020

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vol. 57

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issue 4

479-494

EN

Fifteenth-century musical sources from Central Europe contain a number of “foreign” (in the sense of “not originally of Central European origin”) polyphonic secular songs, many of which survive uniquely in these sources and often not in their original form. The author seeks to understand what happened to this repertoire once it had reached its admirers in a geographically and culturally different context. The scope of material is narrowed down to “Ars Nova songs”, that is, polyphonic songs which stylistically belong to the fourteenth century and were originally settings of texts in one of the fixed forms common in the Western and Southern European traditions of lyric poetry. In the Appendix, the author provides a list of Ars Nova songs with Latin contrafactum texts which he was able to locate in Central European sources before about 1450 (expanded by the addition of concordances with non-Latin contrafactum texts, concordances with no text at all, incipits appearing in theoretical treatises, and instrumental intabulations). He finds evidence that French compositions predominate significantly over Italian, as well as a predilection for music which does not exhibit a high degree of rhythmic complexity. Furthermore, the author analyses various instances in which Latin contrafactum texts were applied to pre-existing music and proposes how such compositions could have functioned in educational and devotional contexts. Lastly, he points out that Ars Nova songs in Central Europe experienced what could be termed their “second life”, in which they were handled with a remarkable degree of freedom.

CS

Středoevropské hudební prameny z patnáctého století obsahují řadu „cizích“ (ve smyslu „nikoli středoevropského původu“) polyfonních světských písní, z nichž mnohé se dochovaly pouze v těchto pramenech, a to začasté nikoli ve své původní podobě. Autor se snaží zjistit, k jakému vývoji docházelo u tohoto repertoáru poté, co si získal příznivce v geograficky i kulturně odlišném prostředí. Časový záběr daného materiálu je tu zúžen na „písně z období ars nova“, tj. polyfonní písně spadající stylově do čtrnáctého století, jež byly původně zhudebněními textů s použitím jedné ze zavedených forem západo- a jihoevropských tradic lyrické poezie. V příloze autor uvádí seznam písní z období ars nova s kontrafaktovanými texty v latině, které se mu podařilo lokalizovat ve středoevropských pramenech z doby přibližně před rokem 1450 (navíc rozšířený o konkordance s nelatinskými kontrafaktuálními texty, o konkordance bez textů, o incipity vyskytující se v teoretických traktátech a konečně o instrumentální intabulace). Nachází tu doklady silné převahy francouzských kompozic nad italskými, jakož i tendenci k zařazování hudby, jež nevykazuje vysoký stupeň rytmické složitosti. Autor dále analyzuje rozmanité případy uplatňování latinských textových kontrafakt v již dříve existujících skladbách a usuzuje, jak takové skladby mohly fungovat ve vzdělávací a liturgické praxi. Konečně zdůrazňuje, že písně z období ars nova se ve středoevropském prostředí dočkaly jakéhosi „druhého života“, v jehož průběhu s nimi bylo nakládáno s pozoruhodnou mírou volnosti.

4

US relations with Eastern Europe Realities and perspectives

67%

Lakatos A.

Dvacáté století - The Twentieth Century

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2015

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vol. 7

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issue 1

10-23

EN

This paper refers on several issues related to American relations with several states from Central and Eastern Europe. The evolution of these are analyzed in great lines during the twentieth century, followed by a most consisting analysis regarding evolutions of recent events, from the end of Cold War. There are presented the evolution of these relations, from general and specific (the case of each state in part) point of view, major stimulants and lacks of their evolution, and are projected several perspectives which can influence the future evolution of these. In conclusion, are presented the main arguments of possible future changes and developments in this field, in the larger context of worldwide existing realities.

CS

Studie pojednává o událostech týkajících se amerických vztahů s vybranými zeměmi střední a východní Evropy. Vývoj šířeji analyzovaných vztahů v průběhu 20. století následují analýzy soustředící se zejména na vývoj nedávných událostí od konce studené války. Vývoj vztahů je zde prezentován od obecného pohledu až ke konkrétním událostem (případy z jednotlivých států), studie také analyzuje hlavní podněty a nedostatky vývoje, rovněž předkládá několik perspektiv, které mohou ovlivnit budoucí vývoj těchto vztahů. Autor na závěr předkládá hlavní důvody možných budoucích změn a pro rozvoj v této oblasti v širším kontextu současných světových událostí.

5

Postkoloniální střední Evropa? Kunderův „unesený Západ“ v zrcadle postkoloniální kritiky

59%

Slačálek O.

Slovo a smysl - Word & Sense

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2020

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vol. 17

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issue 2

105-130

EN

This article has a twofold aim: 1) to introduce four theoreticians who transfer concepts of postcolonial theory to the analysis of post-socialist Central and Eastern Europe; 2) to apply these concepts to the interpretative dialogue of Milan Kundera’s essay *e Tragedy of Central Europe (1983). Te article thus presents the main concepts of the Bulgarian historian Maria Todorova (Balkanism and its similarities with and diferences to Orientalism), American-Polish literary historian and Slavicist Ewa Tompson (surrogate hegemon, Sarmatism), Russian cultural theorist Madina Tlostanova (speaking from colonial wounds), and Hungarian sociologist Agnes Gagyi. In particular, the presentation of Todorova and Tompson is complemented by the presentation of the debates caused by their work (Diana Mishkova and Rastko Močnik in Todorova’s case, Stanley Bill, Jan Sowa, Claudia SnochowskaGonzalez in Thompson’s case) and conceptual alternatives (Maria Janion). The concepts of these authors are used to demonstrate how Kundera’s essay is based on his ignorance of both non-European world and European internal peripheries, how it homogenizes Central European experiences, how it replaces politics by culture, and how it contributes to conservative identitarian positions which are not shared by Kundera in his other writings. In conclusion, the article discusses the mutual ignorance of Central European discourse and postcolonial discourse, and the possibilities of dialogue. On the meta-level the article also poses the question of how dialogue between theories of literature and political theory can enrich both participants.

6

Charta 77 v americkém "překladu": obraz československého disentu v americkém tisku v roce 1977

43%

James P.

Soudobé dějiny (Contemporary History)

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2023

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vol. 30

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issue 2

443-492

EN

The study traces how the American press covered Charter 77's appearances in the first year of its existence, a subject hitherto unstudied. Czechoslovak dissent attracted international attention after major Western newspapers published the constitutive "Charter 77 Declaration" of January 1, 1977. The subsequent prosecution of the Charter's spokespersons and other signatories sparked a wave of protest and support in the West. The interest of the Western media was crucial for the dissidents, as it was the main way to inform the international public about their activities, and often the only way to get some protection against domestic repression. The situation in Czechoslovakia in the early months of 1977 was also monitored by the media and government authorities in the United States. The author finds, however, that of the major American newspapers, only The Christian Science Monitor, The New York Times, and, to a lesser extent, The Washington Post reported on the Charter on a regular basis. She introduces five journalists who reported on the subject more consistently on these platforms (and in some magazines, too). These were Eric Bourne (1909-1999), Malcolm W. Browne (1931-2012), Michael Getler (1935-2018), Paul Hofmann (1912-2008), and Charles W. Sawyer (born 1941). She examines their professional careers and their engagement in Czechoslovak affairs, introduces their reflections on dissent and the conditions in the Eastern Bloc countries, and characterizes their typical approach and point of view in the context of the American journalism of their time. She chronicles their trips to Czechoslovakia and meetings with dissidents in the first months of 1977, which usually ended with their expulsion from the country, and juxtaposes their journalism and memoirs with State Security documents. In doing so, she shows the problematic contexts in which they reported on Czechoslovakia and Central Europe, and suggests certain shifts and distortions to which the ideas and activities of Czechoslovak dissent were subjected in their mediation and "translation" for the American press. It was this "translation", complicated by the limited contacts American journalists had with dissidents, that mattered more to the media image of the Charter trought the United States of 1977 than the original ideas of Jan Patočka or Václav Havel. It can be concluded that American journalists represented the dissident movement in the long run as a continuation of the Second World War conflict, which the dissidents had shifted to a field of competing political, economic, ethical, and philosophical ideas and visions.

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