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Obraz (črta) v českém periodickém tisku první poloviny 19. století (příspěvek k poznání historické podoby žánru)

100%
Kusakova L.
Česká literatura (Czech Literature)
|
2009
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vol. 57
|
issue 1
1-25
EN
In this article the author discusses the important role of the character sketch in the development of narrative prose in the mid-nineteenth century - its sources for content and form (the accent on description of milieu, the first-person narrator, the realia) helped to overcome the straight-jacketof the influence of the sentimental, novelistic storyline. The article, a result of the author's long-term research on Czech Revivalist periodicals from 1786-1850, brings together material on the typology and development of the sketch. She notes the 1830s-40s boom in sketches and the prestige that the form enjoyed in the period - for instance, the participation of leading writers in its cultivation, its publication in serious periodicals and annuals, and its inclusion with high literature in Jungmann's Slovesnost (Verbal art, 1845). Czech eriodicals of the 1830s and 1840s largely contained translations of works by foreign writers including Henry Bonaventure Monnier, Charles Dickens, Charles Paul de Kock, Jules Janin, and Faddei Venediktovich Bulgarin). Translation too, however, contributed to the development of the character sketch, which, on the one hand, adopted the fundamental attributes of the Western form (the moralizing, satirical tone, and attention to problems of big-city life and the special features of marginal peoples), and, on the other hand, pointed out special domestic features, in particular a nationalist and Slavophil propaganda function (for example, the thematization of the Bohemian or Slav countryside, the past and present of the Revival movement, the idealization of the rural Bohemian community as representative of the nation, and a critical, satirical view on national renegades or fashionable jingoism). The author has not, on the other hand, found any of the features that distinguish a Vienna type of Biedermeier 'sketch'. The artistically most valuable, she believes, are original sketches like Frantisek Ladislav Celakovsky's (1799-1852) 'povahopisy', Josef Kajetan Tyl's (1808-1856) Prague and Kutna Hora physiological sketch' influenced both by both Romantic views and by Revivalist ideology, the social-critical and critical patriotic sketch by Karel Havlicek (1821-1856), and the social-anthropological sketch that concentrates on the portrayal of the Bohemian and Slavonic folk by Karel Vladislav Zap (1812-1871) and his wife Honorata (1825-1856), as well as Bozena Nemcova (1820?-1862), Daniel Sloboda (1809-1888 ), Ludvik Rittersberk (1809-1858), and Bedrich Moser (1821-1864) in his satirical sketch of 1848. In addition to this topic, the author indicates numerous occurrences of a related form, the Lebensbild, which, like the sketch, endeavours to present a milieu, mostly socially problematic, but, more important, seeks to use the story line and the actants. Nemcova's Babicka (The Grandmother, 1855) represents the height of the form.
2

FORMULÁR TRNAVSKÝCH MEŠTIANSKYCH ZÁVETOV PRVEJ POLOVICE 19. STOROČIA ZO ŠTYLISTICKÉHO HĽADISKA

75%
Gergel P.
Slovenská reč (Slovak Language)
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2017
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vol. 82
|
issue 2
129 – 138
EN
This article offers an analysis of testament forms written in Slovak language by the citizens of Trnava city in the first half of the 19th century. From a stylistic and research point of view the testaments are mainly of private nature, which is characterized by some specific particularities at various language levels. The research based on 100 testaments reveals the stylistic features of testament forms on the background of particularities of the Slovak language used in the western part of Slovakia, in Trnava, from the end of the 18th to the first half of the 19th century. The aim of this article is to classify this document from a legal and stylistic point of view and analyse the specifics of testament forms that are characterized by stability developed over the centuries.
3
Content available remote

ANOTHER LOOK AT JARED S. MOORE’S COMPREHENSIVE VIEW OF BEAUTY

75%
Focosi F., Corvino P. F.
ESPES
|
2023
|
vol. 12
|
issue 2
45 - 59
EN
According to what is known as the classic theory, beauty can be defined as unity or formal harmony. To overcome some of the criticisms that it encountered, the American philosopher Jared S. Moore proposed, in his paper from 1942, a modernisation of such theory, by distinguishing various types and subtypes of harmony which, taken together, are intended to cover both the objective and the subjective sides of beauty. Our goal is to look closer to some of the main principles that emerge within Moore’s intricate taxonomy of harmony – most notably, the principles of organic unity, fittingness, and empathy – which in his article are only sketched or implicitly suggested. Employing such supplementations, we hope to make J.S. Moore’s comprehensive view of beauty even more complete from a theoretical standpoint and suitable to face the challenge posed by the modernist and postmodern artistic practices, which seemingly undermined the notions of beauty and formal harmony.
4

SVETLO A FARBA

63%
Scala A.
Filozofia (Philosophy)
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2017
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vol. 72
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issue 4
271 – 282
EN
Philosophy and visual arts seemed to agree: from an intelligible point of view, colours are submitted to the light despite the sensible fact that no light is visible without colour. The colour is submitted to the drawing as secondary qualities are to primary ones; colours are unable to create forms or figures. When Newton discovered that white differs from other colours, the latter achieved a new status especially in visual arts: they achieved a certain freedom from drawing. A long time after Newton, Kupka came. But between Newton and Kupka, Goethe wrote his Theory of colours and criticized Newton’s indifference to the visual experience. According to Goethe, colours are produced by the world itself, i.e. by a certain degree of turbidity in the air. So colours are no more obliged to give credit to the drawing as a paradigm of the forms. As Robert Delaunay says, colours create forms.
5
Content available remote

Od „anima in corpore“ k „anima forma corporis“

63%
Machula T.
Studia theologica
|
2004
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vol. 6
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issue 4
44-52
EN
The article deals with the concept of a human being with respect to its composition from soul and body. The discussion of this topic was very important and fruitful in the 13th century. It was stimulated by Aristotle's writings appearing at that time in Christian Europe. The article focuses on the most important 13th century authors who contributed to that discussion: Albert the Great, Bonaventure, Thomas Aquinas, and Latin averroists. During this discussion of soul and body, there was a shift from a platonic philosophical framework to an Aristotelian one. It also resulted in the Church doctrine of human soul.
6

CONTENT AND FORM IN LATVIAN ART THEORY IN THE FIRST THIRD OF THE 20TH CENTURY (Satura un formas attiecibu traktejums latviesu makslas teorija 20. gs. pirmaja tresdala)

63%
Pelse S.
Makslas Vesture un Teorija
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2006
|
vol. 5
31-35
EN
The idea of content and form being two separate components of the artistic image is a rather ancient legacy of European art theory. The origins of the notion of form can be found in classical sources; in a simplified way, content is what the artwork is 'about' and form relates to 'how' this content is made manifest. As noted by the Polish aesthetician Wladyslaw Tatarkiewicz, form can have at least five meanings. Form as opposed to content is only one possible reading; another no less important sense is the interpretation of form as the relationships of parts and their proportions. In the local art-theoretical material both the above-mentioned senses of form (form as style and form as relationships of parts) are largely blended together, speaking at the same time about perceptible formal qualities and the modes of their arrangement. Early 20th century theoretical thought is largely concerned with lessening the significance of content in art, especially 'significant' content as promoted by the academic tradition. It was replaced by everyday subjects considered equally significant by artists who stressed form as embodying the unique vision of the individual. From a Marxist viewpoint, symbolism was termed formalist although it is rather content-based in the context of other 20th century trends. In the early 1920s, when an open clash broke out between the 'old' academic art and the Riga Artists' Group, young artists tended to stress the importance of form, seemingly diminishing the role of content. The local scene was typified by the search for a midway between 'traditional' and radically innovative form, denouncing both the imitation of nature by 'old means' and 'contemporary' form lacking any deeper content.
7

LOCKE ON PERSONAL IDENTITY: THE FORM OF THE SELF

63%
Azeri S.
Filozofia (Philosophy)
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2011
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vol. 66
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issue 3
222-239
EN
In line with the empiricist project, Locke tries to describe how unconscious encounters with environment yield to the emergence of consciousness. For Locke the self is identical with consciousness and consciousness is accessible empirically. As far as the identity of human is concerned, identity of the self depends on the consciousness of the person. The person is identical to himself to the extent that he is aware of his own perceptions and thinking. The range of the person's memory sets the limits of consciousness. According to Locke, consciousness is an element that accompanies all acts of thinking including act of recollection. Such accompanying consciousness constitutes the form of the identity of the self, whereas memory-ideas may be considered the content of consciousness. Therefore, it is this formal constitutive element that provides constancy of the idea of the self. If so, then it can be claimed that Locke's approach to the question of the self results in admitting the truth of what he intends to reject and it is self-defeating; this is to say that, Locke's methodology pushes him to adopt a Platonic-Aristotelian formal theory of identity in general and of personal identity in particular.
8

CZECH AND SLOVAK CULTURAL DIMENSIONS AND ADVERTISING (Ceske a slovenske kulturni dimenze a reklama)

51%
Svetlik J.
Communication Today
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2011
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vol. 2
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issue 2
52-65
EN
The article covers the attitude to advertising as the most dominant tool of marketing communication. Advertising National culture is one of the frequent topics of professional discussions on advertising in the sphere of international advertising, most of all in terms of standardization, adaptation and localization of advertising. Probably the best known model which describes the divergences of national cultures is the model of cultural dimensions of the Dutch academic Geert Hofstede. In the first part of this paper the author describes four out of five cultural dimensions including their application in the field of marketing communication. Subsequently the results of large surveys through VSM 94 questionnaire in the Czech (Svetlík) and Slovak republic (Gecikova) are presented and the final data are compared with selected EU countries and the USA. On the basis of Kogut's methodology and established data the cultural distance of both countries was calculated and compared with other countries of the EU. The results show that people from the Czech Republic and the Slovak Republic are in comparison with other EU countries very close to each other from the point of cultural distance. In the third part of the paper there are possible recommendations for the cluster of these two countries presented particularly in advertising appeals, forms and execution of advertising. The author pointed out that the product category and features of the target group have a very strong influence on selection of advertising strategy components.
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