Search results - CEJSH

1

Praskie ratusze – symboliczne czy rzeczywiste centra władzy?

100%

Jišová K.

Roczniki Dziejów Społecznych i Gospodarczych

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2014

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vol. 74

EN

Town halls in Prague – A symbolic or real centre of power?(Summary) The Prague agglomeration consisted of four medieval towns: the Old Town, the New Town, Mala Strana and also Hradčany. The article throws light on the relations, often dramatic, between the town halls of the Old and New Towns (the fi rst was built in 1338, the second before 1374) in the 15th century. An uprising broke out in the New Town in 1419. The insurgents forced their way into the town hall and defenestrated 10–13 men. In May 1420 the communes appointed new councillors for the first time. In August, on the initiative of Jan Želivský, a general meeting of the communes was convened in the Old Town hall and new councillors were appointed. In June 1421 armed action by the townsmen of the New Town resulted in the town council’s resignation. Both towns were combined into a single body governed from the Old Town hall, of course, under Želivský’s dictatorship. However, the chancelleries of both towns remained independent and maintained town ledgers in parallel. During that period the importance of the town councils’ dropped to an alltime low, political decisions were taken by Želivský, without the participation of either of the town halls (in 1422 Želivský was imprisoned in the Old Town hall and subsequently decapitated). The association of Prague communes disintegrated at the turn of 1423/24. Sigismund Korybut ruled in the period from 1422 to 1427. The Duke established a new joint council for the Old and New Towns, consisting of 18 councillors from both towns. Korybut was overthrown, but everything seems to point to the fact that later both towns were once again unified; however, from August 1428 at the latest, the councils again became independent. In 1434 thanks to the support of Bohemian lords, the townsmen of the Old Town captured the New Town. But in 1436, the Holy Roman Emperor, Sigismund of Luxembourg, who had already accepted a pledge of allegiance from the townsmen of Prague, freed the citizens of the New Town from the Old Town’s hegemony. In 1483 another uprising began in Prague, which was referred to as the epilogue to the Hussite revolution, which claimed new victims from among the authorities of both town halls. Forty years later there were further tensions in Prague.

2

Sociální a ekonomické aspekty sochařské tvorby v Praze v 17. a 18. století

94%

Savická P.

Umění (Art)

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2020

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vol. 68

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issue 2

126-138

EN

The social history of the artist has for some time been a focus of interest in art history, but in many branches of the discipline the fragmentary nature or total absence of sources makes it a subject difficult to tackle coherently. The results of research on Bohemian Baroque sculpture are concentrated primarily in general syntheses, monographs on individual artists, and typologically orientated catalogues. Interest in the Baroque sculptural workshop represents another distinctive research line. Details of the social and economic background of sculptors partially rises to the surface in such studies, but systematic analysis, supported by a reasonably large amount of statistically interpretable information, is still lacking. The article therefore outlines the whole wide range of questions and research possibilities concerning the social and economic status of Prague sculptors, with some reference to other Bohemian and Moravian towns and developments abroad. Recent similarly orientated publications about Prague painters mean that there is now a prospect of comparison of the data obtained from tax registers, and potentially a more precise comparison of income for commissions and ultimately standard of living. The text considers several themes that can be at least partially illuminated from surviving written sources: guilds and other institutions regulating the professional lives of artists; the property of sculptors, above all house ownership, which was a fundamental precondition of higher social status and rights; fees paid for works and difficulties in comparing them. Last but not least there is the evidential value of material sources, above all the statues themselves, but also stylised representation of sculptors’ workshops in painting of the period. The article presents a summary of research to date in the field of the social history of Prague sculptors and suggests possible starting points for further research especially with an eye to data that can be quantitatively processed and the limits of its use.

CS

Sociální dějiny umělce již delší dobu zaujímají nezpochybnitelné místo v uměleckohistorických studiích, z důvodů fragmentárního dochování nebo úplné absence pramenů však zůstává jejich uchopení v mnoha odvětvích dějin umění obtížné. Výsledky výzkumu českého barokního sochařství jsou soustředěny především v obecných syntézách, monografiích jednotlivých umělců a typologicky zaměřených katalozích. Výraznou badatelskou linii představuje také zájem o barokní sochařské dílny. Podrobnosti společenského a ekonomického zázemí sochařů částečně vyplývají v těchto studiích na povrch, systematická analýza, podpořená mimo jiné větším množstvím statisticky interpretovatelných informací, však doposud chybí. Článek proto představuje nástin širokého okruhu otázek a možností výzkumu zaměřeného na sociální a hospodářské postavení pražských sochařů s orientačními přesahy do jiných českých a moravských měst i do zahraničí. Zejména díky recentním podobně zaměřeným publikacím věnovaným pražským malířům se nabízí srovnání údajů získaných z berních katastrů, otevírají se možnosti přesnějšího srovnání dílčí výdělků a v konečném důsledku i životní úrovně. Text sleduje několik témat, která je možné alespoň částečně podchytit v dochovaných písemných pramenech: problematiku cechů a dalších institucí regulujících profesní život umělců; majetek sochařů, především vlastnictví domu, které zásadně podmiňovalo společenské postavení a práva; odměny za díla a obtíže spojené s jejich komparací. Vypovídací hodnotu mají v neposlední řadě také hmotné prameny, především samotné sochy, ale i stylizovaná ztvárnění sochařských dílen v dobové malbě. Prezentovaná studie shrnuje dosavadní výzkum v oblasti sociální dějin pražských sochařů a naznačuje možná východiska dalšího bádání zejména se zřetelem ke kvantitativně zpracovatelným údajům a limitům jejich využití.

3

Badatelské spektrum současné etnomuzikologie: cesta etnomuzikologů do města

94%

Jurková Z.

Národopisná revue (Journal of Ethnology)

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2016

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vol. 26

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issue 2

91 - 99

EN

The text aims to introduce urban ethnomusicology, an important direction in the contemporary anthropologically-oriented research into music. This direction is first set into the context of another ethnomusicological research. After a short look into the history of urban ethnomusicology, significant theoretical conceptions, used in or usable for the research into town music, are described. These include especially the conception of soundscape (Schafer and Shelemay), the connective structure with its two dimensions – the social and the time one (Assmann) and the conception of collective memory (Halbwachs, Kansteiner). The last section of the text introduces how the above conceptions have been applied on Prague music material. The categorization partially inspired by the Appadurai´s –scapes is used for the social dimension of connective structure. Two lines are obvious in the time dimension (to which, in this case, music and remembering relate): the first line includes music as an object of remembering, the other one is its medium. The text is pervaded by the empirically confirmed awareness of fluidity of all borders, which is especially obvious in the today’s big city.

4

Several Comments Regarding an Unfairly Overlooked Book or Contemplation of the Significance of Cultural Heritage in Post-modern Czech Society (Instead of a Standard Review)

94%

Soukupová B.

Łódzkie Studia Etnograficzne

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2019

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vol. 58

PL

The text presents a book that collects the views of nine experts on the historical center of Prague. At the same time, it analyses their attitudes in the context of the contemporary relations within Czech society.

5

„Italský žánr“ Leopolda Pollaka a jeho pražské přijetí

94%

Klouzová A.

Studia Ethnologica Pragensia

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2015

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issue 1

22-37

EN

This article refers about painter Leopold Pollak (1806–1880), a native of Bohemia and Roman resident, and it primarily focuses on Pollak’s most significant work — the “Italian Genre Paintings.“ At the time, Italian Genre Paintings was a rather popular form of art across Europe, and Pollak would introduce this style to the people of Prague at annual expositions organized by the local art society Krasoumná jednota pro Čechy. The article uses information now available — still largely scattered in various sources — pertaining to Pollak’s work. Therefore, this text looks to information about Pollak’s art in private collections and galleries, but it also makes use of contemporary publications that covered the public’s reaction to Pollak’s paintings. To best analyze the reception of Pollak’s art in Prague, this article first touches on the following two issues: the specifics and concise history of Italian Genre Paintings in the mid-nineteenth century with an emphasis on the cultural environment in France; and the reception of painted italics and the Italian Genre Paintings at annual art exhibitions in Prague during Pollak’s time. The text then discusses the career of Leopold Pollak, him being the only true Italian genre specialist among painters hailing from Bohemia. The contemporary publications covering the public’s reaction to the paintings Pollak would send to Prague from Italy between 1835 and 1856 (or rather 1869) are also examined. The reception in Prague was at its warmest in the late 1830s and in the 1840s, but cooled down in the mid-nineteenth century. The contemporary publications are compared with Pollak’s works known from public collections and art auctions. The article concludes that Pollak’s oeuvre was at its best during the peak of the Italian Genre Paintings across Europe. Pollak, a pioneer of the genre in Prague, enriched the painting style by adding a new dimension with the local Prague audience in mind.

6

Ein unbekannter Text zum Prager Fest Phasma Dionysiacum Pragense (1617)

94%

Dobalová S.

Acta Comeniana (International review of Comenius studies and early modern intellectual history)

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2009

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vol. 22-23

207-247

EN

The article deals with a newly discovered document describing the festivity Phasma Dionysiacum Pragense, which was found in the holdings of the Herzog August Bibliothek in Wolfenbüttel. Phasma was played at Prague Castle in February 1617, opening a three days long carnival. The first evening performance with singing, music and ballet was organized on an elaborated architectonical stage. The recently found text brings several new pieces of information; of special interest is the identification of the so-called “lautenspielerin” who was singing in the role of Gloria, celebrating the Habsburgs. Included are also two further days of the carnival with knightly games, the detailed description of costumes and the names of “knights”. The interpretation of the text from Wolfenbüttel shows undoubtedly that Phasma was staged in the Old Land Diet’s Hall (Alter Landtagssaal), which is a smaller hall next to the Wladislaw Hall at the Prague Castle. The visual appearance of the event is documented by engravings which are analyzed in the context of contemporary European theatre. At the end of the article, hypothesis is formulated about the possible author of the theatre stage – the court architect Giovanni Maria Filippi. The appendix contains a complete transcription of the German text from Wolfenbüttel omitting just the parts containing the Italian arias that had been already published (Seifert 1998).

7

Lidové mínění, glasnosť a soutěž na dostavbu pražské Staroměstské radnice

94%

Guzik H.

Umění (Art)

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2020

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vol. 68

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issue 2

139-153

EN

Parts of the Old Town Hall were entirely destroyed in the Prague Uprising in 1945 and were never replaced. In 1987 a competition for a replacement on the site brought nothing in the way of pioneering architectural vision, but triggered a heated public debate. This article analyses the political contexts of the debate and explores the changes in the relationship between architects and the lay public in the last years of “real socialist” Czechoslovakia. The debate on the Old Town Hall took place at a time when elements of Soviet “Glasnost” were starting to spread to Prague. Glasnost brought a stimulus to the politicisation of Czechoslovak society, enabling members of the public to express relatively open criticism in areas where there was no threat to the foundations of the regime, and it also upset the existing balance between the architectsexperts and the “statistically averaged out” users of their buildings. When the Old Town competition was announced, the users of buildings, whom the architects had got used to seeing as “silent” allies in negotiation with a construction sector responsible for prefab “panel” housing estates, took up a position of entrenched hostility to contemporary architecture. While at the level of diagnosis of the dismal state of the residential or urban environment the experts and the public were in many respects in agreement, their ideas on new buildings in historically valuable localities were essentially at odds. The general public mostly preferred the competition entries that used a historicising morphology and a creative but restorative approach, and vigorously rejected soc-modernist and post-modernist proposals. The bitter debate about the re-building of the Town Hall was not conducive to deeper thinking on the mechanisms of architectural participation, and in this sense the affair differed from the concurrent attempts to save Prague’s old suburb of Žižkov. Indeed, the Old Town dispute and the public attacks on contemporary architecture that it involved were one reason why after the Velvet Revolution, professionals for a long time tended to avoid the subject of democratic architectural participation.

CS

Přestože soutěž na dostavbu pražské Staroměstské radnice z roku 1987 nepřinesla průlomové architektonické vize, vyvolala vypjatou veřejnou debatu. Článek rozebírá politické kontexty této debaty a zkoumá proměny vztahu mezi architekty a laiky na sklonku reálně socialistického Československa. Debata o Staroměstské radnici probíhala v době, kdy do Prahy začaly pronikat prvky sovětské glasnosti. Glasnosť přinesla impuls k politizaci československé společnosti, umožnila laikům poměrně otevřenou kritiku tam, kde nehrozilo zpochybnění samotných základů režimu, a zároveň narušila dosavadní rovnováhu mezi architekty-experty a „statisticky zprůměrovanými“ uživateli staveb. Uživatelé staveb, které si architekti zvykli vnímat jako „tichého“ spojence při vyjednávání se stavebním sektorem zodpovědným za panelovou výstavbu, zaujali u příležitosti staroměstské soutěže pozici nelítostného soudce nad soudobou architekturou. Zatímco v úrovni diagnózy neutěšeného stavu obytného či městského prostředí se experti a laici v mnohém shodovali, jejich představy o novostavbách v historicky cenných lokalitách se zásadně rozcházely. Široká veřejnost vesměs preferovala ty soutěžní propozice, které vsadily na historizující tvarosloví a rekonstrukční tvůrčí přístup, a rázně zavrhla návrhy socmodernistické a postmodernistické. Rozjitřená debata o dostavbě radnice nenahrávala hlubšímu promyšlení mechanismů architektonické participace, což kauzu odlišuje od paralelně probíhajících pokusů o záchranu pražského Žižkova. Právě za nezdarem soudobé architektury lze ve staroměstském klání spatřovat jeden z důvodů, proč bylo téma demokratické architektonické participace po sametové revoluci dlouho na okraji odborného zájmu.

8

Gnathia Pottery in The National Museum, Prague

94%

Svobodová H.

Studia Hercynia

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2019

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vol. 23

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issue 1

129-137

EN

This paper presents a selection of yet unpublished ‘Gnathia Pottery’ from the collection of the National Museum in Prague. The assemblage is confronted with other similar vases finds, and, if possible, attributed to groups or painters of Gnathia vases.

9

Prestiž, násilí a zápas o veřejný prostor. (Konflikty při slavnostech Božího Těla v rudolfínské Praze roku 1605):

94%

Černušák T., Miller S.

Český časopis historický (The Czech Historical Review)

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2020

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vol. 118

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issue 4

1000-1017

EN

The testimonies of several eyewitnesses of the conflict over the prestigious role of the baldachin bearer during the liturgical procession of the Feast of the Corpus Christi, which took place between two Italian nobles in 1605 in Prague, allow a detailed analysis of its course. Its interpretation is placed in the context of the importance of public space, which at the beginning of the 17th century in the multi-confessional milieu of the city with the imperial seat became a place of a struggle for influence between the Catholic minority and the non-Catholic majority.

10

Prague - the city of drawers

94%

Bartilla S.

Umění (Art)

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2022

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vol. 70

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issue 4

406-416

EN

Salvador Dalí never visited Prague, but in the painting The Anthropomorphic Cabinet from the year 1936 (Kunstsammlung Nordrhein-Westfalen, Düsseldorf) he depicted in a corner a view of Prague, the Anglická ulice [English Street] in Prague-Vinohrady in the vicinity of the náměstí Míru [Peace Square[ with the Church of St Ludmila. The original title of the painting was City of Drawers which Dalí changed to the current title before 1965. For this view he used a postcard from around 1905– 1908 with the caption of the place, which was at that time still part of an independent city, Královské Vinohrady. According to Dalí, the painting is a ‘kind of allegory of psychoanalysis, which illustrates the satisfaction with which we smell the narcissistic scent of each one of our drawers’. Dalí chose the postcard because he could recognise himself in the boy in the sailor suit, and in the woman next to him he saw his mother, or perhaps his aunt, Carolineta. My hypothesis is that in the painting City of Drawers we find a narcissistic-Surrealist construction of a myth, with Dalí declaring Prague to be his territory since his childhood, in reaction to the successful visit to Prague by André Breton in 1935, because at that time he rivalled Breton for the role of the leading surrealist. The message of this picture was not addressed to any beholder; rather, it was a case of narcissistic self-reassurance. Later, this meaning lost its relevance, and Dalí changed the title.

CS

Salvador Dalí Prahu nikdy nenavštívil. V horním rohu malby Antropomorfický kabinet z roku 1936 (Kunstsammlung Nordrhein-Westfalen, Düsseldorf) však výjev z Prahy nalezneme, konkrétně jde o Anglickou ulici na pražských Vinohradech, nedaleko náměstí Míru s kostelem sv. Ludmily. Původní název obrazu byl Město zásuvek, Dalí ho však někdy před rokem 1965 změnil. Podle Dalího je obraz „svého druhu alegorie psychoanalýzy, která zobrazuje uspokojení, s nímž vdechujeme narcistní pach každého ze svých šuplíků”. Jako předlohu k pražskému výjevu využil Dalí pohlednici z doby kolem 1905–1908, která zachycovala partii v té době ještě samostatného města Královské Vinohrady. Dalí ji vybral proto, že se poznával s chlapcem v námořnickém oblečku, ve vedle stojící ženě pak spatřoval svou matku, nebo možná také tetu Carolinetu. Nabízí se tedy hypotéza, že obraz Město zásuvek lze vyložit jako narcistině-surrealistickou construkci mýtu, v němž Dalí vydává Prahu za prostředí, které mu od dětství bylo vlastní. Reaguje tím na úspěšnou pražskou návštěvu Andrého Bretona v roce 1935, se kterým tehdy zápasil o roli vůdčí postavy surrealismu. Smyslem malby však nebylo předat toto sdělení divákovi, šlo spíše o malířovo narcistní sebepotvrzení. Když později tato významová rovina přestala být pro Dalího palčivá, rozhodl se název obrazu změnit.

11

A difficult mission. The building of the St Vitus Cathedral in the time of Ferdinand I and Anna Jagiellon (1526-1547)

94%

Uličný P., Domin J., Bryson-Gustová A.

Umění (Art)

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2020

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vol. 68

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issue 2

172-192

EN

The Cathedral of St. Vitus at Prague Castle, founded in 1344, was still incomplete when the Hussite Wars broke out. King Vladislav Jagiellon took up the project again in 1509, but soon afterwards work on it was halted, evidently because the construction of other parts of the castle fortifications was given priority. After being elected King of Bohemia in 1526, Ferdinand I of Habsburg clearly intended to renew work on the cathedral, and in 1530 — evidently under the direction of Benedikt Ried, he had a row of gables erected over the east choir. But then the building work lapsed again and the prospect of further progress was finally ruined by a great fire in 1541; after the fire the king could do no more than restore only the eastern choir, and he even substantially shortened the cathedral. Work was made difficult by a lack of funds, further complicated by Ferdinand’s unwillingness to look for potential sponsors in the ranks of the (Utraquist) nobility and burghers, without whose contributions an ambitious cathedral church could not be built in this era. It was largely the clergy who were left to restore or replace the damaged or lost furnishings and equipment. The size and form of the building were inadequate to the demands of an expanded royal court and especially the court of Queen Anna Jagiellon, for whose retinue of ladies a wooden platform had to be very awkwardly built into one of the chapels. It seems to have been for the queen, too, that Vladislav’s royal oratory was altered before 1537, by the installation of a heated wooden chamber. After the queen’s death in 1547, Ferdinand gave the order for her tombstone to be erected in the Cathedral, but we do not know whether this happened. Anna was buried in the Marian Choir, where until 1619 there was a superb altar, probably created sometime in the 1520s by Lucas Cranach the Elder. Although it has been suggested that the painting was acquired by the emperor Maximilian I, it is most likely that it was purchased later, by Rudolf II, and installed in the cathedral in connection with the building of a new mausoleum in 1589.

CS

Katedrála sv. Víta na Pražském hradě, založená v roce 1344, nebyla do husitských válek dokončena. O pokračování ve stavbě se roku 1509 pokusil král Vladislav Jagellonský, avšak krátce nato byly práce zastaveny, patrně z důvodů stavby dalších částí opevnění hradu. Po zvolení českým králem v roce 1526 zřejmě pomýšlel pokračovat v dostavbě i Ferdinand I. Habsburský, který nechal kolem roku 1530, patrně pod vedením Benedikta Rieda, nad východním chórem postavit řadu štítů. Dále stavba ovšem nepokročila a možnost pokračovat v dostavbě nakonec znemožnil velký požár v roce 1541, po kterém králi nezbylo než obnovit jen východní chór a katedrálu naopak výrazně zkrátit. Práce komplikoval nedostatek financí, způsobený také Ferdinandovou neochotou vyhledávat potencionální sponzory v řadách (utrakvistické) šlechty a měšťanstva, bez jejichž přispění však nebylo možné náročné kostelní stavby tehdy budovat. O doplnění zničeného vybavení se tak musel starat zejména klér. Velikost a forma stavby nedostačovala nárokům zvětšeného králova dvora a zejména dvora královny Anny Jagellonské, pro jejíž fraucimor musela být do jedné z kaplí velmi nevhodně vestavěna dřevěná tribuna. Patrně zejména pro královnu byla upravena i Vladislavova královská oratoř, kam byla před rokem 1537 vestavěna dřevěná vytápěná komora. Po královnině smrti v roce 1547 nařídil Ferdinand zřídit v katedrále její kamenný náhrobek, není však známo, zda byl opravdu proveden. Anna byla pochována v mariánském chóru, kde se také do roku 1619 nacházel nádherný oltář, provedený asi někdy ve dvacátých letech 16. století Lucasem Cranachem st. I když byly dříve vysloveny domněnky, že obraz získal již císař Maxmilián I., nejpravděpodobnější je, že jej koupil až Rudolf II. a do katedrály umístil patrně v souvislosti s vybudováním nového mauzolea v roce 1589.

12

Die Konzerte der Prager Tonkünstler-Societät im Ständetheater zwischen 1804 und 1822: Notizen aus Johann Nepomuk von Choteks Tagebüchern

94%

Steblin R.

Hudební věda (Musicology)

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2013

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vol. 50

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issue 1-2

47-62

EN

The diaries of the Bohemian nobleman Johann Nepomuk Chotek (1773–1824) are an important new source for the history of music in Prague. In particular, they describe 17 concerts given by the Society of Musicians between 1804 and 1822 in the Estates Theater. The programmes of seven concerts were previously unknown. Chotek not only gives accurate dates for the performances, but also names the pieces and performers, thus supplementing the information in Michaela Freemanová’s 2003 article on this society. As a trained music connoisseur, Chotek also critiques the orchestra and singers, judges the music, and describes the reaction of the public.

13

Z dziennika Antoniego Wagi… Karlowe Wary i Praga – 1868 rok

94%

Maciuk M., Laskosz J.

Historia Slavorum Occidentis

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2015

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issue 1(8)

94-113

EN

The authors present an edited fragment of a log written by Antoni Waga (1799–1890) during his journey from Paris to Warsaw in 1868. The excerpt is an account of the scholar’s stay in Prague and Karlovy Vary. Written with consummate literary skill, the log of the naturalist and the fi rst Polish entomologist and botanist takes us straight into described places. Owing to Antoni Waga’s sense of observation and erudition, the log presents a broad spectrum of issues in a variety of fi elds. The scholar discusses nature, history, literature and the arts. The log contains descriptions of architectural monuments, museum collections, local plant and animal species. As a result, we have gained a promiscuous source of knowledge. The source text has been prepared in accordance with the principles contained in the instructions for publishing historical sources of the nineteenth and early twentieth century, compiled by Ireneusz Ihnatowicz.

14

Role zahraniční migrace v měnící se sociálně prostorové diferenciaci Prahy

94%

Přidalová I., Ouředníček M.

Sociologický časopis. Czech Sociological Review

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2017

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vol. 53

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issue 5

659-692

EN

Investigating the spatial differentiation of foreign populations in cities, especially the level of ethnic segregation, has a long tradition in Western European and American social geography. Owing to increased international mobility since the 1990s, it has also become relevant for some post-socialist cities. This article examines how the growing ethnic heterogeneity of the urban population is reflected in the spatial distribution of foreign citizens in Prague, which is now a unique example of a newly multicultural post-socialist capital. The analysis uses the migration register and census data based on citizenship. The results suggest that foreign citizens are a factor in the transformation of the ethnic structure of the population especially in the inner city and the historical core. Ethnic segregation appears to be most pronounced among economically stronger and culturally distant groups, but concentrations of foreign citizens are forming on the level of localities rather than urban quarters. The article offers the first insight into the relationship between international migration and a post-socialist city, which, soon after the fall of communism, became a destination of international immigration.

15

Die stille Sprache der Stadt: Prag in Paul Leppins Roman Severins Gang in die Finsternis

94%

Derham C.

Slovo a smysl - Word & Sense

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2018

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vol. 15

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issue 29

99-114

EN

The novel Severins Gang in die Finsternis (1914) by the Prague author Paul Leppin (1878–1945) is explicitly created as a city novel by the subheading Ein Prager Gespensterroman. In fact, the novel refers to specific places in Prague. The hero Severin roams the city, past Prague sights or by well-known neighbourhoods. The reader perceives the city from Severin’s perspective, mediated by his subjectively coloured gaze. The portrayal of the city in the novel is not an end in itself, but conveys a network of cultural meanings — such as the allocation of sub-areas of the city to certain social or ethnic groups, the interweaving of places with historical events and the linking of spaces with emotions and memories, thus showing the city as a complex place of ambivalences. At the same time, the susceptibility of Severin for sensory impressions, which are then transformed into inner moods and ultimately lead to the indistinguishability of the inner and outer world, makes him a typical hero of literary décadence.

16

Bohemikální básník Vlachník z Weitmile

94%

Vidmanová A.

Studie o rukopisech (Manuscript Studies)

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2008

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vol. 36

|

issue 2005-2006

67-80

EN

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 Václav IV., Vlachník of Weitmile († 1399), inspired by the intellectual atmosphere of the Prague Court.

17

Цвинтар Ольшани у Празі як місце пам’яті українців

83%

Stambol I.

Studia Polsko-Ukraińskie

|

2021

|

vol. 8

261-273

EN

The article clarifies the role of the Olshany cemetery in Prague as a location for the memory of Ukrainians and about Ukrainians. Olshany is one of the largest necropolises of prominent Ukrainians outside Ukraine. Most Ukrainians buried here became emigrants as a result of the defeat of the Ukrainian National Revolution of 1917-1921. The purpose of this article is to demonstrate the perception of this necropolis among Ukrainians, to show some aspects of mentions of Olshany in the Ukrainian information space and to find out its possible role as a place of memory. The topic of Olshany became more active in the Ukrainian media in 2017 due to the threat of losing the grave of one of the most prominent Ukrainian poets of the early twentieth century – Oleksandr Oles (Kandyba) and his wife. The periodicity of attention to Olshany is explained by the interest of Ukrainians in the subject of the Ukrainian National Revolution of 1917-1921, which also acquires a greater resonance closer to the memorable dates. Members of the Ukrainian governments buried in the cemetery, including Fedor Shvets, Stepan Siropolko, Volodymyr Leontovych, Sofi a Rusova, Hryhoriy Sydorenko, Apollinarii Marshynsky, as well as scientists and artists Spiridon Cherkasenko, Mykola Andrusov, Yevhen Ivanenko and others, together with the military UGA, are very important part of the memory of Ukrainian post-revolutionary emigration, and involve people in understanding their destinies through the fields in which they were engaged before, during and after the Revolution. Th at is why Olshany already acts as a place of memory for Ukrainian historians, teachers, diplomats, etc. But given the professional diversity of the people buried there and the significant legacy they have left behind, this place has greater potential. And new generations of Ukrainians who work or study in the Czech Republic now can contribute even more to this.

18

The Hvězda Summer Palace in Prague, the Villa Trivulzio in Rome, and Giovanni Maria Stella

83%

Extermann G., Zapletalová J.

Umění (Art)

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2022

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vol. 70

|

issue 4

366-382

EN

This article focuses on the author of the stucco decoration of the Hvězda [Star] Summer Palace near Prague (1556–1560), one of the most coherent decorative cycles of sixteenth-century Central Europe. With the help of stylistic comparisons, archival data and historical deduction, the article draws attention to the figure of Giovanni Maria Stella, brother of the more famous Paolo Stella, who from 1538 built the Villa del Belvedere, another emblematic building of the Prague Renaissance. Originally from Melide on the shore of Lake Lugano, Giovanni Maria led an successfull career in Italy that took him to Genoa, Rome and Naples, before moving to Bohemia. The high point of this trajectory took him into the service of Cardinal Agostino Trivulzio, for whom he restored the collection of antiquities and directed the stucco decoration of the Villa at Salone outside Rome, under the direction of Baldassarre Peruzzi. The article points precisely to the Salone stuccos which appear to be the most immediate precedent in terms of style and ornamental repertoire to those of Hvězda, and make Giovanni Maria the most likely candidate for the Prague cycle. This proposal places the figure of Antonio Brocco, hitherto thought to be responsible for the decoration, decisively in the background and opens new avenues for further investigation. The close similarities between Hvězda and the stuccos of the Residenzschloss in Dresden made a few years earlier suggest that Giovanni Maria likewise directed this building site and can be identified with the figure of ‘Johann Maria’ mentioned in the documents. Finally, Stella‘s brilliant trajectory in Italy, his acquaintance with artists of importance such as Perino del Vaga, Peruzzi and Vasari, as well as his branching out in the milieu of Prague through his brother Paolo, are new arguments to explain, contextualise and relate the great artistic significance of the Hvězda Summer Palace in the sixteenth-century Habsburg empire.

CS

Článek se zabývá autorstvím štukové výzdoby letohrádku Hvězda v Praze (1556–1560), jednoho z nejlépe dochovaných a nejkoherentnějších dekorativních cyklů 16. století ve střední Evropě. Pomocí komparací, archivních údajů a dedukcí upozorňuje na málo známou postavu Giovanniho Marii Stelly, bratra slavnějšího Paola Stelly, který od roku 1538 stavěl letohrádek v Královské zahradě na Pražském hradu, emblematickou stavbu pražské renesance. Giovanni Maria pocházel z Melide na břehu Luganského jezera a před svých příchodem do Prahy udělal v Itálii velkou kariéru, která ho zavedla do Janova, Říma a Neapole. Vrcholem jeho umělecké dráhy bylo působení ve službách kardinála Agostina Trivulzia, pro něhož restauroval sbírku starožitností a řídil štukovou výzdobu vily Salone u Říma pod vedením Baldassarra Peruzziho. Článek se věnuje štukovým dekoracím vily Trivulzio del Salone v Římě, které se zdají být stylově i ornamentálním repertoárem nejbližším předchůdcem štuků ve Hvězdě a činí z Giovanniho Marii nejpravděpodobnějšího kandidáta na hlavního autora pražského cyklu. Tento atribuční návrh odsouvá postavu Antonia Brocca, považovaného často za autora výzdoby, do pozadí a otevírá nové cesty pro další bádání. Zaprvé blízká podobnost štuků ve Hvězdě se štuky Residenzschloss v Drážďanech provedenými o několik let dříve naznačuje, že Giovanni Maria mohl řídit i tuto dílnu a lze jej identifikovat s postavou „Johanna Marii“ zmiňovaného v dokumentech. Zadruhé Stellova přímá znalost Baldassarra Peruzziho v Římě a patrně i jeho spolupracovníků Sebastiana Serlia a Pietra Catanea, mimo jiné velkých tvůrců obranných staveb s polygonálními půdorysy, umožňuje hypoteticky uvažovat o tom, že Giovanni Maria Stella, pakliže nebyl přímo architektem stavby, se mohl alespoň podílet na jejím ideovém konceptu. V neposlední řadě Stellova brilantní umělecká kariéra v Itálii, jeho styky s umělci významu Perina del Vagy, Peruzziho a Vasariho, stejně jako jeho propojení s pražským prostředím prostřednictvím jeho bratra Paola mohou sloužit pro lepší porozumění kontextu vzniku letohrádku Hvězda a jeho výjimečnosti a velkého uměleckého významu v 16. století v habsburské monarchii.

19

A South Italian Bell‑Krater – a New Acquisition of the National Museum, Prague

83%

Svobodová H., Titz P., Kozáková R.

Studia Hercynia

|

2022

|

vol. 26

|

issue 1

77-91

EN

The Classical Antiquity Collection in the National Museum was recently enriched by the donation of an assemblage of pottery sherds. Following a careful and systematic procedure, it became possible to recon struct almost an entire vessel. Subsequent analysis revealed that we were dealing with an early South Italian red figure bell krater. Its style of painting dates the vase to the early 4th century BC, making it close to the workshop of the Sisyphus Painter.

20

Každodenní život a prostorová mobilita mladých Pražanů: pilotní studie využití lokalizačních dat mobilních telefonů

83%

Novák J., Temelová J.

Sociologický časopis. Czech Sociological Review

|

2012

|

vol. 48

|

issue 5

911–938

EN

The aim of the pilot study is to examine the possibilities of mobile phone location data in geographical research of the everyday life and individual spatial mobility of the population. Developing and testing a new research instrument thus represent the key aims of the pilot study. The proposed technique is ‘tried out’ on a group of young people living or working in Prague. Their daily activities and spatial mobility are explored and discussed against the everyday and geographical context of the young people´s lives. Theoretically the study draws on the strong tradition of time geography as well as on the new geography of everyday life. Methodologically the research combines two different types of data sources and the relevant analytical tools. First, mobile phone location data are used to record the daily trajectories of the participants. Second, deep interpretative interviews are carried out to understand the reasons and motives behind the recorded daily trajectories. Despite a few technical obstacles in mobile phone location data processing, the pilot study proved the very promising potential of this source, especially in combination with interviews, when studying the patterns of the everyday life and individual spatial mobility of an urban population.

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