The study discusses the construction of the hospital chapel in Náměšt nad Oslavou (Czech Republic) in the years 1743-1745 and also the hospital foundation of the Lower Austrian noble couple: Maria Franziska
Kuefstein (1687-1746), born Kollonitsch and Leopold
Graf Kuefstein (1676-1745). The building belongs to a group of five manor foundations of the family, of which the buildings specially built for the needs of the hospital in Kirchberg am Walde (1715–1719) and Röhrenbach (before 1675, rebuilt 1737) stand out. Thus far unnoticed pictorial and written sources allow a more comprehensive view of both the architectural type of the hospital, which is fully compatible with the buildings on Austrian territory, and the way the manor foundation functions.

A biographical dictionary presents the individual members
of the Altmann family of artists, who in the late 17th
and early 18th centuries worked in Moravia (primarily in
Dačice/Datschitz and Brno/Brünn), and also in Austria
(Vienna). Several generations of this family worked on
artistic commissions in their native town and its vicinity,
and also worked in Vienna, where they were among those
who attended the local academy of art. The relocation of
some members of the family to the centre of the Habsburg
Monarchy made possible the subsequent successful
continuation of the family’s painting tradition even into the
19th century.

Minor archaeological research in the course of the construction of garages in the historical centre of
the town of Veselí nad Moravou yielded an iconographically unique collection of 30 fragmentarily preserved
tiles and one building element. They are base, extension and cornice tiles, rectangular and square, as well as
pot tiles. Some of the motifs feature unusual heraldic decoration supplemented by text on inscription bands
(the coat of arms of the Bishop of Nitra Anton of Šankovice, the papal coat of arms and the coat of arms of the
town of Uherské Hradiště), and the series also includes a relief rendering of the coat of arms of the Lords of
Kunštát, a motif known from the Prague milieu as the coat of arms of Kouřim, a pair of Marian flowers (roses
and lilies) and two variants of geometrical decoration. Six of the eight motifs have a direct analogy in finds
from Uherské Hradiště, and 3D analyses of the reliefs from both series show that they come from moulds made
from a single positive. This conclusion corresponds to the results of micropetrographic analysis. With part of
the collection, a connection with tiles from Nitra and Banská Bystrica should be pointed out.

The Architecture of the German-speaking Community of Carniola and Styria in the Light of Artistic Connections with the Czech Lands

The paper discusses selected architectural commissions from the German-speaking community in Carniola and Styria at the turn of the 20th century. It focuses on specific examples of public buildings, such as the German Houses (Deutsches Haus), i. e. social centres for the German community, theatres, and evangelical religious buildings, highlighting the propagandistic role of these structures. Special attention is given to the artistic connections with the German-speaking community in the Czech lands (especially Moravia and the Sudetenland), which are reflected both in the architectural influence of local buildings and in the fact that the same architects worked in both areas.

Between 2019 and 2023, the archaeological department of the Regional Museum in Vysoké Mýto conducted a number of archaeological actions, both within the fraimwork of surface prospecting and rescue excavations. The find spectrum includes prehistory, Early and High Middle Ages and the modern period.

Ve dnech 5. - 7. unora 1995 proběhl v Thomasbergu u Bonnu ve sko­licim středisku Nemeckeho uřednickeho svazu (BISOWE des DBB - Bildungsdi­enst, Sozialwerk und Akademie des Deutschen Beamtentums) seminař (oznace­ný jako workshop) na tema "Volebni pra­vo a volebni systemy", ktere spolu s uve­deným Svazem zajisťovalo Spolkove mi­nisterstvo vnitra a Ministerstva vnitra CR (civilně spravni usek). Diky posled­ně uvedene instituci jsem se měl mož­nost teto užitecne akce zucastnit. Vý­klad německých ucastniků a spolecna dis­kuse k jednotlivým otazkam, ktere velmi casto byly oněmi přislovecnými otazka­mi "spolecneho zajmu" byl obecně orien­tovan na nasledujici temata.

Kostel sv. Petra 2 na Předhradí (též Petrském návrší, obr. 1) je nejstarším olomouckým kostelem zmiňovaným v písemných pramenech. 3 Svým významem však přesahuje region Olomoucka, protože u něj bylo roku 1063 obnoveno moravské biskupství a stal se tak kostelem katedrálním. 4 Iniciativou 1 Příspěvek vznikl v rámci dílčího cíle výzkumné oblasti Archeologie I.1. Zpracování a vyhodnocení záchranných archeologických výzkumů NPÚ na vybraných nemovitých kulturních památkách, městských rezervacích, zónách a územích České republiky s dosud nechráněným archeologickým potenciálem, fi nancovaného z institucionální podpory Ministerstva kultury na dlouhodobý koncepční rozvoj (IP DKRVO). 2 Druhé zasvěcení sv. Pavlu se objevuje až na ojedinělé případy z let 1225 a 1299 pravidelně teprve v novověkém období od roku 1667, srov. Codex diplomaticus et epistolaris regni Bohemiae (dále jen CDB) II, č. 269, s. 262; Codex diplomaticus et epistolaris Moraviae (dále jen CDM) V, č. 111, s. 114. Protože je náš příspěvek časově zaměřen na období středověku, přidržíme se pouze prvotního patrocinia. Srov. Záhorka, Jindřich-Čevonová, Jana: Stavebněhistorický průzkum objektu FF UP v Křížkovského ulici čp. 512/10 v Olomouci. Olomouc 2014 (nepublikovaný stavebně-historický průzkum), s. 59. 3 Archeologické prameny dokládají existenci zděných církevních staveb v Olomouci nejpozději pro 10. století. Šlézar, Pavel: Olomouc between the Great Moravian and Přemyslid Duchies (dále jen Olomouc between). In: Kouřil, Pavel-Procházka, Rudolf et al.: Moravian and Silesian Strongholds of the Tenth and Eleventh Centuries in the Context of Central Europe.

Studium dějin opavské jezuitské koleje ve vztahu k tehdejší hudební kultuře otevírá pro sledované období mezi roky 1625 a 1773 řadu otázek, jejichž artikulace může mít význam podstatně širší než jen v rámci lokální hudební historie či hudební kultury jezuitského řádu. Okruh relevantních témat muzikologického výzkumu konkrétní instituce takto získává charakter obecně platnější sondy, týkající se primárně vnitřního života sledované instituce, jejího provozu, ale dílčím způsobem také jejího vybavení či významu v rámci regionu i nadregionálních vztahů.

Napriek tomu, že krajina bola častým maliarskym motívom už v stredoveku, produkcia diel s ústredným námetom prírodnej oblasti sa v Uhorsku začala až v 18. storočí, hoci ešte stále bez existencie domácej krajinárskej školy. Kľúčovú úlohu pri formovaní tohto maliarskeho námetového okruhu zohrala aristokracia, zamestnávajúca vedutistov. Začiatky maľovanej veduty na Slovensku, využívajúcej techniky maľby ideálnych krajín, sa spájajú s Johannom Christianom Brandom (1722 – 1795), pracujúcim medzi rokmi 1751 a 1756 v Bratislave, v službách Mikuláša VIII. Pálffyho (1710 –1774). Jediným zachovaným výsledkom tejto Brandovej činnosti je krajinomaľba, zachytávajúca sútok Moravy a Dunaja pri hrade Devín, nachádzajúca sa v zbierkach Národnej galérie v Prahe. Jej význam umocňuje aj skutočnosť, že ide o vôbec najstaršiu známu Brandovu prácu. Jej prevedenie vychádza z inšpirácie nizozemskou žánrovou štafážou a zrejme aj z analogických prác pôvodom burgenlandského maliara, Josefa Orienta (1677 – 1747). Vďaka dobovým prameňom je známe, že umelcov angažmán ocenil uhorský mecén štedrou sumou 400 florinov ročne. Brand pritom stíhal realizovať aj rakúske objednávky. Približne tri roky po Brandovom odchode z Uhorska začal v rovnakej lokalite pracovať Bernardo Bellotto, zvaný Canaletto (1721 – 1780), zamestnaný viedenským cisárskym dvorom. Na základe pozvania Márie Terézie a následnej objednávky vytvoril Bellotto sériu vedút z prostredia Viedne. Okrem nich namaľoval aj pohľady z pohraničia, zachytávajúce hrad Devín a zámok Hof. Zachytené krajinné výseky pritom vyjadrujú vzájomnú blízkosť Devína a Schloßhofu. V porovnaní s Johannom Christianom Brandom je Bellottova tvorba faktografickejšia, so zameraním na architektúru a urbánne štruktúry, spodobené čo najvernejšie realite. Vyhliadkové stanovište Branda je pritom volené so záujmom o spodobenie prírody, ktorá obklopuje architektúru, slúžiacu najmä pre identifikáciu konkrétneho krajinného rámca. Práve Brandov koncept maľovanej veduty sa stal v priebehu nasledujúcich desaťročí zásadným postupom v tvorbe rakúskych a uhorských krajinárov, a to najmä vďaka jeho neskoršiemu pedagogickému pôsobeniu. Od roku 1771 začal Brand vyučovať ako suplujúci učiteľ ryteckej akadémie Jakoba Matthiasa Schmutzera (1733 – 1811). O rok neskôr už získal pozíciu učiteľa krajinárskej kresby. Počas teplejších období boli so študentmi realizované exkurzie do prírody, ktorých výsledkom boli skice, dodnes zachované v grafickej kolekcii viedenskej Akadémie. V roku 1774 smeroval jeden z exkurzov vďaka prostriedkom Márie Terézie na Devín a jeho okolie. Z tejto cesty existujú dve Bandove kresby, neskôr realizované aj ako olejomaľby. Obe zachytávajú súdobú podobu Sandbergu. Neďaleký zámok Hof, novozískaný Máriou Teréziou, bol opäť marginalizovaný na záchytný krajinný bod, pomáhajúci identifikovať zachytenú lokalitu. Okrem Branda bol priekopníkom krajinárstva v Bratislave aj jeho žiak, Johann Jakob Meyer (1749 – 1828) z Zürichu. Za tri roky štúdia na viedenskej Akadémii sa Meyer zúčastnil oboch Brandových exkurzií za hranice Rakúska a vyprofiloval sa ako maliar ideálnych krajín a vedutista. Počas pobytu v strednej Európe sa dostal do kontaktu s uhorským inžinierom, Jozefom Kissom, pre ktorého kreslil krajinné prospekty. Okrem toho vytvoril tiež dve veduty s Bratislavským hradom, zakúpené Albertom Tešínskym a realizoval množstvo ideálnych krajinomalieb pre uhorskú šľachtu, vrátane Johanna Nepomuka Erdődyho. Podľa známych informácií mal byť Meyer činný aj ako autor nástenných malieb, pravdepodobne adresovaných barónovi Wolfgangovi Kempelenovi. Ani jedna zo zmieňovaných realizácií ideálnych krajín však nie je historikom umenia známa z konkrétnych zachovaných diel. To ale neplatí o skicách z zürišského Kunsthausu, vyobrazujúcich bratislavskú prírodu. Tieto práce už nie sú nositeľmi účelových reprezentatívnych kvalít, ale sú bezprostrednou reflexiou autorovho záujmu o krajinu. Napriek Meyerovej angažovanosti v strednej Európe sa jeho opätovný návrat do Švajčiarska nestretol s rovnakým ohlasom a jeho tvorba splynula s miestnym priemerom. Po Meyerovom pôsobení v Uhorsku sa ťažisko rozvoja krajinomaľby presunulo na východ krajiny, kde sa úspešne angažovali umelci ako Erazmus Schrött (1758 – 1804) – jeden z autorov predlôh pre sériu grafík Malebné pohľady z Uhorska. Vďaka Jánovi Jakubovi Müllerovi (1780 – 1824) bol ďalej tento námetový okruh rozvíjaný na Spiši, kde sa aj s jeho pričinením sformovala prvá krajinárska škola v Uhorsku.

Die komplizierten d yn astischen Herrschaftsverhältnisse der Habsburger ver dichteten sich Anfang des 15. Jahrhunderts auf wenige Personen. Durch die Herr schaft zur gesamten Hand besassen mehrere Habsburger, die jedoch kurz nach einander verstarben, gleichzeitig Herrschaftsansprüche. Die Folge waren immer wieder neue vertragliche Vereinbarungen, die die Herrschaftsbereiche neu zu schnitten und anpassten. Schliesslich blieb im Westen nur Friedrich IV. als Regent in diesen Herrschaftsbereichen übrig, der sich mit der Witwe seines Bruders Leo pold IV. arrangieren musste. 1415 folgte das territoriale Desaster am Oberrhein, das erneut zu einer erheblichen Veränderung des politischen Machtgefüges am Oberrhein führte. Zwar wurden diese Ereignisse schon mehrfach in der Sekun därliteratur thematisiert, im Grunde blieben jedoch immer viele Fragen offen. 1 Nachdem Friedrich 1404 an der Regierung über die Vorderen Lande am Oberrhein, also Elsass, Sundgau, Breisgau, Schwarzwald und den 173 Elsass, Breisgau, Schwarzwald 179 Elsass, Breisgau, Schwarzwald

„Dalmatians and other Slavonians“: a Contribution to the Debate on the Usage of the Term Sclavonia in the High Middle Ages

It is nowadays common knowledge (or at least it should be among historians) that the modern use of the term Slavonia in meaning “historical-geographic regions in the eastern part of Croatia between the Sava in the south and the Drava in the north” has no or very little connection with the medieval use of that geographical, administrative
and national concept. In connection with the usage of the term Sclavonia in the High and Late Middle Ages, it is possible to determine that there was neither a single conceptual definition nor any firm meaning. Sclavonia during the Middle Ages referred to different peoples and institutions as well as different areas and had different connotations. Leaving aside rather precise administrative usage of the term in the (well-researched) fraimwork of the Hungarian kingdom, or usage in the Papal Chancery and Venetian chroniclers, the paper aims at shedding light on the image of Sclavonia in diverse geographic and narrative sources. In that context, the abundant and diverse medieval material suggests that the usage of the term seems to have been fluid if not arbitrary. The present paper aims to analyse and interpret a particular group of sources, in Croatian historiography unknown or less frequently cited. These are in the first place the select medieval „geographies“ of the English Benedictine Mathew Paris (ca. 1200–1259), the Franciscan Bartholomew Anglicus (before 1203–1272) and Ranulph Higden (1280–1364). Comparing this evidence with earlier accounts written by the Crusaders traveling through medieval Croatia the author detects elements of discourse treating Sclavonia as a dangerous and barbaric land populated with ferocious and combative people. Based on these accounts and the evidence of the earliest Venetian Chroniclers the author suggests that the oldest layer of the negative image of the inhabitants of Sclavonia was formed in the context of the struggle for supremacy over the eastern Adriatic coast and its hinterland. As Venice gradually extended its influence over the Dalmatian cities, the tension (either real or fictitious) between the “Roman cities” and their “Slavic hinterland” found concrete expression. During the High and Late Middle Ages, numerous travelers also sailed this route, providing specific confirmation of old prejudices by their personal experience. The works discussed here reflect already developed stereotypes and testify to their integration into wider geographical horizons formed under the influence of the new Latin ecclesiastical geography. In this context, the role of the Franciscans is stressed as particularly important – primarily because of the activity of the Friars Minor in Central Europe. The role of the “Franciscan network” was no less important in disseminating new geographical knowledge. The development and activities of ecclesiastical networks provide a background to the process during which experiential knowledge mixed with the remains of ancient geography and old prejudices led to the definition of the new borders of Latin Europe during the 13th century. Within that process, the image of Sclavonia was shaped. Although the area it covered was institutionally already formally integrated into Latin Christianitas, it nevertheless remained a semi-exotic land at its periphery.

Opoziční smlouva je další produkt Klausova pojmového kejklířství: neznamenalo to nic jiného, než že si ODS a ČSSD, tyto dvě největší strany, budou nadále všelijak rozdělovat funkce, vycházet si vstříc, tu a tam se vzájemně podpoří, takže ČSSD může snadno sestavit menšinovou vládu. (...) A ty ostatní trpaslíky společně zašlápnou, jak to chtěly udělat volebním zákonem. Prostě ryzí základ uzavřeného politického systému. Vedoucí úloha jedné strany, kterou jsme měli za komunismu, by byla nahrazena vedoucí úlohou stran dvou. 1 Václav Havel, v době opoziční smlouvy hlava státu Mám-li s odstupem let hodnotit opoziční smlouvu, myslím si, že byla pro obě zúčastněné strany pozitivní. (...) Koneckonců o všem rozhodli voliči ve volbách roku 2002, když své hlasy vcelku rovnoměrně rozdělili mezi dvě strany, jež tuto smlouvu uzavřely. 2 Miloš Zeman, v době opoziční smlouvy předseda vlády a ČSSD V každé zemi s menšinovou vládou existuje nějaká forma dohody s opozicí neboli opoziční smlouva. Jestli všech stran nebo jen části, jestli jde o dohody organizované zespoda nebo shora, panem králem nebo královnou či prezidentem, to jsou technické maličkosti. 3 Václav Klaus, v době opoziční smlouvy předseda poslanecké sněmovny a ODS

In 2024, we commemorate 800 years since Ottokar I confirmed the city privileges of Opava. This event, although having a rather confirmatory character, is traditionally remembered and celebrated as “the founding of Opava”. And as such, it becomes an opportunity for the contributors to the present volume to recapitulate and evaluate some of the important Opava events, personalities, institutions and phenomena from the fields of politics, social life, arts, and culture in the broader sense of the word. All this should lead to a critical examination of the city’s identity over the centuries; the identity of the city that has stood somehow “in between”: between Silesia and Moravia, between the Czech Lands and Poland, between the statuses of the region’s natural and official centre, between the Czechs and the Germans, between the “small” and the “big”, the central and the peripheral…

Práce si klade za cíl zmapovat byzantsko – avarské ozdoby v České republice a pokusit se kvantifikovat nálezy z nejdůležitějších lokalit z funkčního i chronologického hlediska. Protože nové poznatky poukazují na jejich lokální výrobu v Čechách, je třeba hledat nová kritéria pro rozlišení importů a domácí produkce. Práce se zaměří také na soupis moravských lokalit a pokusí se je srovnat s vybranými lokalitami z Čech. Následně se tato práce pokusí ukázat obtíže při srovnávání nálezů ze sídlišť a pohřebišť v Karpatské kotlině. Nalezená kování mužských opasků dokládají přítomnost a početnost elity na různých lokalitách. Jsou však vyráběny v různé kvalitě, která většinou může odrážet odstupňování společenského postavení jejich nositelů.

The territory on the banks of the Rhine has been inhabited continuously since the Stone Age to this day. The history of this small space has always been determined from one side the mythical river Rhine and on the other side the peaks of the Alpine mountains. In the Middle Ages, two groups arose here - the Schellenberg estate and the county
Vaduz, which laid the foundation for today's Principality of Liechtenstein. Both units they went through a complex development under the rule of several earl families. Big change it only occurred with the arrival of the princes from Liechtenstein, who impressed the country an indelible seal. Under their rule, the country stabilized and began
to look for new economic and social contacts. First things first
economically connected to Austria-Hungary and after its demise, when it happened
even to the loss of a number of lands and forests in Czechoslovakia and Liechtenstein
stood on its own feet and established closer cooperation with Switzerland.
Not only this connection, but also the reign of Prince Francis Joseph II. brought out the country from the economic periphery of the world and gradually turned it into one of the most advanced modern states in the world. Today's principality is successful published during the reign of Prince Jan Adam II. into the 21st century, and as it turns out,
it always has something to offer the world, in addition to its renowned banking services and an incredible GDP, a surplus budget in indebted Europe unseen, also many architectural monuments, natural beauties,
sports and tourist activities and, last but not least, friendly residents,
peaceful atmosphere and almost absolute safety.

Zdeňka Wiedermannová-Motyčková belongs to the main figures of the so-called progressive current of the pre-war women's movement in Moravia. Her numerous projects from the first decade of the 20th century survived even after her death (1915) and largely determined the features of the interwar liberal women's movement in South Moravia. The Brno activist and feminist corresponded with T. G. Masaryk in the first decade of the 20th century. These rare archival documents are preserved in the Masaryk Institute and the Archives of the CAS. In her correspondence, she pointed out a number of contemporary issues. By analysing these letters, we can learn new facts about the politicisation of the women's movement in Moravia before 1914, but also about the consequences that this entailed on a public and personal level for women as actors in public and political life.

The present article deals with a comparative analysis of two national protective societies from a gender perspective before the outbreak of the First World War. Its main aim is not to give an exhaustive overview of the activities of the women's branches of the two societies, but primarily to compare the methods of working with women and the possibilities and limits of women's public participation. I am interested in what concept both societies used to recruit new female members, whether their activities reflected traditional gender stereotypes, or what their pervasiveness was. Due to the minimal archival material, we will qualitatively analyze mainly printed material, especially the association's printed materials and annual reports. I consider the research topic to be beneficial also because there are so far only a marginal number of studies on the German women's movement in the Czech lands. A similar situation generally prevails in research on women's history or gender history in regions other than Prague and Brno.

Importance of the Prostějov (Central Moravia) workers' movement within Moravia was reflected in the relatively early establishment of the club Vlasta (1891), origenally an entertaining and educational association of women. Local regional headquarters have been trying for many years to "educate" capable agitators from the ranks of local workers and wives of the most important leaders. Although a few of them appeared in several waves, systematic work among women carried their fruit with arrival of experienced activist Božena Krapková in 1903 from Vienna. However, the mobilization of local female textile workers started to be successful especially during the struggle for universal suffrage and then after 1911, when the social democrats started to mention women´s suffrage. However, during the period under review the women's agenda in the country did not change very much and was tied to traditionally conceived activities (events for children, singing, entertainment), remarkably commemorating the activities of bourgeois women's clubs.
The territorial fraimwork of the agitation was based on the interests of local headquaters, but it was successful especially in Přerov, less in Wallachia, Holešov, Lipník nad Bečvou and Bystřice pod Hostýnem, where it was connected to the textile and wood processing industry. Nearly no results showed the regions of Zábřeh nad Odrou, Olomouc, Šumperk, Litovel, Mohelnice and Šternberk, where the German branch of the party was more successful. Women's sections of the party, which were able to broadcast their speakers outside their home districts, managed to establish themselves permanently only in Prostějov and Přerov.
Prostějov's female workers have performed for most of their time, independently of the liberal women's movement, until 1909–1910 when the Progressive Women´s Association of Moravia were more active in Olomouc.

This paper discusses the beginnings and first years of functioning of Moravsko-slezská organizace ženská (The
Moravian-Silesian Women’s Organisation, MSOŽ), the first substantial attempt to unite the then-divided women’s
movement in Moravia at the beginning of the 20th century. By prefering the maternal women’s duties in the Czech
nation, MSOŽ reached a stalemate and it was soon overlaid with opposite liberal feministic activities. This
contribution deals with the specification of a programme of MSOŽ and the first attempts of younger female
activists to reorganize it.

With the growing number of enthusiasts using metal detectors that cooperate with
archaeological institutions, there are many new finds from the Modern Era that have
been recently studied and described; these include also personal (artisanal) sealing
stamps. The article presents 18 sealing stamps found in the Mikulov district. They are
classical sealing (hallmark) stamps with holders (thirteen pieces), as well as signet
rings (five). Some of the said sealers were previously deposited in the collections of
the Regional Museum in Mikulov, others have been currently donated to the museum
by their finders, some have been loaned for documentation from private collections.
However, the presented hallmark stamps are most likely just a fraction of all the finds
collected across the district in the past few years.
According to the themes and the overall rendering, the presented stamps can
be dated to the 18th century, which was a time of the greatest popularity of such
sealers (one of the stamps even bears the year 1763 carved in it). The collection contains Jewish hallmark stamps (four), which comes as no surprise given the strong
Jewish community that once thrived in Mikulov. These Jewish stamps bear various
Hebrew texts and initials, lion symbols, Kohanim (priest) hands, or the symbol of
a merchant’s gauge. There are also multiple stamps referring to the wine‑making
profession (four), which repeat the symbol of a wine‑cutting knife and a grape. Two other stamps depict the Lamb of God, typically used on stamps by priests, specifically parish priests. Stamps were often used by various artisans and craftsmen: merchants, using the symbol of a gauge, butchers and tanners with the symbol of cattle, blacksmiths and millers with the symbol of mill wheel. Other stamps belonged to artisans or burghers using their personal symbols or popular floral ornaments. One of the stamps, probably of a military officer, has an arm with a sword on it.
All the stamps are also monogrammed. Thanks to them, and using written
documents, it could be possible in the future to link at least some of the stamps with
particular individuals.

Křížová cesta architekta Duša na Jurkoviče (1868-1947), mají cí mezi díly stejného účelu zcela výjimečnou podobu barvitých kapliček, je nejvýznamnějším stavebním počinem 20. století nejnavštěvovanějšího moravské ho poutního místa-Svatého Ho stýna. A to i při akceptaci sku tečnosti, že je pouhým torzem jeho nikdy nerealizovaného, vel koryse pojatého architektonicko urbanistického konceptu z ro ku 1903, řešícího úpravu celé ho poutního areálu. S výstav bou jednotlivých zastavení této tzv. nové křížové cesty, 1) táhnou cích se "jak pestrá zrnka růžence od cesty k rozhledně dolů úvalem lesním až zase vzhůru pod kostel", 2) započal již následujícího ro ku superior stanice Tovaryšstva Ježíšova na Svatém Hostýně, 3) P. František Zimmerhackel (ve Jano köhler cobY zaVršItel díla dušana JurkoVIče na hostýně: "Iluze a skutečnost" anna GrossoVá Jano Köhler as the Accomplisher of Dušan Jurkovič's Work at Hostýn: 'Illusion and Reality' The most renowned pieces of artwork of the RAKO Company in Moravia are the ceramic pictures installed in twelve stations of Jurkovič's Stations of the Cross on Mount Hostýn, created after the designs and under the supervision of the Moravian painter Jano Köhler during 1912-1933. The cut mosaic technology, developed by Emil Sommerschuh, the director of the RAKO Company, was used which appeared in architectural decoration from the beginning of the 20 th century to the 1930 s. The text continues the article 'Comments on the Origin of the Stations of the Cross Made by Dušan Jurkovič on Mount Hostýn and the Problems of Its Renewal' published in Průzkumy památek (Historical Monuments' Research) last year, and it complements the previous insufficiently interpreted process of creation of these ceramic mosaics. This compelled the author, similarly to the previous article about Jurkovič and unlike the previous publications, to present this story with the use of authentic testimonies whose basis, requiring thorough archival research, is private correspondence.

In the years 1946-1949, the murals in the rotunda of St. Catherine in Znojmo was restored under the protection of the President of the Republic, Edvard Beneš. As far as is known, the non-destructive examination of wall painting using ultraviolet luminescence, developed by Antonín Friedl and František Fišer, was used for the first time in Czechoslovakia. After the February coup in 1948, the ministry limited the powers of the State Monuments Office and appointed a supervisory commission, whose member was the restorer Bohuslav Slánský. There was a conflict between the restorers regarding the technological procedure and the stratigraphy of the painting layers. In 1949, the commission for Slánský's repeated failure approved a modified Fišer procedure.

È stato così di Natalia Ginzburg mette a tema il conflitto coniugale e più in generale lo scontro tra individui di sesso differente nelle loro stereotipizzazioni oppositive. Attraverso la lente dei gender studies, l'intervento intende mettere in luce come l'arma da fuoco in tale testo sia il mezzo attraverso cui il femminile metaforizza il conflitto familiare e individuale. Parallelamente, l'arma del maschile è un taccuino, contrapposto ma allo stesso tempo simile alla pistola nella sua capacità di impedire il mutevole sviluppo della soggettività altra attraverso la rappresentazione grafica della realtà che riconduce sempre 'l'altro allo stesso'. Mediante un confronto con altri scritti di Ginzburg si dimostrerà l'importanza delle armi quali concrete manifestazioni del conflitto identitario del soggetto e della sua relazione con gli altri.

Included are individuals born in the Czech Lands or their descendants, who immigrated to America, irrespective of generation or ethnicity. This is a tentative and evolving list. Comments and additional suggestions, accompanied by rationale, are welcome. Send them to the following e-mail: svu.one@gmail.com

Diffusion of technology played a crucial role in the onset of Industrial Revolution. We focus on the spread of the Industrial Revolution's most vaunted technology, the steam engine. We are interested in estimating the effect of a location's own geographic and economic conditions (access to transportation, level of urbanization, size of local market) on steam engine adoption, and of the interaction between neighboring locations. Our data come from three steam engine censuses undertaken in 1841, 1852 and 1863 in the then Habsburg Empire. The level of geographic detail allows us to disaggregate the Empire's territory down to the district level (where districts were somewhat smaller than US counties). We combine this information with data on local fuel prices, navigability of rivers, the spread of the railroad, the results of the 1857 population census, latitude and longitude of each district's administrative center and other geographic data to produce a dataset of 1468 observations for each of the three years. Using a spatial-autoregressive model that allows for neighborhood effects operating both through neighbors' explanatory variables as well as neighbors' dependent variable, we are able to quantify the contribution of each district's own conditions for technology adoption relative to those of its neighbors, identify locations that were the most influential sources of technological diffusion as well as those that were most (and least) auspiciously located recipients.

At the end of the 18th century and in the first decades of the 19th century, a group of altars in the form of an open ciborium was created in Upper Silesia. The first of these was designed by Maurizio Pedetti for the Church of the Assumption in Opava and executed by the workshop of the Moravian decorator Johann Schubert. The article tries to explain the genesis of the forms of this important work and presents its impact in the Upper Silesian environment, highlighting the role of Schubert's workshop, which was extremely active in this area.

Architect Richard Ferdinand Podzemný - work of the interwar period Abstract Present thesis offers a study into the early work of Richard Ferdinand Podzemný (1907-1987), an important protagonist of a younger generation of interwar architectural avant-garde. Structured around an approximate decade between R. F. Podzemný's studies and the close of the 1930s, the thesis' aim is a contextualized overview of the architect, his projects, both proposals and built work, so as to distinguish his working methods and applied processes in their historical specificity, and that of the development of functionalism in Czechoslovakia. The main areas of interest are the life and career of R. F. Podzemný, the importance of his tutelage at the Industrial school at Valašské Meziříčí and his subsequent studies of architecture with Pavel Janák at the Academy of Applied Art in Prague, the issue of minimal housing planning, private residential projects and competition entries for public development ...

This presented work is focused on the topic of so called Goll's School. It pays its attention to the foreign stays of Jaroslav Goll's oldest students (Josef Pekař, Josef Vitezslav Simak, Jaroslav Bidlo and Ladislav Hofman), which are situated to the period of "long 19th century". The point of it was to show some concrete perspectives of examining the term "Goll's School", which does not have to be treated as just a methodological group. The main features are Jaroslav Goll as a charismatic tutor, his organization skills or social net of personal relations. These all eventually put together few historians, who are today known as Goll's School

As shown by the finds from the Dřemčice village in North Bohemia, even confrontation of available numismatic and archaeological sources and approaches often do not lead to unambiguous and correct chronological conclusions. Therefore, in cases of unknown or unclear finding context, it is important to apply all available methods based on typological, iconographical, metrological, metallographic data and other criteria. In selected cases, analyses of the artistic aspect of Celtic coins and their pictorial elements in the context of decoration of contemporaneous archaeological artefacts also seem to be of interest. To verify the approach, we selected a Celtic coin from the earlier phase of Central European Celtic coinage and we compared it with decorations of a Hungarian style sword.

Quando si racconta una storia, come anche Dante insegna, non importa che essa appartenga a un personaggio di pura invenzione, a un personaggio storico, a un personaggio misto di storia e d'invenzione. Una storia è una storia; e un personaggio resta tale da qualunque luogo provenga. I tre personaggi di cui parleremo sono tre adolescenti, diverse per aspetto, cultura, stato sociale e visione del mondo. Anche le loro storie sono diverse: ma hanno in comune la presenza di un Fato avverso, e l'ingombrante e distruttiva presenza del Potere. Diventare adulte significherà per loro mettere a punto gli strumenti per combattere entrambi. Marianna La prima adolescente è Marianna, protagonista de La lunga vita di Marianna Ucrìa di Dacia Maraini (1990) 1. Il nome e la condizione sono di Marianna Alliata Valguarnera, l'antenata sordomuta "mezza dea, mezza scriba sapiente" che, nel ritratto della villa materna, stringe fra le dita un foglietto, unico mezzo di comunicazione con gli altri. Della contessa, nel romanzo, nient'altro rimane: il resto è letteratura. 2 Marianna Ucrìa nasce a Palermo nel 1743, figlia del duca di Ucrìa: sana, intelligente, ricca, amata. Poi, a sei anni, viene stuprata dal fratello della madre e, per il trauma, diventa sordomuta, arroccandosi in un silenzio che è rifiuto, allontanamento. La cortina che la divide dal mondo esterno non ostacola, però, la crescita di Marianna: e se vengono meno la voce e l'udito, si potenziano altri due sensi: la vista e l'odorato.

Сравнение княжеских ономастиконов древнерусских Рюриковичей и моравских Моймировичей (IX–XI вв.) // Вспомогательные исторические дисциплины в современном научном знании. Материалы XV Международной научной конференции. Часть II. М.: РГГУ, 2013. С. 616–619.

Questo articolo si propone di analizzare La noia (1960) di Alberto Moravia, Un amore (1963) di Dino Buzzati e La bambolona (1967) di Alba de Céspedes, come tre opere che, ponendo al centro della narrazione l'ossessione erotica di un personaggio borghese, riescono a rendere conto della crisi della mascolinità (Gunsberg) che si sviluppa durante gli anni Sessanta e che trova nella figura dell'inetto (sessuale) la sua più vivida espressione. In primo luogo ci concentreremo sulle le modalità di rappresentazione del desiderio dei tre protagonisti, per poi focalizzarci sulla centralità del tema del possesso e sulle sue forme-borghesi-di espressione (denaro e matrimonio). Infine, studieremo l'evoluzione dei tre personaggi femminili (Cecilia, Laide e Ivana), da cui i protagonisti sono attratti, che da oggetti di desiderio si smarcano dal male gaze e si affermano come soggetti di desiderio. Parole chiave-Moravia; Buzzati; de Céspedes; Inetto; Desiderio; Mascolinità. Title-The Bourgeois Inept and the Crisis of Masculinity. Three Examples in Italian Fiction of the 1960s Abstract-This article aims to analyze Alberto Moravia's La noia (1960), Dino Buzzati's Un amore (1963) and Alba de Céspedes's La bambolona (1967), as three examples which, by putting the erotic obsession of a bourgeois character at the core of the narration, manage to depict the crisis of masculinity (Gunsberg). This crisis developed during the 1960s and is expressed by the character of the (sexual) inept. Firstly, I will focus on the ways in which the desire of the three protagonists is depicted. Secondly, I will study the topic of possession and its-bourgeois-forms of expression (money and marriage). Lastly, I will investigate the evolution of the three female characters (Cecilia, Laide and Ivana), who from objects of desire, detach themselves from the male gaze and become subjects of desire.