Czech composer Pavel Haas (1899–1944) spent his last years in Theresienstadt. He was sent there after the German occupation of the Czech lands in December of 1941. In the first few months, Haas had ...great difficulty coping with his internment. Long periods of inactivity were punctuated by periods of feverish work, which served to place him among the most active of Theresienstadt composers. Evidence shows that from the second half of 1942 until the fall of 1944, Haas composed seven works, of which three are still extant. It is generally true that not only in Haas's case does the idea of place enter a work and determine its character. The hectic race against time not only determined the scope and instrumentation of his works, but place also figures prominently in the music's expressivity as well as its fragmentary and unfinished nature. Musical works composed during emotionally charged moments are filled with symbols and allusions of various forms, which express a desire to tell the story of the place. An important aspect of musical activities is also the fact that more than at any other time or place, composers were writing their pieces with specific performers in mind. These performers usually commissioned the works and in many cases were also those who protected the music from destruction.
An analysis of the oil painting Boy Blowing Soap Bubbles. Allegory on the Transitoriness and the Brevity of Life (in the National Gallery of Denmark, Copenhagen), signed and dated 1663 by the Dutch ...painter Karel Du Jardin (1626–1678), shows how two iconographical types, that of Fortune/Nemesis and that of a boy blowing soap bubbles are combined to form a new invention. The essay explores how Du Jardin’s painting expands and nuances the allegorical meaning of Vanitas by this combination of well-known visual sources. The meaning of the painting circles around one of the baroque era’s great tropes, to remember and search for Fides and not to let worldly riches forget her. This article also explores how a baroque Christian neostoic worldview might form part of the ideas and philosophy that underlie Du Jardin’s invention.
The paper deals with the standardization process of the regnal name of the new King Charles III in Czech. It documents the fact that leading Czech internet media at first referred to the new king in ...the original form, Charles III, but very soon began to call him Karel III, using the Czech form of the English name Charles. The paper places this process into the broader context of translating foreign personal names into Czech and investigates whether European Monarchs are usually referred to by their original names or a translated form of their names in contemporary written Czech (as evidenced by the SYN corpus series). The central focus of the paper lies in the hour-byhour detailed reconstruction of how it happened that the Czech internet media ceased quite suddenly to call the new king Charles III, beginning to call him Karel III. The paper proceeds to discuss this process in the context of language standardization theories, showing that although authorities (linguists, predominantly from the Czech Language Institute) explicitly refused to recommend (“from above”) either the original, or a translated variant of the name, internet media representatives interpreted their statements in favour of the translated version and started to call the new king Karel III in Czech.
This essay draws on formalist cultural studies and material feminism to argue for a new approach in modernist studies, which I call formalist materialism, that reads ecological forms alongside ...aesthetic forms. Such an approach may have distinct advantages. As a theoretical model working from these traditions, it illuminates a new direction for formalist attention to literature by connecting it to embodiment, ecology, and material substances, and a novel path for feminist materialists by suggesting historical objects and situations where human and nonhuman agencies might be clearer. As I demonstrate in readings of Karel Čapek and Virginia Woolf, this model of reading also might help reinvigorate ways of approaching early-twentieth-century modernism in our time of ecological crisis, but without looking for signs of our concerns and epistemologies in the past.
The article considers an international corpus of plays from the 1920s-1930s that have the characteristic of combining the theme of work with anticipation. The failure of machines and the « ...robotization » of workers : this combination raises questions about the future of a world that is increasingly subject to mechanical development. After pointing out that the effect of anticipation is based essentially on the stage settings and the uniformity of the characters, the article discusses the critical significance of this repertoire : the threats posed to humanity by the development of technology (industrial disasters, loss of the meaning of work) give this theatre a dystopian character, barely modulated by the progressive perspective of the disappearance of work, which is however not defended by the workers. It is therefore a double apocalypse that these plays depict : that of the labour world, due to the generalisation of machines that replace man, but also to the passivity of workers ; and that of a form of society, in which exploitation and war reign, which leads, through its indifference to human values, to the catastrophic extermination of humanity.
Karel Schoeman, the award-winning Afrikaans author, not only wrote several seminal novels (for which he received the highest Afrikaans literature prizes), but his contribution to research focusing on ...the 18th and early 19th century South African sociocultural history is also remarkable. He collected and put together an enormous volume of archival resources accessible to a large audience of interested readers and scholars alike. He especially concentrated on the history of missionaries and mission organisations; he wrote a long list of biographies, of which the most important ones were of women with some connection to the missionary endeavour. Schoeman's unique approach to historiography is making a significant contribution that is relevant to missionary history and theology as such. He retrieved often neglected but important voices from the past. Contrary to canonised, confessional and denominational church history, he opted to focus on missionaries (Black and White), slaves, women, and the historically marginalised. He wrote about their "lived faith" within the sociocultural contexts of their time.
The core of Karel Čapek's translations – a set of translations of modern French poets – is linked to the time of the First World War. According to Čapek's note accompanying the first edition of this ...set – Francouzská poezie nové doby (Praha, František Borový 1920) – "this handful of translations of French poetry comes mainly from 1916". It can therefore be said that the chapter of Čapek's creative biography dedicated to translation is limited to this year alone. Čapek would translate only sporadically thereafter. Nevertheless, the short period of his activity as a translator was of fundamental importance for Czech culture: Čapek presented in his anthology a number of key texts of European modernism and, at the same time, brought profound innovations to the practice of Czech translation, the influence of which is still with us today. This article examines the anthology's sources and inspirations.
The paper deals with the long-standing stylometric problem of Czech fiction – the authorship of the novel Cikáni. Although the text has been usually attributed to K. H. Mácha, there is a widespread ...hypothesis that its final shape was substantially influenced by a friend of his, K. Sabina. To solve the problem, we have exposed the works by Mácha (Cikáni) and Sabina (Hrobník and Oživené hroby) to the novel statistical attribution method, which takes into account the usage of numerals in texts. To provide a contrast to the new procedure, we have also employed a more conventional MFW analysis. The results, which are rather contradictory, are accounted for by various interpretations. The goal of the article is to show the soundness of the new method and check its applicability on Czech pieces of literature.
Provider: - Institution: - Data provided by Europeana Collections- Portretbuste in ovaal naar rechts van Karel I, hertog de Guise, in harnas. Onder het ovaal staan op een sokkel zijn naam en titels ...vermeld.- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
PDF
