Studie pramenně vychází z českých a moravských rukopisných kancionálů ze 17. a 18. století. Podává stručný přehled nejdůležitějších rukopisů (mnohé z nich vynikají barevnými iluminacemi, některé jsou ...opatřeny notací) a výběrově upozorňuje na základní literaturu k tomuto tématu. Rukopisná kultura představuje významný pramen pro poznání lidové kultury a lidového zpěvu v 17. a 18. století; mj. proto, že rukopisy byly relativně nezávislé na tištěné produkci a mnohými svými vlastnostmi se přimykaly k orální kultuře.
This study follows on from previous research on the “ancien time régime” (to around 1800) by R. Koselleck and A. Assmann. It examines representations of eternity in exempla, legends and other texts. ...The basic motif of these texts is the break with the time, i.e. the situation where the mortal man enters a different time regime (such as paradise) and spents there a seemingly a short time, while, in fact, hundreds of years have passed. The study describes the basic types of these tales (song of the bird, wedding, vision, etc.) and analyses their common motifs.
This study deals with the reception of the Song of Songs in Czech Baroque literature, particularly in works associated with Marian pilgrimage sites. The introductory chapter is a brief summary of the ...three main lines of canticle exegesis; for the subject of this
study the most important allegorical exposition of the figures of the bridegroom and the bride from the Song of Songs is as God and Mary. The flourishing of canticle
expositions and the influence of this book of the Bible on national literatures may be documented in particular in the 12th century within the Bohemical environment and then two centuries later, and the reception of the Song of Songs peaks again in the
17th and 18th centuries. The Song of Songs was quoted by preachers at this time, and we find its verses in the names of pilgrimage guidebooks and the like. The main part of this study consists of an analysis of three works that are paraphrases of this book of the Bible or that perform substantial work on it in a different manner. The anonymous Marian song Pojďte, chvalte, ó, křesťané (Come, Praise, Oh Christians) turns the verses
of the Song into the text of a collective pilgrimage song, in which elements of high literature combine with those of simple folk song. Jan Ignác Dlouhoveský quotes
substantially from the Song in his pilgrimage books on the Stará Boleslav Virgin Mary, often interpreting it very unconventionally and using it to create a Marian
love lyric of a courtly nature. The third work, a pilgrim’s meditative book Vera effigies by Daniel Doležal, uses the Song of Songs as a primary compositional element. This work, dedicated to the St James Pietà, is particularly notable for its application of
principles of modern-period poetics (visualization and emblematics). These examples illustrate a not too well-known aspect of Baroque Marian piety and document the confrontation between fashionable poetic principles and the medieval exegetic and
literary tradition.
This study deals with the Czech and Moravian manuscript hymn books from the 17th and 18th century. It summarizes the existing research and describes the most important manuscripts. Some of the ...hymnals are accompanied by musical notation and a large number of them are beautifully illuminated. The manuscript hymnography is one of the richest sources for understanding folk culture and singing in the 17th and 18th century. The manuscripts were relatively independent of the printed hymn-books and were close to orality.
This article examines parody in medieval literature and in folk literature and culture up to the 19th century. It analyses sacred parody (Bible parody), its significant aspects and role in literature ...and culture. The study focuses primarily on Cena Cypriani and Mesiáš přišel na svět pravdivý The True Messiah Has Come into the World. The Cena Cypriani is an anonymous prose work written in Latin. The text was probably written around 400 and tells the story of a banquet held at Cana in Galilee, where a king invites many biblical figures to attend a wedding. The song Mesiáš přišel na svět pravdivý is written in Czech, comes from the 18th century and narrates the story of a wedding feast at Cana. This article examines the origin of the song Mesiáš přišel na svět pravdivý and its dissemination throughout central Europe (in Slavic literatures, primarily in Polish).
Dvě hostiny a (středověká) parodie Smyčková, Kateřina
Slovo a smysl : časopis pro mezioborová studia = Word & sense,
2019, Letnik:
16, Številka:
31
Journal Article
Recenzirano
Odprti dostop
This article examines parody in medieval literature and in folk literature and culture up to the19th century. It analyses sacred parody (Bible parody), its significant aspects and role in ...literatureand culture. The study focuses primarily on Cena Cypriani and Mesiáš přišel na svět pravdivý TheTrue Messiah Has Come into the World. The Cena Cypriani is an anonymous prose work writtenin Latin. The text was probably written around 400 and tells the story of a banquet held at Cana inGalilee, where a king invites many biblical figures to attend a wedding. The song Mesiáš přišel na světpravdivý is written in Czech, comes from the 18th century and narrates the story of a wedding feastat Cana. This article examines the origin of the song Mesiáš přišel na svět pravdivý and its dissemination throughout central Europe (in Slavic literatures, primarily in Polish).
Jan Ignác Dlouhoveský (1638–1701) is the author of some forty works, mostly prayer books, the most important of which is the cycle, Ornythologia Mariana, dedicated to the Palladium of the Czech lands ...in Stará Boleslav. This cycle was evidently never completed.
It was meant to comprise seven books containing the history of the Palladium, prayers, songs and other texts. Only the first and second volumes, Ager benedictionis (1670) and Zdoro-Slaviček (1671), have been preserved along with the title page of the third
volume, Hrdlička (1673). In each book, pilgrims were guided by a symbolic bird — a lark, a (defiant) nightingale and a turtle-dove, and it was to be a dove, a swan, a swallow and a hen in subsequent works. This study focuses on the composition of the surviving
books and the entire planned cycle, particularly on the literary creation of the “Marian Bohemia” space. The entire cycle is based on the central metaphor of a “blessed field” (Ager benedictionis), on which birds sing. Each of these represents a particular kind of space and timeframe (e.g. a type of landscape or a season of the year), their task being basically to subordinate all human time and space to the Stará Boleslav Virgin Mary and to present Bohemia as a holy Marian land. By cleverly developing the basic metaphor and emphasizing the natural and numerical symbolism, Dlouhoveský espouses what is known as conceptual poetics, with which he creates the mythical space of “Marian Bohemia”, in which verticality plays an important role (linking heaven and earth, history
and Czech holy relics). This is a dynamic space, primarily thanks to the emphasis on the time element: pilgrimages. Another important feature of “Marian Bohemia” is its centralization. It is not defined by borders, but just by a central point — Stará Boleslav.
Broadside ballads can be defined in various ways; most frequently, definitions apply concepts and methods from bibliology (book science) or literary theory.¹ However, it is no less important to ...explore aspects of broadside ballads connected with their role as a communication medium; this study therefore sets out to analyse broadside ballads in terms of their media properties (specifically, the properties of printed Czech chapbooks, of which broadside ballads were a subcategory), and to delineate broadside ballads within the changing media space of the seventeenth and eighteenth centuries. This transformative space was shaped by interactions between oral and written culture, with
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