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"Mystique courtoise of Margerite Porete" in the Czech translation of: Marguerite Porete, The Mirror of Simple Souls In the introductory essay, we try to follow up these topics in detail. At first, general context of the Beguine movement is given. The fol- lowing chapter deals with Marguerite Porete’s life and trial as well as with her relation to Beguines. The presence of different literary genres in Marguerite’s Mirror (dialogue, mirror, itinerary, love poetry, etc.) is discussed later. A special attention is given to Marguerite’s reading of poetry and romans of the Courtly Love tradition (Romance of the Rose, especially). Next chapter analyzes the theological influences in the Mirror: How much did Marguerite owe to Anselm of Canterbury in her understanding of human’s debt against God? And, first of all, how much did she appropriate the conceptions of the mystical union with God as proposed by Bernard of Clairvaux, William of St. Thierry, and Richard of St. Victor? Numerous citations used in this chapter not only serve as a contextualisation of Marguerite’s teachings but they also illustrate that it’s not only in Margurite’s Mirror where the „dar- ing“ formulations of unio mystica can be found. It is difficult to decide which one of these sources had the formost importance for Margue- rite. It seems that mainly Bernard’s work, especially, but not exclusive- ly, his De diligendo Deo, was indeed vital for her, while various points of contacts can also be found with the other two theologians mentioned above. Yet the most impressive link connects Marguerite’s work not with these authors of the 12th century but with Meister Eckhart. In his work, evident parallels to Marguerite Porete’s Mirror can be found, as well as to the Beguine’s spirituality in general. This chapter compares the most obvious and most important textual analogies and common ideas in the Mirror of Simple Souls and in Eckhart’s German works, thus establishing their interconnection (e.g. Eckhart’s famous ideas of abegescheidenheit, giving birth of God in the soul, „nothingness“ of created beings, unknowing as the way to know God, the conception of God seing and loving himself in the soul, of the soul’s return to its primary being in God’s mind as the essence of unio mystica, etc.). The following chapter deals with Mirror’s concept of unio mystica in detail, while making use of previously established findings, especially concerning Bernard’s and Eckhart’s attitude. It is shown that, in this respect, the concept of Marguerite Porete is not straightforward, and that sometimes her statements may even be contradicting. We may apply, on the whole text of the Mirror, the more systematic approach, explicating on occasion the seven degrees/beings/states of soul. It seems, then, that the state of the Free Soul, which has left all virtues and cannot sin any more, doesn’t pertain to a permanent state of the soul during life, but, on the contrary, it must be attributed only to its sixth degree, which is but higly impermanent, or to its seventh degree in patria. Yet because the text of Marguerite Porete is a „mirror“, not a logical treatise, such a global application of this pattern might be misleading. Thus, we might rather take the „daring“ formulations, apparently attributing the deepest, and permanent, unity with God to the Free Soul in this life, as one of the views into this „mirror“. Anyway, in this perspective, we find Marguerite’s view of the unity with God to be more balanced and by far not so one-sided as often it is claimed to be. In the end, the introductory part of the volume gives a short over- view of the continuing tradition of the work, showing its impact in later centuries and highlighting again the importance of Eckhart in this respect. The following commented translation of the Mirror of Simple Souls is the first publication of the text in Czech. The commentaries are to give an explanation, if needed, or they supply with a context: they map the work’s sources or illustrate its paralels with the „German Mysticism“ tradition, mainly with Eckhart. The epilogue, written by a prominent Czech literary critic Martin C. Putna, adds another broad context of the Beguine movement in showing the specifics of its origin, its later evolution, and, last but not least, its reflection in literature.
2010 •
Materiálem analýz a komentářů, soustředěných v této práci, jsou drobné prozaické texty, otištěné v průběhu posledního desetiletí 19. století v českých časopisech. Kapitoly, věnované dvěma dílčím rokům (1890 / 1900), představují různě zryté fólie, mezi nimiž lze srovnávat, pasáž (kapitola) mezi nimi odpovídá zkratce, redukci, určité zkusmé úvaze, exponující víceméně vyhraněný fenomén (šílenost), kolem něhož modeluje pole nálezů.The materials for analyses and commentaries assembled in this work are short prosaical texts printed throughout the last decade of the 19th century in Czech joumals. The chapters devoted to the years 1890 and 1990 are in the form of various encraved foils that can be compared, a chapter in between them corresponds to an abbrevation, reduction, a kind of tentative contemplation exposing the more or less distinctive phenomenon (madness) that it models its findings around.Department of Czech and Comparative LiteratureÚstav české literatury a komparatistikyFilozof...
2014 •
The thesis' topics are a reliefisation (literally rising from) and a parenthesis in contemporary written published Czech. Both of these lingusitic phenomena represent the instruments of the text hierarchisation, that means a magnitude of importance, so that an author may present selected informations in the way of emphasization, notification, or, conversely, as less significant completion, addition of the main message. By collected readings analysis, the thesis' purpose is to plot the incidences of reliefisation and parentesis in current published texts; the syntactic aspect comprises the clasification of individual varieties of presented phenomena, and the identification of the motives of their utilization. The theoretical section yields the synthesis of findings about that phenomena, and, in the case of parenthesis, it also brings intrinsic criteria for the definitions of terms - necessary approach due to interpersonal differencies in linguists' conceptions of the topi...
Abstrakt: Článek se zabývá archeologickými situacemi a nálezy, které je možné datovat do druhé poloviny 13. až první poloviny 14. století a lze je spojit s nejstarší historií města Počátky. V tomto období mělo město protáhlé vřetenovité centrum, které bylo nejpozději na počátku 16. století rozděleno kamennou hradbou na menší náměstí kolem kostela sv. Jana Křtitele a nechráněné jižní předměstí. Obě plochy byly postupně archeologicky zkoumány v letech 2010–2016. Hlavní část článku představuje vyhodnocení keramického souboru ze zahloubeného suterénu na Palackého náměstí. Dále jsou zde publikovány drobné soubory kera-miky z výzkumů na Mariánském náměstí, ze soukromé sbírky p. Matouška a ze sbírek muzea v Počátkách. Klíčová slova: 13. století – keramika – zahloubený suterén – Počátky – náměstí. Archaeology of the earliest horizon of the Počátky town (Pelhřimov district) Abstract: This article discusses the archaeological contexts and finds that are dated to the second half of the 13th ce...
Petr Brandl - mistr barokní malby
Petr Brandl - mistr barokní malby2013 •
The painter Peter Brandl (1668 Prague – 1735 Kutná Hora) belongs among the foremost representatives of Czech Baroque art, along with the sculptor Matthias Bernhard Braun and the architect Giovanni Santini-Aichel. This trio of artists all exerted a formative influence on cultural developments in Bohemia at the end of the 17th and beginning of the 18th centuries, and all are justly regarded as an integral part of the broader European artistic production of extremely high merit of the time. The aim of the present publication is not to provide an exhausting survey of Brandl’s life and his oeuvre, but rather a brief analysis of selected major aspects of his work. Therefore greater space has been deliberately dedicated to reproductions of Brandl’s paintings that are most representative of his unique qualities as an artist, his style, brushwork and technique.
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