Prague Research Papers - Academia.edu (original) (raw)

המאמר עוסק בפולמוס, שהוצעו בו אפשרויות שונות לניקוד שם הספר, בְּאֵר הַגוֹלָה,
בלמ"ד קמוצה, או "בְּאֵר הגוֹלֶה", בסגול תחת הלמ"ד. מסקנתו היא כי יש לקיים
את המסורת המקובלת לפיה יש לנקד "בְּאֵר הַגוֹלָה, והוא מציע פשר חדש לשם
החיבור.

Kniha vyšla roku 1988 v Praze / The book was published in 1988 in Prague.

- by Digital library Bohemia
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- Cultural History, Cultural Studies, Medieval History, Medieval Studies
- by Katerina Capkova
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- Jewish Studies, Habsburg Studies, Franz Kafka, Elites (Political Science)
- by Martin Vyšohlíd
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- Archaeology, Postmedieval Archaeology, Thirty Years' War, Middle Ages

The Prague towns and with them the entire urban estate in Bohemia experienced a relatively quick decline in their political importance beginning with the ascent of the Jagiellonian dynasty up until the Battle of White Mountain. The space for the independent activity of the originally Utraquist urban elite in royal towns gradually contracted: their power was restricted and they were subordinated to royal offices staffed by members of the aristocratic estate – on the level of political and economic rival towns and the urban estate. Catholic burghers were a large presence on town councils. With the radicalisation of the religious-political situation in the last two decades leading up to the Battle of White Mountain, the urban estate led by the Prague towns became more
an object of estate politics and not a subject.
This development meant the withdrawal of the Prague towns and the urban estate from the position of confident partners of the king in political negotiations. In the ambivalent position of town councils in royal towns as, on one hand, representatives of royal power and, on the other, representatives of local government, the first of these functions began to predominate.

- by Marek Ďurčanský
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- Urban History, Reformation, Prague, History of Early Modern Times

Studie byla publikovaná v knize ,,Svatováclavský sborník" na památku 1000. výročí smrti knížete Václava Svatého. (Svazek 1: Kníže Václav Svatý a jeho doba) vydané roku 1934 v Praze / Der Artikel wurde im Buch „Svatováclavský sborník“ publiziert, das im Jahre 1934 in Prag zum Gedächtnis des 1000. Jubiläums des Tods von Hl. Wenceslaus (Band 1: Fürst Hl. Wenceslaus und seine Zeit) herausgegeben wurde.

A: When visiting Prague one would not miss to cross the Charles Bridge. This Czech jewel older than 700 years connects " the Old Town " and " the Lesser Town ". It is approximately 516 meters long and 9.5 meters wide. The bridge is formed by sixteen arcs and three towers situated on both sides of the bridge. Thirty baroque statues and sculptural groups are placed along the entire length of the bridge. However, not only these stony gentlemen create such charming character of the bridge. Apart from painters and artists, selling their paintings and products, there ar e five " artistic pitches " for buskers on the bridge. eevertheless, not everyone is allowed to perform. The buskers have to be chosen first by a special jury. The bridge is administrated by " The Charles Bridge Artists Association " which selects the performers. This poster aims to examine these audition processes in more detail. It also discusses some possible advantages and disadvantages which busking brings to this place, supported by testimoni es of buskers themselves. They are also introduced more closely as representatives of the art which has always had its special place in the territory of this important site of Czech cultural heritage. Every performer needs to attend a payed audition which is announced on special dates. He or she performs in front of the jury of the Charles Bridge Artists Association with the participation of a notary. It is a duty for any kind of an artist. If the performer is chosen, he/she pays a fee for 3 months in advance. Every performer subscribes for the exact days and times for busking on the bridge, he/she actually rents a spot and pays for it daily as well. There are five spots which are taken in advance and it is not possible to change it while performing. The allowed times for busking are: from 10 to 1, from 1 to 4, from 4 to 7 and from 7 to 10 PM. There are also some special regulations for example: using special light effects, holding a very colourful umbrella or putting anything on the wall is forbidden. There is also a security agency guarding the musicians but also checking if there is anybody performing without the permission. The Bridge Band, Prague, 2015 The Sightless Singer, Prague, 2015 The Barrel Organ player, Prague, 2016 Note: it all started after the revolution in 1989; before that there were just a few musicians at the end of 60', but it was illegal... C: The Charles Bridge is a unique place full of various elements. Apart from the old history represented by the statues and other parts of the bridge, it is people who make it so special — amazed turists, painters but mainly performers. Even though the conditions for busking there are not easy they have been " faithful " to the bridge for many years. Most of them could barely imagine leaving the activity. It is a part of their identity. They feel to be a part of the city and really enjoy to perform there and please the passers-by. " You can have unforgettable experiences on the bridge. I played in various cities but here it is just special. No city has such bridge around the world. " " Unfortunately that's how it works these days, there are crooks and criminals being among us; basically if you are disabled and you are singing, but even if you have not lost your sight completely you get robbed. " " Well I take it the way that it is just open for everyone; if someone likes the performance, he stops and who does not like it carrys on walking… They give me money voluntarily if they like it. Is it just more open… Moreover I have a problem I suffer from stage fright. When I have an official concert I am so nervous. Here it is a kind of therapy for me I do not care. " " It is my hobby, but I realized that I have become a part of Prague. Like a character of the Lesser Town. It has been three years since I was first sitting on the same spot. I observe the city and the people and I feel that I am a part of it. " Prague Charles Bridge, Prague, 2012

- by Martina Hanáková
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- Urban Planning, Prague, Busking

The book was published in Prague in 1909 and is the inventory of exhibits in 12 halls of the museum assembled its director accompanies along with other 24 drawings and reproductions of a brief introduction about the history of the museum... more

- by Digital library Bohemia
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- Cultural History, Cultural Studies, Art History, Museum Studies

This is the introduction ("Bearings") to my 1998 book The Coasts of Bohemia: A Czech History, together with the closing two sections of Ch. 5 "Modernisms and Modernities" discussing the arts in interwar Prague. The book was published by Princeton University Press. These "deep cuts" are taken from New Perspectives: Interdisciplinary Journal of Central & East European Politics and International Relations (Vol. 26,No. 2(S)/2018) that was devoted to my work.

- by Derek Sayer
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- Czech History, Czech & Slovak Studies, Modernity, Modernism (Art History)

Th e article clarifi es 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. Th e 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 fi nd out its possible role as a place of memory. Th e 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. Th e 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 fi elds in which they were engaged before, during and aft er 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 signifi cant 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.

- by Ihor Stambol
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- History, Diplomatic History, Czech History, Ukrainian Studies

At the turn-of-the-nineteenth century, Eastern European architects explored international and temporal connectivity, modernity, and nationhood through construction of architecture for the arts. Their buildings, which were intended to promote the arts, resemble religious structures that emanate a sense of the sublime. Such temples to art utilized avant-garde architecture to function as both social rituals and political statements in a subtle protest against the ruling empires of Central Europe. Current scholarship focuses on either burgeoning national self-awareness in Eastern Europe or the comparison of shrines with art architecture. I will combine these two themes to demonstrate that Eastern European architects and designers at the turn-of-the-nineteenth-century integrated architecture, interior, and function to liberate artistic spaces from the accepted and expected, creating multi-ethnic, quasi-religious temples to art. I will focus on Joseph-Maria Olbrich's Secession Building, Antonín Balšánek and Osvald Polívka's Municipal House of the Royal City of Prague, István Medgyaszay's Veszprém Theatre, and Ödön Lechner's Applied Arts Museum to illustrate the integrated outward-focused yet inward-looking style that

- by Rachel L Greenblatt
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- Frankfurt School, Prague, Early Modern Ashkenaz
- by Milan Kudyn and +1
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- Urban Planning, Prague

Publication in the journal Archaeological Monuments for 1904.

- by Digital library Bohemia and +1
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- Art History, Architectural History, Church architecture, Prague

Was published in the journal Archaeological Monuments for rok1905.

- by Digital library Bohemia
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- Art History, Medieval Studies, History of Art, Medieval Art
- by Gertrud Hüwelmeier
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- Diversity, Czech Republic, Marketplace, Prague

The study was published in the journal : ,, Archaeological Monuments " in 1953

- by Digital library Bohemia and +1
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- Czech History, Czech, Medieval Church History, Medieval Archaeology
- by Ilja Lemeškin and +1
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- Book History, Prague, Slavic Languages and Literatures, Grand Duchy of Lithuania

The aim of the study is to analyze the work of military cartographer Joseph Daniel Huber, the author of two important cartographic depictions of Prague in the second third of the 18th century, and to place it within the context of other “visual representations” of the city. In line with the dilemma of early modern cartography, Huber’s work can be seen as a bridge between the pragmatic work of the cartographer and the creative artifact produced by the artist. The study’s first part places his work within the context of Prague cartography at the time. Working on the basis of her previous studies – in which a cartometric analysis led to surprising conclusions as to the relationship between the two maps that contradict the conclusions of the earlier literature (in particular J. Hofman) – the author provides an overview of hypotheses regarding the possible relationships between Huber’s Pragensia work and 18th-century maps of Prague and Bohemia. The foundations for a detailed analysis of Huber’s work were laid in the 1920s and ’30s. This unfinished phase of research is no less important and makes Huber’s work attractive from the viewpoint of the historiography of Prague: 150 years after his death, Huber was the reason for widespread disagreement and less than dignified rivalries that offer insight into the relationships among and working conditions of Pragensia researchers in the first half of the 20th century. This issue, which is important for understanding the significance of Huber’s work, forms the subject of the second part of the study. The study thus looks at Huber’s work from the viewpoint of a historian of cartography – on the one hand, the author makes use of available analytical methods in order to understand his work; on the other hand, she describes it within the broad historical context of its era, thus emphasizing its social role. The maps cease to be mere sources of information about the city’s construction history and spatial layout and become original works of art with specific fates of their own.

- by Eva Chodejovska
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- Urban History, History of Cartography, 18th Century, Prague

In the Old Royal Palace in the Middle Ages and early Modern Age cycles of rulers evolved, the idea of which was to confirm the legitimacy of the ruling monarch.
Around 1360 Charles IV, after being crowned Emperor in Rome in 1355, had a large cycle of world rulers placed in the Throne Room. Two inscriptions found on the south side designated the panel paintings of Emperors Leo IV and Charles III the Fat. According to this it is possible to determine that the cycle ran clockwise and probably began next to the entrance to the hall on the north side. The basis for its compilation was probably a list, stored now in the Třeboň archive (A 7). The panels, possibly 104 in all, were of a similar size to the panel paintings in the Holy Cross Chapel at Karlstein Castle and possibly also executed by Master Theodoricus and his workshop. During the construction of the Vladislav Hall the cycle vanished, but a new one was created elsewhere, evidently in 1502 by a painter named Hans, perhaps Hans Elfelder. The cycle was placed in the antechamber of the Royal Apartment in the west wing of the Palace and represented Czech rulers, beginning with Přemysl the Ploughman. It perished following the fire in 1541, but we know of it from the codex created by order of Jan Zajic of Hazmburk (ONB, Cod. 8043). In 1548 Paolo della Stella, the architect and sculptor of King Ferdinand I, proposed the renovation of this cycle in the Vladislav Hall, where the cycle was to be bordered by the symbols of the Order of the Golden Fleece. The splendid design, comprising forty rulers and a hundred figures in the vaulting, was not adopted for financial reasons and in its place a greatly reduced cycle was started in 1561, consisting of perhaps only seventeen monarchs on the west facade of the wing of the New Office of the Land Rolls. Because of improper technique, the work was stopped before it was even completed and the paintings were whitewashed over. Subsequent proposals for the interior of the Old Diet were not realised either and so the Palace remained without its cycle of rulers. It was not until the arrival of Rudolf II in the new Castle Palace that there were several cycles, but these comprised emperors only.

- by Petr Uličný
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- Architecture, Medieval History, Renaissance Studies, Painting

Dallo studio delle relazioni che intercorrono fra i Gonzaga duchi di Mantova e la casata degli Asburgo attraverso la consultazione del carteggio fra le due corti, si individuano alcune lettere di inizio Seicento nelle quali l’imperatore Rodolfo II chiede con insistenza a Vincenzo I Gonzaga l’invio del disegno del giardino “posto sopra le volte”. Perché mai questo giardino - identificabile probabilmente con il giardino pensile di Palazzo Ducale - risulta di tale interesse per l’imperatore? L’indagine mossa a partire dai documenti contenuti nelle Banche dati Gonzaga digitali mette a fuoco le caratteristiche e le vicende del giardino pensile, spostandosi poi a Praga: qui il fruttuoso confronto con studiosi austriaci e cechi approfondisce il quadro delle opere che, in quel momento, si stanno portando avanti sul castello imperiale, chiarendo le ragioni dell’interesse di Rodolfo II nei confronti dell’architettura gonzaghesca, identificata come modello di riferimento.

- by Alessandra Alvisi
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- Habsburg Studies, Gardens, Correspondence Analysis, Mantua
- by Sona Simkova
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- Water, Theatre, Prague, Paul Claudel

The First World War, described by George F. Kennan as »the great seminal catastrophe of this century«, also had an impact on Kafka's life and work. The essays in this volume examine (1) the ways in which the War became the subject both of experience and of discourse in the multi-ethnic city of Prague, and (2) the effects it had on the city’s literature and culture, both Czech and German. Against this background, the contributors then (3) look for reflections of contemporary history in Kafka's war-time writings and discuss the distinctive kind of mimesis performed by his texts.

In the nineteenth century, Prague, the capital of Bohemia, became a major travel destination. A body of more than 160 extant travel guides bears witness to this development. Drawing on memory studies and modernization theory, this essay examines these travel guides to trace the changes of collective memory in the Central European urban setting at a time of dynamic change.
This essay argues that the canon of Prague’s most important sights already existed in the early 19th century and its presence thus predated the emergence of the first modern travel guides. While the canon of Prague’s must-see sites remained surprisingly stable during the ‘long 19th century’, the collective memories attached to Prague’s spaces underwent a pronounced transformation. The ‘symbolic topography’ (M. Halbwachs) of Prague established on local Bohemian patriotism and associated most notably with the Vormärz Prague’s middle classes, disintegrated in the second half of the century. It eventually gave place to the conflicting collective memories of the Czech and German nationalist intelligentsia. Furthermore, the collective memories of various religious and professional groups also began to be articulated in the public sphere and became accessible to travellers. A plurality of collective memories existing in the public sphere thus emerged. All these memories, however, remained intrinsically linked to the same spaces of the historical city. The essay thus reveals the ambiguity of the relationship between diverse memories and spaces: while their content draws boundaries between individual groups, their spatial framework binds these communities together.

- by Vojtech Pojar
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- Habsburg Studies, Collective Memory, Social History, 19th Century (History)

Fin-de-siècle Prague, a provincial capital city in the Habsburg empire, was a site of Czech-German nationality conflict. In 1902 it was also home to the largest exhibition of Auguste Rodin's art outside France during his life. Due to the nationalism that enveloped Czech culture and politics, the Rodin spectacle was no mere display of modernism. National activists in the Manes Association of Visual Artists, including Stanislav Sucharda and Jan Kotěra, designed the Rodin exhibition to advance Czech cultural maturity through cosmopolitan art and to convince foreigners of the Czech nation's singularity, unity, and progressiveness. Ultimately, though, the events surrounding the exhibition of Rodin's works in Prague projected Czech disagreement over the meanings of folk heritage and western progress for national identity. Still, the blending of modern display and cultural diplomacy strengthened French-Czech relations and in small but significant ways helped secure Czechoslovakia's creation at the end of World War I.

- by Cathleen Giustino
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- Transnationalism, Modernism, Bohemia, Orientalism

The University Library in Bologna possesses a plan dated circa 1626, by the Florentine architect and military engineer Giovanni Pieroni, concerning proposed fortification with a contemporary survey of Vyšehrad castle, drawn in particular detail in the area of the ruined former royal acropolis prior to its Baroque redevelopment to a fort, providing a valuable glimpse of the earlier constructions. Additionally the plan depicts elements not revealed from the archaeological excavations, comprehensively published in 2004–2015. Also prospects by the Dutch draftsmen, Roelandt Savery and Paulus van Vianen, who worked in Prague at the court of Rudolph II, are equally valuable for the topography of Vyšehrad. These documents help to interpret other known iconographic sources, mainly the two Sadeler’s prospects from 1606, and depict the royal acropolis in greater detail. They also bring new knowledge of its layout in the period of Charles IV and Wenceslas IV, especially regarding the questions about its gates and palaces.

- by Petr Uličný
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- Architecture, Medieval History, Medieval Studies, Renaissance Studies

This study focuses on the relation between the Prague Utraquist University and towns in Bohemia between the years 1526 and 1564. The first part examines the mutual relation of the university with the political practice of Bohemian estates, due to connections with the royal towns. Further is examined the relation of the university within the framework
of local political conditions, i.e. careers of graduates in municipal schools, priesthood, and territorial autonomy.

- by Marek Ďurčanský
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- Urban History, History of Universities, Prague, Habsburgs

Často se stává, že nějaká konkrétní historická událost, jev nebo proces se takříkajíc „vzpouzí“ vřazení do určitého ideálního typu - termínu, kterým jsme příslušnou událost zvyklí označovat. Zajímavým příkladem je pražský mírový kongres, který zjevně nesplňuje „požadavky“ které by historik mohl klást typickému mírovému kongresu. Tím spíše by nás neměl odrazovat od snahy ho popsat, strukturalizovat a systematizovat. V té souvislosti vyplouvají na povrch tři vzájemně provázané okruhy paradoxů. Jednak výše zmíněný rozpor očekávání a vlastní reality. Dále paradox historiografického nezájmu o „klíčovou událost“ a nakonec odcizení události odehrávající se na našem území od našich „národních dějin“ a našeho historického povědomí.

- by Vojtěch Kessler
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- History, Diplomatic History, Czech History, Diplomatic Studies
- by Pavel Kalina
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- Art, Baroque art and architecture, Prague, Carlo Fontana

Franz Kafka is by far the Prague author most widely read and admired internationally. However, his reception in Czechoslovakia, launched by the Liblice conference in 1963, has been conflicted. While rescuing Kafka from years of censorship and neglect, Czech critics of the 1960s “overwrote” his German and Jewish literary and cultural contexts in order to focus on his Czech cultural connections. Seeking to rediscover Kafka’s multiple backgrounds, in Franz Kafka and His Prague Contexts Marek Nekula focuses on Kafka’s Jewish social and literary networks in Prague, his German and Czech bilingualism, and his knowledge of Yiddish and Hebrew. Kafka’s bilingualism is discussed in the context of contemporary essentialist views of a writer’s “organic” language and identity. Nekula also pays particular attention to Kafka’s education, examining his studies of Czech language and literature as well as its role in his intellectual life. The book concludes by asking how Kafka “read” his urban environment, looking at the readings of Prague encoded in his fictional and non-fictional texts.

- by Marek Nekula
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- Comparative Literature, German Literature, Jewish Studies, Czech History

The 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.

- by Petr Uličný
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- Architecture, Habsburg Studies, Architectural History, Medieval Architecture
- by Daniel Polakovic
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- Prague, Jewish Cemeteries
- by Veronika Tuckerova and +1
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- Jewish History, Franz Kafka, Albert Einstein, Prague

„UNSER STAT RATHAUS“. THE OLD TOWN HALL IN PRAGUE AND ITS EARLIEST GALLERY OF COATS OF ARMS
This study presents evidence of minimum two main construction phases in the building development of the Old Town Hall. The completion of the lower part of its tower, including the oriel with a chapel, can newly be dated from 1365–1366, since the earliest gallery of arms in the Town Hall may be identified with the eighteen burghers-town councillors, who were in the session of that period and participated on the completion of the building. This is indicated not only by later evidence on the walls with the depiction of the arms of the town councillors from the period of a completion of a certain construction phase, but also by the absence of arms of some important families in the arms galleries, although they resided in the town. The corbels in the shape of monster heads below the observation deck of the Town Hall tower, which can be dated between 1372 and 1381, give support to the completion of the Town Hall construction in August 1381, including the tower. The arms gallery below the observation deck with only a single coat of arms preserved to the present day, may, in the author’s opinion of, be associated cautiously with the council of 1381, which achieved to complete the Town Hall.

- by Martin Musilek
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- Medieval History, Czech History, Medieval Studies, Medieval Archaeology

St Vitus' s Cathedral, founded in 1344, is a prime example of 14th-century cathedral Gothic, a product of the cooperation between the ingenious architect Peter Parler and his patron, Emperor Charles IV. The unusual layout consisted of a pair of choirs set side by side in the eastern section of the cathedral, an arrangement inspired by the earlier Romanesque double-choir basilica. One was dedicated to St Vitus and was used by the canons, the other to the Virgin Mary and operated by the mansionars. The royal and imperial necropolis was placed in the latter of the two choirs, with Charles IV's tomb-chest protected by a sculptured canopy and surrounded by the cenotaphs of deceased family members and later kings and queens. The form of two choirs is probably the result of an extensive rearrangement of the earlier project completed in the 1350s, when initial plans to locate the royal burial ground in the canons' choir were abandoned. The main choir contained a tabernacle of remarkable design, dating from c. 1365. There may originally have been plans for a third choir to be built around the tomb of St Adalbert located in the middle of the nave, the work on which was initiated in 1392.

- by Petr Uličný
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- Liturgy, Kingship (Medieval History), History of Art, Patronage (History)