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Petrarch in Provence. A Valley, a Town, a Mountain Francesco Petrarch used to define himself as an eternal pilgrim having lived in numerous different places. He spent a significant part of his life in the Provence region in southern France, initially in Carpentras and later in Avignon and Vaucluse. This book is concerned with how Petrarch depicted these locales in Provence. The book asserts that although the poet was not attempting to describe Provence in a systematic manner as a region, one can nevertheless choose three locales which he depicted extremely impressively in his literary works, these being: Vaucluse, Avignon and Mont Ventoux. Vaucluse is a valley not far from Avignon where Petrarch purchased a house closely adjacent to the source of the Sorgue river in the year 1337. Petrarch lived a simple country life here immersed in reading and writing. This space gradually became embodied with numerous meanings. Petrarch first and foremost placed this locale in polemic fashion against the busy and morally corrupt life of the town, concretely in Avignon. He takes pains to draw attention to his simple meals, clothes, contact with the surrounding nature and his isolation from people. His time spent in Vaucluse is also an attempt at emulating the lives of ancient Roman writers and statesmen who retired to their rural villas for study and repose. Since Petrarch did not have their financial resources, he opted for at least a truly remarkable locale, the valley and the source of the Sorgue, these being not only natural beauties but also having been referred to in classical sources. The valley also has a certain Christian genius loci, since the distinct spring has been from time immemorial (even during pagan times) a revered spot, with St. Veranus having even spent several years in the valley as a hermit. Petrarch’s life here undoubtedly also had spiritual and hermit-like features. Vaucluse has become celebrated by the fact that Petrarch set the plot of his lyrical collection Rerum vulgarium fragmenta and experienced primarily here his long and unfulfilled love for Laura. The nature around Vaucluse served as a means for evoking the fleeting visits by Laura to the valley. The continually changing natural backdrop serves to create the effect of an analogy or contrast to his spiritual states of mind. Vaucluse is located in a strong polemical tension in relation to Avignon which was home to the Papal Curia in Petrarch’s day and which was a truly lively political and cultural centre at the time. Petrarch constantly attacked the French Papal Curia as a historical anomaly which had broken away from the apostolic beginnings, forsaken Holy Rome and was in his eyes living a life of debauchery. Petrarch’s descriptions of Avignon are extremely expressive and display his profound disgust with the situation. In the descriptions, Petrarch makes use of metaphorical images, comparisons with Babylon, Hell and a labyrinth. He employs almost apocalyptic rhetoric in long impassioned lines and metaphors focused on the sins, vices and debaucheries which reign in Avignon. The third prominent locale in Provence is Mont Ventoux which Petrarch climbed on 26 April 1336 accompanied by his brother. This was only a short incident in his life and there are even doubts existing as to whether the climb actually even took place. Nevertheless, this letter, with its remarkable depiction of the mountain scenery and masterful transition between the description of the actual ascent and a description of his spiritual states of mind, has become one of Petrarch’s most celebrated texts. The present book is primarily concerned with the autobiographical features of the letter and the poet’s subjectivity linked with a feeling for the natural world. A detailed commentary has been written about the letter. The book deals with the above-mentioned three locales with the use of all of the relevant criticism. It takes a stance on the various interpretative positions. It is actually the first book ever to place the three locales in Provence into mutual linkages and study their literary depictions in one piece. It focuses attention on the connections with literary tradition (in particular the typologies, locus amoenus, locus horridus, mountains as a point of contact with the deity), on the actual, allegorical and symbolic portrayal of space, the moral connotations of places, Petrarch’s autobiographical exhibitions, the innovative treatment of nature in love discourse and the depiction of literary space from the perspective of literary theory (first and foremost a phenomenological focus). The book also provides a complete translation of the relevant texts with a detailed commentary accompanying them. The majority of these texts have been translated into Czech for the first time.
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.
Acta Musei Nationalis Pragae – Historia litterarum
Mariánské poutní místo Sepekov a prameny k zázračným událostem a jeho historiiThe subject of this paper is an analysis of manuscript and printed sources on the pilgrimage site of Sepekov (Písek district). These comprise texts written between the 1730s and the 1780s. Thematically, these are mostly books of miracles, which were intended to record miraculous events in writing and (in the case of printed sources) to spread awareness of the existence and importance of the pilgrimage site; however, they also contain information on the history of Marian devotion in Sepekov. Most of these works are anonymous; nevertheless, since the books of miracles were mostly written by parish priests, the identification of the likely authors is based on the analysis of the staffing of the church administration in Sepekov by the Strahov Premonstratensians. An interesting aspect is the intermingling of the works of the Premonstratensians and the local layman, teacher and sacristan František Strejček.
Acta Musei Nationalis Pragae – Historia litterarum
Mezi Prahou a Paříží. Neznámé a málo známé „hrdinky“ česko-francouzského kulturního světa první poloviny 20. století2020 •
The article describes the lives of several Czech-French female ‘heroines’, writers and scientists active in the first half of the 20th century who we encountered in connection with research into book provenances in Czech and French institutions and whose fates are little known, or even unknown, to the Czech and French cultural public. The first part, entitled ‘Paris in Prague and Prague in Paris’, tells the story of two women, a Francophone Belgian and a Czech living in France. The second part, ‘French Women Married to Czechs’, maps the lives of three French women who were engaged in pedagogical, translation, educational and scientific activities and who were forced to leave Czechoslovakia after 1948 for political reasons. The last part, ‘The Daughter of a Famous Father’, deals with the life of the Bohemist Jacqueline Mazon, the daughter of the distinguished French Slavist André Mazon.
The paper brings a brief evaluation of archaeological researches which took place on the hillfort site Sovice in July of 2007 and 2008 in cooperation between the Department of Archaeology of the University of West Bohemia in Plzeň and the Podřipské museum in Roudnice nad Labem within the framework of the project “Landscape archaeology and the development of prehistoric settlement in the Podřipsko region".
Türk Dünyası Tarih Kültür Dergisi, C. LXXV, Sy.: 449 (Haziran 2024), s. 26-37
“Ulubatlı Hasan ve Surlara Çıkış Ânının Çağdaş Yegâne Çizimi”, Türk Dünyası Tarih Kültür Dergisi, C. LXXV, Sy.: 449 (Haziran 2024), s. 26-37"Ulubatlı Hasan’ın varlığını ve Romanos/Topkapı burcuna çıktığını kanıtlayan çağdaş materyallere zaman ilerledikçe daha da yenileri eklenmekte olup, araştırılmaya devâm ettikçe bundan sonra daha da yenilerinin ekleneceği şüphesizdir. Sancaktar Ulubatlı Baba Hasan’ın son hücum esnâsında, sekbanlarıyla şehrin en büyük kara burcuna tırmanıp ilk Türk sancağını diktiği aşama, yalnız isimlerini saydığımız çağdaş Grek, Latin ve Osmanlı müverrihleri değil; yine kuşatmada hazır bulunan ve o âna bizzat şâhid olan, şehir düşmek üzereyken bir Burgonya gemisine kaçıp canını güçlükle kurtaran ünlü Floransalı tüccar Jacopo Tedaldi tarafından da açıkça gözlemlenip kayda geçirilmiştir. Ünlü Fransız târihçi Jean Jacques Cartier’ın (1428-1488) asrın Fransa kralı VII. Charles’a (1403-1461) sunduğu La Cronicque du temps de tres chrestien roy Charles septisme de ce nom roy de France adlı çağdaş kronikte, Jacopo Tedaldi’nin not ve izlenimlerini içeren orijinal anlatısının diğer nüshalardakinden daha geniş bir şekilde yer aldığı görülür. Bu nüshada Tedaldi’nin izlenimlerinin aktarıldığı metnin ilk varağının arka yüzünün baş tarafına, asrın ünlü Flaman ressamı Philippe de Mazerolles (1420-1479) tarafından çizilen kuşatmanın son anlarının renkli minyatüründe, Ulubatlı Hasan Ağa’nın San Romano/Topkapı burcuna tırmanış ânı Jacopo Tedaldi’nin ve onun gibi çağdaş bir başka göz tanığının anlatılarına dayanılarak, -başta Sfrancis olmak üzere- yukarıdaki tüm görgü şâhidlerinin gözlem ve tasvirlerine bire-bir uygun bir içerikte resmedilmiştir. Minyatürde San Romano burcuna tırmanan Ulubatlı Hasan Ağa’nın, zamâne ‘tahrifçi’lerinin öne sürdüğü gibi genç, yirmili yaşlarda bir delikanlı değil, çağdaş kaynaklara dayanan yeni tespitlerimize paralel şekilde; orta yaşın çok üzerinde, uzun sakallı, üzerinde çelik zırh, dışında mavi dış elbise, belinde takılı kırmızı bir kalkan ve kabzası dış elbisenin altından fark edilen bir kılıç, ayaklarında uzun kahverengi bir çizme ve başında çelik miğfer üstüne sarılmış olan; yalnız Yeniçeri ağası, Sekbanbaşı, Sancak beyi ya da ‘Alemdâr’ların giydiği, ümerâya has kallâvî ‘Dardağanlı Yeniçeri başlığı’ bulunan yüksek rütbeli bir kumandan olarak resmedilmiş olması kayda değerdir.”
The New Virtuosities
Virtuosities of the Native Alien2023 •
All musickers today encounter traditions of music other than those in which they themselves feel at home. In some contexts, some may be expected to make music with musicians from another tradition-practitioners with a take on relating sounds to meaning and life that might be quite different from their own. Often termed 'world music', such projects mostly rely on a basic level of musicianship-much like conversations in Hotel-Bar-English. And while such encounters might feel good to the players, curious listeners might not find them as engaging-even the musicians tend to play with less engagement and refinement than within their own tradition. Is there a virtuosity in encountering another tradition? In switching codes, in relishing another aesthetic, in provincialising your convictions? In over 20 years of working with trans-traditional projects, Bhagwati has met many musicians who are precisely such virtuosos of the inter-musical encounter. He calls them Native Aliens.
Eunomía. Revista en Cultura de la Legalidad
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Energy Exchange, Association Agreement with the European Union and Legal Challenges for the Georgian Energy Law2023 •
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