Brněnské školství v kontextu lex Perek

The main aim of this study is to present an analysis of the education conditions in the provincial capital of the Moravian Margraviate in the context of the national struggle for compulsory schooling between the German municipal government and Czech national activists at the turn of the 19th and 20th century. At the provincial level, the sharpest edges of Czech­ ­German conflict were to be blunted by the Moravian Compromise concluded in 1905, which included four provincial laws for the most troublesome areas, including the lex Perek. This study analyses and interprets the situation in Brno education through the lens of Czech emancipatory efforts from the mid-1870s to the passing of the lex Perek. Furthermore, it explains the situation after its passing, when the fight for the child was not coming to an end despite the concluded Czech­‑German Compromise – it rather escalated. This text thus deals with the real impact of one of the four provincial laws concluded within the Moravian Compromise, using the example of pre­‑war Brno. It is a probe into the issue at hand that uses the example of the provincial capital. The probe represents a practice that was far removed from the contemporary government’s presentation of the concluded compromise as a „model“ solution to the problematic Czech­‑German coexistence within the multinational monarchy.

Illustrating the Ostracized : the Depiction of Villain, Soldier and Jew in the Passional of Abbess Cunegund

The first treatise of the so‑called Passional of Abbess Cunegund was composed by the Dominican lector Colda of Colditz at the abbess’ behest in 1312, and illustrated by an unknown artist. In this study, images of three specific character‑types are analysed: villain, soldier and Jew, who not only act out their part in the treatises’ account of Christ’s Passion, but also appear to provide a window onto certain aspects of contemporary, medieval Czech society. By examining the iconography of the illustrations it is shown how, through characterisation, caricature and dress, the viewer is led to adopt an attitude either of disgust towards the malefactors, or a certain sympathy towards a chosen few.

Nápoje na dvorech králů a knížat z dynastie Jagellonců konce 15. a počátku 16. století

This study presents an analytical probe into the field of beverage culture as it was cultivated in the late 15th and early 16th century at the courts of the descendants of the Polish‑Lithuanian ruler Casimir IV († 1492) of the Jagiellonian dynasty: the Czech and Hungarian king Vladislaus († 1516), his son, the Czech and Hungarian king Louis († 1526), and then his brothers, the Polish king John Albert († 1501), the grand duke of Lithuania and later also the Polish king Alexander († 1506) and the future Polish‑Lithuanian ruler (the then Duke of Opava and Głogów and the governor of Silesia and Lusatia) Sigismund († 1548). The starting point of the research was a comprehensive analysis of rare, preserved account books kept at the courts of these monarchs. This study describes the various types of beverages consumed (especially wine and beer) both in the social and geographic context. In addition, it also includes the sphere of consumers‘ taste preferences.

Futurismus a fašismus

The article maps the relationship between the Italian Futurist movement and fascism from a general perspective. It deals with the relationship between the leader of Futurism F. T. Marinetti and Benito Mussolini from the beginning of their cooperation in 1915 to the end of the Second World War. Throughout its era, Futurism identified itself with Italy’s social and political climate. Futurism was one of the ideological sources for fascism and it was one of the movements that formed Fasci di Combattimento in 1919. But after Mussolini came to power, fascist cultural politics aesthetically preferred traditionalism, order, and a return to the achievements of history, a contemporary rappel à l’ordre, and Futurism found itself in cultural dissent. Marinetti thus spent the rest of his life trying to improve the position of modernist artists in fascist Italy, which would earn Futurism recognition of the official state art of the fascist regime.