Academic literature on the topic 'Czech School verse'

The article deals with two incomplete handwritten copies of the poem Facetus with a Czech translation. The poem Facetus, or more specifically its version referred to as ‘Cum nihil utilius’ based on its incipit, probably originated in the 12th century; in the high Middle Ages, it was the second most widespread of moral lessons in verse. It was also used in school instruction, with which both copies are associated. The fragment of the National Museum Library 1 H b 179, most likely from the second decade of the 15th century, contains the beginning of the poem’s interpretation and a part of the text accompanied by a Latin explanation and Czech interlinear glosses on individual verses. This Czech version reveals a certain continuity with the tradition of Czech scientific terminology of St Vitus School and Bartholomew of Chlumec, called Claretus. The second copy is written on the front free endpaper of the manuscript of the National Library of the Czech Republic X F 19; it comes from the turn of the 15th century; it is an incomplete record of the beginning of the text of the poem, with the Latin and Czech versions alternating after individual words or short sections. The study further provides a transcription of both fragments and records the manuscript preservation of the Latin text of Facetus, excerpts from it and German translations in Czech libraries.

The paper focuses on the personality of the Czech secondary school teacher František Heřmanský (1887–1966) and his interwar activities in Slovakia concerning a broad sphere of education and culture. Several lines of his activity can be seen as part of the contemporary cultural policy in the field of Czech-Slovak interlingual and interliterary relations, where special attention was paid to the simultaneous development of Czech-Slovak and Slovak-Czech bilingualism and biliterarism. F. Heřmanský deserves special attention as the author of textbooks for both the Czech and Slovak schools. Being a classical philologist, he compiled Latin grammars and readers. On the other hand, he prepared multiple series of Slovak literary readers for secondary and grammar schools, thereby contributing to the creation of the Slovak and Czechoslovak literary canon and formation of collective identity in the First Czechoslovak Republic. His contribution in this regard has not yet been analysed. One line of his activity connected with his involvement in multi focused work of the Slovak cultural institution Matica slovenská was bound up with the need to provide the Slovak and Czech (Czechoslovak) education system with enough Slovak literary work. F. Heřmanský’s contribution to the cultivation of Czech-Slovak biliteracy is associated with the literary series Čítanie študujúcej mládeže [Reading for young students], intended primarily for Slovak students and, to some extent, also for Czech students. In the course of this work, F. Heřmanský became a textual lexicographer authoring Slovak-Czech glossaries that accompanied Slovak literary texts to help the Czech reader understand unfamiliar expressions. Appended bilingual glossaries represent a remarkable part of the Czech-Slovak interlingual and interliterary context of the time. F. Heřmanský also produced Czech-Slovak glossaries for his literary readers to help Slovak students read Czech texts. His Slovak textbooks, a wide range of his other texts written in Slovak and his Slovak-Czech and Czech-Slovak glossaries as well as translations (from Slovak into Czech and vice versa) demonstrate that F. Heřmanský was a distinctive bilingual and biliterary author. Through his translation activity he entered the controversial sphere of Czech-Slovak and Slovak-Czech mutual translation. His bilingual competence found its specific expression in the translation of Jiří Polívka’s important scholarly work Súpis slovenských rozprávok [Survey of Slovak fairy tales] (1923–1931) from Czech into Slovak and later in his literary translations of Ladislav Nádaši-Jégé’s works from Slovak into Czech. His other linguistic and literary activities included involvement in the preparation and publication of the official Pravidlá slovenského pravopisu [Slovak Spelling Rules] (1931), for which he prepared the first draft of the spelling dictionary. A closer look at the interwar work of F. Heřmanský, which has not yet received due attention, reveals the breadth of the cultural challenges as well as the political and ideological tensions and contradictions in the Czech-Slovak context of the time. This paper is framed by substantial excerpts from Česi a Slováci [Czechs and Slovaks], Heřmanský’s 1922 programmatic journalistic text, which illustrates his vision of the activities of Czechs in Slovakia and mutually beneficial Czech-Slovak relations.

This paper concerns of the doctrine of versio in rem (or actio de in rem verso) in the legal discussion in interwar Czechoslovakia. The paper presents a brief overview of the origin and field of application of actio de in rem verso in classical Roman law and the transformation of the doctrine of versio in rem i n the frame of Corpus Iuris Civilis. The scope of the changes made by the compilers is still uncertain and was a subject of extensive discussion among the legal scholars of the 19th century. The paper describes the nature of versio in rem in the Austrian Civil Code (provision of §1041) and presents legal statements of the prominent exponents of the various legal schools of interwar Czechoslovakia, the legal traditionalists and the supporters of the School of Pure Law Theory. The doctrine of versio in rem is still in the centre of attention of the modern legal scholars in the Czech Republic. The doctrine of versio in rem was adopted in the new Czech Civil Code, but without reflecting the results of the interwar discussion.

Reverse paintings on glass from the collections of the Department of Older Czech History of the National Museum. Articles regarding the works of Gerhard Janssen, Daniel Preissler, Vincenz Janke and their contemporaries. In regard to the phenomenon and application of the verre églomisé technique, part I. This two-part paper presents a diverse collection of approximately 120 reverse paintings on glass produced in the Czech lands and Central Europe, from the beginning of the 18th century to the second half of the 19th century. The first part is devoted to their topics from the aspect of religion, allegory, landscape and genre and also discusses their iconography, authorship, templates, techniques (particularly verre églomisé) and provenience in the context of Czech and foreign collections. The most valuable of these items include newly identified Baroque works by Gerhard Janssen, the allegorical cycle by Daniel Preissler and works by the Augsburg School. The 19th century is dominated by the workshop of Vincenz Janke producing works falling between art and craftwork, and specific regional works, which are also represented by folk paintings. The second (prepared) part of the thesis will be separately devoted to portrait reverse paintings on glass.

AbstractUnderstanding basic geometric concepts is important for the development of students’ thinking and geometric imagination, both of which facilitate their progress in mathematics. Factors that may affect students’ understanding include the teacher of mathematics (in particular his/her teaching style) and the textbooks used in mathematics lessons. In our research, we focused on the conceptual understanding of trapezoids among Czech students at the end of the 2nd level of education (ISCED 2). As part of the framework for testing the understanding of geometrical concepts, we assigned a task in which students had to choose trapezoids from six figures (four trapezoids and two other quadrilaterals). In total, 437 students from the 9th grade of lower secondary schools and corresponding years of grammar schools participated in the test. The gathered data were subjected to a qualitative analysis. We found that less than half of the students commanded an adequate conceptual understanding of trapezoids. It turned out that some students did not recognise the non-model of a trapezoid, or vice versa, considering a trapezoid in an untypical position to be a non-model. Our research was supplemented by analysis of geometry textbooks usually used in the Czech Republic which revealed that the trapezoid is predominantly presented in a prototypical position. Moreover, we investigated how pre-service teachers define a trapezoid. Finally, we present some recommendations for mathematics teaching and pre-service teacher training that could help.

Abstract This chapter addresses books published in the field of visual culture in 2019 and is divided into three sections: 1. Race and Art; 2. Art and the Body; 3. Art in Eastern Europe The books under review cover a broad range of subjects within their specialities, but reflect general trends in contemporary writing and study in the field of visual culture. The first section looks at two publications that deal with the black experience in art: Darby English’s To Describe a Life: Notes from the Intersection of Art and Race Terror and The Place Is Here, edited by Nick Aikens and Elizabeth Robles. The second section examines books that see art through bodies: Bauhaus Bodies: Gender, Sexuality, and Body Culture in Modernism’s Legendary Art School, edited by Elizabeth Otto and Patrick Rössler; Sculpture, Sexuality and History: Encounters in Literature, Culture and the Arts from the Eighteenth Century to the Present, edited by Jana Funke and Jess Grove; and Queer Difficulty in Art and Poetry: Rethinking the Sexed Body in Verse and Visual Culture, edited by Jongwoo Jeremy Kim and Christopher Reed. The third and final section looks at publications about art and eastern Europe: Marta Filipová’s Modernity, History, and Politics in Czech Art and Klara Kemp-Welch’s Networking the Bloc: Experimental Art in Eastern Europe, 1965–1981.