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Ballade for Piano and Orchestra in the First Half of the 20th Century: Stylistic and Form-building elements

Ballade for Piano and Orchestra in the First Half of the 20th Century: Stylistic and Form-building elements

Author(s): Nataliia Sydir / Language(s): English Issue: 16/2021

This article presents a comparative analysis of creative solutions within the genre of ballades for piano and orchestra in works created by local and foreign composers in the first half of the 20th century, such as L. Różycki, G. Tailleferre, B. Britten, N. Medtner, and I. Shamo. It has been determined that most works are characterised by purposeful inspiration which influenced their style. The basis of the genre lies in the synthesis of various features of the folk ballad and the poetic piano concerto. The first component combines epic song features, parts of folk songs or their arrangements, and declamatory melodies. The second one can be noticed in the different types of cooperation between the soloist (or soloists) and the orchestra, in the combination of features characteristic for single-part and cyclic forms (suite, rhapsody or different types of cyclic sonatas), and in the logic behind juxtaposing contrasting genre features or the figurative transformation of monothematic variants.

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Orthodox aesthetics on modern and contemporary Art. Between Redemption and Art for Art’s sake: The Romanian case

Orthodox aesthetics on modern and contemporary Art. Between Redemption and Art for Art’s sake: The Romanian case

Author(s): Mihai Pascar / Language(s): English Issue: VIII/2022

This paper aims to outline the current Orthodox aesthetics vision on modern and contemporary art, based on a thorough exploration of relevant Orthodox theological writings published in Romania. After going through a significant part of the theological literature that deals with aesthetics written by Romanian authors such as Nichifor Crainic, Dumitru Stăniloae, Ioan Bizău, Mihaela Palade, etc., and by internationally well-known Orthodox theologians translated into Romanian such as Paul Evdokimov and Leonid Uspensky, we are able to highlight the main features of a coagulated Orthodox vision on modern and contemporary artists, art movements and artistic phenomena. There is a general agreement among Orthodox theologians that Renaissance was the age when the spirit of individuality and formal freedoms entered art, which led to a distancing of artworks and artists from God. Also, modern art and contemporary art are usually regarded as harmful to the human soul and to its Salvation. These views also reverberate among some circles of Romanian visual artists and art critics with strong Orthodox personal beliefs. Furthermore, this aesthetic vision might partially explain why the Romanian Orthodox Church has remained fairly uninterested in recent art phenomena and why it hasn’t tried to establish a theological or practical dialogue with the artworld, in the past few decades.

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DZIEDZICTWO EUROPEJSKIE 15-ZGŁOSKOWCA TROCHEICZNEGO A ARTYZM WIERSZA ANGILBERTA O BITWIE POD FONTENOY

DZIEDZICTWO EUROPEJSKIE 15-ZGŁOSKOWCA TROCHEICZNEGO A ARTYZM WIERSZA ANGILBERTA O BITWIE POD FONTENOY

Author(s): Tomasz Jasiński / Language(s): Polish Issue: 35/2018

The paper comprises two parts: the first one discusses the history of versus quadratus from antiquity until the times of Walahfrid Strabon, and presents the origin and the history of the trochaic decapentasyllable until our own times, while the second part focuses on the structure and artistry of a famous trochaic decapentasyllable – Angilbertus’s Poem on the Battle of Fontenoy. Versus quadratus is a form of verse which has been practiced in an unbroken form from the 5th–3rd centuries BC until today in the form of a rhythmic poem, a trochaic decapentasyllable. The transformation of the prosodic form of the poem into the rhythmic form took place in the 5th century AD. Initially, the two forms developed in a parallel way, one along with the other, but finally only the trochaic decapentasyllable survived. A characteristic feature of versus quadratus was the isocolon, i.e. the same or a similar number of syllables in the particular elements, and in particular in the first hemistich. Versus quadratus differed from the “ordinary” trochaic septenarius by a great number of sound-based rhetorical figures, especially anaphoras, alliterations, homeoteleutons, and assonances. The trochaic decapentasyllable of Latin poems faithfully maintained the main features of the ancient versus quadratus. From the point of view of the rigours and the distribution of rhythms (i.e. accents), we may observe two branches of its development in the Middle Ages: the first one was considerably free in terms of the division into elements (St. Secundinus), and sometimes even the number of syllables (the so-called Verona School), and the second one, rigorist, was very faithful to the vernacular versus quadratus (De die iudicii, Gallus Anonymus, and Hilary of Orléans). The first branch was marked by a diverse rhythm system, while the second by its considerable homogeneousness with a marked domination of pure trochaic metres. It was as early as in the 13th century at the latest that the trochaic decapentasyllable was first used in vernacular poetry. It played an extremely important role in German, English, Italian, and Polish poetry. In the latter, it was probably inspired by Friedrich Schiller’s famous poem An die Freude. The German and Polish trochaic decapentasyllable continued its medieval models and only to a small extent moved away from the requirements of versus quadratus, leaving the regular division into two hemistiches with the help of the main caesura and dipodia (secondary caesurae), and isocolon. Just like in antiquity and in the Middle Ages, verses were filled with anaphoras, alliterations, and homeoteleutons. The forms of the last ones included rhymes. All the verses rhymed with a single syllable at the end of the second hemistich, and sometimes additionally on the main caesura. Sound-based rhetorical figures and rhymes were more popular in German poetry than in the Polish poetry. It was already in the Middle Ages that poetic experiments on the trochaic decapentasyllable were initiated, consisting in the doubling of some hemistiches (e.g. Stabat Mater dolorosa) or the removal of single elements of the verse (trochaic hendecasyllable). Poem on the Battle of Fontenoy should be located somewhere in-between the two aforementioned branches of the development of the trochaic decapentasyllable: the free one and the rigorist one. An analysis showed that it has a highly innovative and diversified rhythmic structure. In this respect, it surpasses all trochaic decapentasyllables. Despite this diversification, Angilbertus observed the most important rigours of the trochaic decapentasyllable. In the poem under analysis, two verses of Lombardian rhythmic hexameter, including an imitation of the hephthemimeres caesura combined with the trithemimeres caesura, were discovered. Such verses can also be found in the famous epitaphs of the Kings of the Lombards dating to the first half of the 7th century. Some eminent philologists: Wilhelm Meyer and Dag Norberg, encountered serious difficulties with these forms. Angilbertus filled his poem with the language of the Bible; however, he once quoted it via the famous poet Paulinus of Aquileia. Similarly to Paulinus, Angilbertus used school Latin. Neither Paulinus nor Angilbertus can be recognised as poets referring to the experiments of the Verona School. Peter Godman’s opinion on Paulinus in this scope is unjustified. Paulinus and Angilbertus share the mastery of meter and a great respect for language, but also the lyrics of the Vulgate. Paul von Winterfeld noted that when writing his planctus, Angilbertus consciously used certain figures of speech referring to vernacular poetry to underline the expression of the poem. Nevertheless, his was not folk (Mimen) or vernacular poetry – it only referred to its achievements

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„Pan Bóg stworzył wieś, a człowiek miasto”, czyli Adama Marczyńskiego „powroty do natury”

„Pan Bóg stworzył wieś, a człowiek miasto”, czyli Adama Marczyńskiego „powroty do natury”

Author(s): Elżbieta Błotnicka-Mazur / Language(s): Polish Issue: 1/2023

The significance of foreign travel for the development of artists is undeniable. In this article, the author emphasises the value of short trips, which reflect artists’ need to escape from the city to the countryside to seek inspiration in nature. One direct consequence of such trips was the creation of numerous artistic colonies, especially in the first half of the 20th century. The eponymous “returns to nature” are exemplified by the case of Adam Marczyński (1908-1985) from the Kraków Group. The Polish painter is primarily known for his abstract, semi-sculptural paintings filled with wooden panels with movable flaps. Alongside his exploration of non-figurative art, he created numerous sketches from nature, as well as beautifully coloured portraits and landscapes. Marczyński never abandoned this kind of artistic expression, giving vent to his passion for observing nature, which set the rhythm of his life and art – natural and slow, away from the hubbub of city life.

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Z Wiednia do Mentorelli. Dar cesarzowej Marii Teresy dla sanktuarium Matki Bożej

Z Wiednia do Mentorelli. Dar cesarzowej Marii Teresy dla sanktuarium Matki Bożej

Author(s): Barbara Jamska / Language(s): Polish Issue: 3/2023

The Sanctuary of Our Lady of Graces on Mentorella (Lazio region, about 50 km east of Rome), one of the oldest in Italy and the world, was built on the site of the conversion of St. Eustace. In the first millennium it was taken care of by the Benedictines, who popularized the cult of Mary there and probably in the 12th century placed a wooden statue of Our Lady with the young Jesus inside the temple. The monks’ abandonment of the site (presumably in the late 14th century) resulted in the decline of pilgrimage traffic and considerable neglect of the place, which regained its former glory only after 1661, i.e., after the Jesuit Athanasius Kircher “discovered” Mentorella. At that time, a new phase in the history of the church began: the restoration project supported by Emperor Leopold I of Habsburg and the German princes, followed by the Jesuit mission (carried out until the order’s suppression), which elevated Mentorella to the rank of an important Marian sanctuary in Europe. The shrine could also count on the support of the Habsburg family in the 18th century – Empress Maria Theresa, known for her devotion to the Mother of God, donated a valuable robe for the statue of the Mentorella Madonna. When the church and monastery were taken over by the Resurrectionist Fathers, during the renovation of the buildings and rearrangement of the temple’s interior, the garments were removed from the statue and a chasuble (or chasubles) was sewn from the fabric donated by the Empress. In 2023, an inventory of the furnishings of the church and monastery on Mentorella was made. Among the preserved liturgical vestments, it was possible to select a chasuble composed from the dresses of Empress Maria Theresa’s foundation and confirm its provenance after comparing the embroidered fabric with a graphic depicting Our Lady of Men¬torella in dresses, made by Giuseppe Mochetti “dal vero” in the 1st half of the 19th century. While it cannot be determined that Empress Maria Theresa made the embroidery herself (she herself designed, embroidered, and decorated with appliqués many of the liturgical paraments she funded), the artifact is of great artistic and historical value – bearing witness to the sanctuary’s strong ties to the Habsburg monarchy.

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From Vienna to Mentorella. Empress Maria Theresa’s gift to the Sanctuary of Our Lady

From Vienna to Mentorella. Empress Maria Theresa’s gift to the Sanctuary of Our Lady

Author(s): Barbara Jamska / Language(s): English Issue: 3/2023

The Sanctuary of Our Lady of Graces on Mentorella (Lazio region, about 50 km east of Rome), one of the oldest in Italy and the world, was built on the site of the conversion of St. Eustace. In the first millennium it was taken care of by the Benedictines, who popularized the cult of Mary there and probably in the 12th century placed a wooden statue of Our Lady with the young Jesus inside the temple. The monks’ abandonment of the site (presumably in the late 14th century) resulted in the decline of pilgrimage traffic and considerable neglect of the place, which regained its former glory only after 1661, i.e., after the Jesuit Athanasius Kircher “discovered” Mentorella. At that time, a new phase in the history of the church began: the restoration project supported by Emperor Leopold I of Habsburg and the German princes, followed by the Jesuit mission (carried out until the order’s suppression), which elevated Mentorella to the rank of an important Marian sanctuary in Europe. The shrine could also count on the support of the Habsburg family in the 18th century – Empress Maria Theresa, known for her devotion to the Mother of God, donated a valuable robe for the statue of the Mentorella Madonna. When the church and monastery were taken over by the Resurrectionist Fathers, during the renovation of the buildings and rearrangement of the temple’s interior, the garments were removed from the statue and a chasuble (or chasubles) was sewn from the fabric donated by the Empress. In 2023, an inventory of the furnishings of the church and monastery on Mentorella was made. Among the preserved liturgical vestments, it was possible to select a chasuble composed from the dresses of Empress Maria Theresa’s foundation and confirm its provenance after comparing the embroidered fabric with a graphic depicting Our Lady of Men¬torella in dresses, made by Giuseppe Mochetti “dal vero” in the 1st half of the 19th century. While it cannot be determined that Empress Maria Theresa made the embroidery herself (she herself designed, embroidered, and decorated with appliqués many of the liturgical paraments she funded), the artifact is of great artistic and historical value – bearing witness to the sanctuary’s strong ties to the Habsburg monarchy.

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ANALIZA IMAGINILOR ISTORICE ALE ORAŞELOR ROMÂNIEI DE AZI
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ANALIZA IMAGINILOR ISTORICE ALE ORAŞELOR ROMÂNIEI DE AZI

Author(s): Anda-Lucia Spânu / Language(s): Romanian Issue: 18/2011

From the emergence of the woodcut and afterwards of the copper plate engraving, at the end of the 15th century, until the spreading of the photographic reproduction, the graphic art, mainly the print art, was a medium of cultural exchanges, without precedent in history. It was, from its beginning, the cardinal popular art, which reached all the strata of population. Town representations help us to imagine the experience of urban life at different stages in history. From the end of the 15th century, towns from present Romania are recorded in drawings, etchings, paintings and prints. All of them are very useful sources for social and cultural history. The inclusion of the historical images repertoire analysis of cities from today’s Romania in the scientific circuit, by publication could become a starting point for documentation activity of the researchers in urban history of the Romanian space.

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PUBLICITATEA FIRMELOR CONSTRUCTOARE DE MAŞINI  DIN SIBIU ÎN PAGINILE COTIDIANULUI „SIEBENBÜRGISCH DEUTSCHES TAGEBLATT” (1883–1904)
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PUBLICITATEA FIRMELOR CONSTRUCTOARE DE MAŞINI DIN SIBIU ÎN PAGINILE COTIDIANULUI „SIEBENBÜRGISCH DEUTSCHES TAGEBLATT” (1883–1904)

Author(s): Gudrun-Liane Ittu / Language(s): Romanian Issue: 18/2011

The author intended to analyze in the paper the publicity of the three engine building factories from Sibiu from the point of view of the evolution of the art styles from the end of the 19th and the beginning of the 20th century. Unfortunately, the studied material I did not confirm the working hypothesis, as the images remained almost unchanged in time. Only the presentation texts became shorter and more structured. The merit of the three owners – Rieger, Wagner and Török – lies in the fact that they used a modern means but they did not employ a skillful designer to create advertising on European level.

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HUGO D’ALESI (1849–1906) – UN TRANSILVĂNEAN, MAESTRU  AL AFIŞULUI PUBLICITAR LA PARIS
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HUGO D’ALESI (1849–1906) – UN TRANSILVĂNEAN, MAESTRU AL AFIŞULUI PUBLICITAR LA PARIS

Author(s): Gudrun-Liane Ittu / Language(s): Romanian Issue: 17/2010

Hugo d’Alesi (1849–1906), an outstanding graphic artist who was born in Sibiu is almost forgotten in his native country, Romania. Refusing to serve in the army, he left Transylvania for Bucharest and then traveled to Turkey. In Smirna his talent was discovered by a French painter who spoke to his boss about it. The open minded philanthropist sponsored his travel to Italy, where Alesi had the opportunity to study the Renaissance masterpieces. In 1876 he arrived in Paris and started to work in a lithographic institute. Within a few years the artist became famous for his exceptional travel posters that were commissioned by railroad lines, some of them being included in the series “Maîtres de l’Affiche” (Masters of the Poster). His works bare the characteristics of the Belle Époque.

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ТЕСТАМЕНТИТЕ НА СЕРГЕЈ МИХАЈЛОВ И РАЗВИТОКОТ НА МУЗИЧКАТА УМЕТНОСТ ВО ШТИП

ТЕСТАМЕНТИТЕ НА СЕРГЕЈ МИХАЈЛОВ И РАЗВИТОКОТ НА МУЗИЧКАТА УМЕТНОСТ ВО ШТИП

Author(s): Nataša Didenko / Language(s): Macedonian Issue: 1-2/2023

Животниот пат на Сергеј Михајлов, и покрај тоа што бил роден во богато руско аристократско семејство, воопшто не бил лесен.1 Раната загуба на родителите придонела уште од најмала возраст да започне да се соочува со тешки животни прилики. Во такви тажни семејни околности, тој особено се приврзал за музичкиот инструмент клавир, чија љубов била пренесувана од генерација на генерација во нивното семејство, кое им припаѓало на почитуваните/угледните кругови. Уште од почетокот на неговото музичко образование во класата на пијанистката Елеонора Ласевицка, но и подоцна кога посетувал часови и кај пијанистот Борис Варламов, С. Михајлов покажувал голем интерес за изучување на западната класична музика од периодот на романтизмот (XIX век).

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El Nuevo Teatro Español y lo insólito: sobre "El observador", de Luis Matilla, como pieza absurdo-fantástica

El Nuevo Teatro Español y lo insólito: sobre "El observador", de Luis Matilla, como pieza absurdo-fantástica

Author(s): Miguel Carrera Garrido / Language(s): Spanish Issue: 37/2023

This article pursues two objectives. Firstly, it aims to trace the affi nities between two groups of concepts: on the one hand, absurd and grotesque, and on the other, fantastic and neo-fantastic. While those of the fi rst group are very common in the characterization of non-realistic theatre of the past century, the latter are rarely used in studies about the stage. Because of this, the text seeks to track down the possible meeting points between both groups, focusing on a specifi c corpus: the so-called New Spanish Th eatre. Secondly, concentrating on a representative piece of this current –El observador (1969), by Luis Matilla (1938)–, the aim is to verify to what extent the use of the categories of the fantastic and neo-fantastic is relevant for the understanding of such type of theatre. Th us, our intention is to blend together the theoretical aim with the critical one, wishing to reinforce the analytical perspectives of both dramatic and fantastic creations.

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Complejidad de la traducción cultural. Identificación y clasificación de los elementos culturales en "Scene from the Movie GIANT"

Complejidad de la traducción cultural. Identificación y clasificación de los elementos culturales en "Scene from the Movie GIANT"

Author(s): Rafael Cabañas Alamán / Language(s): Spanish Issue: 37/2023

The aim of this article is to provide a critical and refl exive outline of studies related to cultural translation, taking into consideration it’s complexity and showing relevant and precise examples from diff erent cultures. In the second part of this article we classify in detail the cultural elements that appear in the Spanish translation of the poetry book Scene from the Movie GIANT, by Tino Villanueva, based on the theory of Lucía Molina (2006).

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Lidia Morales Benito, "El arte del funámbulo. Juego, ‘Patafísica y OuLiPo, aproximaciones teóricas y equilibrismos literarios"

Lidia Morales Benito, "El arte del funámbulo. Juego, ‘Patafísica y OuLiPo, aproximaciones teóricas y equilibrismos literarios"

Author(s): Zofia Grzesiak / Language(s): Spanish Issue: 38/2023

Review of: Lidia Morales Benito, El Arte Del Funámbulo. Juego, ‘Patafísica Y Oulipo, Aproximaciones Teóricas Y Equilibrismos Literarios Puebla, Universidad Iberoamericana Puebla, 2021, 204 Pp.

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Česká zahradní architektura konce 19. století až 1. poloviny 20. století v zrcadle archivních pramenů

Česká zahradní architektura konce 19. století až 1. poloviny 20. století v zrcadle archivních pramenů

Author(s): Šárka Steinová / Language(s): Czech Issue: 1/2016

The study emphasizes the importance of archival documents, accessible historical literature and other historical sources, pertaining to oft en overlooked Czech garden architectural production from the end of 19th and first half of 20th century, for demanding garden and public parks renovations. The introduction is dedicated to the identification and classification of plan documentation from important garden architects, which represents part of their personal papers. The rest of the article focuses on actual personal papers from the followed period that are always to be complemented with the study of archival material in the institution archives in the Czech Republic.

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Piaristé a výtvarné umění

Piaristé a výtvarné umění

Author(s): Libuše Váňová / Language(s): Czech Issue: 1/2014

Characteristics of art relicts from former piarist college in Benešov, stored now in museum in Benešov. In particular there are altars and portrait painting. Among them was identified also a portrait of Glicerius Landriani from 1719 by Aegidius Hecht.

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Silber als Symbol der Thora
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Silber als Symbol der Thora

Author(s): Vladimir Sadek / Language(s): German Issue: 1+2/1991

This article explores the symbolic meaning of silver in Jewish culture, especially in relation to the Torah and its adornments. The author argues that silver, unlike gold, represents the highest and purest spiritual value of God's love and grace, as expressed in the Kabbalah and the works of Rabbi Löw-Maharal. The author also discusses the historical and religious reasons for the exclusive use of silver for the Torah ornaments, and the different categories of these ornaments according to their sacredness. The article illustrates the influence of Kabbalah and mysticism on the Jewish art and philosophy of the Renaissance and Baroque periods, especially in Prague.

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The Message of the Banner of Marcus Mordecai Mayzl
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The Message of the Banner of Marcus Mordecai Mayzl

Author(s): Jana Šmejkalová / Language(s): English Issue: 1+2/1991

This article examines the message and symbolism of the banner of Marcus Mordecai Mayzl, a prominent Jewish financier and mayor of the Prague ghetto in the late 16th century. The banner, which was granted to Mayzl by Emperor Rudolph II as a personal privilege, was modeled after an older banner from the Old-New Synagogue and contained various elements of Jewish and civic heraldry, such as the hexagram, the Jewish hat, the light, and the names of the twelve tribes of Israel. The article analyzes the historical and religious context of the banner, its decoration and inscriptions, and its connection to the Mayzl Synagogue, which was built and consecrated by Mayzl in 1592. The article also discusses the significance of the banner as a symbol of the rights and privileges of the Prague Jewish community, as well as its role in expressing the messianic hopes and apocalyptic visions of the period.

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Handbuch zur Geschichte der Kunst in Ostmitteleuropa. Bd. 1: 400-1000.

Handbuch zur Geschichte der Kunst in Ostmitteleuropa. Bd. 1: 400-1000.

Author(s): Tomasz Torbus / Language(s): German Issue: 4/2023

Review of: Handbuch zur Geschichte der Kunst in Ostmitteleuropa. Bd. 1: 400-1000. Vom spätantiken Erbe zu den Anfängen der Romanik. Hrsg. von Christian Lübke und Matthias Hardt. Deutscher Kunstverlag - Leibniz-Institut für Geschichte und Kultur des östlichen Europa (GWZO). Berlin - Leipzig 2017. 651 S., Ill., Kt. ISBN 978-3-422-06958-9.

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Bolzanos Porträt von dem jüdischen Maler Aaron (Adolf) Pulzer
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Bolzanos Porträt von dem jüdischen Maler Aaron (Adolf) Pulzer

Author(s): Lubomír Sršeň / Language(s): German Issue: 2/1986

Der zweihundertste Jahrestag der Geburt des Sozialreformators, Philosophen und Logikers Bernard Bolzano (geb. 1781 in Prag, gest. 1848 in Prag) wurde unter dem Patronat der UNESCO gefeiert und war Anlass zu vielen Veranstaltungen, auch im Ausland, die zu einer tieferen Erkenntnis des Lebens und der Werks dieses genialen Wissenschaftlers führten. In diesem Zusammenhang wurde im Nationalmuseum in Prag eine einmalige Sammlung von Bolzanos Bildnissen restauriert, was ihre genauere fachliche Bewertung ermöglichte. Ein wertvolles Resultat dieser Forschungen ist die Bestimmung des Autors eines Bildes mit der Signatur „Pulzer 1839“ — eines bislang in der Literatur unbekannten Namens.

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Hebrew Inscriptions in the Old Synagogue at Holešov
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Hebrew Inscriptions in the Old Synagogue at Holešov

Author(s): Jiřina Šedinová,Vlastimila Hamáčková / Language(s): English Issue: 1/1986

The paper contains information on the history of the Old Synagogue at Holešov, Moravia, which was built after the fire in 1560, enlarged and repaired in the years 1615 and 1737 and restored in 1964. The main part of the paper surveys the Hebrew inscriptions on the walls inside the synagogue. The Old Synagogue at Holešov is one of a few synagogues of this kind preserved in the Czech lands.

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