http://hdl.handle.net/20.500.11956/96306 Volume 2017 Mon, 20 Apr 2026 04:25:24 GMT 2026-04-20T04:25:24Z http://hdl.handle.net/20.500.11956/97256 Ruská pravoslavná církev a „pravá“ víra na počátku 19. století; THE RUSSIAN ORTHODOX CHURCH AND “TRUE” FAITH IN THE EARLY 19TH CENTURY ; ; For centuries, the Russian Orthodox Church played an extraordinary role in promoting the moralcode of the individual and the collective of the Russian Empire. In the 18th century, however, theRussian Orthodox Church underwent fundamental organizational changes. Above all, it was theestablishment of a Sacred Synod through which the Russian Orthodox Church was controlled bythe state. The Church responded to this by modernizing its organization. However, the stereotypicallife of Russian society did not change. Faith remained the same, with the result that the dividinggap between the identity required by the state and the identity unfolding from the masses, asa link to their ancestors, became wider. A significant change was caused by the existential threat tothe Russian Empire at the time of Napoleon‘s invasion of Russia in 1812. The state was able to createsuch conditions that the Church, after clutching for several decades to its dirigisme, could resumeits activities and act in a patriotic spirit to rescue the Orthodox Faith, reportedly the only real andright faith, with the full commitment of each individual. The ideology of the Church coincided withthe ideology of the state, which proclaimed the forthcoming struggle as an immense effort to savethe homeland. It was the Patriotic War. Sun, 01 Jan 2017 00:00:00 GMT http://hdl.handle.net/20.500.11956/97256 2017-01-01T00:00:00Z http://hdl.handle.net/20.500.11956/97257 Proč Láokoón nekřičí? K diskontinuitám v poznání; Why does not Laocoon scream? On discontinuities in knowledge ; ; The paper deals with the central problem of Lessing’s Laocoön „Why does not marble Laocoön inhis famous depiction scream?“ against division of our experience into scientific knowledge and art.First, Lessing’s original solution based on the constitutive differences between poetry and plasticarts is generalized leading to the difference between causal and intentional explanation. Second,the resulting discontinuity between science and art is presented as an instance of a more basic discontinuitybetween knowledge and its object to be overcome by a reflective account of knowledge asderived from the philosophy of Hegel. Sun, 01 Jan 2017 00:00:00 GMT http://hdl.handle.net/20.500.11956/97257 2017-01-01T00:00:00Z http://hdl.handle.net/20.500.11956/97245 Kafkův parabolický text Návrat domů. Odraz autorova soukromí a pražských událostí roku 1920; KAFKA’S PARABOLIC TEXT HOME-COMING. KAFKA’S PERSONAL LIFE AND PRAGUE EVENTS OF 1920 REFLECTED IN A SHORT PARABOLIC STORY ; ; The article focuses on one of Kafka’s short proses of the second half of 1920 — “Home-Coming”. Thisshort parabolic story was created approximately two years after Kafka’s literary pause in the newlyestablished Czechoslovak Republic. The present analysis is based on hypothesis, that Kafka “only”takes up and subverts a traditional mythological theme — in this instance the biblical story of theprodigal son. In this article the text is confronted with contemporary events, the specific situationof the German Jews in Prague and especially episodes of Kafka’s life in order so as to reach for identitythe causes and motives of his origin. Sun, 01 Jan 2017 00:00:00 GMT http://hdl.handle.net/20.500.11956/97245 2017-01-01T00:00:00Z http://hdl.handle.net/20.500.11956/97240 Rozpadající se dvoukolka na blátivé cestě. Prostor domu v románu Carlose de Oliveiry Včela v dešti; A DERELICT BARROW ON A MUDDY ROAD. SPACE OF A HOUSE IN THE NOVEL A BEE IN THE RAIN ; ; The study offers an interpretation of the novel A Bee in the Rain (1953) from the perspective of a house.The novel is the last in the so-called Gandara tetralogy, a collection of neorealist prose which Carlos de Oliveira set in his childhood country, a poor and barren land of sand dunes in central Portugal.The house of the declining Silvestre family becomes a battleground between a man and a woman andin the end also between social classes. A barrow heavily making its way on a muddy road, in whichthe Silvestres are fighting for space, becomes a miniature of the house and a reflection of its fate.Next the house is compared to a beehive with a decaying swarm inside whose bees, blinded withspite, make bile instead of honey and spread it around. The neorealist level of the novel gives way tothe symbolic level. The author works primarily with the symbols of honey, fire and gold, which hejuxtaposes with the symbols bile, water and mud. Sun, 01 Jan 2017 00:00:00 GMT http://hdl.handle.net/20.500.11956/97240 2017-01-01T00:00:00Z