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The paper aims to draw attention to the way of achieving transculturation in the novel Deep Rivers (Los ríos profundos) by the Peruvian author J. M. Arguedas. Apart from the linguistic and cultural layer of the novel, the article also brings light to the less studied layer of genre: lyricization, intrinsic to both the indigenous and the Spanish tradition, becomes a point of contact between the two cultures. The combination of oralization and lyricization of the text, together with the tendency to picture the mythical view of the universe gives the novel Deep Rivers many features of a lyricized prose.

Paper gives a brief chronological overview of history teaching in elementary schools in Czechoslovakia between 1948 and 1989 in terms of the changes that have gone through the basic curricula documents. In particular, paper focuses on the education system, school legislation of the observed period, school types and their changes. Attention is also paid to discussions on the form of the documents in educational journals.

Beckett’s epistemological pursuit of brevity can be found even in the titles or subtitles of writings like From an Abandoned Work, Rough for Theatre I and Rough for Theatre II, Come and Go. A Dramaticule, Intermedium or Ohio Impromptu. Para- and/or architextual wordings like ‘intermedium’, ‘rough’, ‘a dramaticule’, ‘impromptu’ or ‘from an abandoned work’ provide further examples of this tendency. The main goal of this article is to present Beckett’s specificity against the background of the tradition of genres and the poetics of the romantic fragment. The author also analyzes the connection between the structure and style of Beckett’s works and their epistemological and aesthetic functions. She presents how, by engaging with Romanticism, Beckett reveals the illusion of the infinite, representing it as a derivative of the human mind rather than an objective quality. Despite this basic difference, the poetics of fragment in the works of this Irish writer becomes a mode of manifesting uncertainty and sometimes even of cognitive incapacity.

Source: Z lásky (vydání ELTeC) : ELTeC Edition

The diploma thesis I Am The One Who's Gonna Steal Your Job deals with the transitional period in the life of a young artist who dreams of career realization in his field. He thinks about how to achieve this when he realizes that even a less established painters can often sell their paintings for thousands of czech crowns, because paintings can be easily commodified and, as a result, placed in the interior. He thus decides to leave his area of practice and tries to get into the market with traditional artistic media with the help of artificial intelligence and marketing. He doesn't go far for visual inspiration, as he tries to recycle and distort photos (so-called visual smog) of a corner store on the other side of the street. The thesis deals with the issue of the emergence of artificial intelligence in the field of visual arts and with the eternal question of the ethics of the authorship of a work of art and its authenticity. It also deals with the question of the employment of art school graduates. Therefore, the work does not only provide a subversive analysis of the art market but also a reflection of the position of the artist participating in this market. Diplomová práce I Am The One Who’s Gonna Steal Your Job se zabývá přechodným obdobím života mladého umělce, který sní o kariérní realizaci ve svém oboru. Přemýšlí jak toho dosáhnout, když si uvědomí že často i méně etablovaný malíř může prodávat své obrazy v řádech tisíců korun, protože se dají jednoduše komodifikovat a v důsledku umístit v interiéru. Rozhodne se tak opustit jemu blízkou sféru tvorby a pokusí se uplatnit na trhu s tradičními uměleckými médii, avšak za pomocí umělé inteligence a marketingu. Pro vizuální inspiraci nejde daleko, jelikož se pokusí recyklovat a deformovat obrazy (takzvaný vizuální smog) z výlohy protější večerky. Práce se věnuje problematice nástupu umělé inteligence v oblasti výtvarného umění, věčné otázce etiky autorství uměleckého díla a jeho autenticity, ale také třeba otázce uplatnění absolventů vysokých uměleckých škol na trhu práce. Jedná se tak nejen o subverzivní analýzu trhu s uměním, ale také o úvahu na téma poptávky, role současného umění ve vztahu k uměleckému trhu a o pozici umělce participujícího na tomto trhu. A

This paper discusses the wooden statue JE 100373, which was recently re discovered in the basement of the Egyptian Museum, Cairo. Based on the statue’s stylistic analysis and its identification in the unpublished excavation report MSS Gunn XXII, we re identify it as part of the statue ensemble of the overseer of the two granaries Ihy, found in a cache within a Ptolemaic tomb at Saqqara. As a result, the investigation proves the provenience of the statue from Cyril M. Firth’s excavations south of the Step Pyramid complex in 1926. Com bining conservation science and traditional Egyptological approaches, the paper finally provides evidence for the continuity of the manufacture of large sized high quality wooden statuary by residential workshops until the final years of Pepy II or slightly later.

Fortifications are among the products of Greek history. Many have been modified, others ceased to exist (Tíryns) or were restored. Examples of continuous usage from antiquity to the early 19th century are Larissa and Akrokorinth. Glarentza (formerly the ancient Kylléné) and Old Pylos (once Koryphasion) ceased to function in the late Middle Ages. In Nauplion, a Venetian fortress was built on the site of an ancient acropolis, which was also the case for Methóné. Monemvasia and the stronghold in Patras had Byzantine roots, while new mediaeval constructions included the Chlemutzi castle and the Mistry complex. There is a remarkable similarity between fortifications from 5th–4th centuries BC (Messéné, Aigosthéna and others) and late Stauff castles (prismatic towers, masonry of roughhewn blocks). Jedním z produktů dějin Řecka jsou fortifikace. Mnohé se proměňovaly, jiné zanikly (Tíryns) nebo byly obnoveny. Příkladem využití od antiky do počátku 19. století je Larissa nad Argem či Akrokorinth, koncem středověku zanikla Glarentza (následník antické Kylléné), stejně o něco později Starý Pylos (po Koryphasionu). V Naupliu překryla antickou akropoli benátská pevnost, což byl i osud Methóné, byzantský základ měly Monemvasia a pevnost v Patrasu, středověkými novostavbami byly mimo jiné hrad Chlemutzi a komplex Mistry. Pozoruhodná podobnost konstrukcí je mezi fortifikacemi z 5.–4. století př. n. l. (Messéné, Aigosthéna ad.) s pozdně štaufskými hrady (hranolové věže, zdivo z bosovaných kvádrů).

The state of knowledge of the Epi-Lengyel settlement of South Moravia is still limited to a few isolated pub lished sites, with a predominant focus on the typological evaluation of pottery. Collections of lithics remain unevaluated or are treated mainly typologically. The inventory of the settlement feature from Lidická Street, Drnholec, Břeclav district, comprising, among other things, 45 lithic pieces, has made it possible to apply modern methods to the evaluation of the collection, elucidating detailed aspects of its use and the depositional context of this function. It is the first-ever collection of Epi-Lengyel lithics in Central Europe studied by use-wear analysis. The results of this analysis show that it is a functionally homogeneous assemblage that was intended for processing animal materials, mainly leather. In terms of the distribution of raw material, there is an absolute orientation towards local sources. In a broader settlement context, the site appears peripheral.

In this article we present a critical view of the current chronological framework for Early Bronze Age burials from Southern Bavaria, by using radiocarbon dating to re examine Paul Reinecke’s relative chronological classification system. We also examine chronological divisions established by other scholars based on his system. The results of our study show a complex pattern of local groups appropriating new types or styles of objects from others, which then influences the timeline for the appearance of such type objects. Our findings show that every region had its own socio cultural history with a slightly different chronology Introduction Results of radiocarbon dating - Regionality as a problem for wide range relative chronology - Grave goods and burial customs as a problem/change for relative chronology in the later eba Conclusion

Kurgans are characteristic monuments of the Central Asian cultural landscape. The eastern piedmonts of the Kugitang mountain range (Southern Uzbekistan) emerged to be a noteworthily rich area in the occurrence of these various structures made of stones or soil and become one of the main research areas of the Czech -Uzbekistani Archaeological Expedition. Following the previous research of the season 2017, in 2018 the main attention was paid to the mapping of kurgans in the vicinity of the villages of Loylagan and Gurjak. Almost one hundred varied stone structures have been detected in this area, the majority of them labelled as a kurgan. This report presents the preliminary results of the field survey, a description of the morphology and a basic spatial analysis of the kurgans and their distribution within both the physical and historical landscape.