tag:blogger.com,1999:blog-66018707348881925912024-03-08T16:35:53.021+01:00Vladimír HirschUnknownnoreply@blogger.comBlogger71125tag:blogger.com,1999:blog-6601870734888192591.post-35960509690390066452023-08-18T08:46:00.012+02:002023-09-05T14:30:26.387+02:00Spolčení hlupců<p> Jakkoli jsem dlouhodobě zcela zdevastován z úrovně diskuzí na nejrůznějších x-netech a zapřísahal jsem se již dávno, že na ně rezignuji, protože je to jen halda svinstva, toto dávám zde s tím, že od mnohých nemohu očekávat kromě nadávek a apriorních odsudků žádnou racionální argumentaci, ale v duchu svobodné individuum se nad tím snad zamyslí......</p><p>Kdysi jsem napsal článek o poměrech na Wikipedii viz https://czechiainitiative.wixsite.com/.../wikipedia-gotham </p><p>Uveřejnil jsem na Wikipedii od r.2006 až do roku 2014 cca 300 článků v češtině a kolem 50 v angličtině, převážně o hudbě, skladatelích, skladbách, ale i o lingvistice - abych byl posléze zablokován českými administrátory, protože jsem si dovolil s nimi polemizovat a zpochybňovat jejich verze a "úpravy".</p><p>Možná pouze někteří budou schopni to přijmout, protože pro mnoho lidí je Wikipedie nezpochybnitelný a bohužel hlavní hlavní zdroj informací, jako učitel bych však za to od zkoušky vyhazoval. Další si budou myslet, že je to dezinformace, jak je v našich krajích současným zvykem, ale výše uvedený fakt je má osobní a naprosto neoddiskutovatelná zkušenost. </p><p>Pokud si někdo bude chtít udělat názor na cokoli, pak Wikipedia je samozřejmě schopná odpovědět pravdivě na otázky exaktních věd, naprosto nikoli však na otázky, které patří do humanitní sféry. Právě tyto odpovědi si "wikipedisté" utvářejí podle momentálního trendů. Oportunisté, kteří klidně změní svůj názor, pokud se i situace změní. Kdo to akceptuje stejně tak jako pravdivé tvrzení, že losos je ryba, je pouhá oběť vlastní neschopnosti dobrat se relevantní odpovědi, vlastní neznalosti a pohodlnosti, jinak by totiž věděl, že na tento typ otázek lze jen stěží objektivně odpovědět a tak by se v příslušném hesle měl nezaujatý pisatel vyjadřovat a zohlednit variabilitu pohledů na meritum věci. Pokud to uvedu na příkladu, nikdo nemůže zpochybnit fakt že medúza je láčkovec, ale každý může zpochybnit, zda je nějaká forma vládnutí demokracií, liberální demokracií či totalitou. </p><p>Obzvláště "an sich" si protiřečící - jak v teorii, tak v praxi - "liberální demokracie" je v podstatě žvýkací guma, se kterou lze jistými strukturami nakládat podle potřeb, neb nemá naprosto žádnou politickou, natož alespoň minimální pseudo-filosofickou podstatu, je v podstatě sama sobě protikladem. Proč? Demokracie nemá žádné přívlastky. <b>Jakmile k nim někdo sklouzne, je to jasný signál její degradace.</b> Pokud se zamyslíme nad termínem "liberální demokracie", je to v podstatě zdánlivě logický, avšak naprosto zbytečný a nesmyslný pojem typu "mokrá voda". </p><p>Nicméně pozor! Tento kočkjopes má svůj účel. Je to vytváření prostoru pro tvrzení, že "voda může být i suchá" a o to jde. Rozšířený akční radius pro uskutečňování zájmů určitých skupin manipulátorů obecného vědomí, jejichž cílem je přizpůsobit si jedince k "vhodným" výkladům skutečnosti v jejich vlastním zájmu. Z toho plynoucí hodnotový chaos (jakkoli mluví o hodnotách), ztráta orientace a závislost na příjemném pocitu zdánlivé nezávislosti, který ovšem není ničím jiným, než její iluzí a naopak závislostí sui generis, je jejich výhra. Bohužel se jim to daří, protože obecná úroveň znalostí, individuálních životních cílů (tedy v podstatě nepotřeba hledání smyslu vlastní existence) se díky technologické lenosti, pohodlnosti a službě vlastnímu komfortu novým generacím značně vzdálila. Tedy, aniž bych se chtěl zbytečně opakovat, z mnoha lidí (prozatím bohudík nikoli ze všech) se stali pasivní recipienti bludů, které radostně berou za své, aniž by byli nuceni o nich přemýšlet. Přečtou si to na Wikipedii. Myšlení bolí. Chci se mít fajn. Hurá.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrqWh8leqcY62j4HHaiNQOtYSeJJuy14LMVvUJPF3xqZh5bIdqjNKeuFZ56XEXZN6GbcfYz-RuFyrt7Pc8fWZ7qAd3VEuCSXbyghO9vIdyFcgs538qgpK5EhCdAkcGSoSxRdEjL2IbSE1foh1MSbI1y0wb2Z9gKVu8IMAOKLED7kxHbE0MlXICPlRkECw1/s572/wmog.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="269" data-original-width="572" height="253" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrqWh8leqcY62j4HHaiNQOtYSeJJuy14LMVvUJPF3xqZh5bIdqjNKeuFZ56XEXZN6GbcfYz-RuFyrt7Pc8fWZ7qAd3VEuCSXbyghO9vIdyFcgs538qgpK5EhCdAkcGSoSxRdEjL2IbSE1foh1MSbI1y0wb2Z9gKVu8IMAOKLED7kxHbE0MlXICPlRkECw1/w540-h253/wmog.JPG" width="540" /></a></div><br /><p><br /></p><p><br /></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6601870734888192591.post-9426577306318375452023-08-01T18:40:00.003+02:002023-08-01T18:51:06.912+02:00Vladimír Hirsch - Ex Litteris Of St.Paul (pro-live version/remix)<div><iframe frameborder="0" height="360" src="https://youtube.com/embed/vH01rDD1HHo" style="background-image: url(https://i.ytimg.com/vi/vH01rDD1HHo/hqdefault.jpg);" width="480"></iframe></div><div><br /></div><div><div>Vladimír Hirsch - Ex Litteris Of St.Paul (pro-live version - remix) https://lnkd.in/eEGMHxGQ</div><div><br /></div><div>The abbreviated and adjusted version of the album for live performance. 2020. </div><div>Tracks: 1-Colossians (Col 3:15), 2-Ephesians (Eph 2:14), 3-Corinthians 1 (Cor 15:13), 4 Colossians-(Col 1:13-14), 5-Eleison, 6-Thessalonians 2 (Thes 2:4), 7-Romans (Rom 16:18), 8-Galatians (Gal.4:29), 9-Hebrews (Heb 3:8), 10-Philippians (1:29-30), 11-Thessalonians 1 (Thes 4:16), 12-Colossians (Col 1:15-16), 13-Coda.</div></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6601870734888192591.post-89298138987315157052023-06-06T17:29:00.000+02:002023-06-06T17:29:13.172+02:00Vladimír Hirsch / Katagenesis<p>The album contains three opuses with a similar thematic framework, associated with the meaning of the album's name, however of different means of expression:</p><p>(I) Symphony No.5 "Axonal Transit",</p><p>(II) Symphony No.6 "Metaspheres"</p><p>(III) Hymn (Do Not Let Us Perish)</p><p>Available on https://vladimirhirsch.bandcamp.com/album/katagenesis in physical and digital form.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp-3Xv-7dCy-i6Hj-69mGU0r3mk9OalOmfMPQrUGbfOSIRDNBsUNHF2kJ5aPRjypBoySflaSLl2DSz9I3agfQfPKW0sNcY2re7G95Ouyzx4ODmJPZXOk7y-ieSwm0Bpcj4upoD7GA3eG1JUJzw2OIassrKBNRYuvWGKLQQuWDpeSiOLlqCT3rmDjOu2g/s1200/KTG.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1182" data-original-width="1200" height="315" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp-3Xv-7dCy-i6Hj-69mGU0r3mk9OalOmfMPQrUGbfOSIRDNBsUNHF2kJ5aPRjypBoySflaSLl2DSz9I3agfQfPKW0sNcY2re7G95Ouyzx4ODmJPZXOk7y-ieSwm0Bpcj4upoD7GA3eG1JUJzw2OIassrKBNRYuvWGKLQQuWDpeSiOLlqCT3rmDjOu2g/s320/KTG.jpg" width="320" /></a></div><br /><p><br /></p><p><br /></p><p><br /></p><p><br /></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6601870734888192591.post-87238032281127673072023-06-06T16:46:00.003+02:002023-06-06T17:45:39.907+02:00Vladimír Hirsch / Ex Litteris Of St.Paul<iframe frameborder="0" height="360" src="https://youtube.com/embed/Vbt6Nf7X-gc?list=OLAK5uy_lmxC6VyoER815_teTI_EgSKtDwKFGE0yI" width="480"></iframe><div><br /></div><div><div>The conceptual album, is thematically based on selected citations from St.Paul's epistles. Inspired by the painting "Saint Paul of the new century" of Vladimír Hirsch the Younger (artistic names Vladimír Hirscher, Caer8th), which became the cover art of the album. </div><div>Album download: <a href="https://vladimirhirsch.bandcamp.com/album/ex-litteris-of-st-paul">Ex Litteris Of St.Paul | Vladimír Hirsch (bandcamp.com)</a></div><div><br /></div><div><br /></div><div>1 Colossians (Col3:15) </div><div> </div><div>Let the peace of Christ rule in your hearts, since as members of one body you were called to peace</div><div> </div><div> </div><div><br /></div><div>2 Ephesians (Eph 2:14)</div><div> </div><div>For He Himself is our peace, who has made the two one and has torn down the dividing wall of hostility</div><div><br /></div><div> </div><div><br /></div><div>3 Corinthians 1 (Cor 15:13)</div><div> </div><div>If there was not necessary the resurrection of the dead, then not even Christ has been raised</div><div><br /></div><div> </div><div><br /></div><div>4 Colossians (Col 1:13-14)</div><div> </div><div>He has rescued us from the dominion of darkness and brought us into the kingdom of His beloved Son, in whom we have redemption, the forgiveness of sins.</div><div> </div><div> </div><div><br /></div><div>5 Thessalonians 2 (Thes 2:4) </div><div> </div><div>Someone will oppose and exalt himself above every so-called god or object of worship, so he will seat himself in the temple of God, proclaiming </div><div>himself to be God</div><div><br /></div><div> </div><div><br /></div><div>6 Romans (Rom 16:18)</div><div> </div><div>For such people are not serving our Lord Christ, but their own bellies. By smooth talk and flattery they deceive the hearts of the naive </div><div><br /></div><div> </div><div><br /></div><div>7 Galatians (Gal.4:29)</div><div> </div><div>The son born according to the flesh persecuted the son born by the power of the Spirit. It is the same now</div><div><br /></div><div> </div><div><br /></div><div>8 Hebrews (Heb 3:8)</div><div> </div><div>Therefore, as the Holy Spirit says: “Today, if you hear His voice, do not harden your hearts, as you did in the rebellion, in the time of testing in the wilderness”</div><div><br /></div><div> </div><div><br /></div><div>9 Philippians (1:29-30)</div><div> </div><div>For it has been granted to you on behalf of Christ not only to believe in Him, but also to suffer for Him, since you are encountering the same struggle I have</div><div> </div><div><br /></div><div><br /></div><div>10 Thessalonians 1 (Thes 4:16)</div><div> </div><div>For the Lord himself will come down from heaven, with a loud command, with the voice of the archangel and with the trumpet call of God, and the dead in Christ will rise first</div><div><br /></div><div><br /></div><div><br /></div><div>11 Colossians (Col 1:15-16)</div><div> </div><div>The Son is the image of the invisible God, the firstborn over all creation. For in Him all things were created, things in heaven and on earth, visible and invisible</div><div><br /></div><div><br /></div><div><br /></div><div>12 Coda - Corinthians 1 (Cor 13:2)</div><div> </div><div>If I have the gift of prophecy and can fathom all mysteries and all knowledge, and if I have absolute faith so as to move mountains, but have not love, I am nothing</div><div><br /></div><div><br /></div><div><br /></div><div><span style="font-size: x-small;">ALBUM WRITTEN, RECORDED, MIXED & MASTERED AT cATCHARROW RECORDINGS STUDIO, PRAGUE, CZECHIA, 2019. </span><span style="font-size: small;">COVER PAINTING: VLADIMÍR HIRSCH THE YOUNGER (AKA CAER8TH AKA VLADIMÍR HIRSCHER)</span></div></div><div><span style="font-size: small;">Released January 9, 2020 by INTEGRATED MUSIC RECORDS, Catch 075</span></div><div><span style="font-size: small;"><br /></span></div><div><span style="font-size: x-small;"><br /></span></div><div><span style="font-size: x-small;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiP8wSsFqhTmXB3M6jAViVw7ebgmXPMq07u_4dR6sqdXTAvBYretpMaq40LDidBfXEM7FzuG1rn2cwdc-8h90vGGh0eYuBI8x21VjlIIUl-cc3GHKMi9pXngXTg_r17g_MALIAyjYsEv777sWsFPMDs7GZDAcbI12FBXl02HpjosveEerrJxXZv8zhxVw/s1923/booklet.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="969" data-original-width="1923" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiP8wSsFqhTmXB3M6jAViVw7ebgmXPMq07u_4dR6sqdXTAvBYretpMaq40LDidBfXEM7FzuG1rn2cwdc-8h90vGGh0eYuBI8x21VjlIIUl-cc3GHKMi9pXngXTg_r17g_MALIAyjYsEv777sWsFPMDs7GZDAcbI12FBXl02HpjosveEerrJxXZv8zhxVw/w494-h256/booklet.jpg" width="494" /></a></div><br /><span style="font-size: x-small;"><br /></span></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6601870734888192591.post-36653754714920197142022-11-29T15:54:00.004+01:002022-11-29T15:54:47.218+01:00Sensus loci<iframe frameborder="0" height="270" src="https://youtube.com/embed/yu7nWr6MCbw" width="480"></iframe><div>Sensus loci (excerpt) by photographer Jan Vávra with music by Vladimír Hirsch (Catharsis from the album "Tobruk", 2008). Photos from Olšanské cemeteries, Prague, Czechia</div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6601870734888192591.post-9721252185149297532021-09-09T17:19:00.137+02:002022-08-31T19:19:19.070+02:00Liberalismus vs. tradicionalismus Americký filosof Frank S.Meyer jikž na konci 19.století vypracoval teorii konzervatismu, která dostala název
„fuzionismus“ – šlo o teorii smíření klasického liberalismu s morálním tradicionalismem. Z pohledu hudebníka něco podobného jako v hudbě "jazz-rock fusion" a další navazující hudební pokusy - i když povýtce příjemná móda, ve svých výtryscích přinášející jak pomíjivé, bezobsažné, tak ovšem i výjimečně nadčasové projekty. Běžný fenomén, na kterém se v drtivé většině podílí utilaristé, jimž slouží a není cílem, čímž ho znehodnocují. Eklekticismus ve své filosofické podstatě je na místě, resp. touha po něm je pochopitelná, ale končí většinou jako brutálně zneužitá panna, i když jí to dělá dobře. To je běžný výsledek snahy o smíření, která nikdy neměla lehkou úlohu, bita do hlavy radikály a obviňována z prostřednosti. Pokud se vrátím k Meyerovi, ten tvrdil, že oba uvedené směry mají pravdu, ale každý v jiné sféře. Protože povaha jeho teorie je přirozená, a není jakýmsi umělým konstruktem a kompromisem, je mi sympatická. O to právě v onom eklektickém pojetí jde. Nesmí a ani nemůže být prostředkem, ale cílem. Prostředek je vždy levným, cíl naopak zůstává tím nejobtížnějším úkolem.<div><br /></div><div><div>V politice je nejvyšší hodnotou svoboda, lidé mají být
co nejsvobodnější ve vztahu ke státním donucovacím prostředkům. Tradicionalisté nemohou (státem) vynucovat ctnost,
protože aby ctností byla, musí být dobrovolná. Jednání z donucení ctnostné není. Tradicionalisté však mají pravdu, že ctnost je základním
cílem, který podmiňuje existenci našeho specifického druhu na základě schopnosti kvalitativního přesahu lidského
bytí a tedy současně i předpokladu pro další jeho (nejen) fyzickou existenci tak, jak jsme schopni ji vnímat, i v eventuální další epoše pozemského (či dokonce plánovaného extraterestriálního) bytí. <div><br /></div><div>Pýcha nad technickými schopnostmi a dovednostmi člověka, považujíce se za samospasitelnou, je tragickým omylem,
nahrazujícím to podstatné, jakkoli by měla být skromným příspěvkem
poznání, nikoli nalezením naší vlastní podstaty, která se sice nalézá mimo naše schopnosti detekce standardními
metodami, ale je bytostně blízká každé civilizaci, která se kdy na této planetě ocitla. A to i přesto, že ta
současná se ji snaží ignorovat a v dominantních státně-politických enklávách zcela přirozeně trvající předpokládaný "duchovní" rozměr je pro ni jakýmsi svrbějícím ekzémem, kterého je třeba
se zbavit. Proto se přičítá pravda jen "vědě", což de facto znamená, že to co MY nemůžeme změřit prostě neexistuje. A to i v situaci, kdy sama věda připouští, že mnohé
z objevů nám zůstávají zahalené tajemstvím ("temná hmota", jakkoli přeložit by bylo lépe tmavá hmota, nicméně slovo temná /dark matter/ je na místě, protože její podstata prozatím zůstává pro nás opravdu detekčně temnou, atd.), jakkoli víme, že existují. Prostě je NEUMÍME
detekovat. Pro mnohé zoufalá a proto také ostentativně přehlížená skutečnost.</div><div><br /></div><div>Pro tzv. skeptiky, kteří se s nadutostí sobě vlastní staví ke všem podobným záležitostem
jako k nepřijatelné fikci z výše uvedených důvodů (podle vzoru "protože na to nemáme, není to"), neexistuje nic, co nejsou svými
limitovanými schopnosti změřit. Vrchol hlupáctví bláhové pštrosí nátury -
když něco nevidím, nemůže mne to zasáhnout - což naopak nevadí těm, kteří se necítí být vědoucími a jsou si schopni přiznat, že na něco nemají, nicméně fungují jako myslící bytosti, které jsou schopny uvažování nad případnými jinými, dalšími možnostmi výkladu bytí, byvše skeptickými (a tam je skepticismus opravdu na místě) ke kvalitě a rozsahu poznání, jež je nám dáno. Na rozdíl od nich, výše zmíněné, definovatelné regulované restrikce a limity omezených svým vlastním já, jsou projevy vnitřní nesvobody člověka, jeho oddanosti průměru, přízemnosti, závislosti na šablonách a nechuti a zbabělosti jít dál, protože je to nesnadné a plné otazníků. Lepší je mít své jisté, jakkoli je to o ničem, nic to neříká, nic mi to neposkytuje, jen mne to zbavuje nepříjemných otázek, které by následovaly, především mne to ovšem zbavuje odpovědnosti a to je ten kruciální, chtěný (což nutno zdůraznit) moment spokojeného slabocha, který nezřídka "argumentuje" tím, že pro ty "jiné" je to snadnější, neb "něčemu věří". Není většího omylu, ten "jiný" to má totiž mnohem složitější, protože je vystaven permanentnímu boji, nejen se sebou samým, ale i s věcmi, jejichž podstatu není schopen uspokojivě danými prostředky ozřejmit, jakkoli k nim došel zcela přirozenými, zvnějšku nedestruovanými a logiku nedemontujícími postupy, především však a nesnímatelnou zodpovědností vědomí své vlastní existence ve vztahu k těm ostatním. </div><div><br /></div><div>Ctnost, zodpovědnost, vztah k obecnému - tato slova, jakkoli obsahem jsou veličinou, i když dnes již jen nazývány pompézností, směšným "braním se moc vážně", existují a fungují, ač třeba jako nedetekovatelná součást i protagonisty opačného názoru bez jeho uvědomění, protože prostě existují jako přirozená výbava lidského jedince, ať si toho je či není vědom. Slovo cnost se dnes sice nenosí, ale já se (nikoli cnostný) se za jeho použití nestydím. Aby lidé byli ctnostní, musí být svobodní; nemají-li svobodu být "neřestnými", nemohou být ani ctnostnými. Na druhou stranu
však také platí, že nejsou-li lidé ctnostní, svobodu neuchrání a ztratí ji – buď podlehnou tyranům nebo lehčeji, avšak vytrvaleji působícímu skrytému despotismu a demagogii. Nespatřujeme tyto fenomény jako varovně zdvižený prst v naší realitě? Pokud ne, potom jsme ovšem nejspíše slepci, v mnoha případech slepci "ex privata industria", tedy dobrovolnými, svobodnými a cíleně, "šťastnými" ignoranty.</div><div><br /></div><div>Vladimír Hirsch</div><div>Praha, Česko, 2021</div></div></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-uBj7F4C9Clc/YToo2jhArvI/AAAAAAAAHt0/F4kIsyQAptkOt2FrTE9mDEp8o5Kv0zQaACLcBGAsYHQ/s292/Ethos.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="284" data-original-width="292" height="284" src="https://1.bp.blogspot.com/-uBj7F4C9Clc/YToo2jhArvI/AAAAAAAAHt0/F4kIsyQAptkOt2FrTE9mDEp8o5Kv0zQaACLcBGAsYHQ/s0/Ethos.jpg" width="292" /></a></div><br /><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div><br /></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6601870734888192591.post-44640634549080339602021-05-10T06:49:00.007+02:002022-02-10T09:02:26.701+01:00A Brief history of Czech painting art<blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><p style="text-align: justify;"><span style="background-color: #990000; color: #f3f3f3; font-family: georgia;">T<span>he development of art conjoined with Czechia started in Romanesque period. The oldest preserved and simultaneously most artistically important work of that time are murals in St. Catherine’s rotunda in Znojmo from 1134, exceptional in Romanesque art throughout Europe by focusing on the ideology of the state.</span></span></p><p class="q-text qu-display--block" style="box-sizing: border-box; margin: 0px 0px 1em; overflow-wrap: anywhere; padding: 0px; text-align: justify; word-break: break-word;"><span style="background-attachment: initial; background-clip: initial; background-color: #990000; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"><span style="background-color: #990000; color: #f3f3f3; font-family: georgia;">The decorative painting of manuscripts was very popular in both the Romanesque and the Gothic periods. The most exquisite work, which had not had an analogue in Central Europe at the time, was the Vyšehrad Codex (the Coronation Gospels of King Vratislaus).</span></span></p><p class="q-text qu-display--block" style="box-sizing: border-box; margin: 0px 0px 1em; overflow-wrap: anywhere; padding: 0px; text-align: justify; word-break: break-word;"><span style="background-color: #990000; color: #f3f3f3; font-family: georgia;"><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">In the Gothic Era, panel paintings was flourishing. The most important are works of Master of Vyšší Brod altar, the founder of the style, which dominated European painting around 1400. Other important personalities were </span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-weight: bold;">Master of Třeboň altar</span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"> and </span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-weight: bold;">Master Theodoricus</span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">, the court painter of Charles IV, who filled the ruler's chapel of Holy Cross in Karlštejn castle by 130 paintings. The late gothic art with a Renaissance touch is represented by the work of </span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-weight: bold;">Master of Litoměřice Altarpiece</span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">.</span></span></p><div class="q-box" style="box-sizing: border-box; filter: blur(0px); margin-bottom: 1em; transition-duration: 1s; transition-property: undefined; transition-timing-function: ease-out;"><img class="q-image qu-display--block qu-borderRadius--small" src="https://qph.fs.quoracdn.net/main-qimg-a63396071d83d6df5c409406fef56451" style="animation-duration: 0.001s; animation-name: insQ_100; border-radius: 3px; border: 0px none; box-sizing: border-box; display: block; margin-left: auto; margin-right: auto; max-width: 100%; text-align: justify;" /></div><p class="q-text qu-display--block" style="box-sizing: border-box; margin: 0px 0px 1em; overflow-wrap: anywhere; padding: 0px; text-align: justify; word-break: break-word;"><span style="background-attachment: initial; background-clip: initial; background-color: #990000; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-style: italic;"><span style="background-color: #990000; color: #f3f3f3; font-family: georgia;">Master of Třeboň altar</span></span></p><div class="q-box" style="box-sizing: border-box; filter: blur(0px); margin-bottom: 1em; transition-duration: 1s; transition-property: undefined; transition-timing-function: ease-out;"><img class="q-image qu-display--block qu-borderRadius--small" src="https://qph.fs.quoracdn.net/main-qimg-fdc06fb532b458b1359cdb5c12aac62e" style="animation-duration: 0.001s; animation-name: insQ_100; border-radius: 3px; border: 0px none; box-sizing: border-box; display: block; margin-left: auto; margin-right: auto; max-width: 100%; text-align: justify;" /></div><p class="q-text qu-display--block" style="box-sizing: border-box; margin: 0px 0px 1em; overflow-wrap: anywhere; padding: 0px; text-align: justify; word-break: break-word;"><span style="background-attachment: initial; background-clip: initial; background-color: #990000; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"><span style="background-color: #990000; color: #f3f3f3; font-family: georgia;">Renaissance art came to Czechia with delay because of the consequences of Hussite wars in the country and influenced much more architecture, than other art.</span></span></p><p class="q-text qu-display--block" style="box-sizing: border-box; margin: 0px 0px 1em; overflow-wrap: anywhere; padding: 0px; text-align: justify; word-break: break-word;"><span style="background-color: #990000; color: #f3f3f3; font-family: georgia;"><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">The most important Czech masters of Baroque painting were </span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-weight: bold;">Petr Brandl</span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">, the author of many large altarpieces, where all the characters are very vivid, often very emotional and always convincingly done, </span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-weight: bold;">Jan Kupecký</span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">, who managed to perfectly capture the appearance of a person and his character traits in his portraits and </span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-weight: bold;">Karel Škréta</span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">, excelled as a portrait painter and illustrator. An exceptional Czech artist of Baroque art was </span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-weight: bold;">Václav Hollar</span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">, the etcher of worldwide recognition. His views of European cities, allegories and rich collection of graphic arts, depicting fauna and flora are unparalleled in the European art at that time.</span></span></p><div class="q-box" style="box-sizing: border-box; filter: blur(0px); margin-bottom: 1em; transition-duration: 1s; transition-property: undefined; transition-timing-function: ease-out;"><img class="q-image qu-display--block qu-borderRadius--small" src="https://qph.fs.quoracdn.net/main-qimg-cd91501a5dd6fd3fce696a170426388a" style="animation-duration: 0.001s; animation-name: insQ_100; border-radius: 3px; border: 0px none; box-sizing: border-box; display: block; margin-left: auto; margin-right: auto; max-width: 100%; text-align: justify;" /></div><p class="q-text qu-display--block" style="box-sizing: border-box; margin: 0px 0px 1em; overflow-wrap: anywhere; padding: 0px; text-align: justify; word-break: break-word;"><span style="background-attachment: initial; background-clip: initial; background-color: #990000; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-style: italic;"><span style="background-color: #990000; color: #f3f3f3; font-family: georgia;">Petr Brandl</span></span></p><div class="q-box" style="box-sizing: border-box; filter: blur(0px); margin-bottom: 1em; transition-duration: 1s; transition-property: undefined; transition-timing-function: ease-out;"><img class="q-image qu-display--block qu-borderRadius--small" src="https://qph.fs.quoracdn.net/main-qimg-b8048eaec313a391d2891879384c3eab" style="animation-duration: 0.001s; animation-name: insQ_100; border-radius: 3px; border: 0px none; box-sizing: border-box; display: block; margin-left: auto; margin-right: auto; max-width: 100%; text-align: justify;" /></div><p class="q-text qu-display--block" style="box-sizing: border-box; margin: 0px 0px 1em; overflow-wrap: anywhere; padding: 0px; text-align: justify; word-break: break-word;"><span style="background-attachment: initial; background-clip: initial; background-color: #990000; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-style: italic;"><span style="background-color: #990000; color: #f3f3f3; font-family: georgia;">Karel Škréta</span></span></p><div class="q-box" style="box-sizing: border-box; filter: blur(0px); margin-bottom: 1em; transition-duration: 1s; transition-property: undefined; transition-timing-function: ease-out;"><img class="q-image qu-display--block qu-borderRadius--small" src="https://qph.fs.quoracdn.net/main-qimg-7582c3985183095354195013ca39077d" style="animation-duration: 0.001s; animation-name: insQ_100; border-radius: 3px; border: 0px none; box-sizing: border-box; display: block; margin-left: auto; margin-right: auto; max-width: 100%; text-align: justify;" /></div><p class="q-text qu-display--block" style="box-sizing: border-box; margin: 0px 0px 1em; overflow-wrap: anywhere; padding: 0px; text-align: justify; word-break: break-word;"><span style="background-attachment: initial; background-clip: initial; background-color: #990000; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-style: italic;"><span style="background-color: #990000; color: #f3f3f3; font-family: georgia;">Václav Hollar - Prague (c.1640)</span></span></p><p class="q-text qu-display--block" style="box-sizing: border-box; margin: 0px 0px 1em; overflow-wrap: anywhere; padding: 0px; text-align: justify; word-break: break-word;"><span style="background-color: #990000; color: #f3f3f3; font-family: georgia;"><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">The most important figure of classicist painting was </span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-weight: bold;">Antonín Mánes</span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">. His work underwent a colorful evolution from composed classicist landscapes, romantically ragged scenery up with very realistic landscapes. Typical representants of the Romanticism are the mysterious </span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-weight: bold;">Adolf Kosárek</span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"> and the master of the color perfectionism </span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-weight: bold;">Josef Navrátil</span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">. The Late phase of romanticism is represented by </span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-weight: bold;">Josef Mánes</span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">, who is considered the founding personality of the Czech visual arts and master of the landscape painting. He is the author of allegorical boards of Astronomical Clock in Prague from 1866. The second half of the 19th century, dominated by artists of romantic realism, with predominantly nationally oriented topics such as </span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-weight: bold;">František Ženíšek</span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">, </span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-weight: bold;">Vojtěch Hynais</span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"> (designer of the curtain of the Prague National Theatre), </span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-weight: bold;">Karel Purkyně</span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">, </span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-weight: bold;">Vaclav Brožík</span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">, </span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-weight: bold;">Julius Mařák</span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"> or </span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-weight: bold;">Luděk Marold</span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">.</span></span></p><div class="q-box" style="box-sizing: border-box; filter: blur(0px); margin-bottom: 1em; transition-duration: 1s; transition-property: undefined; transition-timing-function: ease-out;"><img class="q-image qu-display--block qu-borderRadius--small" src="https://qph.fs.quoracdn.net/main-qimg-b5d18722f68e0c2c4353ade89386b755" style="animation-duration: 0.001s; animation-name: insQ_100; border-radius: 3px; border: 0px none; box-sizing: border-box; display: block; margin-left: auto; margin-right: auto; max-width: 100%; text-align: justify;" /></div><div class="q-box" style="box-sizing: border-box; filter: blur(0px); margin-bottom: 1em; transition-duration: 1s; transition-property: undefined; transition-timing-function: ease-out;"><img class="q-image qu-display--block qu-borderRadius--small" src="https://qph.fs.quoracdn.net/main-qimg-e5b49f43021fe90669b0d32f64a6e3f3" style="animation-duration: 0.001s; animation-name: insQ_100; border-radius: 3px; border: 0px none; box-sizing: border-box; display: block; margin-left: auto; margin-right: auto; max-width: 100%; text-align: justify;" /></div><div class="q-box" style="box-sizing: border-box; filter: blur(0px); margin-bottom: 1em; transition-duration: 1s; transition-property: undefined; transition-timing-function: ease-out;"><img class="q-image qu-display--block qu-borderRadius--small" src="https://qph.fs.quoracdn.net/main-qimg-2ea927d8c6e1c606ccf189492c39f8e4" style="animation-duration: 0.001s; animation-name: insQ_100; border-radius: 3px; border: 0px none; box-sizing: border-box; display: block; margin-left: auto; margin-right: auto; max-width: 100%; text-align: justify;" /></div><div class="q-box" style="box-sizing: border-box; filter: blur(0px); margin-bottom: 1em; transition-duration: 1s; transition-property: undefined; transition-timing-function: ease-out;"><img class="q-image qu-display--block qu-borderRadius--small" src="https://qph.fs.quoracdn.net/main-qimg-c6c59f199d1aee0f9ec0529c1545eb45" style="animation-duration: 0.001s; animation-name: insQ_100; border-radius: 3px; border: 0px none; box-sizing: border-box; display: block; margin-left: auto; margin-right: auto; max-width: 100%; text-align: justify;" /></div><p class="q-text qu-display--block" style="box-sizing: border-box; margin: 0px 0px 1em; overflow-wrap: anywhere; padding: 0px; text-align: justify; word-break: break-word;"><span style="background-color: #990000; color: #f3f3f3; font-family: georgia;"><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">The realistic period in fine arts comes with </span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-weight: bold;">Antonín Chittussi</span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">. His own concept of landscapes seen in vivid terrain, in the disorderly segment of reality, and in the natural diffuse light. In particular, his smaller paintings with quick, easy brushstrokes belong to the jewels of Czech painting. The beginnings of the modern conception of landscape panting was substantially influenced by </span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-weight: bold;">Antonín Slavíček</span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">.</span></span></p><div class="q-box" style="box-sizing: border-box; filter: blur(0px); margin-bottom: 1em; transition-duration: 1s; transition-property: undefined; transition-timing-function: ease-out;"><img class="q-image qu-display--block qu-borderRadius--small" src="https://qph.fs.quoracdn.net/main-qimg-34c5a3dbb425d2efd12e6a034e65e0f8" style="animation-duration: 0.001s; animation-name: insQ_100; border-radius: 3px; border: 0px none; box-sizing: border-box; display: block; margin-left: auto; margin-right: auto; max-width: 100%; text-align: justify;" /></div><p class="q-text qu-display--block" style="box-sizing: border-box; margin: 0px 0px 1em; overflow-wrap: anywhere; padding: 0px; text-align: justify; word-break: break-word;"><span style="background-color: #990000; color: #f3f3f3; font-family: georgia;"><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">His works perfectly expressed visual atmospheric phenomena, but also the inner substance of the landscape. Some kind of dark realism represents the melancholic atmosphere of the works of the painter of Prague night corners and social themes </span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-weight: bold;">Jakub Schikaneder</span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">. Virtuoso painter, portraitist, illustrator and creator of stamps and banknotes, the author of several monumental works and the founder of Czech Graphic School, </span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-weight: bold;">Max Švabinský</span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">, with realistic groundings of his extensive work has to be mentioned.</span></span></p><div class="q-box" style="box-sizing: border-box; filter: blur(0px); margin-bottom: 1em; transition-duration: 1s; transition-property: undefined; transition-timing-function: ease-out;"><img class="q-image qu-display--block qu-borderRadius--small" src="https://qph.fs.quoracdn.net/main-qimg-59d9cd4367ef9f7c77bab100c516c6bc" style="animation-duration: 0.001s; animation-name: insQ_100; border-radius: 3px; border: 0px none; box-sizing: border-box; display: block; margin-left: auto; margin-right: auto; max-width: 100%; text-align: justify;" /></div><p class="q-text qu-display--block" style="box-sizing: border-box; margin: 0px 0px 1em; overflow-wrap: anywhere; padding: 0px; text-align: justify; word-break: break-word;"><span style="background-attachment: initial; background-clip: initial; background-color: #990000; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-style: italic;"><span style="background-color: #990000; color: #f3f3f3; font-family: georgia;">Max Švabinský - Poor country (detail)</span></span></p><div class="q-box" style="box-sizing: border-box; filter: blur(0px); margin-bottom: 1em; transition-duration: 1s; transition-property: undefined; transition-timing-function: ease-out;"><img class="q-image qu-display--block qu-borderRadius--small" src="https://qph.fs.quoracdn.net/main-qimg-44c84add9bc2a63d574b98b1319859ee" style="animation-duration: 0.001s; animation-name: insQ_100; border-radius: 3px; border: 0px none; box-sizing: border-box; display: block; margin-left: auto; margin-right: auto; max-width: 100%; text-align: justify;" /></div><p class="q-text qu-display--block" style="box-sizing: border-box; margin: 0px 0px 1em; overflow-wrap: anywhere; padding: 0px; text-align: justify; word-break: break-word;"><span style="background-attachment: initial; background-clip: initial; background-color: #990000; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-style: italic;"><span style="background-color: #990000; color: #f3f3f3; font-family: georgia;">Jakub Schikaneder - Murder in the house</span></span></p><p class="q-text qu-display--block" style="box-sizing: border-box; margin: 0px 0px 1em; overflow-wrap: anywhere; padding: 0px; text-align: justify; word-break: break-word;"><span style="background-color: #990000; color: #f3f3f3; font-family: georgia;"><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">Symbolism manifested itself in Czechia in mysterious paintings of </span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-weight: bold;">Jan Preisler</span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">, combining influences of both symbolism and impressionism.</span></span></p><div class="q-box" style="box-sizing: border-box; filter: blur(0px); margin-bottom: 1em; transition-duration: 1s; transition-property: undefined; transition-timing-function: ease-out;"><img class="q-image qu-display--block qu-borderRadius--small" src="https://qph.fs.quoracdn.net/main-qimg-e5e87916448aa1ccdd21f5d368baee70" style="animation-duration: 0.001s; animation-name: insQ_100; border-radius: 3px; border: 0px none; box-sizing: border-box; display: block; margin-left: auto; margin-right: auto; max-width: 100%; text-align: justify;" /></div><p class="q-text qu-display--block" style="box-sizing: border-box; margin: 0px 0px 1em; overflow-wrap: anywhere; padding: 0px; text-align: justify; word-break: break-word;"><span style="background-attachment: initial; background-clip: initial; background-color: #990000; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-style: italic;"><span style="background-color: #990000; color: #f3f3f3; font-family: georgia;">Jan Preisler - Black Lake</span></span></p><p class="q-text qu-display--block" style="box-sizing: border-box; margin: 0px 0px 1em; overflow-wrap: anywhere; padding: 0px; text-align: justify; word-break: break-word;"><span style="background-color: #990000; color: #f3f3f3; font-family: georgia;"><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">A kind of second wave of symbolism, is associated in Czechia with the Sursum society of modern Czech art, associated with mysticism, theosophy and occultism. Noteworthy are </span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-weight: bold;">Jan Zrzavý</span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">, who later developed his art into mystically spiritual forms using unmistakeable meaning of expression and </span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-weight: bold;">Josef Váchal</span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">, another mystical traveller into the ambivalent world with expressively - in the philosophical sense - joining visions.</span></span></p><div class="q-box" style="box-sizing: border-box; filter: blur(0px); margin-bottom: 1em; transition-duration: 1s; transition-property: undefined; transition-timing-function: ease-out;"><img class="q-image qu-display--block qu-borderRadius--small" src="https://qph.fs.quoracdn.net/main-qimg-2a0413d06dde95a16be1fbb1e7efbba5" style="animation-duration: 0.001s; animation-name: insQ_100; border-radius: 3px; border: 0px none; box-sizing: border-box; display: block; margin-left: auto; margin-right: auto; max-width: 100%; text-align: justify;" /></div><p class="q-text qu-display--block" style="box-sizing: border-box; margin: 0px 0px 1em; overflow-wrap: anywhere; padding: 0px; text-align: justify; word-break: break-word;"><span style="background-attachment: initial; background-clip: initial; background-color: #990000; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-style: italic;"><span style="background-color: #990000; color: #f3f3f3; font-family: georgia;">Jan Zrzavý</span></span></p><div class="q-box" style="box-sizing: border-box; filter: blur(0px); margin-bottom: 1em; transition-duration: 1s; transition-property: undefined; transition-timing-function: ease-out;"><img class="q-image qu-display--block qu-borderRadius--small" src="https://qph.fs.quoracdn.net/main-qimg-5f6c91f0ed8f8bf0df72cf34b7953867" style="animation-duration: 0.001s; animation-name: insQ_100; border-radius: 3px; border: 0px none; box-sizing: border-box; display: block; margin-left: auto; margin-right: auto; max-width: 100%; text-align: justify;" /></div><p class="q-text qu-display--block" style="box-sizing: border-box; margin: 0px 0px 1em; overflow-wrap: anywhere; padding: 0px; text-align: justify; word-break: break-word;"><span style="background-attachment: initial; background-clip: initial; background-color: #990000; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-style: italic;"><span style="background-color: #990000; color: #f3f3f3; font-family: georgia;">Josef Váchal</span></span></p><p class="q-text qu-display--block" style="box-sizing: border-box; margin: 0px 0px 1em; overflow-wrap: anywhere; padding: 0px; text-align: justify; word-break: break-word;"><span style="background-color: #990000; color: #f3f3f3; font-family: georgia;"><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">When we speak about Art Nouveau, the name of </span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-weight: bold;">Alfons Mucha</span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">, world famous and one of the best known Czech artist, echoes immediately. He is the main representative of Art Nouveau decorative painting, but his work contains also sculptures, various kinds of applied arts (jewelry and more) and photography. Awareness of this painter quickly spread beyond the borders of Czechia. In the 1890s he lived and worked in Paris. His posters became quickly well-known and his style influenced artists worldwide. He also managed to captivate the Parisian public with those dedicated to the celebrated actress Sarah Bernhardt and her Renaissance theater playbills and posters.</span></span></p><div class="q-box" style="box-sizing: border-box; filter: blur(0px); margin-bottom: 1em; transition-duration: 1s; transition-property: undefined; transition-timing-function: ease-out;"><img class="q-image qu-display--block qu-borderRadius--small" src="https://qph.fs.quoracdn.net/main-qimg-fc3541c530d10b62a525d5a9f929e654" style="animation-duration: 0.001s; animation-name: insQ_100; border-radius: 3px; border: 0px none; box-sizing: border-box; display: block; margin-left: auto; margin-right: auto; max-width: 100%; text-align: justify;" /></div><p class="q-text qu-display--block" style="box-sizing: border-box; margin: 0px 0px 1em; overflow-wrap: anywhere; padding: 0px; text-align: justify; word-break: break-word;"><span style="background-attachment: initial; background-clip: initial; background-color: #990000; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"><span style="background-color: #990000; color: #f3f3f3; font-family: georgia;">Created between 1910 and 1928, Alfons Mucha’s masterpiece is the cycle of 20 monumental canvases named The Slav Epic (Slovanská epopej), depicting the history of the Slavonic peoples and civilization and portray the “joys and sorrows” of his own nation, the Czechs.</span></span></p><div class="CssComponent-sc-1oskqb9-0 QTextImage___StyledCssComponent-sc-1yi3aau-0 ilDNcJ"><div class="q-box unzoomed" style="box-sizing: border-box; cursor: -webkit-zoom-in; filter: blur(0px); margin-bottom: 1em;"><img class="q-image qu-display--block qu-borderRadius--small" src="https://qph.fs.quoracdn.net/main-qimg-50767dc99a41339f4bc183339220e9df" style="animation-duration: 0.001s; animation-name: insQ_100; border-radius: 3px; border: 0px none; box-sizing: border-box; display: block; margin-left: auto; margin-right: auto; max-width: 100%; text-align: justify;" /></div></div><p class="q-text qu-display--block" style="box-sizing: border-box; margin: 0px 0px 1em; overflow-wrap: anywhere; padding: 0px; text-align: justify; word-break: break-word;"><span style="background-attachment: initial; background-clip: initial; background-color: #990000; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-style: italic;"><span style="background-color: #990000; color: #f3f3f3; font-family: georgia;">Alfons Mucha - Slavic Epic / Initiation of Slavic Liturgy</span></span></p><p class="q-text qu-display--block" style="box-sizing: border-box; margin: 0px 0px 1em; overflow-wrap: anywhere; padding: 0px; text-align: justify; word-break: break-word;"><span style="background-color: #990000; color: #f3f3f3; font-family: georgia;"><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">One of the most important Czech painters ever is </span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-weight: bold;">František Kupka</span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"> (1871-1957). He is considered a pioneer of abstract art, influencing subtantially all modern painting movements. His geometric abstraction concept is called “orphism”. He expresses a musical rhythm through the motion of a colored line or the dynamic gradation of colored areas. František Kupka started as realistic painter and his abstract art arose gradually from that base. The most inspirational are “Amorpha: Fugue in Two Colours” in several versions and “Warm Chromatics”, works which were of fundamental importance for the birth of abstract art, “Amorpha” is considered the milestone of it. The painter completely abandoned the traditional world of figures and objects (in the spirit of "the role of artist is not to depict what we already see, but its invisible substance") and set out into the unexplored unknown, where the leading role is played only by colours, their strength and shapes, movement, mutual relations, harmony and composition.</span></span></p><div class="q-box" style="box-sizing: border-box; filter: blur(0px); margin-bottom: 1em; transition-duration: 1s; transition-property: undefined; transition-timing-function: ease-out;"><img class="q-image qu-display--block qu-borderRadius--small" src="https://qph.fs.quoracdn.net/main-qimg-26665bc86ab9a517e0255f1cf82da17e" style="animation-duration: 0.001s; animation-name: insQ_100; border-radius: 3px; border: 0px none; box-sizing: border-box; display: block; margin-left: auto; margin-right: auto; max-width: 100%; text-align: justify;" /></div><div class="q-box" style="box-sizing: border-box; filter: blur(0px); margin-bottom: 1em; transition-duration: 1s; transition-property: undefined; transition-timing-function: ease-out;"><img class="q-image qu-display--block qu-borderRadius--small" src="https://qph.fs.quoracdn.net/main-qimg-06885f61cf4328031eab523754db5c03" style="animation-duration: 0.001s; animation-name: insQ_100; border-radius: 3px; border: 0px none; box-sizing: border-box; display: block; margin-left: auto; margin-right: auto; max-width: 100%; text-align: justify;" /></div><div class="q-box" style="box-sizing: border-box; filter: blur(0px); margin-bottom: 1em; transition-duration: 1s; transition-property: undefined; transition-timing-function: ease-out;"><img class="q-image qu-display--block qu-borderRadius--small" src="https://qph.fs.quoracdn.net/main-qimg-74bc4b7b9c584fb871b9907fa224f363" style="animation-duration: 0.001s; animation-name: insQ_100; border-radius: 3px; border: 0px none; box-sizing: border-box; display: block; margin-left: auto; margin-right: auto; max-width: 100%; text-align: justify;" /></div><p class="q-text qu-display--block" style="box-sizing: border-box; margin: 0px 0px 1em; overflow-wrap: anywhere; padding: 0px; text-align: justify; word-break: break-word;"><span style="background-attachment: initial; background-clip: initial; background-color: #990000; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-style: italic;"><span style="background-color: #990000; color: #f3f3f3; font-family: georgia;">František Kupka</span></span></p><p class="q-text qu-display--block" style="box-sizing: border-box; margin: 0px 0px 1em; overflow-wrap: anywhere; padding: 0px; text-align: justify; word-break: break-word;"><span style="background-color: #990000; color: #f3f3f3; font-family: georgia;"><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">Expressionism and Cuboexpressionism is associated in Czechia with </span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-weight: bold;">Bohumil Kubišta</span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">, passionate exponent of modern art, building on his deep knowledge of optics and the physiology of vision, which he then applied and </span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-weight: bold;">Antonín Procházka</span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">'s distinctive work based on a feeling for beautiful painting material using old techniques of encaustic. Czech Cubism is represented by </span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-weight: bold;">Emil Filla</span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">, who's work contains a strong reflection on both military conflicts and </span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-weight: bold;">Josef Čapek</span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">, consisting of deep social feeling and humanism. Important modern-feeling landscape painters of the interwar period included Rudolf Kremlička, Václav Špála and already mentioned Jan Zrzavý. In addition to the world-famous personalities abstract painting in this period devoted several painters, for example, Vojtěch Preissig and František Foltýn.</span></span></p><div class="q-box" style="box-sizing: border-box; filter: blur(0px); margin-bottom: 1em; transition-duration: 1s; transition-property: undefined; transition-timing-function: ease-out;"><img class="q-image qu-display--block qu-borderRadius--small" src="https://qph.fs.quoracdn.net/main-qimg-ceee9c896bed42d3cffc5bb453c5ed59" style="animation-duration: 0.001s; animation-name: insQ_100; border-radius: 3px; border: 0px none; box-sizing: border-box; display: block; margin-left: auto; margin-right: auto; max-width: 100%; text-align: justify;" /></div><p class="q-text qu-display--block" style="box-sizing: border-box; margin: 0px 0px 1em; overflow-wrap: anywhere; padding: 0px; text-align: justify; word-break: break-word;"><span style="background-attachment: initial; background-clip: initial; background-color: #990000; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-style: italic;"><span style="background-color: #990000; color: #f3f3f3; font-family: georgia;">Bohumil Kubišta</span></span></p><div class="q-box" style="box-sizing: border-box; filter: blur(0px); margin-bottom: 1em; transition-duration: 1s; transition-property: undefined; transition-timing-function: ease-out;"><img class="q-image qu-display--block qu-borderRadius--small" src="https://qph.fs.quoracdn.net/main-qimg-05348c6040936c7b9c4f7728a8d6d50e" style="animation-duration: 0.001s; animation-name: insQ_100; border-radius: 3px; border: 0px none; box-sizing: border-box; display: block; margin-left: auto; margin-right: auto; max-width: 100%; text-align: justify;" /></div><p class="q-text qu-display--block" style="box-sizing: border-box; margin: 0px 0px 1em; overflow-wrap: anywhere; padding: 0px; text-align: justify; word-break: break-word;"><span style="background-attachment: initial; background-clip: initial; background-color: #990000; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-style: italic;"><span style="background-color: #990000; color: #f3f3f3; font-family: georgia;">Antonín Procházka</span></span></p><div class="q-box" style="box-sizing: border-box; filter: blur(0px); margin-bottom: 1em; transition-duration: 1s; transition-property: undefined; transition-timing-function: ease-out;"><img class="q-image qu-display--block qu-borderRadius--small" src="https://qph.fs.quoracdn.net/main-qimg-259d051bda3727d952d3b837e78826b4" style="animation-duration: 0.001s; animation-name: insQ_100; border-radius: 3px; border: 0px none; box-sizing: border-box; display: block; margin-left: auto; margin-right: auto; max-width: 100%; text-align: justify;" /></div><p class="q-text qu-display--block" style="box-sizing: border-box; margin: 0px 0px 1em; overflow-wrap: anywhere; padding: 0px; text-align: justify; word-break: break-word;"><span style="background-attachment: initial; background-clip: initial; background-color: #990000; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-style: italic;"><span style="background-color: #990000; color: #f3f3f3; font-family: georgia;">Josef Čapek</span></span></p><div class="q-box" style="box-sizing: border-box; filter: blur(0px); margin-bottom: 1em; transition-duration: 1s; transition-property: undefined; transition-timing-function: ease-out;"><img class="q-image qu-display--block qu-borderRadius--small" src="https://qph.fs.quoracdn.net/main-qimg-d7d6574562910ef3f2eea6db2b724993" style="animation-duration: 0.001s; animation-name: insQ_100; border-radius: 3px; border: 0px none; box-sizing: border-box; display: block; margin-left: auto; margin-right: auto; max-width: 100%; text-align: justify;" /></div><p class="q-text qu-display--block" style="box-sizing: border-box; margin: 0px 0px 1em; overflow-wrap: anywhere; padding: 0px; text-align: justify; word-break: break-word;"><span style="background-attachment: initial; background-clip: initial; background-color: #990000; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-style: italic;"><span style="background-color: #990000; color: #f3f3f3; font-family: georgia;">Emil Filla</span></span></p><p class="q-text qu-display--block" style="box-sizing: border-box; margin: 0px 0px 1em; overflow-wrap: anywhere; padding: 0px; text-align: justify; word-break: break-word;"><span style="background-color: #990000; color: #f3f3f3; font-family: georgia;"><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">Czech surrealism is conjoined with painter, poet, editor, photographer, and graphic artist </span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-weight: bold;">Jindřich Štyrský</span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">, </span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-weight: bold;">Toyen</span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"> (originally Marie Čermínová), who was a key figure in the surrealist avant-garde European art format with a great imagination of ghostly landscapes and </span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-weight: bold;">Josef Šíma</span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">. His pictures introduce us to a mysterious stillness where rocks transform into living beings, floating weightlessly, while inanimate things generally take on human form. Another important painter, who initially created a new pictorial reality in the form of Lyrical Cubism, also later involved strong surrealist elements in his work was</span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-weight: bold;"> František Muzika</span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">.</span></span></p><div class="q-box" style="box-sizing: border-box; filter: blur(0px); margin-bottom: 1em; transition-duration: 1s; transition-property: undefined; transition-timing-function: ease-out;"><img class="q-image qu-display--block qu-borderRadius--small" src="https://qph.fs.quoracdn.net/main-qimg-5e2b0f3fbb7c9c17086b8f21a6d44e0e" style="animation-duration: 0.001s; animation-name: insQ_100; border-radius: 3px; border: 0px none; box-sizing: border-box; display: block; margin-left: auto; margin-right: auto; max-width: 100%; text-align: justify;" /></div><p class="q-text qu-display--block" style="box-sizing: border-box; margin: 0px 0px 1em; overflow-wrap: anywhere; padding: 0px; text-align: justify; word-break: break-word;"><span style="background-attachment: initial; background-clip: initial; background-color: #990000; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-style: italic;"><span style="background-color: #990000; color: #f3f3f3; font-family: georgia;">Jindřich Štyrský</span></span></p><div class="CssComponent-sc-1oskqb9-0 QTextImage___StyledCssComponent-sc-1yi3aau-0 ilDNcJ"><div class="q-box unzoomed" style="box-sizing: border-box; cursor: -webkit-zoom-in; filter: blur(0px); margin-bottom: 1em;"><img class="q-image qu-display--block qu-borderRadius--small" src="https://qph.fs.quoracdn.net/main-qimg-92e36dfb9980805066ce40d7de11b903.webp" style="animation-duration: 0.001s; animation-name: insQ_100; border-radius: 3px; border: 0px none; box-sizing: border-box; display: block; margin-left: auto; margin-right: auto; max-width: 100%; text-align: justify;" /></div></div><p class="q-text qu-display--block" style="box-sizing: border-box; margin: 0px 0px 1em; overflow-wrap: anywhere; padding: 0px; text-align: justify; word-break: break-word;"><span style="background-attachment: initial; background-clip: initial; background-color: #990000; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-style: italic;"><span style="background-color: #990000; color: #f3f3f3; font-family: georgia;">Toyen</span></span></p><div class="q-box" style="box-sizing: border-box; filter: blur(0px); margin-bottom: 1em; transition-duration: 1s; transition-property: undefined; transition-timing-function: ease-out;"><img class="q-image qu-display--block qu-borderRadius--small" src="https://qph.fs.quoracdn.net/main-qimg-e1c41a8dcc84713a1762b9d406e27e8d" style="animation-duration: 0.001s; animation-name: insQ_100; border-radius: 3px; border: 0px none; box-sizing: border-box; display: block; margin-left: auto; margin-right: auto; max-width: 100%; text-align: justify;" /></div><div class="q-box" style="box-sizing: border-box; filter: blur(0px); margin-bottom: 1em; transition-duration: 1s; transition-property: undefined; transition-timing-function: ease-out;"><img class="q-image qu-display--block qu-borderRadius--small" src="https://qph.fs.quoracdn.net/main-qimg-fab24faa01173fce150b50a32c5dc322" style="animation-duration: 0.001s; animation-name: insQ_100; border-radius: 3px; border: 0px none; box-sizing: border-box; display: block; margin-left: auto; margin-right: auto; max-width: 100%; text-align: justify;" /></div><p class="q-text qu-display--block" style="box-sizing: border-box; margin: 0px 0px 1em; overflow-wrap: anywhere; padding: 0px; text-align: justify; word-break: break-word;"><span style="background-attachment: initial; background-clip: initial; background-color: #990000; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-style: italic;"><span style="background-color: #990000; color: #f3f3f3; font-family: georgia;">František Muzika - Larvae</span></span></p><p class="q-text qu-display--block" style="box-sizing: border-box; margin: 0px 0px 1em; overflow-wrap: anywhere; padding: 0px; text-align: justify; word-break: break-word;"><span style="background-color: #990000; color: #f3f3f3; font-family: georgia;"><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">Global vision of destruction was encoded into the program of surrealistic group Ra. Its work was the most imaginative line of the Czech pre-war art, conjoined with names Václav Tikal, Bohdan Lacina and </span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-weight: bold;">Josef Istler</span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">.</span></span></p><div class="CssComponent-sc-1oskqb9-0 QTextImage___StyledCssComponent-sc-1yi3aau-0 ilDNcJ"><div class="q-box unzoomed" style="box-sizing: border-box; cursor: -webkit-zoom-in; filter: blur(0px); margin-bottom: 1em;"><img class="q-image qu-display--block qu-borderRadius--small" src="https://qph.fs.quoracdn.net/main-qimg-42146f6450fbaafb0d30c59c08975f6a" style="animation-duration: 0.001s; animation-name: insQ_100; border-radius: 3px; border: 0px none; box-sizing: border-box; display: block; margin-left: auto; margin-right: auto; max-width: 100%; text-align: justify;" /></div></div><p class="q-text qu-display--block" style="box-sizing: border-box; margin: 0px 0px 1em; overflow-wrap: anywhere; padding: 0px; text-align: justify; word-break: break-word;"><span style="background-attachment: initial; background-clip: initial; background-color: #990000; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-style: italic;"><span style="background-color: #990000; color: #f3f3f3; font-family: georgia;">Josef Istler - Obraz 1947</span></span></p><p class="q-text qu-display--block" style="box-sizing: border-box; margin: 0px 0px 1em; overflow-wrap: anywhere; padding: 0px; text-align: justify; word-break: break-word;"><span style="background-attachment: initial; background-clip: initial; background-color: #990000; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"><span style="background-color: #990000; color: #f3f3f3; font-family: georgia;">World War II affected the nature of Czech art and caused a tendency toward experimentation in the new humanist subjects. Artists had to encrypt symbols because they were addressing a state of existential distress. After the Communist coup in 1948 the role and position of art became similar.</span></span></p><p class="q-text qu-display--block" style="box-sizing: border-box; margin: 0px 0px 1em; overflow-wrap: anywhere; padding: 0px; text-align: justify; word-break: break-word;"><span style="background-attachment: initial; background-clip: initial; background-color: #990000; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"><span style="background-color: #990000; color: #f3f3f3; font-family: georgia;">The effort of Group 42 (František Gross, Kamil Lhoták, Jan Kotik) to depict the role of man in modern civilization, which changes into a mere machine and steals his uniqueness. This group was mainly influenced by civilism, cubism, futurism, constructivism, and a bit by surrealism. There is typical an obvious and characteristic enchantment by technology, evident in frequent focus on cities, factories, industry, and machines with human characters of common townspeople. The group was established during war in 1942 and its activity ceased in 1948, but its influence on the Czech literature and the Czech art was still evident in further years.</span></span></p><p class="q-text qu-display--block" style="box-sizing: border-box; margin: 0px 0px 1em; overflow-wrap: anywhere; padding: 0px; text-align: justify; word-break: break-word;"><span style="background-color: #990000; color: #f3f3f3; font-family: georgia;"><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">In post-war art, however during 1950's hidden because of strong pressure of communist regime on artists to produce so called socialistic realism, they appeared several artists in Czechia, whose work was unique, but they became more known only in sixties, when political situation in the country allowed some kind of artistic freedom. Key figures of the Czech post-war art are </span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-weight: bold;">Vladimír Boudník</span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">, a representative of the "explosionism" movement with active structural graphic art and</span></span></p><div class="q-box" style="box-sizing: border-box; filter: blur(0px); margin-bottom: 1em; transition-duration: 1s; transition-property: undefined; transition-timing-function: ease-out;"><img class="q-image qu-display--block qu-borderRadius--small" src="https://qph.fs.quoracdn.net/main-qimg-a3f82724def4d71215d081fe7093effe" style="animation-duration: 0.001s; animation-name: insQ_100; border-radius: 3px; border: 0px none; box-sizing: border-box; display: block; margin-left: auto; margin-right: auto; max-width: 100%; text-align: justify;" /></div><p class="q-text qu-display--block" style="box-sizing: border-box; margin: 0px 0px 1em; overflow-wrap: anywhere; padding: 0px; text-align: justify; word-break: break-word;"><span style="background-color: #990000; color: #f3f3f3; font-family: georgia;"><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-weight: bold;">Mikuláš Medek</span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">, the most important Czech painter of post-war art in my opinion, starting with surrealistic influence, but gradually creating original symbolism of abstract sign systems with special shapes and colour language as metaphors for human existence in its tragic, picturesque and painful reality, but intensely thirsting for meaningful dimensions. Intense mystical expression, internal consistency, authenticity of the message, powerful spiritual energy radiating from his paintings, represent one of the most important and most original personalities of not only Czech, but also 20th Century painters. His artistic independence and spiritual dimensions were finely expressed, even during the Communist regime in this country, at a time of implacable hostility towards modern art and free thinking. More about this painter in my article at</span></span></p><p class="q-text qu-display--block" style="box-sizing: border-box; margin: 0px 0px 1em; overflow-wrap: anywhere; padding: 0px; text-align: justify; word-break: break-word;"><span class="q-inline" style="box-sizing: border-box; display: inline;"><span style="color: #f3f3f3; font-family: georgia;"><a class="q-box qu-cursor--pointer qu-hover--textDecoration--underline Link___StyledBox-t2xg9c-0 cmCJCf" href="https://vladimirhirsch.blogspot.com/2014/02/mikukas-medek-metaphysical.html" rel="noopener nofollow" style="-webkit-tap-highlight-color: rgba(24, 24, 24, 0.6); background-attachment: initial; background-clip: initial; background-color: #990000; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border-radius: inherit; box-sizing: border-box; cursor: pointer; outline-offset: 0px; text-decoration-line: none;" target="_blank" title="vladimirhirsch.blogspot.com">Mikuláš Medek: Metaphysical transformation of Pain</a></span></span></p><p class="q-text qu-display--block" style="box-sizing: border-box; margin: 0px 0px 1em; overflow-wrap: anywhere; padding: 0px; text-align: justify; word-break: break-word;"><span class="q-inline" style="box-sizing: border-box; display: inline;"><span style="font-family: georgia;"><span class="q-inlineBlock qu-verticalAlign--text-bottom" name="ExternalLink" style="background-color: #990000; box-sizing: border-box; display: inline-block; flex-shrink: 0; height: 16px; line-height: 0; margin-left: 2px; vertical-align: text-bottom; width: 16px;" width="16px"><span class="CssComponent__CssInlineComponent-sc-1oskqb9-1 Icon___StyledCssInlineComponent-sc-11tmcw7-0 jINef" style="-webkit-box-align: center; -webkit-box-pack: center; align-items: center; color: #f3f3f3; display: inline-flex; height: 16px; justify-content: center; width: 16px;"></span></span></span></span></p><div class="q-box" style="box-sizing: border-box; filter: blur(0px); margin-bottom: 1em; transition-duration: 1s; transition-property: undefined; transition-timing-function: ease-out;"><img class="q-image qu-display--block qu-borderRadius--small" src="https://qph.fs.quoracdn.net/main-qimg-70cf5c5eb6ca44ccfb124232122ea924" style="animation-duration: 0.001s; animation-name: insQ_100; border-radius: 3px; border: 0px none; box-sizing: border-box; display: block; margin-left: auto; margin-right: auto; max-width: 100%; text-align: justify;" /></div><p class="q-text qu-display--block" style="box-sizing: border-box; margin: 0px 0px 1em; overflow-wrap: anywhere; padding: 0px; text-align: justify; word-break: break-word;"><span style="background-attachment: initial; background-clip: initial; background-color: #990000; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-style: italic;"><span style="background-color: #990000; color: #f3f3f3; font-family: georgia;">Mikuláš Medek - The head sleeping an imperialist dream.</span></span></p><div class="q-box" style="box-sizing: border-box; filter: blur(0px); margin-bottom: 1em; transition-duration: 1s; transition-property: undefined; transition-timing-function: ease-out;"><img class="q-image qu-display--block qu-borderRadius--small" src="https://qph.fs.quoracdn.net/main-qimg-d02f973af54bc7ff1a2ebaa799b3d2f2" style="animation-duration: 0.001s; animation-name: insQ_100; border-radius: 3px; border: 0px none; box-sizing: border-box; display: block; margin-left: auto; margin-right: auto; max-width: 100%; text-align: justify;" /></div><p class="q-text qu-display--block" style="box-sizing: border-box; margin: 0px 0px 1em; overflow-wrap: anywhere; padding: 0px; text-align: justify; word-break: break-word;"><span style="background-attachment: initial; background-clip: initial; background-color: #990000; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-style: italic;"><span style="background-color: #990000; color: #f3f3f3; font-family: georgia;">Mikuláš Medek - from the period of “preparad images"</span></span></p><div class="CssComponent-sc-1oskqb9-0 QTextImage___StyledCssComponent-sc-1yi3aau-0 ilDNcJ"><div class="q-box unzoomed" style="box-sizing: border-box; cursor: -webkit-zoom-in; filter: blur(0px); margin-bottom: 1em;"><img class="q-image qu-display--block qu-borderRadius--small" src="https://qph.fs.quoracdn.net/main-qimg-eb9799b4d85c7c9ee02f9ca7f2a9a13c.webp" style="animation-duration: 0.001s; animation-name: insQ_100; border-radius: 3px; border: 0px none; box-sizing: border-box; display: block; margin-left: auto; margin-right: auto; max-width: 100%; text-align: justify;" /></div></div><p class="q-text qu-display--block" style="box-sizing: border-box; margin: 0px 0px 1em; overflow-wrap: anywhere; padding: 0px; text-align: justify; word-break: break-word;"><span style="background-attachment: initial; background-clip: initial; background-color: #990000; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"><span style="background-color: #990000; color: #f3f3f3; font-family: georgia;">Mikuláš Medek: Head - Lamp</span></span></p><p class="q-text qu-display--block" style="box-sizing: border-box; margin: 0px 0px 1em; overflow-wrap: anywhere; padding: 0px; text-align: justify; word-break: break-word;"><span style="background-color: #990000; color: #f3f3f3; font-family: georgia;"><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">Other important painters oriented in spirituality and mysticism in the huge critic relation to the state of human during communist times are </span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-weight: bold;">Bohuslav Reynek</span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"> and </span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-weight: bold;">Josef Jíra</span><span style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">.</span></span></p><div class="q-box" style="box-sizing: border-box; filter: blur(0px); margin-bottom: 1em; transition-duration: 1s; transition-property: undefined; transition-timing-function: ease-out;"><img class="q-image qu-display--block qu-borderRadius--small" src="https://qph.fs.quoracdn.net/main-qimg-41ed17597f8ede66d0c5f16b9151660e" style="animation-duration: 0.001s; animation-name: insQ_100; border-radius: 3px; border: 0px none; box-sizing: border-box; display: block; margin-left: auto; margin-right: auto; max-width: 100%; text-align: justify;" /></div><p class="q-text qu-display--block" style="box-sizing: border-box; margin: 0px 0px 1em; overflow-wrap: anywhere; padding: 0px; text-align: justify; word-break: break-word;"><span style="background-attachment: initial; background-clip: initial; background-color: #990000; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"><span style="background-color: #990000; color: #f3f3f3; font-family: georgia;">To the most interesting works of contemporary artists belong drawings and paintings of Vladimír Kokolia, predominantly from eighties and beginning of nineties, some kind of caricature of contemporary human, but it is not only mockery or parody of the dark sides of humanity, is a genuine existential distress, featured by masterful shortcut into a categorical imperative.</span></span></p><div class="q-box" style="box-sizing: border-box; filter: blur(0px); margin-bottom: 1em; transition-duration: 1s; transition-property: undefined; transition-timing-function: ease-out;"><img class="q-image qu-display--block qu-borderRadius--small" src="https://qph.fs.quoracdn.net/main-qimg-e96703ffa2c951941b8342ba4e261c04" style="animation-duration: 0.001s; animation-name: insQ_100; border-radius: 3px; border: 0px none; box-sizing: border-box; display: block; margin-left: auto; margin-right: auto; max-width: 100%; text-align: justify;" /></div><p class="q-text qu-display--block" style="box-sizing: border-box; margin: 0px; overflow-wrap: anywhere; padding: 0px; text-align: justify; word-break: break-word;"><span style="background-attachment: initial; background-clip: initial; background-color: #990000; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-style: italic;"><span style="background-color: #990000; color: #f3f3f3; font-family: georgia;">(the extract of the article about Czech painting and sculpture)</span></span></p></blockquote><p><br /></p><blockquote style="border: none; margin: 0 0 0 40px; padding: 0px;"><p style="text-align: right;"><i>Vladimír Hirsch </i></p></blockquote><p class="q-text qu-display--block" style="box-sizing: border-box; direction: ltr; margin: 0px 0px 1em; overflow-wrap: anywhere; padding: 0px; text-align: justify; word-break: break-word;"><span class="q-inline" style="box-sizing: border-box; display: inline;"><span style="font-family: georgia;"><span class="q-inlineBlock qu-verticalAlign--text-bottom" name="ExternalLink" style="box-sizing: border-box; display: inline-block; flex-shrink: 0; height: 16px; line-height: 0; margin-left: 2px; vertical-align: text-bottom; width: 16px;" width="16px"><span class="CssComponent__CssInlineComponent-sc-1oskqb9-1 Icon___StyledCssInlineComponent-sc-11tmcw7-0 jINef" style="-webkit-box-align: center; -webkit-box-pack: center; align-items: center; display: inline-flex; height: 16px; justify-content: center; width: 16px;"><svg height="24px" viewbox="0 0 24 24" width="24px"><g class="icon_svg-stroke" fill-rule="evenodd" fill="none" id="external_link" stroke-linecap="round" stroke-linejoin="round" stroke-width="1.5" stroke="#666"><polyline points="17 13.5 17 19.5 5 19.5 5 7.5 11 7.5"></polyline><path d="M14,4.5 L20,4.5 L20,10.5 M20,4.5 L11,13.5"></path></g></svg></span></span></span></span></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6601870734888192591.post-33763762406778854042020-10-13T08:41:00.007+02:002020-10-13T08:53:19.989+02:00Why is "Czech" spelled with a "cz" in English, when neither the English nor Czech languages use the letter combination "cz" in native words.<blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"></blockquote><span style="color: #f6e5d8;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; box-sizing: inherit; font-family: georgia; margin: 0px; outline: 0px; padding: 0px; text-align: justify; vertical-align: baseline;"><div style="text-align: justify;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; box-sizing: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">The digraph "cz" comes from the old Czech orthography</span>, typical for West Slavic languages (Czech, Polish), which was <span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; box-sizing: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">later taken over by Latin and from Latin by English (Czech, Czechia) to express pronunciation of /t͡ʃ/ (IPA key)</span>. In Polish is "cz" digraph still used, in modern Czech (since the standardization of modern orthography in 19th century) is substituted by consonant <span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; box-sizing: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">"č"</span> (however it was introduced already at the break of 14th and 15th century), usually denoting the voiceless postalveolar affricate consonant [t͡ʃ] like the English "ch" in the word chocolate. "Č" originated in Czech language, and from it was adopted in Slovak, Croatian, Macedonian, Slovenian, Bosnian, and Montenegrin. It is used also in Latvian and Lithuanian.</div></span><span style="font-family: georgia;"><div style="text-align: justify;"><br /></div></span><span style="font-family: georgia; text-align: justify;"><div style="text-align: justify;">It is necessary to mention, that English Wikipedia wrongly said (and rejected correction for very long time), that “cz” in English came from Polish at the end of 18th century (without any source), which is a nonsense, because in Czech is “cz” documented in the beginning of 2nd millennium and in Latin is “cz” documented already in 16th century (e.g. “Czechia” from 1569 in the Latin preface to the "Musica" of Jan Blahoslav) and this digraph in various forms (adjectives, nationality, name of the country) is very frequent in Latin texts in Baroque period. </div></span><span style="font-family: georgia;"><div style="text-align: justify;"><br /></div></span></span><div style="text-align: left;"><div style="text-align: left;"><span style="color: #f6e5d8;"><span style="font-family: georgia; text-align: justify;">In addition, the first recorded use of a similar (however not correct) name is in English in the word “Czechians” by Peter Heylyn in 1625 in his “Mikrokosmos: A little description of the great world. Augmented and reuised.” (the second edition) on page 298, explicitly referencing Czech sources, including Jan Dubravius: </span><a href="https://quod.lib.umich.edu/e/eebo/a03149.0001.001?node=a03149.0001.001%3AA03149.0001.001&q1=Dubravius&rgn=full%2Btext&submit=Search&type=simple" rel="nofollow noopener" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; box-sizing: inherit; margin: 0px; overflow-wrap: break-word; padding: 0px; text-align: justify; touch-action: manipulation; vertical-align: baseline;" target="_blank"><span style="font-family: georgia;">https://quod.lib.umich.edu/e/eeb...</span></a><span style="font-family: georgia; text-align: justify;"> </span><span style="font-family: georgia; text-align: justify;">, Pavel Stránský in “Respublica Boeiema”, published in the Dutch town Leiden in 1634 or the name of the part no. XXXIII (Act 3) "Aria. Allegro. En duplo sole Czechia" of melodramatic, well known oratorial musical composition Sub olea pacis et palma virtutis conspicua orbi regia Bohemiae Corona – Melodrama de Sancto Wenceslao (Under the olive tree of peace and palm tree of virtue the Crown of Bohemia splendidly shines the whole world – Melodrama of Saint Wenceslas), written by famous Czech Baroque composer Jan Dismas Zelenka in 1723, and many more. </span></span></div><div style="text-align: left;"><span style="color: #eeeeee; font-size: x-small;"><br /></span></div><div style="text-align: center;"><span style="color: #cccccc; font-family: georgia; font-size: x-small;">Jiří Barthold Pontanus of Breitenberk "Hymnorum sacrorum, </span></div><div style="text-align: center;"><span style="color: #cccccc; font-family: georgia; font-size: x-small;">beatissima de Maria Virgine et Patronis S. S. R. Bohaemiae, Libri Tres," </span></div><div style="text-align: center;"><span style="color: #cccccc; font-family: georgia; font-size: x-small;">Introducing the Virgin Mary and the Czech saints issued in Prague in 1602</span></div><div style="text-align: left;"><span style="color: #eeeeee;"><span style="font-family: georgia; text-align: justify;"><br /></span></span></div><div style="text-align: left;"><span style="color: #eeeeee;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-K_oe5g8H7Sk/X4VKr3r4WKI/AAAAAAAAHRs/HZ7LfYJVBtEi3ptb2m_BEjk2oJZG70PjACLcBGAsYHQ/s496/dsi.png" style="margin-left: auto; margin-right: auto;"><img alt="Jiří Barthold Pontanus of Breitenberk "Hymnorum sacrorum, beatissima de Maria Virgine et Patronis S. S. R. Bohaemiae, Libri Tres," Introducing the Virgin Mary and the Czech saints issued in Prague in 1602" border="0" data-original-height="347" data-original-width="496" height="280" src="https://1.bp.blogspot.com/-K_oe5g8H7Sk/X4VKr3r4WKI/AAAAAAAAHRs/HZ7LfYJVBtEi3ptb2m_BEjk2oJZG70PjACLcBGAsYHQ/w400-h280/dsi.png" title="Jiří Barthold Pontanus of Breitenberk "Hymnorum sacrorum, beatissima de Maria Virgine et Patronis S. S. R. Bohaemiae, Libri Tres," Introducing the Virgin Mary and the Czech saints issued in Prague in 1602" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><br /></td></tr></tbody></table><br /><br /><span style="font-family: georgia; text-align: justify;"><br /></span></span></div></div><div><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"></blockquote></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6601870734888192591.post-44642896354742502552020-07-11T10:30:00.011+02:002023-06-05T00:02:52.336+02:00An Attempt at Analysis of Resistance to the Czech State's One-Word Name<div style="text-align: justify;">
One day, almost twenty years after the establishment of the modern Czech state, one of the most active fighters for the one-word name of this country said: „I wonder why such a united front opposes the name Česko and its English version. Just only the English version. We should call a symposium on this subject“. I shared both his astonishment and his exhaustion. Right, the meaning of his question was the rhetorical „Quo usque tandem…..“. Still, I decided to try a possibly thorough analysis of this phenomenon, which is surviving persistently in all layers of Czech society.</div>
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<br /></div><div class="separator" style="clear: both; text-align: justify;"><a href="https://1.bp.blogspot.com/-1nE48qGUtJ8/YQK4CPdcFQI/AAAAAAAAHkM/WcB2qmWqzhsyYl5M1JMe4Uzmw-G3GcKmgCLcBGAsYHQ/s1569/Jm%25C3%25A9na%2Bzem%25C3%25AD%2B%2528typy%2529.PNG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="827" data-original-width="1569" height="287" src="https://1.bp.blogspot.com/-1nE48qGUtJ8/YQK4CPdcFQI/AAAAAAAAHkM/WcB2qmWqzhsyYl5M1JMe4Uzmw-G3GcKmgCLcBGAsYHQ/w546-h287/Jm%25C3%25A9na%2Bzem%25C3%25AD%2B%2528typy%2529.PNG" width="546" /></a></div><br />
<div style="text-align: justify;"><b>I. Reasons</b></div>
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In the beginning, let us examine some facts that fundamentally determine this phenomenon, even if they do not touch it directly and thus escape the standard detection methods. As we know, the attitude of the average Czech to his homeland is more indifferent than other Europeans´ relationship to their own countries. The mentioned characteristic makes the citizen less resistant to external and internal pressures and, consequently, unable to understand (let alone protect) his vital interests. If these statements are correct, we should ask about the reasons for this situation. They are the following:</div>
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1 The historical loss of national self-confidence, a late offspring of the "Munich" complex. Back in September 1938, the lack of courage showed by the state's political representation paralyzed a large part of the nation. As a result of this psychological trauma, the people patiently surrendered to fate, and their morality disintegrated without recovery. This subject deserves a much more detailed analysis, which falls outside the scope of this article. There may be different views on how we should or should not behave at a historically significant moment. Still, one thing is sure: The decision to act so that the majority of the people survive physically, resulted in the downfall of national pride and damaging the people's characters, despite the heroic deeds done by those who did not accept the situation.</div>
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2 The Czechs' high degree of identification with the Czechoslovak State. Few people are aware that the Czech National Revival was essentially all-Slavic. This movement was the intellectual center of the emancipation of Slavic peoples in the Austro-Hungarian monarchy. Therefore, the Czechs spontaneously adopted the feeling that they are "Czecho-Slavic" or "Czecho-Slovak". So, the Czech legions in WW1 called themselves "Czechoslovak," although we could only exceptionally find any Slovak soldiers among them. A similar situation was in the fight with Hungary over Slovakia's southern border in 1919. During the existence of Czechoslovakia, the Czechs usually did not hesitate to call themselves Czechoslovaks, but we could hardly find a similar approach beyond our present-day eastern border. The state was much more Czech than Slovak, and so its break-up affected Czechs much more deeply. We feel the results of this disillusionment up to the present day.</div>
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3 A "flagellant syndrome", which manifested itself in the prominent politicians' activities after the "velvet revolution“. So, for example, the Czech-German declaration in the 1990s, "solving" seemingly after years the problem between Czechs and Germans after WWII: while the German side included the expressions "we admit that..." and "we are aware of..." (six years' terror and genocide in Czechia), the Czech part says humbly and faithfully "we regret" (meaning the crimes committed during the expulsion of the Sudeten Germans after the war). Good from the Czech side, but, the term is not merely a sign of goodwill for Germans: it is a sign of weakness.</div>
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4 Praising and admiring the incompetent multiculturalism as against the precious domestic cultural values which disappeared from people's consciousness. Getting to know one's roots is a necessary step to universal values and cannot be labeled as nationalistic. The universally proclaimed cosmopolitanism and post-positivism have never worked as a real striving for the world's civil society but as an escape from responsibility for one's environment. Only if we respect our own identity, we become a creative and beneficial part of the world. If not, we join the grey average and fall into oblivion. Still, from the viewpoint of the "citizens of the world", the feeling of being a Czech is a sort of naive, faded junk that turned into a social faux-pas.</div><div style="text-align: justify;"><br /></div>
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5 A complete departure of foreign policy from the traditional friendly relations and bonds which had inspired the international respect for our country. As we have already mentioned, it was in the 19th century that the Czechs constituted the intellectual center of the Slavic nations´ striving for emancipation. During the twenty years´ existence of the modern state, we managed to bury forever the remnants of these traditions (the official recognition of Kosovo, among others). We presented ourselves as opportunists who refuse to learn not only from negative but - beyond common sense - even from positive experiences of our past. Metaphorically, the foreign policy of the modern Czech state is the policy of a paper-boat captain on Victoria's waterfall. To put it bluntly, there is no foreign policy, there is merely servility to the powers; the only difference from the previous (communist) practice lies in the direction of its vector to one or the other cardinal points.</div>
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6 The tragic level of education and information sources in general. The schools and the media often ignore or discredit historical and cultural milestones, personalities, and events on which a citizen could authentically build his national pride. On the contrary, education in this country resembles something like instruction in the inferiority complex. The media, nowadays a universal source of knowledge, play a significant role in this process. They find support in the current quasi-critical historiography, which emphasizes historical antagonisms and does not help the citizen to come to terms with the country's history.</div><div style="text-align: justify;"><br /></div>
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As a result, national pride is mostly present when the "Czech Republic" wins a sports championship, and it lasts as long as the proud citizen gets sober and returns to everyday reality. This sort of patriotism manifests itself by the fans' jumping and shouting, "Češi, do toho!" - "Czechs, ahead!" One would expect the name of the country instead, but the Czech Republic is too long to chant, the acronym CR a bit weird, and Česko? No, the Czechs do not like it. Why? The answer is obvious: Because they subconsciously feel as if something were missing. Moreover, people do not know the real reason for their frustration and intuitive disagreement with the name. Therefore they invent arguments against its (nonexistent) linguistic and aesthetic weakness.</div>
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<b>II. The problem "Česko"</b></div>
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We are finally getting to the core of the matter: Why is the name "Cesko" and the English equivalent Czechia to so many people so difficult to adopt? What is wrong with them? Is there anything missing?</div>
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1 The citizen misses some visible and audible element of dignity and respectability in the name. Therefore he is so keen on using the word "republic" as if it were a magic wand that can provide the country with noble and distinguished character. "Česko" seems too short, and hardly worthy of notice. Where does the feeling come from? It is easy to guess: "Slovensko" is missing. The division and shortening of the name make one think of the loss of the territory, which the Czechs have never put up with. Therefore the young people, free from the weight of the past, would have no problem with "Česko" unless their teachers insisted on "Česká republika."</div><div style="text-align: justify;"><br /></div>
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2 Aesthetic euphony is another necessary quality in which the name Česko is lacking, says the general public. Some poets and writers (more or less competent) specify the complaint: “Česko sounds hard and hissing, it has not the poetic charm which is so typical of our language and country!” Sadly, they do not bring any proposal, what the name should look like. Instead, they prefer the Republic – a word whose “poetic character” might fascinate, at best, an author of ministerial circulars. In any case, a country's name is one of the terms that require accuracy of meaning, not a superficial likableness. The opponents also ignore the fact that other countries´ names originated by a similar word-formative process; maybe they think “the others” do not have to sound beautiful.</div>
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3 Not universal but frequent is the Moravian complaint about neglecting the eastern part of the country in the state's name. The criticism does not include any proposal but only the erroneous idea that Česko is identical to Čechy. (In English, the names Czechia and Bohemia are not alike, so the confusion does not occur.) Surprisingly, the title Česká republika is acceptable. This longer name seems to substitute the traditional non-official expression “české země” (the Czech lands). We asked the Moravian movement representatives directly, why they reject Česko and accept Česká republika, but we only received an evasive answer. If I were a “moravist,” I would not be satisfied; from their point of view, the only solution would be “Čechy a Morava” (“Bohemia and Moravia”), as it was under the Protectorate.The former state´s name Československo (Česko-Slovensko in 1918) did not include Moravia, either. Why they do not mind this „omission“is a mystery.</div>
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4 Finally, let us mention a marginal fake argument about the “wrong” spelling of Česko. It should be written as “Češsko” demanded the opponents, claiming wrongly, that the name of the country is derived from the names of its inhabitants (Čech, Češka). It was easy for linguists to disprove the claim because the names of the country are derived in Czech language from the adjective form (český - Česko, slovenský - Slovensko, polský - Polsko etc.). The form "češský" has never existed.</div>
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Do the principal reasons for rejecting „Česko“ come from a curious remnant of national pride? Certainly not. In the first case, it is resentiment; in second one, the citizen wishes to present his homeland as a „paradise on earth,“ as the national anthem has it. A genuine patriot would adopt a name that reflects the country´s historical and cultural development. Political attributes limit the name's validity. „Česká republika“ is the title of the current state-political formation in the country and society. It does not cover the 1100 years´ statehood of the territory. Sadly, few people worry about it. So we witness tragicomic phenomena, such as a renowned historian´s wording „působení Cyrila a Metoděje v České republice“ („the activities of Cyril and Methodius in the Czech Republic“ - 863 AD!!!! and many other nonsenses arising from wrong universal use of the current political name. </div>
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We have listed some principal reasons for rejecting the name Česko. Now let us examine why the word “republic” meets with approval and favor. Here are some of the reasons:</div>
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1 A “republican” tradition developed due to the establishment of the new Czechoslovak state in 1918. The term “republika” indicated people's pride in independence and freedom and became accepted usage. The following decades brought many historical and political changes; accordingly, the state´s name was changing. If we do not mention the degrading period of the Protectorate, there were the attributes Czechoslovak, Czechoslovak Socialist, Czech and Slovak Federal, and finally Czech; the only permanent element was the Republic. This fact may be a reason for mechanical clinging to this word. To some extent, it is understandable.</div><div style="text-align: justify;"><br /></div>
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2 A remnant from the communist era, when it was a routine to use only the state titles. In this way, the “Peace Camp” members differed from the others at first sight. Naturally, the primary purpose was to pretend that these states were governed on the “res publica” (“public affairs”) principle. Thus the media articles and news were teeming with People´s, People´s -Democratic, and Socialist Republics. Since the complete titles of states would need almost more space than the message proper, the writers and speakers used acronyms, such as (in Czech spelling) SSSR, ČSSR, ČSR, SSR, MLR, PLR, NDR, ČLR. A remnant of them is the frequent ČR, or in transcription CR (which makes the confusion even funnier because CR is the ISO code of Costa Rica).</div>
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3 Many years' everyday excessive use of the word “republic”, even in small talk, makes people take it for a part of the country's proper name. The Republic means nothing else than a type of political management. Many people get astonished or excited when we alert them to the problem.We can call a person by name, or we can also mention his/her social or professional position. Sometimes we have to cite both, another time it may be highly inappropriate. We can tell the difference in everyday life. However, we fail to distinguish when the state's name is concerned. As if there were only „the accountant Mr. Karásek“, but no „Mr. Karásek“. We can imagine embarrassing and funny situations concerning Mr. Karásek's introduction; concerning the country's name, fun disappears, embarrassment and faux-pas remain. </div>
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<b>III. The problem "Czechia"</b></div>
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How easy and logical presentation proposal (of course, rejected by institutions responsible for it) - using unversally applicable, timeless name of our country. The reasons for rejecting „Česko“ are self-evident. Still, the name makes progress and we can assume that it will eventually become accepted usage because there is no other choice. On the other hand, why is there a similarly strong resistance against the English equivalent „Czechia“? Why does a citizen oppose it so vehemently, even if his knowledge of English may be poor or zero?</div>
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Having created the „problem Česko,“ the Czechs transferred it automatically in the „problem Czechia.“ Why just in the English equivalent? A vast majority of the population have no idea about the natural existence and function of the country's one-word name in other languages (Tchéquie in French, Chequia in Spanish, Cechia in Italian, Chéquia in Portuguese, Tschechien in German, Tjeckien in Swedish, Tsjechië in Dutch, Чехия in Russian, Çekya in Turkish, צ'כיה in Hebrew, etc.). They hardly notice that these names are formed identically or similarly as in English. Even if they saw the fact, they would not care. But English is the universal means of communication in the present-day world; despite poor education in languages, an individual cannot but be aware of it, thus making it most relevant. For this reason, he immediately sees a problem in it, similar to „problem Česko“.</div>
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A rank-and-file citizen can influence the usage of his native language. On the other hand, the English version of the country's one-word name depends on the respective state institutions and organs. Sadly, the persons working there suffer from identical prejudice and errors or even create and spread them. They often use and misuse their power to fight against the one-word name. So, for the most part, it is the Czech political representatives' fault that the name Czechia occurs marginally, and its future is indefinite. Unfortunately, anglophone countries declared in 1993 that the choice of the English name is a matter of our government. It is then the government's fault that Czechia disappeared from the vocabulary of many foreign media and institutions in anglophone territories. In case the Czech side uses the name, the respective institutions repeatedly declared their positive attitude to Czechia. It never happened. On the contrary, "Czechia "was often blocked by Czech ambassadors. So the problem spread to countries that had adopted respective equivalents of "Czechia", which started to prefer the formal political title.</div>
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It was necessary to give some reasons for the negative approach. For this purpose, several myths were invented. They worked sufficiently; the public's dislike of "Czechia“ grows from personal feelings and emotions, and so every reason is welcome, however weak it may be. Since there are no facts to form a basis of the refusal, some distorted information must replace them. The most frequent fake arguments are as follows:</div><div style="text-align: justify;"><br /></div>
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a) a dubious origin of the word</div>
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b) its overall weakness</div>
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c) maybe even an insulting character</div>
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d un-English character</div>
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e) historical inaccuracy</div>
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Medial misinterpretation plays a vital role in the origin of such myths. In the beginning, a respected authority utters a careless, irresponsible, purely subjective comment. The reporters take the words up and adapt them to attract public interest. Next comes an average reader/viewer, who usually has insufficient language knowledge but feels free to profess his opinion. </div><div style="text-align: justify;"><br /></div>
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By far the most cases result from a lack of education and responsibility. An uneducated person is not dangerous because he or she can eventually change his wrong attitude. On the contrary, the genuine enemy of the country´s name Czechia is a half-educated individual. A typical representative of this group is a politician who assumes that his position gives him the right to comment on everything. His self-confidence results from his obsessive urge to feel educated. Therefore he fights against all arguments, however convincing they may be. If he did not, he would admit that there is something he does not know. Since the half-educated (and also unscrupulous) individuals make up a considerable part of this state´s parliament and government, they will respect, parrot, and protect all sorts of stupid opinions and viewpoints. Why? Because, if they did not, they might endanger their own re-election: they depend on voters of a similar character. In this regard, these politicians are extremely sensitive; on the other hand, they neglect the voters´opinion, in their own interests (power and money) are concerned. The false arguments that they use for this purpose penetrate automatically into the public. The resulting vicious circle offers no exit and can only be cut from outside. (That is the aim of our efforts.) We can list the said false arguments in the following order according to their frequency:</div>
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1 The name is of „eastern“ origin and thus denominates something underdeveloped or backward. (Alexander Vondra: “We [who is „we“? - author´s note] don´t want it, it sounds like Russia.“) , Mr. Vondra does not know that „Czechia“ and all similar variants come from Latin, and he is not concerned with its origin. He would hardly say what he said if he knew that the Latin form Czechia or Cechia reaches back to the ear 17th century. Moreover, an average inhabitant, missing reliable mental support, cherishes a mental rescue-crutch: a feeling of superiority over everything that exists to the east of him. It is the other side of his inferiority complex. As far as the names are concerned, he cites, for example, Bulgaria, Latvia, Armenia, but forgets Bohemia, Moravia, Austria, Australia, Slovakia, Slovenia, Columbia, and others. It is one of the unfortunate consequences of the absence of Latin in present-day secondary education.</div>
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Concerning this category, we can mention the (artificially produced) "Chechnya affair". Rumour had it that the names Czechia and Chechnya were similar enough to be confused, and if so, it could damage our tourism. Who would visit a country where a permanent war is going on? In reality, Chechnya not only sounds quite different but also does not constitute an independent state. In the end, the real story emerged: In comments on the Boston marathon bomb attack in 2013, Chechnya was confused with the Czech Republic, not with Czechia. The myth was dead, but it survived in the media and in the heads of its inventors, who never interpreted the Boston story truthfully. In any case, an individual's lousy knowledge of geography is no argument against a government's option for the country's name. There is always someone who confuses cocaine with caffeine, astronomy with agronomy, or, among countries' names, Austria with Australia, Slovakia with Slovenia, but hardly anybody would require a change. By the way, if we were not confused with the incriminated far-away part of Russia but, say, the highly developed Sweden, hardly anybody would complain. This all results from the notion that our country is not sufficiently prominent or respectable on a global scale.</div>
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2 The name lacks respectability (see above the passage "why Republic ") and may even be insulting. Those who share this opinion are not able to explain it. It comes from what we cite under 1) and also from would-be expert claims of some linguists or historians: they say that it is either derived - or directly translated – from the German "Tschechei. " In their opinion, this word is pejorative because Hitler used it, although it had existed long before. The pre-war editions of the German national Brockhaus encyclopedia define it as the standard "name of the western part of Czechoslovakia. "It survives in the vocabulary of border-area inhabitants, who naturally do not feel it as pejorative. After the negotiations with Czech representatives in 1993, the Germans diplomatically opted for "Tschechien“. The respective theorists probably based their proposal on materials from the early stage of the Protectorate when the name "Böhmen und Mähren "was not yet introduced. "Czechia", on the other hand, is 75 years older than Tschechien. In the 1920s-30s, the American media used it as a natural denomination of the Czech state in its historical context.</div>
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3 The name is un-English or sounds „weird“ in English. This opinion also occurs, especially with those opponents who prefer „Czechland“ or „Czechlands. “ Yes, this alternative would sound more natural in English. However, contrary to „Czechia,“ it is an artificial neologism without any historical background. iI cannot „come from nowhere“, unless the English-speaking experts opted for it If they did, we would not object to their request. Some North-American names of non-English (Indian) origin, such as Saskatchewan, Idaho, Kansas, Wyoming, Massachusetts, do not sound English, but everybody uses them. And how about Lithuania, Chile, Zimbabwe? Do they sound natural? They are non-English names of non-English countries, so they do not have to sound natural in English. One more conjecture has appeared in the press: the name Czechia is linguistically wrong because it suggests the pronunciation [che-chi-ya] (chi like „chip“). This false argument is irrelevant. In many words, the written ch sounds k: architect, technic, archive, ache, chimera. Spelling is one thing; the correct pronunciation is another one: it is necessary to learn it. </div>
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4 The name does not correspond with history. Czechia never existed „de facto.“ This claim is the least frequent but the most dangerous. It originates among half-educated intellectuals who feel sufficiently qualified to force their opinions upon the public. They find a breeding ground on anonymous internet databases, such as Wikipedia, where they can modify the content like censors. Almost all of them rank among heart-and-soul bureaucrats. They cannot see a state in its historical and cultural continuity or distinguish between the letter of the law and its spirit. They argue that it is impossible to apply the name Czechia retrospectively to the „Kingdom of Bohemia“ or the „Crown Lands of Bohemia.“ They fail to notice that other states do so routinely; for example, Germany has existed as an integrated state only since 1871. Due to this absurd approach, the mentioned source of information inspires authors to produce absurd deductions as already was demostrated above (Prince Bořivoj and Charles IV. - extracts from a book on Czech history, written in English and based on information from Wikipedia.) Some of Wikipedia´s writers and administrators became aware of this absurdity. After long and thorough deliberation, they replaced this nonsense by another, even worse one: „...now the Czech Republic, previously the Crown Lands of Bohemia consisting primarily of the Kingdom of Bohemia and the Margraviate of Moravia.“ This muddle occurs in many articles dealing with Czech history.</div>
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The protagonists of this creed refuse to accept the following apparent facts:</div>
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1 A simplified term is necessary for a nonprofessional recipient to understand the information; moreover, it is valid generally. Many books had the title „History of Czechoslovakia“ or „Czechoslovak History, “ although none of them covered only the period of the state´s existence, starting in 1918. On the other hand, the first „post-November“ team-work historical synthesis (also published in English) bears the title „A History of the Czech Lands, “ although this collocation has never been the Czech state´s official or political name. The authors did not apply the relevant, correct, and logical title „Dějiny Česka“/“A History of Czechia. “ However, it is a standard way the countries present themselves, even if some periods of their history do not apply the particular name. This sensible method helps the recipient to keep his bearings. We can see the difference when we compare the two headings: „A History of Czechia“ vs. „A History of the Czech Republic. “</div>
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2 Their peculiar interpretation of terms is inconvenient: it baffles the standard recipient and inspires such informational gems as "Prince Bořivoj and Charles IV. "</div>
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3 It is beneficial to offer a clear and transparent definition of our state and its continuity.</div>
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All kinds of information trying to set the myths to the right have insufficient coverage. The chief editors of the most popular media usually reject them; thus, the articles only appear in professional periodicals, on the websites of the Civic initiative Česko/Czechia and on the web of English Wikipedia (where they are systematically deleted by Czech administrators).</div>
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<b>IV. Common Problem</b></div>
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The common problem concerning both Česko and its English equivalent Czechia is the would-be aesthetic assessment, "I do not like the name," declared without any justification. This irrational personal attitude is, by far, the most frequent. It would not be noteworthy if it only occurred with "rank-and-file "citizens. Surprisingly, we find an even higher percentage of this unprofessional approach in persons and institutions responsible for public affairs. The country's geographic name is not a mere object of aesthetic pleasure. First of all, it must serve the state's basic needs. Who else should be aware of this essential request, if not the state's representatives? </div>
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The difference in meaning and function between the Czech state's geographic vs. political name is the core of the matter within its professional sphere. Oddly enough, some persons are unable or unwilling to distinguish, be it on account of ignorance or arrogance. We could hardly imagine a member of Parliament of the French Republic (République française) who would not know that his country, apart from the political title, also can be called France. In our country, however, we often witness the very opposite.</div>
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<b>V. Substitutes</b></div>
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In daily life, the one-word (short, geographic) name is a natural and logical necessity. While the responsible persons or institutions ignore this need, the do-it-yourself public can invent a name. Since the upper circles reject the correct name, the people create a wrong makeshift: a simple (or rather foolish) abbreviation of the political title by omitting the "republic. "The resulting "Czech "works as an adjective, but not as a proper name of the country "Česko." In English, adjectives are never identical with the countries' names. It would be inconvenient, apart from other reasons. It is easy to succumb to the illusion if well-known institutions offer it. We adduce an example from sports: The Czech Olympic Committee and the Czech Ice-Hockey Union placed the wrong form on the sportsmen's outfit; as a result, many other unions believed that it was the adequate equivalent to the word Česko. The Ministry of Education, Youth, and Sports (who distribute hundreds of millions from the state budget to particular sports and mainly to state representation) shared this trend. After long-lasting protests, the unions replaced "Czech "by another, but no less inappropriate inscription "Czech Team. " In vain were the logical objections that the "Czech Team "applies to the national representatives and equally, say, to Sparta Prague or the local Sports Club in Kotěhůlky.</div>
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The brusque „Czech“ survives in the names of many business companies and organizations (for example, Synlab Czech, Toyota Motor Czech, Huyndai Motor Czech, Gillette Czech, and others). It shows lack of knowledge and interest on the part of the corporations but also indifference and disregard on the part of Czech authorities.The gravest harm comes from the the world-renowned Pilsen Prazdroj brewery who have been labelling their export production „Pilsen – Czech“ for more than ten years now; they insist they do not mean the country but an attribute of the product – it is „Czech beer“. True or not, the wording of the message does not prove it. „Czech“ also decorates sports hats and T-shirts, and a variety of tourist souvenirs. This would-be name of the country does not result from anglophone speakers´ usage, as some of its advocates try to make us believe; it is typical „Czenglish“, a genuine product „Made in Czech“ (language). Understandably, its creators´ knowledge of English is low or limited to a narrow field of practical usage. On the other hand, it is alarming that some professionals in the field of English language sometimes accept it.</div>
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Thus it is no wonder that an average citizen takes this erroneous form for the correct translation of "Česko" into English. Contrary to the fuss over "missing euphony and dignity" in the word Česko, the public does not apply aesthetic criteria. People accept the one-syllable, brusque "check "-sound without reservation. Moreover, they use it as a source of would-be witty puns, such as "Czech it out "or the official ( ! ) Czechpoint. According to the law, the state's essential symbols must not be altered or abused; the name is undoubtedly one of them. However, this principle is often infringed even on international occasions, including the Olympic games. Examples: Individual and wilful versions of the name in the media; a sports team wearing T-shirts in the form of flags with reversed color order; heraldic errors in the state's coat of arms; wrong sizes of color parts in the state flag; the fans' ugly attributes made of incredible variants of the state's name, its flag, or coat of arms. All these occur every day.</div>
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The Czech politicians have tried hard to eradicate the country's correct name; they have done nothing to stop spreading garbles. They only wake up from their lethargy when somebody uses the proper form. At that moment, they open a fierce discussion. With a bit of exaggeration, we could interpret their approach: "Treat the country's name as you like, damage it as you wish, every atrocity (Czech Republike, Czech Rep, Team Czech) is permitted; only don't admit the correct title."</div>
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<b>VI. Consequences</b></div>
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Linguistic, historical, and geographical arguments and political and social relations show that the one-word name is necessary and cannot be substituted by the political title. Every avoidance of this necessity leads to verbal and terminological chaos; it reduces the country´s ability to identify itself. This situation harms the state from outside and inside. In domestic politics, it contributes to disunity and dispute. On the international scene, it evokes intuitive doubts about such a unit; the more so because we are the only exception from Europe´s standard and one of four exceptions on a global scale. Symptomatically, our partners are the Dominican Republic, the Central African Republic, and the Democratic Republic of the Congo.</div>
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Česko/Czechia is not a country of considerable prominence, concerning the size, the number of inhabitants, and the actual influence (let alone the long-time political indifference and minimal international activities of its representatives). The country´s image becomes the hazier, the less it can conventionally define itself. This handicap harms all spheres, particularly economics. Stability, reliability, and visibility are necessary for a trademark. The good old brand „Made in Czechoslovakia“ has logically one possible heir: „Made in Czechia“.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><b>VII.Conclusion </b></div>
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We are arriving at the core of the question that we asked at the beginning of this paper: Why does a part of the Czech population (with the political elite at the head) refuse so stubbornly and permanently to solve the issue?</div>
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<div style="text-align: justify;">After years of work in our Civic Initiative, after hundreds of articles, press conferences, requests, appeals (mostly without response), we can give a plain answer: The public does not feel a necessity to appear as a well-established, locally and historically anchored state. Thus, the state´s management takes an opportunistic, inconstant line without a vision and idea, as if the leaders had lost or reversed the essential scale of values. </div>
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Some time ago, the President used the name Czechia in a conversation with a foreign politician. The media faced it as a novelty and opened discussions on the (non-existing) choice „either the political title or the one-word name. “ With only minor exceptions, a vast majority of the renowned authorities showed that they were far from understanding the proper crux of the issue. (Let alone the journalists, the would-be „experts“ in various professions, a crowd of bloggers and internet chatters.) The most contributions to this dump of opinions consisted of vague emotional responses whose authors could not understand WHAT was said and WHO brought up the old problems.</div>
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In an imaginary vote (based on the wrong task „either-or“and resulting in the relation 2-3: 1), we proudly declared that common sense gets a bad deal and that we do not want to have a name. The future will show the consequences. The vital issue is more profound and broader than our ignorance of the problem in its linguistic, historical geographic and political context; it is the fact that we do not feel the necessity of possessing a permanent value. Because, if we did, we could easily understand the partial attributes of the matter. </div>
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Vladimír Hirsch (2013)</div>
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Translation: Eva Horová</div><div style="text-align: right;"><br /></div><div style="text-align: right;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhS2KjVmZ6Gk6Hw-e9o8Rj9knkVF5W5PfMf3RNv94DKc_lqcotfQ49zOoZMa9z0i3b5uMmxYaJfNw7OSL22DQzn-OMccVCdouCZPw_TdVv7W55JxC2oBkZNBFju82bYudeiHDGcbwydwIiKrjc5Z0lRHaAJWOX-xQgxXyPnc9p23KNcoFknB_ovxxVwMA/s1162/Dv0G7w8W0AEjuOa.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1162" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhS2KjVmZ6Gk6Hw-e9o8Rj9knkVF5W5PfMf3RNv94DKc_lqcotfQ49zOoZMa9z0i3b5uMmxYaJfNw7OSL22DQzn-OMccVCdouCZPw_TdVv7W55JxC2oBkZNBFju82bYudeiHDGcbwydwIiKrjc5Z0lRHaAJWOX-xQgxXyPnc9p23KNcoFknB_ovxxVwMA/w402-h220/Dv0G7w8W0AEjuOa.jpg" width="402" /></a></div><br /> </div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6601870734888192591.post-20229134176885211702020-03-05T11:10:00.003+01:002020-03-05T19:10:29.331+01:00Why is atheism so prevalent in Czechia?<span style="background-color: white; font-family: "georgia" , "times new roman" , serif;"></span><span style="font-family: "georgia" , "times new roman" , serif;"></span><b><span style="font-family: "georgia" , "times new roman" , serif;"></span></b><br />
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<span style="font-family: "georgia" , "times new roman" , serif; text-align: justify;">Reading standard templates of the explanation of Czech history and roles of historical personalities of Czechia, based on protestant (later “coronated” by the communist, strictly anticatholic regime) historical point of view, it looks, also some Catholic opinion should be mentioned (and I would highly recommend the work of great Czech historian Josef Pekař </span><a href="https://www.knihydaniela.cz/josef-pekar-o-smyslu-ceskych-dejin1" style="font-family: georgia, "times new roman", serif; text-align: justify;">O smyslu českých dějin</a><span style="font-family: "georgia" , "times new roman" , serif; text-align: justify;"> to people, who is able to read Czech). It is already an awkward cliché to say Czechs are "most atheistic" of all. It's not true. We are, in fact, a nation of believers. But, after certain historical experiences of religiously motivated violence, we are also very cautious about any manifestation of devotion, being very reserved to church institutions. However, when it comes to the crunch, we head to the monument of St. Wenceslas or to the cathedral. At first, it is necessary to say, we were first Christinianized Slavic nation (863 A.D.) and more, we Czechs, namely St. Vojtěch (Adalbert of Prague), Christianized Poles, Hungarians, and Prussians.</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">The causes of the situation have deep historical roots and the long "development" of its consequenses has resulted in very complicated sociological problem in Czechia of today: Religious wars and politic issues during centuries (Hussite wars in 15th, Thirty Years' War in 17th century) with popular misinterpretation, done by some historians (Palacký who was protestant) and politicians (president Masaryk, sympathizer of Hussitism, and one of ideological founders of so called "Czechoslovak Hussite Church", but with personal history of being Catholic), where still exists some simplification and false templates of the issue by system: </span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>(1) </i></b></span><span style="font-family: "georgia" , "times new roman" , serif;"><i><b>Czech Hussite movement in 15th century was right reformistic anti-catholic movement</b>.</i> However, Jan (John) Hus did not want to establish a new church, he wanted to reform Catholic church suffered by vacant seat and abuse of the power by the church at that time. The movement became anticatholic only thanks to radical Hussites (btw. today is Czech Hussite church much more close to Catholic than to protestant churches as well as it was in its genuine requirements);<b> </b></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>(2) Austrian Empire = Germanization = catholicism /</i></b><i><b> Czech national revival = anti-catholicism.</b></i> Yet the main representatives of national revival were Catholics. So, nothing is more far from the truth, that these myths. </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Anti-Catholic propaganda started already during so-called “first republic”, supported by Masaryk, however only in non-violent contours. The main suppression of Catholicism in Czechia started by persecution of the Catholic church during Nazi occupation of Czechia (according to the English Prosecutor Col. Leonard Wheeler there were imprisoned in our country 487 Catholic priests, 70 of whom were executed), and all was “coronated” by huge antipropaganda (communist mister of culture Nejedlý, film director Vávra and his propagandistic films) and persecution of catholic church in Czechoslovakia by communist time. It is also highly important to say, that the Czech catholic church was only one from countries-satellites of Soviet Union, which never officially recognized communism legal regime (bishops in their pastoral letter of March 4, 1948, refused to recognize the legality of the new regime) in the country with terrible consequences (torture, executions, murders, cancellation of orders, imprisoning of priests and nuns, stealing of all properties, cancellation of many churches, etc, etc.). Individuals have been subjected to judicial and less institutionalized murders, imprisonment and torture, which killed or destroyed their lives so much that they died shortly after release, and to severe and systematic discrimination against Catholics in access to higher education and more important positions in society. All was accompanied by continual hysterical propaganda against the catholic church. The hatred crimes towards the Catholic church in Czechoslovakia committed by the communist regime were much more significant than in other countries of the Soviet block. The persecution took many forms and involved both the Church as a whole and its individual members. In the church, as an organization, it was the complete liquidation of an independent church press, the expulsion of the church from society into churches, the submission of a series of purely ecclesiastical matters to the state curator, the destruction of orders and religious congregations, the unjustified internment or the imprisonment of high church dignitaries and intervention in the occupation of ecclesiastical authorities making it impossible for them to be named. The Communist regime also attempted to rewrite and modify the history of the Czech nation so that the Catholic Church acted as a negative agent, which effort was successful and its consequences are present even today.</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">The Czechoslovak persecution of the Catholic Church is commonly referred to as the cruelest within the part of the post-war communist regimes, not directly annexed to the USSR.</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Anti-propaganda in schools from an early age has lead to some kind of religious tepidity of Czechs and was the main cause of increase of atheism in Czechia. Due to all false historical explanations from that time that mentality remains unconsciously in people until now.</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">Quora, Oct.26, 2018</span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6601870734888192591.post-43753359857876652962020-02-04T09:13:00.008+01:002023-06-19T18:50:05.446+02:00"Final Solution"On 27th May 1942, Jan Kubiš from paratrooper group Anthropoid threw a bomb on the car carrying Reinhard Heydrich, The Reich´s protector, general of police and the third-highest man within Germany's "Third Reich", resulting in the death of "the "hangman of Czech nation" or "the butcher of Prague". <br />
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Heydrich arrived in the "Protectorate Bohemia and Moravia" on behalf of Adolf Hitler in the autumn of 1941 with the primary aim to break the resistance of the Czech people. At a meeting of Nazi officials a few days earlier later, he said: "Czech territory must never be left in such a state that would allow the Czechs to say that it is their space .... the final solution is to Germanize them or directly kill them at the wall." It was called by him “final solution”. Heydrich left a bloody footprint in Czechia and its history: in just four months of martial law which was ordered by Heydrich, hundreds of Czechs were executed and thousands killed in concentration camps. Heydrich attempted to decimate the resistance, but as was soon shown, not quite.....<br />
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The assassination of Heydrich was one of the most significant moments in the history of the resistance in Czechoslovakia and is considered to be the strongest act of defiance throughout occupied Europe. The act had such a big impact in the world, that it resulted in the immediate dissolution of the Munich agreement (in Czechia called the "Munich dictate") from 1938 assigned by Great Britain and France, but also by Germany's ally Italy. The Munich Pact could have annexed a third of Czechoslovak land. As accurately Czech philosopher Václav Černý˝ wrote: "Heydrich came to kill Czech nation and the Czech nation killed him for that". The act was not (as is usually called) "assassination", but regular execution of a criminal, inhuman creature.<br />
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All those heroes died in unequal struggle against 800 Germans. Fighting in the Church of St. Cyril and Methodius took place on 18 June 1942 between members of the SS and the Gestapo and seven Czechoslovak paratroopers. Among them were Jozef Gabčík, and Jan Kubiš, who assassinated Heydrich. The fight was divided into two parts. First, it was the defense of the empire and the bark of the church by three paratroopers, which lasted about 2 hours, and the second German conquest of the crypt defended by four paratroopers. The entire fight lasted seven hours and cost the lives of all skydivers versus 800 German soldiers - six committed suicide, one died from injuries suffered.<br />
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<img class="Box-sc-9env3-0 Img__Image-xy9oyj-0 QTextImage___StyledImage2-sc-1yi3aau-3 gHQDiL" src="https://qph.fs.quoracdn.net/main-qimg-c35a117ba19f6e28cb37078ff7e7e4d3" style="animation-duration: 0.001s; animation-name: insQ_100; border-bottom-color: currentColor; border-bottom-left-radius: 3px; border-bottom-right-radius: 3px; border-bottom-style: none; border-bottom-width: medium; border-color: currentcolor; border-image-outset: 0; border-image-repeat: stretch; border-image-slice: 100%; border-image-source: none; border-image-width: 1; border-image: none 100% / 1 / 0 stretch; border-left-color: currentColor; border-left-style: none; border-left-width: medium; border-radius: 3px; border-right-color: currentColor; border-right-style: none; border-right-width: medium; border-style: none; border-top-color: currentColor; border-top-left-radius: 3px; border-top-right-radius: 3px; border-top-style: none; border-top-width: medium; border-width: medium; box-sizing: border-box; color: transparent; display: block; max-width: 100%;" /></div>
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<span style="font-style: normal; font-weight: normal;">From great film by J.Sequens "Atentát"</span></div>
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<span style="font-style: normal; font-weight: normal;">Jan Kubiš</span></div>
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<img class="Box-sc-9env3-0 Img__Image-xy9oyj-0 QTextImage___StyledImage2-sc-1yi3aau-3 gHQDiL" src="https://qph.fs.quoracdn.net/main-qimg-9dd3c21b213d9089c3021f3313000494" style="animation-duration: 0.001s; animation-name: insQ_100; border-bottom-color: currentColor; border-bottom-left-radius: 3px; border-bottom-right-radius: 3px; border-bottom-style: none; border-bottom-width: medium; border-color: currentcolor; border-image-outset: 0; border-image-repeat: stretch; border-image-slice: 100%; border-image-source: none; border-image-width: 1; border-image: none 100% / 1 / 0 stretch; border-left-color: currentColor; border-left-style: none; border-left-width: medium; border-radius: 3px; border-right-color: currentColor; border-right-style: none; border-right-width: medium; border-style: none; border-top-color: currentColor; border-top-left-radius: 3px; border-top-right-radius: 3px; border-top-style: none; border-top-width: medium; border-width: medium; box-sizing: border-box; color: transparent; display: block; max-width: 100%;" /></div>
</span><div class="Box-sc-9env3-0 Text-jjrgda-0 cYScOC" style="-webkit-text-stroke-width: 0px; border-image: none; border: medium; box-sizing: border-box; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><div class="Box-sc-9env3-0 Text-jjrgda-0 QTextPara___StyledText-anoo6m-0 kvqEEv lastPara" style="border-bottom-color: currentColor; border-bottom-style: none; border-bottom-width: medium; border-color: currentcolor; border-image-outset: 0; border-image-repeat: stretch; border-image-slice: 100%; border-image-source: none; border-image-width: 1; border-image: none 100% / 1 / 0 stretch; border-left-color: currentColor; border-left-style: none; border-left-width: medium; border-right-color: currentColor; border-right-style: none; border-right-width: medium; border-style: none; border-top-color: currentColor; border-top-style: none; border-top-width: medium; border-width: medium; box-sizing: border-box; direction: ltr; display: inline; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px; overflow-wrap: break-word; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; padding: 0px;"><span class="_base___StyledSpan-sc-1kk7hpy-0 iXGUkO rendered_qtext" style="-ms-user-select: text;"><span style="color: white; font-style: normal; font-weight: normal;">A memorial plague on St.Constantin and Methodius Orthodox church with holes of bullets, Resslova street, Prague, Czechia, where all 7 members of paratroop group died in the unequal fight against 700 Germans.</span></span></div><span class="_base___StyledSpan-sc-1kk7hpy-0 iXGUkO rendered_qtext" style="-ms-user-select: text; color: #333333;"></span></div>
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<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6601870734888192591.post-89105352967416708092020-01-28T10:55:00.002+01:002020-10-13T09:05:44.567+02:00Vladimír Hirsch - Hymn: Do Not Let Us Perish (St.Wenceslas)<span style="font-family: "georgia" , "times new roman" , serif;">Variations on Old Czech chorale „Svatý Václave“, op. 96. "St.Wenceslas chorale" originated probably in the end of 10th century or in the beginning of the 11th century. It is a church hymn, which is sung regularly also today. The authorship of the original song is sometimes attributed to another Czech saint Vojtěch (St.Adalbert of Prague), the bishop of Prague, missionaire and martyr. </span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">Vladimír Hirsch' s variations Hymn: "Do Not Let Us Perish" is a composition for integrated techniques, created in 2015 for the thematic album “Katagenesis” which will be released in December 2020 by Old Captain label.</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">Saint Wenceslas (or Wenceslaus; Václav in Czech), Prince Wenceslaus I (907-935), Duke of Bohemia from 921 until his death in a plot by his own brother, Boleslav the Cruel. His martyrdom, and the popularity of several biographies, quickly gave rise to a reputation for heroic goodness, resulting in his being elevated to sainthood, posthumously declared king, and seen as the main patron saint of Czechia.</span><div><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-STlp5bjGGo4/X4VRX22W7OI/AAAAAAAAHR4/gfkYQVfKBtwHYEBFSMvlqPJXrEPucAisQCLcBGAsYHQ/s776/sv.V%25C3%25A1clav.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="387" data-original-width="776" height="200" src="https://1.bp.blogspot.com/-STlp5bjGGo4/X4VRX22W7OI/AAAAAAAAHR4/gfkYQVfKBtwHYEBFSMvlqPJXrEPucAisQCLcBGAsYHQ/w400-h200/sv.V%25C3%25A1clav.png" width="400" /></a></div><br /><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span>
<br /></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6601870734888192591.post-15685483018420759732018-12-08T19:49:00.000+01:002019-08-10T12:56:41.995+02:00The Munich "Legacy"<div style="text-align: justify;">
The Munich Agreement, called in Czechia “the Munich Dictate” or “Munich Betrayal”, permitting Hitler's Third Reich the annexation of 1/3 of the area of Czechoslovakia by friendly democratic states, is considered by many Czechs an absolute failure of democratic powers - Great Britain and France. As was later confirmed, their politics of appeasement was shortsighted and only enabled and facilitated Nazi Germany to start WWII in the optimal situation. President Beneš predicted it: „I do not believe that joining the Czechoslovak border region after the Munich dictatorship would be enough for Hitler, he expected to try to get much more.....“ or „the fate of France is clear. If Paris continues in its current policy towards us, it will be so far that Germans will conquer the Maginot line by our cannons and our tanks and Paris will bomb by our aircraft …" He was right......</div>
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Many decades after the Munich dictate, there are still conflicts about whether we should have faced the enemy and lead more or less clearly a previously lost struggle. Many books and treatises on this subject have been written, and the interest continues, although history is irreversible and the subject is predominantly presented in the form of the unnecessary "what would have been if", combining reflections and speculation about the real possibilities at that moment. Experts - and not just military ones - analyze the chances of our defense, and they mostly lead to an unambiguous result: defeat would have been inevitable, just as a matter of time. 7 millions Czechs against around 100 millions of Germans (hard to count with Slovaks, who directed to fascist regime, which was confirmed after complete occupation of Czechia, when they immediately left Czechoslovakia and became an ally of Nazi Germany, however not all Slovaks agreed with it and some of them later joined Czechoslovak foreign units, fighting again Germans), being practically surrounded geographically by German territory, unfinished and not well armed border fortifications, not very good state of some kind of military technique, above all obsolete types of aircrafts and anti-aircraft weapons as a result of old-fashioned military doctrine (but our tanks, cannons and some aircraft were later used by the German army as Beneš predicted :-( ), pro-German politics and not friendly relations of the other neighbors (Poland and Hungary, participating in the annexation), but, enormous enthusiasm and will of people to fight, thus, high morale of soldiers on the other side. Our political representations at that time did not think about positive factors, and I would like to say that they committed one of the most significant, perhaps the most significant, mistake in the modern history of our country. People declared their disagreement by demonstrations, but the decision to accept the dictate by politics did not change. At that time, the Czech people felt betrayed by both friendly powers and Czechoslovak government.</div>
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Today, after so many years, the situation seems to be a little bit different. Regardless of some lack of interest in the society, blaming us for the situation is in a minority. By far the most frequent argument of pragmatists, as well as in the fateful moments of President Beneš and other political representations of the state, the declared responsibility for the countless sacrifices of lives that the armed resistance would have brought is in the lead and that if we had rejected MA and defended our borderland, we would have been immediately accused of aggression and declared initiators of the war. Maybe, but the fault was on both sides.</div>
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At all events, the historical result of the Munich dictate (“crowned” by the occupation of all Czechia in March 1939) is a permanent deep and open wound. We live in a long-term complex that has its roots right at that time and that situation (despite a number of people who did not resign and left to fight against Nazis outside of our territory). If we felt this historical failure also as OUR fundamental mistake, we would not have to suffer by it, being aware and prepared to not to repeat it.</div>
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Homeland should be defended at all events. More, if we had decided to fight it would have changed the history of WWII, because Germans would have made obvious all their real intentions to all, which could have been the moment of awakening or dawning of other nations and some blaming us for initiating the war would have become absurd.</div>
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Vladimír Hirsch (2018)</div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-r5UzfSlPeSk/XAwRqL7-7BI/AAAAAAAAGPU/ihVWvDSQJ3IpM-Q4W2J-rn6QIGQuWJZigCLcBGAs/s1600/Tschechien.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="Czechia vs. Protectorate of Bohemia and Moravia" border="0" data-original-height="449" data-original-width="600" src="https://4.bp.blogspot.com/-r5UzfSlPeSk/XAwRqL7-7BI/AAAAAAAAGPU/ihVWvDSQJ3IpM-Q4W2J-rn6QIGQuWJZigCLcBGAs/s1600/Tschechien.jpg" title="Czechia vs. Protectorate of Bohemia and Moravia" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Czechia vs. Protectorate of Bohemia and Moravia</td></tr>
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<br />Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-6601870734888192591.post-19008634893999969892018-07-28T10:45:00.000+02:002019-08-10T12:57:47.415+02:00What is the correct pronunciation of CzechiaCzechia is pronounced correctly /ˈtʃɛkiə/ - written by symbols of the IPA (International Phonetic Alphabet), in simple transcription "checki-ya"<br />
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Listen here: How to pronounce Czechia :-) <a href="https://www.youtube.com/watch?v=PFvNbq-IaaQ%C2%A8">https://www.youtube.com/watch?v=PFvNbq-IaaQ¨</a><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-QZJzhDDOLM0/W1wqdLN1UAI/AAAAAAAAF8c/F7pmNPD2TJgDXySz-0W0AMM1YtNIhnyagCLcBGAs/s1600/2.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="" border="0" data-original-height="356" data-original-width="482" height="236" src="https://2.bp.blogspot.com/-QZJzhDDOLM0/W1wqdLN1UAI/AAAAAAAAF8c/F7pmNPD2TJgDXySz-0W0AMM1YtNIhnyagCLcBGAs/s320/2.JPG" title="Czechia pronunciation" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Czechia pronunciation </td></tr>
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The word comes from the root "Czech" (adjective, language, inhabitant), which is pronounced /ˈtʃɛk -/ (IPA), simply "check" and originally Latin suffix "-ia"<br />
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Notice: the digraph "cz" comes from the old Czech orthography, typical for West Slavic languages (Czech, Polish), which was taken over by Latin and later also by English for the name to express pronunciation of /t͡ʃ/ (IPA key). In Polish is "cz" digraph still used, in modern Czech (since the standardization of modern orthography in 19th century) is substituted by consonant "č" (however it was introduced already at the break of 14th and 15th century), usually denoting the voiceless postalveolar affricate consonant [t͡ʃ] like the English "ch" in the word chocolate. "Č" originated in Czech language, and from it was adopted in Slovak, Croatian, Macedonian, Slovenian, Bosnian, and Montenegrin. It is used also in Latvian and Lithuanian.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-xG9-bF81l8Q/W1wrtP7T9kI/AAAAAAAAF8o/Npi6U_UiMb8ucAyWr8p7EV5WWlvDp8UDACLcBGAs/s1600/dresy%2Bczechia.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="508" data-original-width="411" height="320" src="https://4.bp.blogspot.com/-xG9-bF81l8Q/W1wrtP7T9kI/AAAAAAAAF8o/Npi6U_UiMb8ucAyWr8p7EV5WWlvDp8UDACLcBGAs/s320/dresy%2Bczechia.JPG" width="258" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Czechia jersey</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-EvsgVX8qCZ8/W1wrtH7NflI/AAAAAAAAF8s/H1XagwFowugHEWLCicFkTQ-qVNYYkJtzwCLcBGAs/s1600/dresy%2B%25C4%258Desko.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="" border="0" data-original-height="509" data-original-width="412" height="320" src="https://1.bp.blogspot.com/-EvsgVX8qCZ8/W1wrtH7NflI/AAAAAAAAF8s/H1XagwFowugHEWLCicFkTQ-qVNYYkJtzwCLcBGAs/s320/dresy%2B%25C4%258Desko.JPG" title="Ice hockery jersey Česko / Czechia - fuck off republic" width="259" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Česko jersey</td></tr>
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Ice hockey jerseys Česko / Czechia</div>
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6601870734888192591.post-53752534155839625342018-07-21T10:56:00.000+02:002018-07-21T20:40:58.581+02:00"Poems about love and wine" (Full Moon magazine interview)<div style="text-align: justify;">
He began with a post-punk, but his musical journey soon moved away. Already in the early 1990s, the name Vladimir Hirsch has become a solid and significant part of our and, in turn, European electronic music. In Prague, the composer and medical doctor have released more than thirty albums, either solo or as a member of Der Marabu, Skrol, Aghiatrias, and others. He is remembered as a man who invented the concept of integrated music, a ground plan on which continuously and originally interconnects the influences of industrial, dark ambient and classics. However, Vladimír Hirsch's musical and compositional span is much broader, as will the following interview, which emerged shortly before the release of a new album of one of his Subpop Squeeze project.</div>
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<tr><td class="tr-caption" style="text-align: center;">Vladimír Hirsch</td></tr>
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<i>The Subpop Squeeze project is described as a more entertaining face of your production. Does that mean you're here to relax and clear your head from musically harder topics?</i></div>
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Even so, it is a reflection of the fact that rock principles are still close to me, and I need to move around them at times, even though they may be talking only in the broader outlines of this type of my work. Since 1996, when I initiated the project, and rather as a studio alternative, I paid attention to it only marginally, and for almost fifteen years I did not think about it. Until recently - somewhat overwhelmed by standard concert productions - I decided to reanimate it so that it could be presented live, connected with other works and was something more than relaxing side creations.</div>
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<i>Your albums are often based on a particular concept or topic. Is it the same thing about an Anacreontics, or is it a free collection of songs?</i></div>
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Free collection of songs is not my style of working, the album is usually considered to be the only song in its own way, where its individual parts correspond not only to the way in which it is usual but also thematically. Quite often, it is a story, a whole of epic character, but in this particular case it is not a coinciding factor, they are ironizing paraphrases of topics inspired by the forgotten ancient genre of poems of love and wine.</div>
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<i>As you talked about, you mentioned the important role of producer Tom Saivon. What would Anacreontics be different from without his presence?</i></div>
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Tom Saivon focuses on dramaturgy and sound. Several pieces have been created at his impetus to revive the collection and give things within the theme more diversity and the most dynamic course. I'm not a friend of the genre drawers, but I like Tom's album characteristic as "electro-industrial-thrash metal synthesis," where the proportion of the guitar component - however more or less the sound manipulated - can be seen as a result of that influence.</div>
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<i>Tom Saivon has been producing some of your albums for years with you in the Skrol ensemble. On the one hand, it brings the advantage of mutual trust, you </i><i>know what to expect from each other. Can you also prevent co-operation not threatening the stereotype?</i></div>
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Our attitudes are not and have never been the same, even though there is trust between us. The producer's view is, therefore, a priori view from a different angle, which gives me, which is completely immersed in the matter, a distance, the possibility of seeing the thing from the outside, discovering and revising the mentioned stereotypes and, alternatively, offering alternative solutions to specific issues. In principle, we approach each new album in order to achieve the strongest possible result in the essence of the message. However often, on the basis of a sharp confrontation, we will usually come to a solution that we both can accept for ourselves without having to consider it a mechanical compromise. This is the very thing I appreciate most about this collaboration.</div>
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<i>You've got decades of composing and recording, and you're not questioning the role of the producer; on the other hand, some of your production goes without it. What is the key to deciding where the presence of a producer is desirable and when not?</i></div>
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The producer is often a medium of commercial success for the record, which is not the same case of our cooperation. I am used to working without his production in all that part of my music that moves in the narrower sphere of contemporary classical music. If the product is intended for more integrated, electronic, industrial or similar sound characteristics form, the producer's role is more significant. This is due to his focus, the practices of classical music are not close to him. This, however, does not mean that he only focuses on the above-mentioned forms, it is about the overall homogeneous and convincing form of the resulting shape, to which aim is all subordinated.</div>
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<i>With Subpop Squeeze, you've performed live several times in recent months. Will you continue this?</i></div>
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I have been performing as Subpop Squeeze since December 2014, and as a new album was made, I also changed the concert program by replacing older songs with new ones. At the moment, I would like to present live the final version, planning to perform in Czechia, Poland and Germany and maybe also in other European countries that are in the process.</div>
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<i>Among the cult projects you've found belongs Skrol. What does their future look like?</i></div>
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The Skrol band has not officially ended its existence but it is inactive for a long time. We last performed live regularly in 2011 and 2012, from which shows a live mini-album was created. We have enough material to work on, but timeliness, along with other purely practical reasons, hinders us in concrete plans, even though we definitely do not resign on concert production.</div>
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<i>Martina Sanollová's singing plays an important role in Skrol, you also add vocals, while a great part of your next production is instrumental ...</i></div>
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Even in my solo production, where the instrumental component plays the most important role, it is not the exception of using the vocals, just the opposite. Sometimes, however, I change their sound properties using technologies so much that they are not read primarily as a vocal party. Nevertheless, the collaboration with a number of vocalists (or rather female vocalists) confirms the importance of the role of human voice in music. I use a spoken word in many cases, as is the case with the new Subpop Squeeze album. Speech as such I consider to be a musical expression, its rhythm, tone, and color is an essential element for me and a contribution to the musical message.</div>
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<i>And are vocals and vocals in the creation of songs for the Skrol dominant, or should they accompany and complement the instrumental component?</i></div>
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All the Skrol songs were based on the original instrumental base, which in many cases also acts as a stand-alone unit, some albums have their full instrumental alternatives. The vocal component of Skrol was practically always playing the role of an instrument but not just to accompany it. Although some of Skrol's songs are not accompanied by a vocal part, in others there can be no doubt that Martina's rich, expressive and emotionally exerted expression is not only a complementary role. On the contrary, these pieces form a kind of core and the most important parts of the board. It is always a matter of development, sometimes the vocal part takes on a partially dominant role - nevertheless, the goal has always been a complexly compact matter, no matter what role that element plays.</div>
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TECHNIQUE MANIPULATES</div>
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<i>Your solo album Scripta Soli is also in process. How far are you?</i></div>
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I've been working on Scripta Soli for a long time. This is a relatively large title, based on work with field recordings that have been gained over several years. The essence of the project is the transformation or the musicalization of the originally seemingly non-musical form. It should be a very ambient album, certainly the quietest of my products, but it also seems to be the most practical. Since it requires a very specific type of work and concentration, I am waiting for a moment when my time allows me to devote myself fully to it. At present, about half of the material is processed.</div>
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<i>Musically you deal with serious topics - emotions, different aspects of human action, religion, history, and being, play an important role. But electronics and other instruments have their sound boundaries as well. Do you often say that you have to come to a compromise between the idea of how the emotions or feelings in the composition sound and what are the technical possibilities?</i></div>
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Working with the sound is the essence of the vertical division of the composition and offers a plethora of solutions. However, it must be stressed that even the most sophisticated technical possibilities do not give the musician comfort, everything is, or must be, guided by him. Technology is a good servant, but a bad lord. Either you who rules or you manipulate yourself. In this case, a perfect trap will slip. It happens that I fail to realize my idea, but I see it as my own imperfection, not as a technical problem given by the limitations of instrumental and instrumental sound sources. I am not limited by them, the source or the inspiration can, in theory, be any hearing perceptions that surround us.</div>
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<i>The musician can sink into a microscopically consistent work on a single sound or moment - when do you know that this is the ideal and ultimate state and can be continued?</i></div>
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I prefer complexity. The sound characteristic, however important and significant to me, is not the only attribute of the song. I always understand it as a relationship between detail and a whole. If I find compatibility, consistency, and testimony of authenticity, I can go on.</div>
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<i>I assume you are not only a musician and composer but also a listener. What lately did Vladimír Hirsch enjoy most in music?</i></div>
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Recently, it was a great pleasure for me to finally record all the symphonies of my favorite composer, Miloslav Kabeláč. I am not completely enthusiastic about some versions, but it was filled with a shameful gap in the discography of Czech modern classical music and its prominent representatives.</div>
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INTERVIEW OF VLADIMÍR HIRSCH<br />
by RICHARD KUTĚJ<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-IsSWrVPTIfE/W1L0TVNHelI/AAAAAAAAF7Q/G-H1SRcZEOsflGl5v-i22nMPLbS7yhNsgCLcBGAs/s1600/Bez%2Bn%25C3%25A1zvu-1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="" border="0" data-original-height="589" data-original-width="1172" height="200" src="https://3.bp.blogspot.com/-IsSWrVPTIfE/W1L0TVNHelI/AAAAAAAAF7Q/G-H1SRcZEOsflGl5v-i22nMPLbS7yhNsgCLcBGAs/s400/Bez%2Bn%25C3%25A1zvu-1.jpg" title="Subpop Squeeze - Introscan & Anacreontics" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Subpop Squeeze - Introscan & Anacreontics</td></tr>
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6601870734888192591.post-38567412626512070172018-07-15T17:49:00.001+02:002018-07-17T12:02:41.262+02:00Vladimír Hirsch - Discography on Bandcamp<br />
Bandcamp pages of the composer, instrumentalist and sound designer Vladimír Hirsch, integrating modern classical, industrial and dark ambient music with a genre overlap conception.<br />
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<a href="https://vladimirhirsch.bandcamp.com/">BANDCAMP albums - Solo works</a><br />
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<span style="font-size: small; text-align: start;">Besides creating solo works, he is the leading personality of bands and projects Skrol, Aghiatrias, Zygote (CZ), Luminar Ax, Subpop Squeeze, and Tiria, the former member of experimental post-punk group Der Marabu.</span></div>
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<span style="font-size: small; text-align: start;"><a href="https://skrol.bandcamp.com/">Skrol</a></span></div>
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<span style="font-size: small; text-align: start;"><a href="https://subpopsqueeze1.bandcamp.com/">Subpop Squeeze</a></span></div>
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<span style="font-size: small; text-align: start;"><a href="https://aghiatrias.bandcamp.com/">Aghiatrias</a></span></div>
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<span style="font-size: small; text-align: start;"> </span><span style="text-align: center;"><span style="font-size: small;">© Integrated Music Records 2018</span></span></div>
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<br />Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-6601870734888192591.post-73835619324769372972018-07-15T09:11:00.001+02:002023-06-06T17:42:57.706+02:00Quora: "What the biggest contribution of Czechia to the world?<span style="font-size: x-small;"><i>(Originally written Quora question: "What is the Czech Republic's biggest contribution to the world?")</i></span><br />
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The Czech Republic´s existence is only 25 years long and there is not anything special or substantial contribution to the world in the period between 1993 and today in my opinion.</div>
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But, Czechia´s - thus, the country in whole (both in contemporary and historical context) heritage is rich. What is the biggest one cannot judge. Everybody can choose :-)</div>
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1. Music - throughout more than one thousand years old history of Czechia - can be considered beneficial in both European and worldwide context, several times co-determined or determined a newly arriving era in musical art, above all in music of Classical era (Jan Václav Stamic, Jan K.Vaňhal, Josef Mysliveček, Antonín Rejcha), as well as by original attitudes in Baroque (Adam Michna, Jan Dismas Zelenka), Romantic era (Czech national music - Czech music school): Bedřich Smetana, in late Romanticism the greatest Czech composer Antonín Dvořák - among other things, the founder of American classical music and in Czechia born Gustav Mahler), and modern classical music (inimitable composer Leoš Janáček and Bohuslav Martinů), discovery in microtonal music (Alois Hába), high modern era (Miloslav Kabeláč, Petr Eben). More in my article: <a href="https://www.czechia-heart-of-europe.com/music">Czechia the heart of Europe | Music</a></div>
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2. Arts - in general, the Czech art is known worldwide for its individually made, mouth blown and decorated art glass and cut crystal, garnet and other gems jewelry, decorative and applied art. Painting: works of the Gothic era - Master of Vyšší Brod altar, the founder of the style, which dominated European painting around 1400. Baroque - An exceptional Czech artist Václav Hollar, the etcher of worldwide recognition. Art Nouveau and modernism - Alfons Mucha, world famous and one of the best known Czech artists. Abstract painting - František Kupka: a pioneer of abstract art, influencing substantially all modern painting movements. Interesting personalities in expressionism, cubism, and Cubo-expressionism, original post-war symbolism (Mikuláš Medek) and “explosionism” movement (Vladimír Boudník). Film and theatre: Karel Zeman, a pioneer with special effects (culminating in successful films such as artistically exceptional "Vynález zkázy" (A Deadly Invention, 1958); so-called Czech New Wave of the 1960s (linked with names of Miloš Forman, Věra Chytilová, Jiří Menzel, Ján Kadár, Elmar Klos, Evald Schorm, Vojtěch Jasný, Juraj Herz, etc.) and director František Vláčil with the original manuscript and the deep psychological impact with the extraordinary high-quality art received international acclaim; Jan Švankmajer - a filmmaker, known for his animations and features, which greatly influenced artists worldwide. Original Czech cultural phenomenon came into being at the end of the 1950s. This project called Laterna magika (The Magic Lantern) considered the first multimedia art project in international context.</div>
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3. Literature - Comenius (philosopher and writer), the innovator who first introduced pictorial textbooks, F.Kafka - widely regarded as one of the major figures of 20th-century literature, humorist J.Hašek (The Good Soldier Švejk - the book which was translated into 60 languages). Names as B.Hrabal, K.Čapek and M.Kundera cannot be forgotten. Poetism - Czech literary avant-garde style and movement in poetry (main representant Jaroslav Seifert, Nobel Prize holder).</div>
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4. Architecture - Czechia is the country with rich architectural heritage from the Romanesque period until modern times, being the place of origin of several unique styles - unique mixture of Romanesque and Gothic style represents St. Procopius Basilica in Třebíč, considered to be the most bizarre work of the European architecture of the 13th century, Czech Baroque due to its complexity and uniqueness became an independent concept art history, an architectural singleton is the Baroque Gothic style (Jan Blažej Santini), a specifically Czech architectural style, called ‘Rondo-Cubism’, came into existence after 1918. Together with the pre-war Czech Cubist architecture, it is unparalleled elsewhere in the world. There are also contemporary Czech architects whose works can be found all over the world, e.g. works of Jan Kaplický.</div>
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5. Science - Prokop Diviš: lightning rod inventor; Jan Evangelista Purkyně: anatomist and physiologist of the first half of 19th century, discoverer of Purkinje cells in the brain (1837), was the first to use a microtome to make wafer thin slices of tissue for microscopic examination. He is also known for his discovery in 1839 of Purkinje fibers, the fibrous tissue that conducts electrical impulses from the atrioventricular node to all parts of the ventricles of the heart. Other discoveries include Purkinje images, reflections of objects from structures of the eye, and the Purkinje shift, the change in the brightness of red and blue colors as light intensity decreases gradually at dusk. Purkyně also introduced the scientific terms plasma and protoplasm the substance found inside cells. He was one of the best-known scientists of his time. Josef Ressel: ships propeller inventor. Gregor Mendel: the founder of the modern science of genetics, in Czechia born and working; Bedřich Hrozný - orientalist and linguist who deciphered the ancient Hittite language and laid the groundwork for the development of Hittitology. Sigmund Freud, neurologist and the founder of psychoanalysis; Jaroslav Heyrovský: the inventor of the polarographic method, father of the electroanalytical method. Otto Wichterle - inventor of soft contact lenses. Stanislav Grof: founder in the field of transpersonal psychology; Antonín Holý - chemist of world recognition, inventor of the most effective drugs in the fight against the AIDS epidemic.</div>
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6. Statesmen and influential personalities - St.Adalbert of Prague (in Czech svatý Vojtěch): Czech priest, bishop of Prague, who brought Christianity to nations of Central Europe - Hungarians, Poles, and Prussians. Přemysl Otakar II: Czech king, ruler of seven other countries, his reign stretched from Silesia to the Adriatic coast, founder of many towns and cities not only in Czechia, but in contemporary Poland and Prussia (13th century). Charles IV: Holy Roman Emperor. probably the most famous personality of the Czech state ever. He rebuilt the city of Prague as the capital of Central Europe and one of the intellectual and cultural centers of Europe. In 1348, he founded the Charles University in Prague, which was named after him and was the first university in Central Europe and third in Europe. Jan Hus - theologian, a Catholic priest, philosopher, who became a church reformer, an inspirer of Hussitism, a key predecessor to Protestantism and a seminal figure in the Czech Reformation (14–15th cent). King George of Poděbrady (Jiří z Poděbrad) - well known for his idea and attempt to establish common European institutions and supranational insignia. It is seen as the first historical vision of a European unity forgoing the European Union (15th century). Above mentioned Comenius (Jan Ámos Komenský) - inventor in educational systems, the theory of education, practical educational work, methods of education (17th cent.); Tomáš Garrigue Masaryk - the main personality of the founding of free modern Czech (and Slovak) democratic state in 1918</div>
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7. Soldiers - Jan Žižka: controversial Czech general, a contemporary and follower of Jan Hus, successful Hussite military leader (died 1424). He is considered to be among the greatest military leaders and innovators of all time. His accomplishments in this regard are especially unique and noteworthy as he had to quickly train peasants to repeatedly face highly trained and armored opponents who usually severely outnumbered his own troops, and for this, some have considered him to be the greatest general in history. Žižka developed tactics of using wagon forts, called vozová hradba in Czech (wagons fortification) as mobile fortifications, predecessors of tanks, with an original multifunctional armament of soldiers; Josef Václav Radecký (known internationally as Joseph Radetzky von Radetz): Czech nobleman and field marshal, chief of Austrian army (Czech lands were at that time a part of Austrian empire) who is considered one of the best commanders of 19th-century Europe. During his military career, he actively participated in the defeat of Napoleonic France and the reform of the army. Josef František - fighter pilot of World War II, the highest-scoring Allied ace in the Battle of Britain (1940)</div>
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8. products - Czech beer, worldwide known product of Pilsener (Plzeň/Pilsen - the city in the western part of Czechia) types of beers brewed by original technology using Czech raw materials (Bohemian hop); Bohemian glass - glass products made by original technologies, cutting-edge design and inimitable craftsmanship (incl.co-called Bohemian crystal - hand cut glass products). porcelain and jewelry, using own raw-materials, e.g.Bohemian garnet in the jewelry; Tamara and Věra radar system (passive sensor) of third generation, able to recognize targets of “stealth” type; Semtex worldwide known explosives; some original products of the Czech cuisine - above all pastries (salty and sweet as “koláče” & “buchty”), Czech finger sandwiches, Prague ham: a type of brine-cured, stewed, and mildly beechwood-smoked pork boneless ham, Shpikachki (špekáčky) - type of sausage, made from finely cured mixture of pork and beef with smoked bacon liner, Bohemian breaded dumplings, pickled sausages (called “utopenci”, which means “drowned”) and fishes (“zavináče”), cheeses and vegetables (well known Znojmo pickled cucumbers), beer cheese, ripened cheeses (well known “Olomoucké tvarůžky” etc.), Czech potato pancakes, etc.; liquors - Wallachian “Slivovice”: strong plum brandy and “Becherovka”: sweet herbal liqueur from Karlovy Vary.</div>
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9. Czech words, which became international - robot (invented by Karel Čapek in his stage-play R.U.R., derived from the word “robota”, which was a compulsory unpaid work for landowners in the past), pistol (from Czech word “píšťala”), houfnice (English “howitzer”), polka, dollar (from Czech word “tolar”), hocus-pocus, tunel (in the sense of “tunnel the bank” - to rob the bank's assets by transferring money elsewhere by its own owners)</div>
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10. Sportsmen - football: Josef Bican, the greatest goalscorer of football history in Europe (and probably in whole world), Emil Zátopek - long-distance runner, only person to win the 5,000 metres, 10,000 metres, and marathon in the same Olympics, Věra Čáslavská - seven Olympic gold medals holder in gymnastics, all in individual events, which is an all-time record among female Olympians, Martina Navrátilová - tennis player, arguably the best female tennis player of all time, multiple winner of women's singles title at Wimbledon, Jaromír Jágr - ice hockey player, the best European player in the history of Canadian-American National Hockey League, ranking overall 2nd in points, third in goal scores, and first in the number of game-winning goals in all history of NHL.</div>
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(I hope that the other great personalities of Czechia I did not mention will forgive me) :-)</div>
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Vladimír Hirsch (Quora, 2018)</div><div style="text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsjUAKi-a3UtXBT7K3beXV4m6O9X_Uid_Q4G-GvSYbtResYr2tAWVR5mjYBY6V4ZlXhA6Llfc6kn8zXcfN_olDQrh3jt2meaWC9LQFioPpjTq276Lj0jWPch_GGphJXG7q1_q_6me1E7lfo9Jcyi3oEtFGxn00J0WlbCbFam0Nnw3ICwht-lKWxJsWDA/s1200/Czechia%20-%20samolepka.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1002" data-original-width="1200" height="267" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsjUAKi-a3UtXBT7K3beXV4m6O9X_Uid_Q4G-GvSYbtResYr2tAWVR5mjYBY6V4ZlXhA6Llfc6kn8zXcfN_olDQrh3jt2meaWC9LQFioPpjTq276Lj0jWPch_GGphJXG7q1_q_6me1E7lfo9Jcyi3oEtFGxn00J0WlbCbFam0Nnw3ICwht-lKWxJsWDA/s320/Czechia%20-%20samolepka.jpg" width="320" /></a></div><br /><div style="text-align: justify;"><br /></div>
Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-6601870734888192591.post-12326439661653541102018-04-08T21:03:00.002+02:002023-06-06T17:39:08.278+02:00Vladimír Hirsch - Scripta Soli<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;">Vladimír Hirsch / Scripta Soli </td></tr>
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<span style="text-align: justify;">"Scripta Soli" (“The writings of the earth”) is a thematic album for integrated techniques & field recordings. 2011-2017. The album is based on a fictive experience during apocalyptic war catastrophe, perceived from the position of a person imprisoned in the bunker. In epic form, it consists in descriptions of his feelings, memories, fears, visions and expectation of inevitable in echoes of devastating actions on the surface, as though, all sonically interpretated by the ground. Musical idea and rendition of the figurative opus is carried out as "musique concrète intergrée" by the work with field recordings, electroacoustic and digital techniques through metamorphic musicalization of primarily non-musical elements, typical for the musician, in case of this album as an essential manner. </span><br />
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1 Indictum<br />
2 Omen<br />
3 Impressiones<br />
4 Exanima<br />
5 Camera delusionis<br />
6 Erebeum<br />
7 Centuria<br />
8 Fuga / Acquiesce<br />
9 Dacryon<br />
10 Amorphes<br />
11 Guttae ultimae<br />
12 Consummatum<br />
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<span style="text-align: justify;">Musicians: Vladimír Hirsch - electronic keyboards, synthesizers, samplers, pianos, digital technologies, field recordings, spoken word; Nadya Feir - vocals, Dominika Karčovská - vocals (soprano), production by Tom Saivon. Recorded at CatchArrow Rec ordings studio, Prague, Czechia</span><br />
CD (© 2017 Old Captain - OCCD33)<br />
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6601870734888192591.post-55398913874043877722018-01-23T21:38:00.003+01:002018-06-04T19:00:16.157+02:00Básně o lásce a vínu (rozhovor pro magazín Full Moon) <div style="text-align: justify;">
Začínal s postpunkem, jeho hudební pouť ale záhy zamířila docela jinam. Už v počátcích 90. let minulého století se jméno Vladimír Hirsch stalo pevnou a významnou součástí naší a potažmo i evropské elektronické hudby. V Praze usazený skladatel a lékař zatím vydal více jak třicet alb, ať již sólových nebo jako člen souborů Der Marabu, Skrol, Aghiatrias a dalších. Je připomínán jako muž, který vynalezl pojem integrovaná hudba, půdorys, na němž plynule a originálně propojuje vlivy industriálu, dark ambientu a klasiky. Hudební a skladatelské rozpětí Vladimíra Hirsche je ale mnohem širší, jak ostatně napoví i následující rozhovor, vzniknuvší nedlouho před vydáním nové desky jednoho z jeho projektů Subpop Squeeze.</div>
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<i>Projekt Subpop Squeeze je popisován jako zábavnější tvář vaší produkce. Znamená to, že si sem chodíte odpočinout a pročistit hlavu od hudebně těžších témat?</i></div>
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I tak se to dá říci, současně je to však odraz skutečnosti, že rockové principy jsou mi stále blízké a potřebuji se v nich občas pohybovat, jakkoli se o nich dá nejspíše mluvit jen v širších obrysech tohoto typu mé tvorby. Od roku 1996, kdy jsem projekt zavedl, a to spíše jako studiovou alternativu, jsem mu věnoval pozornost jen velmi okrajově a téměř patnáct let na něj nepomyslel. Až v poslední době – poněkud přesycen standardní koncertní produkcí – jsem se rozhodl ho reanimovat, a to tak, aby ho bylo možné prezentovat živě, měl souvislost s ostatní tvorbou a byl něčím víc než odpočinkovou boční kreací.</div>
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<i>Vaše alba často vznikají na základě určitého konceptu či tématu. U novinky nazvané Anacreontics </i><i>je to stejné, nebo jde o volnou kolekci skladeb?</i></div>
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Volné kolekce skladeb mi nejsou vlastní, album obyčejně považuji svým způsobem za jedinou skladbu, kde její jednotlivé části korespondují nejen způsobem práce, jak je obvyklé, ale též tematicky. Dosti často jde o příběh, celek epického charakteru, ale v tomto konkrétním případě tomu tak není a stmelujícím faktorem jsou ironizující parafráze témat inspirovaných zapomenutým antickým žánrem básní o lásce a vínu.</div>
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<i>Už při domlouvání rozhovoru jste zmiňoval důležitou roli producenta Toma Saivona. V čem </i><i>by deska Anacreontics byla jiná, nebýt jeho přítomnosti?</i></div>
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Tom Saivon se věnuje především dramaturgii a zvuku. Několik skladeb vzniklo na jeho popud s cílem oživit kolekci a dát věci v rámci tématu větší rozmanitost a co nejdynamičtejší průběh. Nejsem přítelem žánrových šuplíků, ale líbí se mi Tomova charakteristika alba coby „electro-industrial-thrash metal synthesis“, kde podíl kytarové složky – jakkoli více či méně zvukově manipulované – lze částečně považovat za výsledek jeho vlivu.</div>
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<i>Tom Saivon byl producentem už několika vašich alb, léta s vámi hraje v souboru Skrol. Na jedné straně to přináší výhodu vzájemné důvěry, znáte se, víte, co jeden od druhé čekat. Dokážete se ale zároveň ubránit tomu, aby spolupráci neohrožoval stereotyp?</i></div>
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Naše přístupy nejsou a nikdy nebyly stejné, jakkoli mezi námi panuje důvěra. Názor producenta je proto a priori pohledem z jiného úhlu, čímž mě, který je zcela ponořen do věci, poskytuje odstup, možnost vidět věc zvenčí, objevit a revidovat zmíněné zažité stereotypy a třeba i nabídnout alternativní řešení konkrétní problematiky. V zásadě ke každému novému albu přistupujeme s cílem dosáhnout co nejsilnějšího výsledku v rámci podstaty sdělení. Jakkoli mnohdy na základě ostré konfrontace obyčejně dojdeme k řešení, které jsme oba schopni přijmout za své, aniž bychom ho museli považovat za mechanický kompromis. To je právě věc, které si na této spolupráci cením nejvíce.</div>
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<i>Máte za sebou desítky let komponování a nahrávání a roli producenta nezpochybňujete, na </i><i>druhou stranu část vaší produkce se obejde i bez něj. Co je klíčem k rozhodnutí, kdy je přítomnost </i><i>producenta žádoucí a kdy nikoli?</i></div>
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Producent bývá často jakýmsi médiem komerční úspěšnosti desky, což u nás v úvahu nepřipadá. Obejdu se bez něj v té části tvorby, která se pohybuje v užší sféře soudobé klasické hudby. Čím více produkt směřuje k integrované, eventuálně výrazněji elektronické, industriální či podobné zvukové charakteristice, je producentova role významnější. Je to dáno jeho zaměřením, postupy klasické hudby mu nejsou blízké. To ovšem neznamená, že by se orientoval jen na uvedené formy, jde nám o celkově homogenní a přesvědčivou podobu výsledného tvaru, a tomu je vše podřízeno.</div>
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<i>Se Subpop Squeeze jste v posledních měsících několikrát vystoupil i živě. Budete v tom pokračovat? </i></div>
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Jako Subpop Squeeze vystupuji od prosince 2014, a jak vznikalo nové album, měnil jsem postupně i příslušný koncertní program výměnou starších skladeb za nové. V současné době bych rád živě představil jeho finální podobu, přičemž plánujeme vystoupení v Polsku a Německu a možná i v dalších evropských zemích, která jsou v jednání.</div>
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<i>Mezi kultovní soubory, které jste založil, patří také Skrol. Jak vypadá jeho současnost či možná </i><i>budoucnost?</i></div>
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Soubor Skrol sice oficiálně svou existenci neukončil, ale je dlouhodobě nečinný. Naposledy jsme vystupovali v letech 2011 a 2012, z čehož vzniklo živé minialbum. Máme sice dostatek materiálu, na kterém by se dalo pracovat, ale časová tíseň spolu s dalšími ryze praktickými důvody nám momentálně brání v konkrétních plánech, i když na koncertní produkci rozhodně nerezignujeme.</div>
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<i>Ve Skrol hraje důležitou roli zpěv Martiny Sanollové, vokál přidáváte i vy sám, přitom velká část </i><i>vaší další produkce je instrumentální...</i></div>
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I v mé sólové produkci, kde instrumentální složka hraje nejvýznamnější roli, není výjimkou užití vokálů, právě naopak. Někdy však měním pomocí technologií jejich zvukové vlastnosti natolik, že nejsou odečteny primárně jako vokální party. Nicméně má spolupráce s řadou vokalistů (či spíše vokalistek) význam úlohy lidského hlasu v hudbě potvrzuje. Užívám v mnoha případech i mluvené slovo, jak tomu je též na novém albu Subpop Squeeze. Řeč jako takovou považuji za hudební projev, její rytmika, tonalita a barva jsou pro mne svébytným prvkem a příspěvkem hudebního sdělení.</div>
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<i>A jsou zpěvy a vokály při vzniku skladeb pro Skrol dominantní, nebo mají doprovázet a doplňovat </i><i>instrumentální složku?</i></div>
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Všechny skladby Skrol vznikly na základě původní instrumentální báze, která v mnoha případech funguje i jako samostatná jednotka, některá alba mají své plně instrumentálními alternativy. Vokální složka Skrol tedy prakticky vždy následovala nástrojovou, ale nikoli s cílem ji pouze doprovázet. I když některé skladby Skrol nejsou opatřeny vokálním partem, v případě ostatních nemůže být pochyb o tom, že Martinin sytý, výrazně expresivní a emočně vypjatý projev nehraje pouze doplňující úlohu. Naopak, tyto skladby tvoří jakési jádro a nejpodstatnější části desky. Vždy se jedná o rozvinutí tématu, mnohdy vokální part přebírá částečně dominantní roli – nicméně cílem byla vždy komplexně kompaktní věc, bez ohledu na to, jakou úlohu ten či onen jednotlivý prvek hraje.</div>
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TECHNIKA MANIPULUJE</div>
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<i>V přípravě je také vaše sólové album Scripta Soli. Jak jste daleko? </i></div>
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Na aůbu "Scripta Soli" pracuji průběžně již dlouho. Jedná se o titul poměrně rozsáhlý, založený na práci s terénními nahrávkami, získávanými v průběhu několika let. Podstatou projektu je transformace, respektive muzikalizace původně zdánlivě nehudebního tvaru. Mělo by to být výrazně ambientní album, zcela jistě nejtišší z mých produktů, ale zdá se být také nejpracnějším. Vzhledem k tomu, že vyžaduje naprosto specifický typ práce i koncentrace, čekám na chvíli, kdy mi čas dovolí plně se mu věnovat. V současné době je zpracovaná asi polovina materiálu.</div>
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<i>Hudebně zpracováváte vážná témata, důležitou roli hrají emoce, různé stránky lidského konání, </i><i>historie a bytí, i náboženství. Elektronika i další nástroje mají ale i své zvukové hranice. Narážíte </i><i>často na to, že musíte přistoupit ke kompromisu mezi představou, jak mají dané emoce či pocity </i><i>v kompozici znít, a tím, jaké jsou dané technické možnosti?</i></div>
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Práce se zvukem je podstatou vertikálního členění skladby a skýtá nepřeberné množství řešení. Je ovšem třeba zdůraznit, že ani ty nejdokonalejší technické možnosti neposkytnou hudebníkovi komfort, vše je, respektive musí být, vedeno jím. Technologie je dobrý sluha, ale špatný pán. Buď jste to vy, kdo vládne, nebo jste sám manipulován. V tom případně sklapne dokonalá past. Stává se, že se mi nepodaří uskutečnit svou představu, ale vidím to jako vlastní nedokonalost, nikoli jako technický problém daný limitací nástrojových a přístrojových zdrojů zvuku. Nejsem jimi omezen, zdrojem či inspirací mohou být teoreticky jakékoli sluchové vjemy, jež nás obklopují.</div>
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<i>Hudebník může zabřednout až do mikroskopicky důsledné práce na jediném zvuku či momentu – </i><i>kdy poznáte, že toto je ideální a konečný stav a je možné pokračovat dál?</i></div>
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Preferuji komplexitu. Zvuková charakteristika, jakkoli pro mne podstatná a významná, není jediným atributem skladby. Vždy to chápu jako vztah detailu a celku. Najdu-li kompatibilitu, souzvuk a výpovědní autenticitu, mohu pokračovat dál.</div>
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<i>Předpokládám, že jste nejen hudebník a skladatel, ale také posluchač. Co poslední dobou </i><i>v hudbě nejvíce potěšilo Vladimíra Hirsche?</i></div>
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V poslední době mne hodně potěšilo, že byl konečně nahrán komplet všech symfonií mého oblíbeného skladatele Miloslava Kabeláče. Nejsem sice úplně nadšen ze některých provedení, ale byla tím zaplněna ostudná mezera v diskografii české moderní klasické hudby a jejích významných představitelů.</div>
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<span style="font-size: x-small;">ROZHOVOR VLADIMÍR HIRSCH</span></div>
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<span style="font-size: x-small;">TEXT RICHARD KUTĚJ</span></div>
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<span style="font-size: x-small;">duben 2017</span></div>
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6601870734888192591.post-19306016643995403732018-01-21T23:12:00.003+01:002018-01-23T23:06:59.813+01:00A brief history of Czech music<br />
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Czech music - throughout more than one thousand years old history - can be considered beneficial in both European and worldwide context, several times co-determined or determined a newly arriving era in musical art, above all in music of Classical era, as well as by original attitudes in Baroque, Romantic and modern classical music.</div>
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<b>Early music</b><br />
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The musical tradition of Czechia arose from first church hymns, whose first evidence is suggested at the break of 10th and 11th century. The first significant pieces of Czech music include two chorales, which in their time performed the function of anthems: “Hospodine pomiluj ny” (Lord, Have Mercy on Us) from around 1050 (the authorship is sometimes ascribed to Svatý Vojtěch (St.Adalbert of Prague), bishop of Prague snd missionaire, living between 956 and 997), unmistakably the oldest and most faithfully preserved popular spiritual song to have survived to the present, and the hymn "Saint Wenceslas" ("Svatý Václave") from around 1250. Its roots can be found in the 12th century and it still belongs to the most popular religious songs to this day. In 1918, the song was discussed as one of the possible choices for the national anthem.</div>
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First documented personalities and records appear in Czechia in the 14th century, following the founding of a department of musicology operated from the very start of the Charles University in Prague in 1348, e.g. the composer of liturgical songs Záviš of Zápy or hymnographer Domoslav. They are several records of Czech love songs from the 14th century of courtly type "Dřěvo se listem odievá" (Trees Are Putting on Leaves) or "Jižť mne všě radost ostává" (All My Joy is Waning). As an example of the record of medieval notation can serve Gradual of Arnošt of Pardubice from 1363. Important insight into the beginnings of Czech music brings Jistebnice hymn book from 1430, which contains representative collection of liturgical, martial and spiritual songs, created until that time, including Christmas carols. The Czech carol "Di est leticie" was known in the Middle Ages all over Europe, another one with the origin in the beginning of 15th century, "Virgo partit filium" (Narodil se Kristus Pán) is regularly sung even today. In the book, we can find also famous Hussite battle hymn "Ktož jsú boží bojovníci" (Ye Who Are Warriors of God).</div>
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<b>Baroque and Renaissance</b><br />
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The most important composers and musicians of Czech renaissance - predominantly of various forms of sacred music - were <b>Jiří Rychnovský</b>, using advanced renaissance vocal polyphony, <b>Šimon Bar Madelka</b>, <b>Ondřej Chrysoponus Jevíčský</b>, <b>Jan Trojan Turnovský</b>, remarkable for his well-handled polyphony technique and careful work with words in relation to music, Jan Simonides Montanus, <b>Pavel Spongopaeus Jistebnický</b>, <b>Kryštof Harant of Polžice and Bezdružice</b>, combining his music with oldier compositional techniques, and <b>Jan Blahoslav</b>, music theorist emphasizing the need for the musical rhythm to correspond with the chronometric system of prosody of the verses.</div>
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To the most notable Czech composers in Baroque era - and also in general - belongs <b>Adam Michna</b> (all name Adam Václav Michna, Chevalier from Otradovice) working in early Baroque, also organist, choir leader and poet who initiated the development of Czech music and became a significant inspiration for Czech artists of future generations. His works content pieces, which cannot deny Renaissance echoes. His music acts with remarkable vivacity, comprising both humour and tragic of daily life. About 230 of his compositions from three Czech and two Latin collections are known today. Best known are his 3 hymn cycles, Česká mariánská muzika, Loutna česká and Svatoroční muzika. His poetry remains very vivid with intense influence of senses.</div>
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The most important Czech figure of the Baroque Period was the composer <b>Jan Dismas Zelenka</b>, the personality of outstanding innovative spirit, next eras anticipating harmonic invention and mastery of counterpoint. He is called "catholic counterpart" of Johann Sebastian Bach, who studied Zelenka's works and was influenced by him. From Zelenka's opuses belong to most the important an extensive collection of sacred music (masses - above all his last six, called "Missae Ultimae", oratoria and cantatas). From other works are notable his concertos and sonatas. The works of Zelenka remained unknown for a very long time, because they were in the possession of the Saxon king. In 19th century, Bedřich Smetana copied some of them, but the real appreciation of the composer and his opuses started only in the 1960s with the boom from the turn of the 20th and the 21st centuries. Gradually, many of his compositions have been performed and recorded in world premieres, above all by new Czech, German and Swiss ensembles and soloists, using original instruments and vocal techniques of Baroque period with a great success.</div>
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To the other prominent Czech Baroque personalities belong trumpet virtuoso and composer of sonatas and other technically brilliant pieces with main role of brass and wind instruments, Pavel <b>Josef Vejvanovský</b>, the most important in hymnal tradition of Czechia, composer and organist of Middle Baroque <b>Václav Karel Holan Rovenský</b>, whose magnum opus, "Cappella Regia Musicalis" from 1693, massive collection of hymns and sacred songs (772 pieces) of the Roman-Catholic liturgy in the Czech language was continually reprinted throughout the ensuing centuries and has been the basis for many Czech hymnals and mainly, a representative of the late baroque style, composer and organist <b>Bohuslav Matěj Černohorský</b>, deeply influencing the musical evolution in Czechia not only as a composer, but also as a teacher. His fugue "Laudeatur Jesus Christus" is cited by the Baroque Music Library as an excellent example of its kind, He composed fugues and toccatas for organ, as well as vocal works. In Czechia born Heinrich Ignaz Franz von Biber, very beneficial composer for the violin in the history of the instrument cannot be forgotten.</div>
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Composer, stylistically of the late Baroque, but important also for the development of early classicism was<b> František Ignác Antonín Tůma</b>. His sacred works, which were known to Haydn and Mozart, were noted by his contemporaries for their solidity of texture and their chromaticism. Among them we find some 65 masses, 29 psalms and five settings of Stabat Mater. He composed also instrumental music, predominantly trio and quartet sonatas, sinfonias and partitas with preferred role of string instruments.</div>
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<b>Classical and Romantic era</b><br />
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Czech composers significantly contributed to the birth and development of Classicism in music. The style developed already deep in Baroque era from sources, created by local musicians thanks to exceptional activity of musical life at that time (the English music historian and traveller Charles Burney called Czechia “European conservatory”).</div>
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Among all Czech contributive musical personalities excelled symphonist and one of founders of classicist composition <b>Jan Václav Antonín Stamic</b> (generally known by germanized name Johann Stamitz), the father of famous Mannheim school, substantially innovating structure of symphonic works and sonata form. His main innovation is the four-movement structure of symphony. He was the first composer to use it consistently - more than half of his 58 symphonies and nine of his ten orchestral trios are in four movements. He also contributed to the development of sonata form, most often used in symphonic first movements but occasionally in finales and even slow movements as well.</div>
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To other Czech composers who significantly contributed to the development of classical music belong <b>Jiří Antonín Benda</b> in bringing the musical form of melodrama to life, the author of over 70 symphonies and almost 100 sacred works <b>Jan Křtitel Vaňhal</b> (generally known as Johann Baptist Vanhal), being considered highly influential to Mozart, making use of many features, which appeared later in large scale of famous composer's works, being also substantially discoverable in symphonies, prefiguring Beethoven's works.</div>
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<b>Josef Mysliveček</b>, a pioneer in the composition of music for wind ensemble and the master of compositional models in the genres of symphony, Italian opera, and violin concerto, called "Il Divino Boemo" (A Divine Czech) or <b>Antonín Rejcha</b>, whose work directed from classicism to romanticism, but his innovative methods of composition, which he applied in a variety of works, leaving their mark on the works of Beethoven and Schubert, and techniques such as bitonality and polyrhythm, derived often from folk music, directly anticipates that of modern composers far in advance.</div>
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Also <b>Jan Ladislav Dussek</b> (baptized Václav Jan Dusík) is considered a predecessor of the Romantic composers for piano, especially Chopin, Schumann and Mendelssohn. He composed large scale of piano sonatas and concertos, and also the highly unusual chamber sonata with percussion, an extremely rare example of pre-20th-century chamber music that includes percussion.</div>
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Romantic era in works of Czech composers started also with <b>Jan Václav Hugo Voříšek</b> by melodically inventive early Romantic idioms in his music, e.g. "impromptu", which term was used for the first time in relation to his piano pieces and subsequently used by Schubert, Chopin and numerous other composers.</div>
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In later Romanticism begun the period, which brought Czech music an international fame. It was practically initiated by <b>Bedřich Smetana</b>, the pioneer of a musical style which became closely identified with his country's aspirations to independent statehood. He is considered the founder of the Czech national school of music and the truly Czech nationalist composer. To his major works belong symphonic poem "Má Vlast" (My Country), operas with dominating themes from Czech legends, history and traditions, above all "Libuše" and "Prodaná nevěsta" (Bartered Bride) and an extensive collection of solo piano works, including many folk dances, especially polkas. Smetana had been a virtuoso performer on the piano, and those compositions, augmented by the more mature piano pieces of his difficult last years, constitute an important body of piano literature.</div>
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The most famous Czech composer and one of the leading world composers of all time was <b>Antonín Dvořák</b>. Dvořák’s own compositional style, usually denoted as Classical-Romantic synthesis, is considered the fullest recreation of a national idiom with that of the symphonic tradition, absorbing folk influences and finding effective ways of using them. Dvořák was also substantially influential for the growth of American classical music (being the director of Conservatory in New York between 1892-5), where he composed the most famous work "Symphony No.9 From The New World", in which he also showed the way how to work with genuine American music in classical rank. This symphony belongs among the most favourite compositions of this kind in the world. Neil Armstrong took a recording of the New World Symphony to the Moon during the Apollo 11 mission, the first Moon landing, in 1969, and left it there as some representative document of the culture of human</div>
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civilization. To Dvořák’s most important works belong also Symphonies No.7 & 8, funeral mass "Requiem", considered to be one of the best compositions of that kind ever, oratorial work "Stabat Mater", a spiritual hymn "Te Deum", "Concerto for violoncello", two collections of "Slavonic Dances", string quartets and "Rusalka", the most famous operatic work.</div>
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Other famous late romantic composers were <b>Zdeněk Fibich</b>, the author of symphonic poems and scenic melodramas, and in Czechia born symphonist and one of leading conductors of his generation <b>Gustav Mahler</b>. Also some of leading composers of Czech Modernism, Josef Suk, <b>Vítězslav Novák</b> (both pupils of Antonín Dvořák) and Leoš Janáček, had their roots or beginnings in Romantic era.</div>
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The period between second half of 19th century and first half of 20th century, can be considered the golden age of Czech music, represented mainly by so-called "The Great Four" of personalities of already mentioned Bedřich Smetana and Antonín Dvořák also modernists Leoš Janáček and Bohuslav Martinů, but with inconsiderable role of several other, lesser known, but for the development of modern and contemporary music important composers.</div>
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<b>Modern era</b><br />
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<b>Leoš Janáček</b>, composer of an original, inimitable modern musical style, inspired by Czech (above all of Moravian and Silesian region of Czechia) and other Slavic folk music and musical characteristics of folk speech, which is a major sign of his rendition of opera singing. He presented a previously unheard world of music, sometimes even almost from otherworldly spheres, which major example is his "Glagolitic Mass". Janáček's music employs a vastly expanded view of tonality, using unorthodox chord spacings, structures, and modality. To his other distinctive works belong "Sinfonietta", operas "Káťa Kabanová", "Jenufa" and "The Cunning Little Vixen", rhapsody "Taras Bulba", string quartets, and other chamber works.</div>
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<b>Josef Suk</b> was influenced first by Late romanticism, but in later pieces he uses more extended harmonies to create a personal and complex style, based on chromatic polyphony with a direction towards the freedom of atonal music. This concentration on dissonance created music which always showed a tension due to the absence of any musical relaxation. To his best works belong the symphony "Asrael", written in response to the deaths of his wife and Dvořák, "Fairy Tale Suite", the cycle of piano works "Things Lived and Dreamed", and the trilogy of symphonic poems A Summer's Tale", "The Ripening" and "Epilog". Suk won a silver medal at the Art competitions at the Olympic Games 1932 Summer Olympics in Los Angeles, with his work "Into a New Life".</div>
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<b>Bohuslav Martinů</b>, a prolific modern symphonist and opera composer, moving in many distinctive directions with neoclassicism, expressionism and jazz music in veins. He usually belongs to the so-called "Great Four" (as they are sometimes called altogether with Dvořák, Smetana, and Janáček). Martinů created over 400 musical work during his life, from which 6 symphonies, "Concerto for violoncello and orchestra", "Field Mass", "Gilgamesh" oratorial work, the extensive collection of piano concertos and chamber music have to be mentioned. From operatic works stand out "Juliette", "Plays about Mary" & "The Greek Passion".</div>
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In the first half of 20th century started his career the discoverer and one of major world composers of microtonal music, <b>Alois Hába</b>. To the most important personalities in high modern era belong original keys creator and symphonist <b>Miloslav Kabeláč</b> and a composer of modern sacred works (above all for organ) <b>Petr Eben</b>.</div>
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<b>Musical events in Czechia</b></div>
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Already in 13th century, Czech King Wenceslas II organised the first major musical event in the country, that was to draw the attention of all of Europe. He held a musical competition in Prague, inviting the most famous European musicians and the king also took part personally, as a minstrel. The most famous music festival in the country of today is Prague Spring International Music Festival of classical music, founded 1946, a permanent showcase for outstanding performing artists, symphony orchestras and chamber music ensembles of the world.</div>
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The wealth of musical culture in Czechia lies in the long-term high-culture classical music tradition during all historical periods, especially in the Baroque, Classicism, Romantic, modern classical music and in the traditional folk music of particular Czech lands. Since the early eras of artificial music, Czech musicians and composers have often been influenced by genuine folk music, which is can be recognized already in records of Czech music since 14th - 15th century, and dances.</div>
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Vladimír Hirsch (2014)<br />
<span style="font-size: x-small;">published in <a href="https://www.czechia-heart-of-europe.com/music">Czechia - the Heart of Europe</a></span></div>
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<span style="font-size: x-small;"><a href="https://www.correction-creative.eu/">PR & CC by Mares PW</a></span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6601870734888192591.post-88723864023204533292017-10-26T20:45:00.004+02:002018-01-23T22:35:17.781+01:00Do posledního přísného detailu <div>
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<a href="https://1.bp.blogspot.com/-0jxOuv6ZLbE/WfItEw6btjI/AAAAAAAAEpg/AQMCRgNTM9sBWqis1x9NSbIxHJ15piYPACEwYBhgL/s1600/vladimir04.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img alt="" border="0" data-original-height="533" data-original-width="800" height="213" src="https://1.bp.blogspot.com/-0jxOuv6ZLbE/WfItEw6btjI/AAAAAAAAEpg/AQMCRgNTM9sBWqis1x9NSbIxHJ15piYPACEwYBhgL/s320/vladimir04.jpg" title="Vladimír Hirsch" width="320" /></a></div>
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Opuštěná továrna za městem, kam se místní bojí chodit. Vítr tam přes vybité okenní tabulky uvedl opět do pohybu ocelová kola strojů. Jejich industriální symfonie doplňuje temný orchestr tajných, kteří nemluví, jen táhle produkují tóny na své nástroje. A když se otočí vítr na město, aby tam zanesl úryvky zvláštních melodií a zvuků, nikdo raději nevychází.Scripta Soli je ale přeci jen jemnější a detailnější prací. Vladimír Hirsch tady rozehrál další barevný příběh na téma jeho vlastního skladatelského pojetí, nazvaného integrovaná hudba. Mix temného industrialu a soudobé klasické hudby v elektronickém podání, doplněném zvuky piana, vokálů, hlasů a dalších vjemů ze zvukových experimentů. Ty zde pocházejí také z terénních nahrávek. Je to silné a temné album. Co ale rozhodně nechybí, je všudypřítomná Hirschova intenzivní energie. Jeho trade mark. Ten tlak a síla, vše prokomponované do posledního přísného detailu.</div>
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Scripta Soli je postavená na minimalisticky dokonalé práci. S každým zvukem, úderem, hlučnou vlnou, táhlou stěnou i bizarně nervními jemnými okamžiky, s tím vším je nakládáno opatrně a vyváženě, jemně a zároveň přesně cíleně. Hudba na Scripta Soli nespěchá. Myslím, že to kdysi řekl Adam Nenadál. Ta místa, kde kapela jako by pustí nástroje, a nechá vše jen znít. Taková místa dokáže ve svých zvukových kolážích i Vladimír Hirsch. A jak je u něho rovněž zvykem, i finální mix je dotažen k akustické dokonalosti.</div>
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Také dnešní tesaři používají ke své práci současné stroje a technologie. Ti nejlepší se ale poznají až pak, podle detailů nejjemnější staré poctivé práce s malými dláty. To v přeneseném významu platí i pro současné ceněné skladatele experimentální elektronické hudby. Vladimír Hirsch je na její mezinárodní scéně znám a ceněn už několik desítek let. A Scripta Soli – vydané u ukrajinského labelu s příznačným názvem Old Captain - je další jasnou odpovědí, proč má tato scéna i patřičný respekt ku slovu Czechia.<br />
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Richard Kutěj (Full Moon, 2017)</div>
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<a href="http://www.fullmoonzine.cz/post/preview/url/do-posledniho-prisneho-detailu-vladimir-hirsch">http://www.fullmoonzine.cz/post/preview/url/do-posledniho-prisneho-detailu-vladimir-hirsch</a><br />
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<tr><td class="tr-caption" style="text-align: center;">Vladimír Hirsch / Scripta Soli</td></tr>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6601870734888192591.post-46441364922605274602017-07-30T20:06:00.003+02:002019-08-08T14:48:34.295+02:00Wikipedia - "Wise men of Gotham"<br />
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<span style="font-size: x-small;"><i><b>Motto: </b></i></span></div>
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<span style="font-size: x-small;"><i><b>When some unaccustomed idea of common sense appears in the world, </b></i></span></div>
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<span style="font-size: x-small;"><i><b>you may know it by this sign, that the dunces are all in confederacy against it</b></i></span></div>
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<span style="font-size: x-small;">Paraphrase of the quote from Jonathan Swift's</span></div>
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Despite repeated protests, the articles about the name CZECHIA and also many minor edits mentioning the name, have been continuously deleted from English Wikipedia by several administrators, especially by "Yopie" and "Mewulwe" admins (nicknames), but also some other, predominantly Czechs, who have been focusing their efforts on erasing the word Czechia for years. Some journalists suggested it is a result of the struggle between supporters of the name "Czechlands" and "Czechia," but that information is not based on truth. The reason is both simple and absurd. All of those admins prefer to use "The Czech Republic," in every case, also in historical connotations and all of them do not like geographical name Czechia. Really great visiting card of unbiassed encyclopedy!<br />
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To "solve" the problem with historical issues or themes, which are somehow out of the time of existence of "the Czech Republic", some "salvation idea" came to their minds: they decided to put everywhere in articles of that kind some "introduction", how everybody should understand what is meant by e.g."Literature of the Czech Republic" and there is (as everywhere) written, it is the production of all history of the Czech state and mentioned all state formations in Czechia during centuries. This preface should help the reader to understand what country they keep in mind. This Kocourkov's (Czech Gotham) application overcrossing all absurdity conjoined with brainless insisting of exclusive use of the political name of the country. Of course, it cannot help at all, because usual reader is only totally confused, and, in addition, surprised by the presence of such as introduction, but mainly, it is spreading of untruth, because "the Czech Republic" does and cannot have that action potential, even if its lovers repeat it million times. The result is only confirmation of stupidity and POV (point of view, thus, subjective opinion), so frequently used by themselves in accusations of people, who are so "impudent" and "pushing", that ask for using geographical name of the country, which is universal and therefore can be used in general context without any idiotic and mendacious prefaces, presented by "Wikipedia wise men" on every page, which theme goes beyond their "Czech Republic".<br />
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On top of all, there is only one case in all English Wikipedia, where some country operates under two names in one issue, resp. when we can find two articles about the same theme - "Music of the Czech lands" and "Music of the Czech Republic" All that idiotic circumvention only for "the highest and most sacred goal" not to use the word Czechia at any cost. Thank you, wise men of Wikipedia!<br />
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Nonsense can generate only another nonsense and, in this awkward case, the production of other nonsenses - based on absurd false statement, that "The Czech Republic can represent (with "proper" explanation) all history of Czechia - which is copied or taken over into other media, considering Wikipedia reliable source of information is overwhelming. Absurdity has been spreading all over the world. This is the reason why we can find "pearls" like: "11th century in the Czech Republic", "Antonín Dvořák, a composer from the Czech Republic", "Charles IV was a king of the Czech Republic", "Prince Bořivoj was born in the Czech Republic", "...when Constantin and Methodius came to the Czech Republic" and many others products, "illuminated" by Wikipedia editors.<br />
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<tr><td class="tr-caption" style="text-align: center;">Poor Charles IV - if he would know<br />
he was the king of the Czech Republic .....</td></tr>
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Our article "Czechia - the one-word name of the Czech Republic" was deleted not only from Wikipedia pages but also from personal page of contributors, so dangerous it seems to be. In the case of the second contribution of us, "Czechia - the name dispute," a vote was held about the wiki page deletion and despite the outcome being favorable for retaining the article, it was deleted. All protests against that behaviour were ignored or repeatedly followed by threats of blocking the user, later by definitive block, when there was a struggle to repost and keep the information online. The "objectivity" of Wikipedia is sufficiently highlighted by this situation. The word CZECHIA is simply prohibited there. Who is that much interested in it being hidden is a mystery, but a particular political reason seems highly probable.<br />
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<i>Vladimír Hirsch</i></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6601870734888192591.post-19628355541758952252017-06-22T11:04:00.004+02:002023-06-07T16:52:37.211+02:00Vzkaz odpůrcům názvu Czechia <div style="text-align: justify;">
<span style="font-family: "georgia" , "times new roman" , serif;">Milí odborníci na lingvistiku, </span><br />
<span style="font-family: "georgia" , "times new roman" , serif;">geografii, krasomluvu a historii, </span><br />
<span style="font-family: "georgia" , "times new roman" , serif;">pisatelé a signatáři rozhořčených petic </span><br />
<span style="font-family: "georgia" , "times new roman" , serif;">a další zanícení bojovníci proti názvu Czechia,</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">jsme zvyklí na diskuzi s odpůrci názvu Czechia a můžeme než konstatovat, že vaše názory se z principu neliší. Je pro ně typické, že zcela pomíjejí naprosto zásadní a klíčový důvod institucionalizace anglického zeměpisného názvu naší vlasti, pravděpodobně proto, že podobný přistup je vám bytostně cizí. Věc nahlížíte sebestřednou optikou, kdy všemi nešvary, z nichž viníte druhé, sami disponujete v míře vrchovaté. Chcete nás kritizovat, že dvacet let bojujeme za to, aby naše země vystupovala jako v čase a prostoru kontinuální svébytná jednotka a nikoli jako pomíjivý politický subjekt (politický název naší země byl za posledních 100 let změněn devětkrát !) ? </span></div><div style="text-align: justify;"><span style="font-family: georgia, times new roman, serif;"><br /></span></div><div style="text-align: justify;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td><a href="https://2.bp.blogspot.com/-GMLb4wW1uX8/WUuH0LfBPJI/AAAAAAAAEc0/gy7VAvQjAAMUilJcXRUg8fLFXkuNT6o9gCLcBGAs/s1600/Prazdroj%2BCzechia.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="565" data-original-width="783" height="286" src="https://2.bp.blogspot.com/-GMLb4wW1uX8/WUuH0LfBPJI/AAAAAAAAEc0/gy7VAvQjAAMUilJcXRUg8fLFXkuNT6o9gCLcBGAs/s400/Prazdroj%2BCzechia.jpg" width="400" /></a></td></tr><tr><td class="tr-caption">Pilsner Urquell - brewed in Plzeň, Czechia<br /></td></tr></tbody></table><span style="font-family: "georgia" , "times new roman" , serif;"><br style="text-align: right;" /></span>
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<span style="font-family: "georgia" , "times new roman" , serif;">Ano, to je totiž pravý princip našeho snažení - který naprosto nechápete a opřádáte naši motivaci absurdními konspirativními teoriemi <span><i><span style="color: #2b00fe;">(je zcela signifikantní, že jsme ve vašich iracionálních útocích současně rusofilové a germanofilové, současně sionisté a antisemité, současně komunisté a fašisté, současně "placeni Kremlem a Němci", současně islamisté a islamofobové, atd.), vycházejícími z naprostého zmatku ve vašich mediálně manipulovaných hlavách, neb nic takového nejsme, nikdy jsme nebyli a nikým, kromě sebou samými placeni nejsme</span></i><span style="color: #e69138;"> </span></span>- nikoli prosadit za každou cenu určitý název. Kdyby se v roce 1993 shodli odborníci na jiném názvu, např. Czechlands, nikdo z nás by neměl potřebu to měnit.</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Nicméně, jakkoli se tehdy odborníci (ano, již tehdy) na něčem shodli, NIKDO tuto skutečnost nerespektoval (opět typické pro tuto enklávu) z podobně subjektivistických důvodů, jimiž se prezentujete vy a díky klasickému obcházení problému namísto jeho řešení se politická reprezentace státu rozhodla, že zeměpisný název nahradí politickým. Tento akt "chytré horákyně" byl ve skutečnosti kocourkovskou absurditou, neb zeměpisný název nelze politickým nahradit ze zcela evidentních důvodů : politický název má z principu přechodnou platnost a odtrhuje subjekt od možnosti chápat ho v dějinném, tedy kontinuálním kontextu, čímž ho činí nestabilním (proto je jméno důležité a není jen prázdným slovem. Nomen omen!). Vskutku čin v Evropě ojedinělý a hodný nevzdělaného a povrchního diletanta. TENTO FAKT (nikoli název samotný) byl příčinou vzniku naší iniciativy (která pro vaši informaci vznikla v Brně a byla založena lingvistou prof.Šrámkem a starostou Židenic panem Kopřivou). Současně - protože v té době panoval i spor o český zeměpisný název státu, jakkoli byl rovněž již v roce 1993 schválen - na moravské straně byla motivace velmi silně ovlivněna též obavou, aby se státu neříkalo Čechy (Bohemia), kterýžto název by ignoroval východní část naši země. </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Naše iniciativa nemá žádnou politickou či jinou moc, kterou nám přisuzujete, vychází z přesné a otevřenému recipientovi dostatečně zřejmé argumentace. Jazykově-historická nabídka byla zřejmá a rozhodnutí zcela logické. Nikdo nemůže za to, že rodilým mluvčím jazyka anglického bylo jedno, jak nás budou pojmenovávat, ostatní jazyky si název našly samy (nota bene v drtivé většina velmi podobný až identický s názvem Czechia). </span></div><div style="text-align: justify;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></div><div style="text-align: justify;"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-Cf19EwBoA90/YRTQS4My-LI/AAAAAAAAHqE/9eqop1LvSVY1X49-LU0LcZqOPyWfrAgewCLcBGAsYHQ/s515/jazyky.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="234" data-original-width="515" height="208" src="https://1.bp.blogspot.com/-Cf19EwBoA90/YRTQS4My-LI/AAAAAAAAHqE/9eqop1LvSVY1X49-LU0LcZqOPyWfrAgewCLcBGAsYHQ/w459-h208/jazyky.png" width="459" /></a></div><br /><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></div>
<div style="text-align: justify;"><div class="separator" style="clear: both; text-align: center;"><span style="font-family: georgia, "times new roman", serif; text-align: justify;">To, co je zásadní, je tedy odmítání zeměpisného názvu coby politicky neutrálního, v běžné řeči přirozeně aplikovatelného a univerzálně použitelného, jež je podobně tragikomickým aktem jako přeřezávání větve, na které sedíme. Subjektivní hlediska (jichž může být na tisíce) ve věci všeobecně prospěšné nemají místo a pokud jim toto místo jsme ochotni poskytnout, vypovídá to výmluvně o našem skutečném, tedy velmi povrchním vztahu k vlastní zemi a společnosti. Vám najednou velmi záleží na tom, co si myslí občané státu o jeho anglickém názvu a chtěli byste referendum ? Vrchol Kocourkova. Necháte se léčit na základě referenda laiků nebo dáte přednost názoru odborníků ? Žádná jiná země v Evropě nedospěla k takovému nesmyslu. </span></div></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Vám, dámy a pánové, záleží na věci jen proto, že se vám název osobně nelíbí, jinak je vám skutečný problém s tím spojený zcela ukradený, p</span><span style="font-family: "georgia" , "times new roman" , serif;">o dlouhých 23 let j</span><span style="font-family: "georgia" , "times new roman" , serif;">ste se o něj nezajímali </span><span style="font-family: "georgia" , "times new roman" , serif;"> a o jeho šíři nemáte nejmenší ponětí, což dokazujete svými, základními vědomostmi neposkvrněnými domněnkami, jež jsou pouhým papouškováním stejně diletantských a zdravého rozumu prostých dezinformací mediální provenience. </span><span style="font-family: "georgia" , "times new roman" , serif;">Vaše JÁ trpí, nikoli společnost či dokonce demokracie. Pouze vaše JÁ, nikoli stát, je uraženo, což je všem, kteří dnes křičíte společné a přitom se nikdo z vás o dění ve společnosti skutečně aktivně nezajímá. Proto i častá nařčení, že někomu něco diktujeme.... Absurdní ! Jen další důkaz toho, že nemáte ponětí, jak to funguje, neb my samozřejmě nikomu nic diktovat nemůžeme, my jen dvacet let - zatímco vy jste tvrdě spali - pracujeme na věci, která nám osobně nic nepřináší, jen krev, pot, slzy a urážky těch, kteří k problému čichnou a vše okamžitě "vědí". Pracujeme, protože se stydíme za to, jak se tato země prezentuje, pracujeme, protože nám o ni jde. Nic jiného.</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Problém tedy není Czechia, problém je váš obecný postoj k věci, postoj, který v naší současné společnosti převažuje - ignorance, "jáství" a výměna demokracie za idiokracii. Bolševik nám nasadil obojek a když nás z něj pustili, jsme prostě jako psi utržení ze řetězu. Nicméně, vše má svá pravidla. I demokracie. Přišli jsme ze systému, kdy nerozhodovalo vzdělání a schopnosti, ale poddajnost vůči straně a vládě, rudá knížka byla výučním listem a to se podepsalo i na dalších generacích v disrespektu k erudovanému stanovisku. Žádné rovnostářství neexistuje, dámy a pánové, to je hluboký omyl. Nemohu kecat do věci, které nerozumím, opak je vaše pytlíkovství a zvrácená představa svobody a demokracie. Ke skutečné demokracii patří totiž i sebereflexe. A proto jsme na tom tak špatně. Nemyslíme tím samozřejmě materiální stránku, ale duchovní rozměr věcí.</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Hodně úspěchů v boji za kvaziestetiku, to jistě budoucí generace ocení, pokud nebudou žít v zemi, která bude mít zase jiný název či možná třeba už ani ne ve své vlastní zemi (jak nás učí historie, ze které se poučit neumíme). </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"> Vladimír Hirsch, květen 2016</span></div><div style="text-align: justify;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="text-align: right;"> Občanská iniciativa Česko / Czechia</span></span></div><div style="text-align: justify;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="text-align: right;"><br /></span></span></div><div style="text-align: justify;"><span style="font-family: "georgia" , "times new roman" , serif;"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-mhdaaTMN6fA/YRTQjP8Hz7I/AAAAAAAAHqM/InsG8BC1f4QxboZgCGQwR1DMuTGlJeAawCLcBGAsYHQ/s2048/comparison.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1409" data-original-width="2048" height="287" src="https://1.bp.blogspot.com/-mhdaaTMN6fA/YRTQjP8Hz7I/AAAAAAAAHqM/InsG8BC1f4QxboZgCGQwR1DMuTGlJeAawCLcBGAsYHQ/w417-h287/comparison.png" width="417" /></a></div><br /><span style="text-align: right;"><br /></span></span></div><div style="text-align: justify;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="text-align: right;"><br /></span></span></div>
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Unknownnoreply@blogger.com6tag:blogger.com,1999:blog-6601870734888192591.post-43811513702403498362017-06-22T10:11:00.000+02:002017-07-02T08:40:48.251+02:00Vladimír Hirsch - Scripta Soli<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-X8IOLeGCdhQ/WUt6rI5yx5I/AAAAAAAAEcg/w6QsWQawaJAPhHwm4VHaGnBz3n-GlDgGQCLcBGAs/s1600/Scripts%2BSoli.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="960" data-original-width="960" height="320" src="https://1.bp.blogspot.com/-X8IOLeGCdhQ/WUt6rI5yx5I/AAAAAAAAEcg/w6QsWQawaJAPhHwm4VHaGnBz3n-GlDgGQCLcBGAs/s320/Scripts%2BSoli.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Vladimír Hirsch - Scripta Soli</td></tr>
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SCRIPTA SOLI (can be translated as "Writings of the earth/ground") is a thematic album, based on a fictive experience during apocalyptic war catastrophe, perceived from the position of a person imprisoned in the bunker. In epic form, it consists in descriptions of his feelings, memories, fears, visions and expectation of inevitable in echoes of devastating actions on the surface, as though, all sonically interpretated by the ground. Musical idea and rendition of this figurative opus is carried out by the work with field recordings, electroacoustic and digital techniques through metamorphic musicalization of primarily non-musical elements, typical for the musician, in case of this album as an essential manner, thus, "musique concrète intergrée" as basic idea of the epic work.<br />
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Tracks:<br />
1. Indictum<br />
2. Omen<br />
3. Impressiones<br />
4. Exanima<br />
5. Camera delusionis<br />
6. Erebeum<br />
7. Centuria<br />
8. Fuga / Acquiesce<br />
9. Dacryon<br />
10. Amorphes<br />
11. Guttae ultimae<br />
12. Consummatum<br />
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2017 Old Captain - CD, digipak, 60 minutes<br />
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Downlod: <a href="https://oldcaptain.bandcamp.com/album/vladim-r-hirsch-scripta-soli">Scripta Soli</a><br />
Review: <a href="http://www.thisisdarkness.com/2017/07/01/vladimir-hirsch-scripta-soli-review/">This Is Darkness - review by Michael Barnett</a><br />
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<a href="https://2.bp.blogspot.com/-VBXN5KC7qXc/WUt7HdY4sII/AAAAAAAAEck/4GKQ0gTRODoUIbRlc51iVQuZkT63NdUYACLcBGAs/s1600/Scripts%2BSoli3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="960" height="240" src="https://2.bp.blogspot.com/-VBXN5KC7qXc/WUt7HdY4sII/AAAAAAAAEck/4GKQ0gTRODoUIbRlc51iVQuZkT63NdUYACLcBGAs/s320/Scripts%2BSoli3.jpg" width="320" /></a></div>
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6601870734888192591.post-90473802067390639282017-03-26T10:31:00.000+02:002018-06-04T16:22:17.675+02:00Subpop Squeeze - Anacreontics<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-bQdK6KYw3Vk/WNd5rqZM73I/AAAAAAAAEEs/gd9yzME0nYAhAA_PG_f_hGyMCdzQnDwswCLcB/s1600/SSA1.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://3.bp.blogspot.com/-bQdK6KYw3Vk/WNd5rqZM73I/AAAAAAAAEEs/gd9yzME0nYAhAA_PG_f_hGyMCdzQnDwswCLcB/s320/SSA1.jpg" width="318" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Subpop Squeeze / Anacreontics</td></tr>
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<span style="font-family: "georgia" , "times new roman" , serif;">Thematic album of the project, which is an alter ego of Vladimír Hirsch. Dark-electro-industrial-thrash synthesis. Created between 2014 and 2016. Recorded at CatchArrow Recordings studio, Prague, Czechia. CD released by E-Klageto/PsychKG, Germany.</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">Musicians & participants: Vladimír Hirsch - electronic keyboards, synthesizers, samplers, digital technology, Nadya Feir - vocals, El - vocals, Timothy Simmons - recitation, David Icke - spoken word. Production & lyrics by Tom Saivon. Photography & artwork by Gelso Nero & Jan Vávra. Product manager: Martina Sanollová</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">Conceptual work, named intentionally gracefully after ancient Greek genre of "songs about love and wine", but created with obvious sarcastic and mocking undertone both in musical processing in style, called dark-electro-industrial-thrash synthesis (T.Saivon), with critical, sometimes almost cynical texts, however verbal component plays mainly the role of background. Rock principle of thrash metal characteristics and electronics are surrounded by industrial and dark ambient soundscapes. </span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">Tracks:</span><br />
<span style="font-family: "georgia" , "times new roman" , serif;">1 Derm<span class="Apple-tab-span" style="white-space: pre;"> </span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;">2 Obsessive Tap<span class="Apple-tab-span" style="white-space: pre;"> </span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;">3 Discharge<span class="Apple-tab-span" style="white-space: pre;"> </span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;">4 And All Love Dead<span class="Apple-tab-span" style="white-space: pre;"> </span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;">5 Thanatic<span class="Apple-tab-span" style="white-space: pre;"> </span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;">6 Neikothropy<span class="Apple-tab-span" style="white-space: pre;"> </span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;">7 Burning Tongues<span class="Apple-tab-span" style="white-space: pre;"> </span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;">8 Transient Spell<span class="Apple-tab-span" style="white-space: pre;"> </span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;">9 Scratch<span class="Apple-tab-span" style="white-space: pre;"> </span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;">10 Roaring Secrets</span><br />
<span style="font-family: "georgia" , "times new roman" , serif;">11 Shy Of The Light</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">The album released on March 23, 2017 by E-Klageto (A Division of Psych.KG), Germany (cat.no. Exklageto 16). </span><br />
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<a href="https://1.bp.blogspot.com/-vRPUUaS3JOc/WNd7rR8E5JI/AAAAAAAAEE4/VCjqPT96jhou90OxUBuBXJSV4stHVyXVQCLcB/s1600/SSA.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="295" src="https://1.bp.blogspot.com/-vRPUUaS3JOc/WNd7rR8E5JI/AAAAAAAAEE4/VCjqPT96jhou90OxUBuBXJSV4stHVyXVQCLcB/s320/SSA.jpg" width="320" /></a></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Order: psychkg@online.de </span><br />
<span style="font-family: "georgia" , "times new roman" , serif;">+ via PayPal on http://www.vladimirhirsch.com/e_menu.html#Anacreontics, http://www.vladimirhirsch.com/cz_menu.html#Anacreontics</span><br />
<span style="font-family: "georgia" , "times new roman" , serif;">or on mail adresses vladimir.hirsch@gmail.com.</span><br />
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<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-kSJ3YcU4wog/WxVKvJouoqI/AAAAAAAAFxA/zNLEZIr03T8Kkr0_AS9ZK1qQe0fMZ1rawCLcBGAs/s1600/Subpop%2BSqueeze%2B007%2B2015.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="942" data-original-width="736" height="320" src="https://2.bp.blogspot.com/-kSJ3YcU4wog/WxVKvJouoqI/AAAAAAAAFxA/zNLEZIr03T8Kkr0_AS9ZK1qQe0fMZ1rawCLcBGAs/s320/Subpop%2BSqueeze%2B007%2B2015.jpg" width="250" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Vladimír Hirsch as Subpop Squeeze</td></tr>
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<br />Unknownnoreply@blogger.com0