3,191 research outputs found
Editio Cimelia Bohemica Vol. V
No full textThis is one of the most curious and wonderful of the collection's recent acquisitions. Canvas-spined heavy marbled boards enclose a text and sixteen oversized (7½ x 13) heavy-paper reproductions of Russian copper engravings of pictures and text. The text is an introduction by Josef Strnadel in five languages (Czech/English/French/German/Russian) to the prints. Strnadel notes that Aesop was translated into Czech in 1487 and that there were as many as twenty editions of Aesop's fables published in Germany alone between 1476 and 1510. The German editions, particularly that of Steinhöwel, served as models, especially artistic models, for the Russian editions. Strnadel notes the opinion of Alfred Stange that Ludwig Schongauer, one of the creators of the wood-carvings and painted decorations at the Ulm Cathedral, was the author of the illustrations accompanying Aesop's fables and life. The first independent edition of the life of Aesop in Russia was published in 1750 from copper plates. Text was supplemental to illustration. The cradle of Russian engraved books was the Kiev-Petcher monastery. In Russia, the life of Aesop seems to have captured more attention than the fables themselves. For Strnadel, Aesop is the spirit of anti-serfdom. The tsarist censor prohibited the publication of Aesop's life in the first quarter of the nineteenth century. Apparently the only known copy of the 1750 edition is in the Lenin Library in Moscow. The work reproduced here is apparently in the Slavonic Library; Strnadel believes it is one of the last editions of that 1750 original, dating from Russia in the late eighteenth or early nineteenth century. He sees it as a particular treasure of Russian engraving art. After the full-page portrait of Aesop, each page tends to have a top quarter showing several scenes from Aesop's life, while the lower portion of the page is all print. Though some scenes are hard to identify, many are clear from the tradition. All have print identifications and are numbered. The last page includes at its bottom the thrusting of Aesop from the cliff in Delphi.This is a hardbound book (hard cover)Language note: Russian/Czech/English/French/GermanJosef Strnade
The Reform Catholic Josef Dobrovský
No full textReformní katolík Josef Dobrovský The Reform Catholic Josef Dobrovský Josef Táborský The goal of this dissertation thesis is to introduce Josef Dobrovský as a priest influenced by the Enlightenment and participating in reformative effort in Catholic church of 18th century. Author of this dissertation has not focused on Josef Dobrovský's excellent scientific work but rather on the importance of Josef Dobrovský as both the scholar and the the man oriented towards the Christian faith and questions connected with it
Josef Formánek prose write (talented, admired, cursed)
No full textThis thesis aims to introduce a new figure in Czech prose, Josef Formanek. The focus is predominantly on the interpretation and evaluation of the novel Mluviti pravdu. Other parts of the thesis deal with a comprehensive characterisation of individual works of the author. The outcome is to depict how Josef Formanek is placed in the context of contemporary Czech literature. The aim of the thesis is to provide a monography about the new author of Czech prose ,whose monography hasn't been written up as of yet
Editio Cimelia Bohemica, Vol. VI
No full textThis portfolio was a real find in a ZVAB half-price sale. There are two parts inside a board binder/wallet with marbled exterior, with gold lettering on a black rectangular title plate. The two parts are a 21-page brochure and sixteen loose woodcut plates. The brochure offers a four-page background and description of the early Russian "Life of Aesop" in Czech, English, French, German, and Russian. The English version is titled "The Russian Copper-Engraved Print 'The Life of Aesop.'" This introduction is highly political. Fable's vitality "has been preserved due to eternal human and social contentions. Fable has spread wherever people have been denied their rights." This approach suggests what it was like to be in Prague in 1968. The life of Aesop was, for this author, an "organic component of all book editions." Strnadel traces the ancestry of this Russian work back to Steinhöwel. I would not have known that Ulm was at that point "the centre of German humanism." Apparently this Russian vita was published in 1750. By then woodcut had yielded to copper engraving. In editions of this era, illustration was primary and texts were secondary. In fact, texts often lost their original purpose. In Russia in particular, Aesop's life "met with greater attention than his fables themselves." "It was precisely the spirit of anti-serfdom in which the life of Aesop was described in these engraved prints that was responsible for the prohibition imposed on the spreading of these publications by the tsarist censor in the first quarter of the nineteenth century." Used book collectors will be happy to know that the primary copy of the woodcuts was purchased at a second-hand book market in 1935. The plates themselves track the well-known life of Aesop well. The third sheet suggests him vomiting forth clear water while his two guilty fellow slaves look on. One can recognize in the eighth sheet the story showing that the master's dog is the faithful one in his household. Sheet 15 presents Aesop's crazy idea of flying observers. Sheet 16 is clearest of all. All three illustrations are easy to decipher. In the first, Athenian agents "discover" the sacred cup hidden in Aesop's belongings. In the second he seeks an altar for refuge. In the third he is thrown down from a precipice. The publication was put out officially by "Bibliotheca Rei publicae socialisticae Bohemoslovacae Pragensis." Not in Bodemann.This portfolio was a real find in a ZVAB half-price sale. There are two parts inside a board binder/wallet with marbled exterior, with gold lettering on a black rectangular title plate. The two parts are a 21-page brochure and sixteen loose woodcut plates. The brochure offers a four-page background and description of the early Russian "Life of Aesop" in Czech, English, French, German, and Russian. The English version is titled "The Russian Copper-Engraved Print 'The Life of Aesop.'" This introduction is highly political. Fable's vitality "has been preserved due to eternal human and social contentions. Fable has spread wherever people have been denied their rights." This approach suggests what it was like to be in Prague in 1968. The life of Aesop was, for this author, an "organic component of all book editions." Strnadel traces the ancestry of this Russian work back to Steinhöwel. I would not have known that Ulm was at that point "the centre of German humanism." Apparently this Russian vita was published in 1750. By then woodcut had yielded to copper engraving. In editions of this era, illustration was primary and texts were secondary. In fact, texts often lost their original purpose. In Russia in particular, Aesop's life "met with greater attention than his fables themselves." "It was precisely the spirit of anti-serfdom in which the life of Aesop was described in these engraved prints that was responsible for the prohibition imposed on the spreading of these publications by the tsarist censor in the first quarter of the nineteenth century." Used book collectors will be happy to know that the primary copy of the woodcuts was purchased at a second-hand book market in 1935. The plates themselves track the well-known life of Aesop well. The third sheet suggests him vomiting forth clear water while his two guilty fellow slaves look on. One can recognize in the eighth sheet the story showing that the master's dog is the faithful one in his household. Sheet 15 presents Aesop's crazy idea of flying observers. Sheet 16 is clearest of all. All three illustrations are easy to decipher. In the first, Athenian agents "discover" the sacred cup hidden in Aesop's belongings. In the second he seeks an altar for refuge. In the third he is thrown down from a precipice. The publication was put out officially by "Bibliotheca Rei publicae socialisticae Bohemoslovacae Pragensis." Not in Bodemann.This is a hardbound book (hard cover)Language note: Multilingual:Language note: Multilingual:Josef StrnadelJosef Strnade
Editio Cimelia Bohemica, Vol. VI
No full text"I realized after spending extensive time with this publication and then cataloguing it that I already have a copy, purchased for just $8 in 2001. Because of the unusual character of the publication -- and because there may be helpful information in one cataloguing not in the other -- I will keep both copies in the collection. This portfolio was a real find in a ZVAB half-price sale. There are two parts inside a board binder/wallet with marbled exterior, with gold lettering on a black rectangular title plate. The two parts are a 21-page brochure and sixteen loose woodcut plates. The brochure offers a four-page background and description of the early Russian "Life of Aesop" in Czech, English, French, German, and Russian. The English version is titled "The Russian Copper-Engraved Print 'The Life of Aesop.'" This introduction is highly political. Fable's vitality "has been preserved due to eternal human and social contentions. Fable has spread wherever people have been denied their rights." This approach suggests what it was like to be in Prague in 1968. The life of Aesop was, for this author, an "organic component of all book editions." Strnadel traces the ancestry of this Russian work back to Steinhöwel. I would not have known that Ulm was at that point "the centre of German humanism." Apparently this Russian vita was published in 1750. By then woodcut had yielded to copper engraving. In editions of this era, illustration was primary and texts were secondary. In fact, texts often lost their original purpose. In Russia in particular, Aesop's life "met with greater attention than his fables themselves." "It was precisely the spirit of anti-serfdom in which the life of Aesop was described in these engraved prints that was responsible for the prohibition imposed on the spreading of these publications by the tsarist censor in the first quarter of the nineteenth century." Used book collectors will be happy to know that the primary copy of the woodcuts was purchased at a second-hand book market in 1935. The plates themselves track the well-known life of Aesop well. The third sheet suggests him vomiting forth clear water while his two guilty fellow slaves look on. One can recognize in the eighth sheet the story showing that the master's dog is the faithful one in his household. Sheet 15 presents Aesop's crazy idea of flying observers. Sheet 16 is clearest of all. All three illustrations are easy to decipher. In the first, Athenian agents "discover" the sacred cup hidden in Aesop's belongings. In the second he seeks an altar for refuge. In the third he is thrown down from a precipice. The publication was put out officially by "Bibliotheca Rei publicae socialisticae Bohemoslovacae Pragensis." Not in Bodemann."This is a hardbound book (hard cover)Language note: Multilingual:Josef Strnade
HC08-Based Controller of a Step Motor
No full textThis bachelor's work deals with issue of stepper motors and their control using single-chip microcontrollers. Target of the work is to be familiar with method of operation of stepper motors, with their abilities and restrictions in case there are used in built-in devices. The part of the work is a proposal of control unit of chosen stepper motor and interconnection with developmental kit 908LJ12-G2. Implementation part of the work contains software for eight-bit microcontroller Motorola MC68HC908LJ12 programmed in language C. The stepper motor can be controlled by this program using the available kit's interfaces
HC08-Based Controller of a Step Motor
No full textThis bachelor's work deals with issue of stepper motors and their control using single-chip microcontrollers. Target of the work is to be familiar with method of operation of stepper motors, with their abilities and restrictions in case there are used in built-in devices. The part of the work is a proposal of control unit of chosen stepper motor and interconnection with developmental kit 908LJ12-G2. Implementation part of the work contains software for eight-bit microcontroller Motorola MC68HC908LJ12 programmed in language C. The stepper motor can be controlled by this program using the available kit's interfaces
Benchmark suite for graphics cards
No full textThe goal of this work is to create a set of tasks for testing graphics cards so that someone else can try them out. This will be aided by a supporting application to run, debug and measure these tasks
HC08-Based Controller of a Step Motor
No full textPráce je věnována problematice řízení krokových motorů za pomocí jednočipových mikrokontrolérů. Cílem je seznámit se s principy činnosti krokových motorů, s jejich možnostmi a omezeními v případě použití ve vestavěných zařízeních. Součástí práce je návrh řídící jednotky vybraného krokového motoru a jeho propojení s vývojovým kitem 908LJ12-G2. Implementační část pak zahrnuje program psaný v jazyku C, pro osmibitový mikrokontrolér Motorola MC68HC908LJ12, kterým lze pak za pomocí periférií dostupných na kitu motor ovládat.This bachelor's work deals with issue of stepper motors and their control using single-chip microcontrollers. Target of the work is to be familiar with method of operation of stepper motors, with their abilities and restrictions in case there are used in built-in devices. The part of the work is a proposal of control unit of chosen stepper motor and interconnection with developmental kit 908LJ12-G2. Implementation part of the work contains software for eight-bit microcontroller Motorola MC68HC908LJ12 programmed in language C. The stepper motor can be controlled by this program using the available kit's interfaces.
Interpretation of fairy tales authored by Josef Štefan Kubín
No full textInterpretation of fairy tales authored by Josef Štefan Kubín Ondřej Vojtíšek Abstract: This bachelor's thesis deals with interpretation of Josef Štefan Kubín's author fairy tales both in theory and application. Its goal is to describe options of interpretation of children's literature and to demonstrate these options by means of Kubín's literal work. As a result, this bachelor's thesis also highlights semantics riches and valuable qualities of this part of Kubín's work, which is being neglected by publishers nowadays. In its theoretical part, the thesis addresses several issues: different ways of interpretation of fairy tales, specification of the term "author fairy tale" and the different forms of Kubín's fairy tales. As a method of interpretation, synthesis of several approaches (Franz, Šmahelová, Urbanová, and others) was used and each of these approaches was described by one example. This synthesis provides insight into the meaning of fairy tales that can be therefore understood as representation of situations outlined not only with help of motives but with help of specific expressions as well. Collections of fairy tales authored by Kubín are analyzed in respect to the amount of Kubín's own invention compared with the quantity of folk motives. This analysis is accompanied by brief Kubín's biography and..
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