The Apocryphal Gospel of Bartholomew in the Slavonic Tradition (Martina Chromá) Abstract The thesis deals with the Slavonic translation of the apocryphal Gospel of Bartholomew (Questions of Bartholomew), which is a literary monument written in Greek most likely in the 3rd century. The text of the monument has survived in two known Greek, two Latin and six Slavonic manuscripts. These Slavonic manuscripts are dated between the 14th - 18th centuries, with two of them pertaining to the Russian redaction of the Old Church Slavonic and the other two to the Serbian redaction. The objective of the thesis is to identify the most probable place and time assignment of the original Slavonic translation of the monument, and an outline of lines by which the manuscripts were spread in the Slavonic environment. By a detailed textological and lexical analysis we come to the conclusion that all the Slavonic manuscripts containing the text of the monument stemmed from one common archetype originated most likely in Bulgaria during the 10th century. The Slavonic translation was later moved from Bulgaria to Kievan Rusʼ, where the manuscripts were further spread and where the text of the monument was adjusted; this is how the manuscripts can be divided into two separate redactions. The manuscripts were also spread from Russia to...

This thesis traces the use of pity in early modern English literature, highlighting in particular the ways in which the emotion prompted personal anxieties and threatened Burckhardtian notions of the self-contained, autonomous individual, even as it acted as a central, crucial component of personal identity. The first chapter considers pity in medieval drama, and ultimately argues that the institutional changes that took place during the Reformation ushered in a new era, in which people felt themselves to be subjected to interpersonal emotions – pity especially – in new, overwhelming, and difficult ways. The remaining three chapters examine how pity complicates questions of personal identity in Renaissance literature. Chapter Two discusses the masculine bid for pity in courtly lyric poetry, including Philip Sidney's Astrophil and Stella and Barnabe Barnes's Parthenophil and Parthenophe, and considers the undercurrents of vulnerability and violation that emerge in the wake of unanswered emotional appeals. This chapter also examines these themes in Spenser's The Faerie Queene and Sidney's Arcadia. Chapter Three also picks up the element of violation, extending it to the pitiable presentation of sexual aggression in Lucrece narratives. Chapter Four explores the recognition of suffering and vulnerability across species boundaries, highlighting the use of pity to define humanity against the rest of the animal kingdom, and focusing in particular on how these questions are handled by Shakespeare in The Tempest and Ben Jonson, in Bartholomew Fair. This work represents the first extended study of pity in early modern English literature, and suggests that the emotion had a constitutive role in personal subjectivity, in addition to structuring various forms of social relation. Ultimately, the thesis contends that the early modern English interest in pity indicates a central worry about vulnerability, but also, crucially, a belief in the necessity of recognising shared, human weakness.

K. I. Dientzenhofer in the service of Society of Jesus Abstract The Diploma Thesis aims to map the famous Jesuit religious buildings arising in the Czech kingdom by the hands of Kilian Ignac Dientzenhofer, as well as some smaller foundations or now-defunct constructions. Firstly it is the rural residences in Liběšice and the completion of the construction in Tuchoměřice or the dispensary in Smíchov, which has been demolished in 1930. Furthermore, the Holy Mountain Steps, which were only partially implemented according to the Dientzenhofer proposal. The Thesis also includes constructions where the architect's authorship is not proven, such as the Chapel of Sts. Archangel Michael in Kozinec and Chapel of Sts. Cross in Středokluky. An important part is also the effort to put these buildings into the context of the work of the younger Dientzenhofer and to get a closer look at the perception of their clients, including the typology of the architectural order within the function. Keywords The Church of St. Francis Xavier, the Church of St. Clement, the Church of St. Nicholas, the Church of St. Bartholomew, Prague, Opařany, Odolena Voda, Lesser Town, Tuchoměřice, Liběšice, radical Baroque, K. I. Dientzenhofer, Jesuits, architecture, rural residences, chapel

This project aims to take the investigation of food in early modern drama, in itself a relatively new field, in a new direction. It does this by shifting the critical focus from food-based metaphors to food-based properties and food-producing cook characters. This shift reveals exciting, unexpected, and hitherto unnoticed contexts. In The Taming of the Shrew and Titus Andronicus, which were written during William Shakespeare’s inn-yard playhouse period, the playwright exploits these exceptionally aromatic venues in order to trigger site-specific responses to food-based scenes in these plays. Ben Jonson’s Bartholomew Fair brings fair-appropriate gingerbread properties onstage. When we look beneath the surface of this food effect to its bread and wine ingredients, however, it reveals a subtext that satirizes the theory of transubstantiation. Jonson expands on this theme by using Ursula’s cooking fire (a property staged in Jonson’s representation of Smithfield’s Bartholomew Fair) to engage with the prison narrative of Anne Askew, who was burned to death in front of Bartholomew Priory on the historic Smithfield for denying the doctrine of transubstantiation. This thesis also investigates water, which, for early moderns, was a complex and quasi-mystical liquid: it was a primary element, it washed sin from the world during the Great Flood, it was a marker of status, it was a medicine, and it was a cookery ingredient. Christopher Marlowe not only uses dirty water to humiliate his doomed monarch in Edward II, but he also uses it to apportion blame to the king for his own downfall. In Timon of Athens, Shakespeare draws on the theory of the elements to cast Timon as a man of water, who, Jesus-like, breaks up and divides (or splashes around) his body at his “last” supper. Fully-fledged cook characters were a relative rarity on the early modern stage. This project looks at two exceptions: Furnace in Philip Massinger’s A New Way to Pay Old Debts and the unnamed master cook in John Fletcher’s The Tragedy of Rollo, Duke of Normandy. Both playwrights use their respective gastronomic geniuses to demonstrate the danger that lower-order expertise poses to the upper classes when society is in flux. Finally, this project demonstrates that a link existed between ornate domestic food effects and alchemy. It shows how Philip Massinger’s The Great Duke of Florence and Thomas Middleton’s Women, Beware Women use food properties associated with alchemy to satirize notions of perfection in their play-worlds.