Jan Palach Private High School

Abstract Archaeology, as a discipline that rests on modern foundations, has been attempting to problematise its own origins. Related to this issue are ontological approaches that seek to uncover the basic metaphysical assumptions of the field. We uncover the way in which the sources of archaeology, whether we call them things, objects, or artefacts, have to appear to archaeology. We argue that the current turn to ontology can gain additional potential if it draws on its original roots in ontological philosophy—phenomenology. We seek to highlight that a more appropriate way of relating to our modern origins is neither to resist them nor to try to overcome them, but rather to take them seriously. In doing so, we also attempt to revitalise the efforts of the ‘Heideggerian’ approaches in archaeology of the 1990s, whose potential has not been sufficiently fulfilled. In this paper, we point to the yet unchallenged primacy of cognition as a self-evident theoretical starting point of archaeological inquiry and propose a productive way of bridging this methodological problem through Heidegger’s concept of ontological difference.

Cette tude se penche sur une question cardinale voire incontournable dans les dbats rcents : celle de savoir si le postmodernisme peut être apprhend en tant que fin de la littrature ou, au contraire, comme une nouvelle poque de libration, de dhirarchisation, l'poque qui clèbre le potentiel mancipateur du jeu postmoderne avec la langue, avec l'intertextualit. Pour pouvoir en illustrer les deux ples opposs, nous avons centr nos recherches sur les philosophes et critiques littraires qui semblent pouvoir apporter une certaine clart dans la discussion qui constitue le noyau de cette tude. Parmi les critiques qui adoptent une attitude mfiante à l'gard du postmodernisme figurent d'un ct Michel Maffesoli, Anna Hogenov ou Rosalind Krauss. De l'autre ct, il y a Linda Hutcheon, Julia Kristeva ou Umberto Eco. Après avoir fait l'analyse des deux positions opposes, nous avons recherch les manifestations concrètes de cette dualit. Les sceptiques comprennent le postmodernisme en tant qu'une forme du dclin qui est associe à la prdominance des critères de march et de performance dans la production et la rception des œuvres littraires. Les partisans du postmodernisme caractrisent celui-ci comme reprsentant l'ère de la subjectivit, de l'exprimentation ce qui favoriserait la libert artistique au dtriment des règles, des concepts voire des systèmes de valeurs accepts jusqu'alors. Bien que la rponse à la question pose au dbut ne semble pas être dfinitive, cette tude propose une distinction claire entre deux conceptions du postmodernisme et tente de prsenter une approche aux dbats contemporains sur la littrature postmoderne.

The featured observations represent selected viewpoints of World War I, highlighting background events that led to the war. They present the situation in Austro-Hungary for whom the war was a tool to solve its political problems and further demonstrate how the war actually made the aforementioned country’s relations with national groups more complicated. The observations also focus on the image of the war, distorted by propaganda, and the situation on both the front line and in the hinterland. Last but not least they deal with the war from the Czech viewpoint, unique for many reasons including the fact that at this time the Czechs were escalating their attempts at creating their own state.