Ostrava

Příspěvek pojednává o nálezu dvou hromadných hrobů na Kostelním náměstí v Ostravě. V článku jsou popisovány nálezové okolnosti a analyzována hrobová výbava a předměty ze zásypu. Jeden z hrobů lze časově umístit do 16. století a je pravděpodobné, že minimálně tento hrob mohl souviset s epidemií moru, která město postihla v roce 1585.

Milyen lehetőségeket rejt magában a vaskohászati ipari örökség egy posztindusztrialista és posztszocialista településen? Erre a kérdésre keresem a választ két közép-európai iparváros, a vaskohászat egykori fellegvárainak számító Ostrava és Miskolc stratégiáinak összehasonlító elemzésével. Az ostravai Vítkovicei Vasmű és a miskolci Diósgyőri Vasgyár egyaránt közös történelmi térben helyezkedtek el, ami hasonló lehetőségeket biztosított számukra, mégis eltérő eredményekhez vezetett az 1867–1990 közötti hosszú időszakban. Az 1990-es évek társadalmi, politikai és gazdasági folyamatai a vaskohászat ágazati leépüléshez, vagyis az egykori cégek megszűnéséhez vezetett. A hátramaradó üzemek, berendezések, eszközök, illetve maga a település és a táj, azaz az ipari örökség hasznosítására azonban meglehetősen eltérő válaszokat adtak és adnak Csehországban és Magyarországon.

Description and analysis of military deployment Army Group "Heinrici" (the then 1st Tank Army) in the first phase of the Battle of Moravská Ostrava (10 to 23 March 1945) based on archival research in German Fedaral Archives and its military department, respectively.

In: Ostrava. Příspěvky k dějinám a současnosti Ostravy a Ostravska,  Ostrava 2016, ISBN 978-80-906091-7-4

The oldest part of Nádražní street in Moravská Ostrava has udergone a series of transformation during the course of its history - from rural outskirts, to a quarter known for its exclusive villas, ultimately become todays wide urban boulevard. This article fosuces on the socond of the above-mentioned phases, characterised by a pastiche form of architecture known as Historicism. During the 1850s and 1860s a number of Ostravas prominent citizens built theirs villas here - ranging from local politicians, builder Josef Kraus, builder Franz G. Böhm and doctor Otto Andrée, in the 1890s a villa of stonemason Josef Becke was built here and in the first decade of 20th centurythe villa for Josef Krauss son Karl was built. The article traces the historical development of this part of Nádražní street in terms of its architecture, urban planning, and transport system - including the widening of the street due to tramline in 1890s or the construction of the new streets in vicinity. The autor then focuses on the architectural history of individual villas - their layout and funcional use, the people who lived in them, a stylistic analysis, and deails of theirs owners and architects.

Počáteční úsek Nádražní ulice v Moravské Ostravě se během své existence proměnil od venkovského předměstí, přes vilový okrsek, k velkoměstskému bulváru. Předmětem článku je ona prostřední etapa doby historismu v architektuře, kdy zde na přelomu 50. a 60. let 19. stol. vyrostly vily místních politiků, stavitele Josefa Krause, stavitele Franze G. Böhma a báňského inženýra Rudolfa Sauera. V 80. letech pak vila politika a lékaře Otto Andréeho, v 90. letech vila kameníka Josefa Beckeho a v 10. letech 20. stol nová vila Krausova syna Karla. Článek jednak ukazuje, jak se toto místo na začátku Nádražní vyvíjelo stavebně, urbanisticky i komunikačně, zabývá se rozšířením ulice pro výstavbu tramvaje v 90. letech, či trasováním nových ulic v okolí. Jednak se vilu po vile zabývá stavební historií objektů, jejich půdorysným rozložením a využitím, obyvateli, stylovou analýzou a zaměřuje se na postavy majitelů a architektů.

The elaboration of this work is born, with the awareness of the need for an improvement, in the form of working together, of the various civil protection agents existing in the city of Lisbon. This need is all the more pressing since it can lead to losses for the relief of people and property.
Taking, for example, cases from other national and foreign dispatch centers, I would like to highlight the lack of an Integrated Emergency Center for the city of Lisbon and the benefits that may result. In particular, the case of the Moravian-Silesian Region Emergency Center in Ostrava, Czech Republic, is presented as an example. As both countries of the European Union we can expect a more homogenous comparison.
All these areas are presented in the following work, without prejudice to the fact that other improvements may be proposed in the future, always in favor of the city of Lisbon and its population.

Key words: Lisbon; Ostrava; Comparation; Integrated Emergency Center; Civil Protection Agents

EN/ The rigorous thesis deals with the history of the wooden parish church of St. Catherine of Alexandria in Ostrava-Hrabová in the context of the history of the Hrabová Roman Catholic parish. The work follows the author's monograph from 2015, it updates the results of earlier research and enriches it with a number of new findings. The text deals with several interesting cultural phenomena connected with the Hrabová Church in addition to the detailed elaboration of the Hrabová Church history, whether it is a folk legend about the transfer of the church from Metylovice or the issue of fire and restoration of the wooden church. Even spiritual administrators, sights and wooden folk architecture of Hrabová church were not forgotten.
DE/ Die rigorose Arbeit beschäftigt sich mit der Geschichte der hölzernen Pfarrkirche St. Katharina von Alexandria in Ostrau-Grabau im Kontext der Geschichte der römisch-katholischen Gemeinde Grabau. Die Arbeit folgt der Monographie des Autors aus dem Jahre 2015, sie aktualisiert die Ergebnisse älterer Forschungen und bereichert sie mit einer Reihe neuer Erkenntnisse. Neben einer detaillierten Ausarbeitung der Kirchengeschichte von Grabau befasst sich der Text mit mehreren interessanten kulturellen Phänomenen, die mit der Grabauer Kirche verbunden sind, ob es sich um eine Volkslegende über die Verlegung der Kirche aus Metylovice oder das Thema von Feuer und Restaurierung der Holzkirche handelt. Auch die spirituelle Administratoren, die Sehenswürdigkeiten und die hölzerne Volksarchitektur der Grabauer Kirche wurden nicht vergessen.
PL/ Tematem niniejszej dysertacji jest historia drewnianego kościoła parafialnego pw. św. Katarzyny z Aleksandrii w Ostrawie-Hrabowej w kontekście historii parafii rzymskokatolickiej w Hrabowej. Praca ta jest kontynuacją monografii autora z 2015 roku, poprawia i aktualizuje wyniki wcześniejszych badań oraz wzbogaca ją o szereg nowych informacji. Oprócz podstawowego zarysu historii Kościoła w Hrabowej praca zajmuje się także kilkoma interesującymi zjawiskami kulturalnymi związanymi z hrabowskim kościołem, chodzi o legendę ludową mówiącą o przeniesieniu kościoła z Metylovic oraz o sprawę pożaru i restauracji drewnianego kościoła. Wspomina się tutaj również duchownych, pełniących posługę duszpasterską w parafii, zabytki oraz drewnianą architekturę ludową kościoła hrabowskiego.
CS/Rigorózní práce se zabývá dějinami farního dřevěného kostela sv. Kateřiny Alexandrijské v Ostravě-Hrabové v kontextu historie hrabovské římskokatolické farnosti. Práce navazuje na autorovu monografii z roku 2015, opravuje a aktualizuje výsledky staršího bádání a obohacuje jej o řadu nových poznatků. Text se rovněž kromě základního zpracování církevních dějin Hrabové věnuje několika zajímavým kulturním fenoménům spjatým s hrabovským kostelem, ať již se jedná o lidovou pověst o přenesení kostela z Metylovic či problematiku požáru a obnovy dřevěného kostela. Nebyli opomenuti ani duchovní správci, pamětihodnosti a dřevěná lidová architektura hrabovského kostela.

https://theses.cz/id/5hrvfa/

This historical-topographic work is based on archival sources, literature and Internet resources. It deals with the history of the village of Stará Ves nad Ondřejnicí. And from the general characteristics, through the historical development of the name and holders of the village, to additional information, which serves to fully understand the Stará Ves nad Ondřejnicí.

Renaissance Mural Paintings in St. Wenceslas’ Church in Moravská Ostrava

The wall paintings in the St. Wenceslas town church of Moravská Ostrava were discovered by restorers in 1963 and their contemporary appearance represents the result of relatively frequent acts of restoration.

The interior of the town church was decorated in 1555 with wall paintings of a quality which does not exceed the regional relevance of the monument. The state of the paintings does not allow proper stylistic analysis, and unfortunately only very general conclusions in the area of hypothesis.  In spite of these circumstances we can however refute a theory ascribing authorship to some of the Italian artists working in the 1530’s for the aristocratic family of Sedlničtí from Choltice in Polish Ostrava. The stylistic character of the paintings in the presbytery, almost certainly created during the 1530’s, demonstrates a more plausible artistic relationship to German countries or Silesia, though this statement cannot be verified further.

The paintings in the presbytery and also in the church naves can, from the point of view of quality be considered average or below average. The painting of the best quality is the Adoration of the Magi with its monumental three-plan composition probably inspired by Dutch and German graphic art. The understanding of landscape in the Ostrava paintings (Adoration of the Magi; Meeting of the Three Magi and their Retinues; Allegory of the Old and New Testaments and of Sin and Salvation) is however very schematic and really still medieval, dividing the landscape into individual plans with a use of atmospheric perspective. This approach can be regarded as very conservative for the mid-16th century, as if without deeper interest in the study of natural detail and with resignation towards a more sophisticated expression of special relationships. Landscape is still regarded here in the medieval sense as a “stage set” where the action takes place, as can be seen, for example, in the allegory painting in the church’s north nave though our judgment can be partly distorted by the poor condition or the absence of the top layers of the paintings.

The interior of the church was decorated by a narrative Christological cycle (of unknown scope). Its part also contained a passion cycle. From the entire cycle only two monumental paintings survive till today – the Adoration of the Magi, the continuing scene of their retinues on the side wall and the fragment of painting depicting Christ before Pilate. 

Paintings on other parts of the walls are sadly almost unreadable so it is impossible to distinguish precisely their iconographic meaning.

From the iconographical point of view the most interesting and also best preserved is a monumental painting on the facing wall of the north nave which represents the visual pendant of the Adoration of the Magi. It is an allegory of the Old and New Testaments and of Sin and Salvation. The iconography of the painting was inspired by the Lutheran iconography of the Law and the Gospel illustrating Martin Luther’s doctrine of justification by faith alone in Christ. However, the Ostrava painting varies greatly from the original Lucas Cranach iconography of this theme. The scenes of manna falling from heaven and Moses smiting the rock bringing forth a spring, the Virgin Mary with Child and Hell in the form of a Leviathan’s maw have been added here. Also, motifs adopted from the Law and the Gospel are not in logical order as the author of the iconographic conception of the painting would not have understood or have been familiar with the original theological idea of this theme. This fact is also expressed by the artistic uncertainty of the painter noticeable in the scene of the sinful man with John the Baptist, probably painted without any graphic model or other kind of exemplum. There is also the marked absence of a Crucifixion from the Ostrava allegory. We can only hypothetically assume its presence on the crown of the Tree of Life as compositional opposition to Moses with the Tables of Law who represents the dominant motive of the entire visual representation of the allegory. One can argue that the painting expresses the Utraquist understanding of the sacrament of the Eucharist especially through the use of the motifs of manna falling from Heaven and Moses bringing forth the spring as Old Testament pre-figurations of both elements of the sacrament, together with the scene of John the Baptist and the sinner on to whom the spring of Christ’s blood, the source of salvation is flowing. The blood which flowed from Christ’s side while he was on the cross is the same which Christians receive in the form of consecrated wine during the sacrament of the Eucharist. If this scene can also be interpreted as a representation of the doctrine of transubstantiation with regard to iconographic analogies with the Law and the Gospel and Luther’s opinions on the Eucharist  we presume as questionable also the entire idea of the painting itself which, it could be argued, does not represent Lutheran Law and Gospel though it was nevertheless inspired by it. On the contrary, the figure of Moses (representing lex Mose) together with Old Testament scenes understood in the sense of biblical parallel typology seem to be more suited to the traditional spirit of Czech Utraquism albeit expressed in such a way that believers of all creeds entering a town church where both liturgies, Catholic as well as sub utraque were served, could feel free to express their devotion.

The author of the iconographic conception of the Ostrava allegory can be identified as the Ostravian Catholic priest Jan Jilovský who was known to have served the local aristocracy sub utraque specie. For the conception of the painting he derived his inspiration from the Lutheran theme Law and Gospel which, however, he enriched with other motifs in a very original way. Jilovský could have come into contact with such a Lutheran representation in Bohemia (we know of only one such representation of this theme in Moravia which was from a later period) or, more likely, in neighboring Silesia where this theme was used on Protestant bourgeois epitaphs. Furthermore, we know that the town of Moravská Ostrava maintained frequent business contact with the Polish Těšínsko region which in the mid-16th century was already completely Lutheran.

Such a derivated iconography of the allegory inspired by the Law and the Gospel might well have been a result of the priest Jilovský’s poor theological knowledge and also of the chaos of orthodoxy which manifested itself in this case in a chaotic assimilation of new theological ideas or their misunderstanding. Jilovský would certainly seem to have been one of those “confused and married” priests about whom the Olomouc bishop Marek Khuen complained in his letter of 1561  “during the holy masses do not keep any ceremonies, and sacraments do not keep at churches as anyone preaches as he or the land lord likes and all these are hiding themselves under the sub utraque way…” Therefore it is also possible that the Ostravian allegory may be primarily expressing, under the veil of sub utraque, the Lutheran idea of justification only by faith, though in a way that would not be too obvious in a bishopric church and accompanied by traditional Catholic iconography (like the Man of Sorrows and Our Lady of Sorrows) and such an iconographical presentation was suitable for the ostravian bourgeois as well as for the aristocracy - of Catholic as well as of Utraquist and Lutheran creeds. If the paintings were really painted over at a later stage as is evident from the restoration investigations, this was certainly  not done because of any potential heretical content in the painting but rather for technical or aesthetic reasons (for example, the humidity of the church walls due to which they were regarded as unsuitable for artistic decoration), otherwise similar themes would not have been met in a purely Catholic environment where additionally we would assume a certain level of quality theological fundament - in the Dominican monastery of České Budějovice, for example.

The iconographical conception of the decoration in the interior of St. Wenceslas’ church is traditional. Yet it cannot be regarded as purely Catholic in view of the presence of Utraquist symbolism and inspiration by Lutheran iconography in the allegory of the north church nave that must be regarded as unique in context of Czech, Moravian (and also Silesian) art of the 16th century. The allegory is not polemic even through its Utraquist Eucharistic symbolism and therefore it represents rare evidence in the field of Fine Arts of not only the religious chaos and orthodox vagueness but also religious coexistence and tolerance “by necessity” in the Moravia of the 16th century that had already been appreciated by contemporaries.

EN/ The publication deals with the important wooden Church of Saint Catherine of Alexandria in Ostrava-Hrabová that comes from second quarter of sixteenth century. The first part of the publication represents three introductory chapters which focused on the Church to wider context political history with consideration to cultural and economic history. The second part of the publication focused on history of the Church and parish, architecture or art equipment. Detailed is also caught the event of the Church fire in year 2002 and his subsequent reconstruction as copy with using of original materials from the burned Church.
CS/ Publikace se zabývá významným dřevěným kostelem sv. Kateřiny Alexandrijské v Ostravě-Hrabové, jehož počátky sahají až do druhé čtvrtiny 16. století. První část monografie zahrnuje tři úvodní kapitoly, které kostel zasazují do širšího kontextu obecných dějin obce Hrabová s přihlédnutím ke kulturním i hospodářským dějinám. Druhá část monografie komplexně pojednává o samotné historii kostela a farnosti, architektuře či uměleckém vybavení. Podrobně je také zachycen požár kostela z roku 2002 a jeho následná obnova ve formě dobové kopie s využitím původních materiálů z vyhořelého kostela.

EN/ The popular publication deals with the period of World War II in Ostrava´s city district Hrabová. The first part of the publication describes the life and daily routine of inhabitants in Hrabová at the time of German occupation, the Hrabova´s libertation by the Red army and the personalities who were active in the resistance or died in Nazi concentration camps. The second part of the publication brings memories of the still living witnesses to the period of German occupation using the Oral history methods.
CS/ Popularizační publikace se zabývá tematikou druhé světové války v ostravském městském obvodě Hrabová. První část publikace popisuje život a každodennost obyvatel Hrabové v době německé okupace okupace, osvobození Hrabové Rudou armádou či osobnosti činné v odboji a padlé v koncentračních táborech. Druhá část publikace přináší za pomocí metod Oral history vzpomínky dosud žijících pamětníků na dobu německé okupace Hrabové.

EN/ The publication dedicates history of Hrabova at the time of World War I and formation of independent Czechoslovakia to the first municipal elections in June 1919. The book in the wider context of the international situation and the history of Hrabová, depicts not only the basic political history but also the everyday life of Hrabová inhabitants, the economic situation and the lifes Hrabova's soldiers in the Austro-Hungarian army and Czechoslovak Legions in Russia, Italy and France.
CS/ Publikace se věnuje dějinám Hrabové v období první světové války a vzniku samostatného Československa do prvních komunálních voleb v červnu roku 1919. Kniha v širším kontextu mezinárodní situace a dějin Hrabové zachycuje nejen základní politické dějiny, ale i každodenní život obyvatel Hrabové, hospodářskou situaci a osudy hrabovských vojáků v rakousko-uherské armádě a československých legiích v Rusku, Itálii a Francii.

V roce 2007 proběhl archeologický výzkum novověkého hřbitova v Ostravě. Na základě antropologického a archivního průzkumu se podařilo identifikovat jménem jeden z nalezených skeletů jako Marianu Máchovou. Příspěvek pojednává o jejím životě, okolnostech úmrtí a pohřbu.

Příspěvek čerpá poznatky z archeologických výzkumů, které proběhly v jádru Ostravy. Vyhodnoceny jsou situace z ulic Muzejní, Pivovarské, Velké, aj. a zároveň jsou sledovány způsoby zpevnění a obecně péče (či její absence) o komunikační prostor a stabilita struktury uliční sítě.

A recent exhibition of sixteenth to eighteenth centuries Venetian paintings from Silesian and Moravian collections, held in Brno, presented an interesting Narcissus (Ostrava, Fine Arts Gallery) attributed to Francesco Ruschi. This picture is here recognized as an important, high quality work by the Venetian artist Pietro Negri (1628 c.-1679), one of the prominent members of the so called “tenebrist” movement. The painting is discussed in the context of other works by the artist; a few remarks are given to its not so common subject, which Leon Battista Alberti regarded as a metaphor for the painter’s creative ability.

The article is based on a photograph of a tile from 15th/16th century, which was taken in 1943 and is now stored in the photo archive of the Silesian Museum. The iconography as well as the possible production and situational context of the object, which is probably missing today, are evaluated.

En/ Situated within the broader context of the ecclesiastical history of Zábřeh (now a district of Ostrava), this article traces the development of the now-defunct wooden Church of St. Mark, beginning with its medieval origins and ending in the early 19th century, when the church was completely demolished and replaced by a brick and masonry structure in a Classicist style (the Church of the Visitation of the Virgin Mary). A re-examination of surviving sources indicates that the first written mention of the wooden church in Zábřeh (and the parochial house attached to it) dates from 6 February 1454. It was thus probably the second oldest church in the Moravian part of what is now the city of Ostrava, and it may have been established during the 14th century.
CS/ Studie se v širším kontextu vývoje zábřežské duchovní správy podrobně věnuje historii zaniklého dřevěného kostela sv. Marka v Ostravě-Zábřehu od jeho vzniku v hloubi středověku až po jeho zánik na počátku 19. století, kdy byl kompletně rozebrán a nahrazen zděným klasicistním kostelem Navštívení Panny Marie. Ve světle nově interpretovaných pramenů se zdá, že první zmínka o zábřežském dřevěném kostele sv. Marka a tamní farnosti pochází již z 6. února roku 1454. Zábřežský chrám lze tedy pravděpodobně považovat za druhý nejstarší chrám v moravské části dnešní Ostravy, který mohl být zřízen již v průběhu 14. století.

This article deals with the evaluation of resilience and vulnerability in Ostrava and Karviná between 2000 and 2010 from the socio-cultural perspective. These cities embody typical representatives of post-industrial urban entities in the Czech Republic. The socio-cultural component of life is indispensable for the explanation of other processes in researched territories. Ostrava’s higher resilience can be accounted for by its more favorable position within settlement system of the whole region.

The declaration of the new Czechoslovak national state in October 1918 brought revolutionary changes not only to the political, social, economic and cultural scene, but also to the religious life of the country. The new Czechoslovak national church created thirteen months later combined national orientation, the reformed clerical movement, theological modernism, the Hussite and reformation tradition and protest against the Catholic Church, definitively discredited in World War I. The newly established Czechoslovak Church received support from various authorities and was seen as the proper option for the good Czechoslovak citizen, primarily the worker. At the same time, it produced a violent conversion movement (1921, 1930) and many local conflicts (1920s). The paper will focus on the workers’ religious and national identification and changes in today’s Ostrava region – an industrial region (the centre of Czechoslovak heavy industry) situated on the ethnic borderline and in the melting pot of many nationalities (Czechs, Slovaks, Poles, Germans and Jews). It will analyse the interactions between class and the religious and national identification of workers. It will try to clarify the process and the motivation to convert between different churches. Special attention will be given to conversions among the working class population in the 1920s and 1930s. This analysis will be based on conversion protocols, census documents from 1921 and 1930 and ecclesiastical files of the Roman Catholic and Czechoslovak church.

The people connected with the establishment of the Polish House – doctors Wacław Seidl and Anton Knapczyk, mining engineers and politicians Franciszek Brzezowski and Henryk Schrott, teacher Andrzej Słowik, architect Stanisław Bandrowski, etc. – are representatives of the Polish national revival movement in the coal-mining region of Ostrava and Karviná, which, from various reasons (mainly due to the fear of Czechization of the Polish natives in the region), rejected any alliance with Czechs, and cooperating instead with Germans. The mutual relationships of the three nationalities were, of course, much more complicated, as it was shown at the official opening of the Polish House in September 1900, where all deputies of the three groups met in harmony. The ground for the Polish House was bought in a new part of Moravská Ostrava, in a quarter that had been built since the 1890s on greenfield land. It was a quarter of mixed social structure, the prevailing stratum being workers and craftspeople, and mostly residential, with the exception of minor workshops, grocery shops and the developing industries near the railway. From the functional point of view, the Polish House embodied an important element of a public institution oriented mainly towards culture, meetings, and education (there was also a restaurant inside). Moreover, altogether with the opposite spa belonging to Wacław Seidl, which was created by the same architect, it also represented a significant architectural landmark. Stefan Badowski – a. k. a. Stanisław Bandrowski –, architect of the Polish House, studied architecture probably in Warsaw, and his first design of the Polish House was made in the historicising style. However, the plans were soon changed into an interesting variation on the art of a Cracovian architect Teodor Talowski. That was to emphasise the connection between the Poles in Ostrava and the town of Cracow, and to express Polishness through art and architecture.

Lidé, spjatí s počátky Polského domu – lékaři W. Seidl a A. Knapczyk, důlní inženýři a politici F. Brzezowski a H. Schrott, učitel A. Słowik, architekt S. Bandrowski a další – jsou představiteli polského národně buditelského proudu v Ostravsko-karvinském revíru, který z různých důvodů (hlavně v obavě z čechizace Poláků v revíru) odmítal spojenectví s Čechy a spolupracoval s Němci. Vzájemný vztah všech tří národností byl ale samozřejmě složitější, jak ukazuje např. slavnostní otevření Polského domu v září 1900, kde si představitelé všech tří táborů notovali. Pozemek pro Polský dům byl zakoupen v nové části Moravské Ostravy, ve čtvrti, která se teprve od 90. let nově budovala doslova na „zelené louce.“ Byla to čtvrť sociálně smíšená, byť převažovali dělníci a řemeslníci, převážně obytná, byť zde byly drobné dílny, obchody se smíšeným zbožím a u trati rostl průmysl. Polský dům sem vnesl z hlediska funkce důležitý prvek veřejné budovy určené primárně kultuře, setkávání a vzdělávání (fungovala v něm i restaurace). Navíc, spolu s naproti stojícími lázněmi W. Seidla od stejného architekta, vytvořil i výraznou architektonickou hodnotu. Architekt Polského domu, Stanisław Bandrowski (vlastním jménem Stefan Badowski), se stavitelství vyučil ve Varšavě a Polský dům nejprve navrhl v historizující podobě. Plány však brzy proměnil do zajímavé variace na tvorbu krakovského architekta T. Talowského, která měla lépe vystihnout spojení ostravských Poláků s Krakovem a lépe vyjádřit polskost skrze umění a architekturu.

Příspěvek si klade za cíl informovat o předmětech archeologické povahy, které mohou ukazovat na gramotnost některých obyvatel Moravské Ostravy v časovém intervalu 13.-16. století a zároveň posoudit jejich nálezové okolnosti (stilus, knižní kování, kachle, keramické nádoby nebo kovové předměty s nápisy nebo písmeny)

EN/ The article deals with the beginnings of the Ostrava´s city district Hrabová and thoroughly analyzes the first written mention of Hrabová, which the most recent historical research connects with the year 1267. The history of Hrabová is very briefly written until the year 1538. The article was sent to the editorial board already in 2016, therefore the article does not reflect the latest literature.
CS/ Článek se zabývá počátky ostravského městského obvodu Hrabová a důkladně analyzuje její první písemnou zmínku, kterou nejnovější historické bádání spojilo s rokem 1267. Dějiny Hrabové jsou velmi stručně dovedeny až do roku 1538. Článek zaslán redakci v roce 2016, tudíž nereflektuje nejnovější literaturu.

S t r e s z c z e n i e W artykule przedstawiono doświadczenia z autorskiego bloku warsztatowego „Rewitalizacja urbanistyczna terenów pogórniczych”, prowadzonego w ramach programu Edukacja specjalistów z zakresu zarządzania terenami pogórniczymi na pograniczu polsko-czeskim. Program realizowany był przez Politechnikę Śląską i Uniwersytet Techniczny w Ostrawie w latach 2013-2015 i współfinansowany ze środków Europejskiego Funduszu Rozwoju Regionalnego. Celem warsztatów było przekazanie podstawowej wiedzy związanej z przestrzennymi aspektami rewitalizacji terenów pogórniczych osobom reprezentującym różne dziedziny, nie mającym przygotowania architektonicznego i urbanistycznego tak, by ułatwić przyszłą współpracę z urbanistami i architektami, w ramach interdyscyplinarnych wyzwań związanych z rewitalizacją terenów pogórniczych. Autorzy skoncentrowali się na pokazaniu specyfiki przestrzennych aspektów rewitalizacji na konkretnych przykładach oraz zaznajomieniu uczestników ze specyfiką me...