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Масарик и чешская литература в Петербурге

Масарик и чешская литература в Петербурге

Author(s): Danushe Kshicova / Language(s): Russian Issue: 2/1997

В середине ноября 1997 г. в Петербуге состоялось два интересных мероприятия: Международная конференция „Г. Г. Масарик и Россия“ (12-13 ноября 1997 г.), в организации которой приняли участие четыре общества(Институт Открытое общество, Общество братьев Чапек в С.-Петербурге, Ассоциация международного сотрудни¬ чества, С.-Петербургская ассоциация друзей Чехии и Словакии), и международная научная конференция „Взаимосвязи и взаимовлияние русской и европейских лите¬ р а т у р (13-15 ноября 1997 г.), организованная Санкт-Петербургским государственным университетом и Академией гуманитарных наук. Благодаря любезности Пражского и С.-Петербургского отделений Открытого общества и блестящей подготовке к конференции, посвященной Масарику, в ней могли принять участие пять докладчиков из Чешской Республики. Главным координатором этой конференции был известный богемист, председатель Общества братьев Чапек в С.-Петербурге, Олег Малевич. Конференция состоялась в Доме Общества дружбы и мира с народами зарубежных стран, расположенном в прекрасном здании бывшего Дворца Шуваловых на берегу Фонтанки в самом центре Петербурга. На таком же превосходном уровне проходила и вся конференция. На ее открытии и закрытии присутствовали чешский консул в С.- Петербурге г. Грушка с супругой, по приглашению которых в консульстве был устроен прием чешских участников. Конференцию посетили также петербургские гимназисты, Изучающие чешский язык. Они обратились к некоторым из докладчиков с просьбой посетить их школу. Во всем этом чувствуются хорошие традиции петербургской богемистики.

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Tkadleček: vernakularizace filozofického myšlení

Tkadleček: vernakularizace filozofického myšlení

Author(s): Daniel Soukup / Language(s): Czech Issue: 2/2014

In the Old Czech composition Tkadleček (The Weaver; after 1407) the late medieval Bohemian literature achived its pinnacle; it is considered one of the most important works of Czech literary canon. The origin of this anonymous work can be traced back to an extraordinary German text Ackermann aus Böhmen (The Ploughman from Bohemia; around 1400) by Johannes von Tepl. Both compositions are linguistically sublime and present compelling problems, aspiring to more than mere linguistic artistry. The paper focuses on a genre analysis of the text, demonstrating that Tkadleček belongs to the tradition of consolatory rhetoric, drawing special attention to the context of lay piety and pastoral care in Late Middle Ages.

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Tomáš Garrigue Masaryk v českých diskusích o literárním realismu

Tomáš Garrigue Masaryk v českých diskusích o literárním realismu

Author(s): Martin Hrdina / Language(s): Czech Issue: 1/2014

Literary historians have hitherto generally adopted the idea suggested by some contemporary critics that literary realism only really established itself in the Czech lands around the mid-1880s, particularly in connection with Russian literary criticism and discussions over the work of Émile Zola. The aim of this study is to present a more precise description of Tomáš Garrigue Masaryk’s position in Czech discussions over realism, thus contributing not so much to knowledge of the origins of Czech thinking on this literary phenomenon, as to that of censorship, which was one of the symptoms of the transition being made by Czech intellectuals from the Classicist-Romantic tradition to modern thinking. The first part considers the paradox between what the sources tell us and what history tells us in the evaluation of the realistic nature of the novel by Václav Vlček Zlato v ohni – Gold in the Fire. Masaryk’s argument, which endeavoured to cast doubt on the prevalent views that Vlček’s novel was a work that realistically represented the Czech world at that time, is viewed by the present study in terms of Masaryk’s aesthetic views, taking into account the context from which they emerged. The study not only presents fairly precise findings on the connections and differences between Masaryk’s views of realism and those of the previous generation of Czech literary critics, but it also indicates that rather than being a conflict between different conceptions of realism, in this case it was more a symptom of the forthcoming conflict between the rising generation of writers and those already established in Czech literary life.

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Jak se dělá fikce slovy?

Jak se dělá fikce slovy?

Author(s): Bohumil Fořt / Language(s): Czech Issue: 1/2014

The review of: Jiří Koten: Jak se dělá fikce slovy? Host: Brno, 2013

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Literary Stories: Cultural Memory

Literary Stories: Cultural Memory

Author(s): Alexander Kratochvil / Language(s): English Issue: 2/2013

Historical and cultural memory is put into practice through narratives. As a narrative medium, literature plays an important role in the process of transformation of the past events in cultural memory. This transformation includes critical reflection or affirmation of various aspects of memory and its social context. Literary texts in this paper include short stories of Jan Drda, Josef Škvorecký and Zdeněk Rotrekl which deal with the final days of the World War Two.

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Svět pod napětím

Svět pod napětím

Author(s): Ivo Harák / Language(s): Czech Issue: 1/2013

The end of the 18th century and the beginning of the 19th century appear to have been a turning point in many ways as well as a key period for understanding the subsequent literary evolution. Areas in which tensions caused by historical processes became strongly evident were, for instance, the life styles and attitudes of the aristocracy, the intellectual atmosphere, the status of women in the society and the emergence of ego-documentary genres. With reference to the above-mentioned topics, this essay deals with two editions of ego-documentary texts written by two young noblewomen who spent their youth during the period of sentimentalism and romanticism. This essay demonstrates how strong the preserving role of states and cultural traditions was and to what extent individual – and in some passages even literary – features of the authors can be considered. (This literariness may also be caused by the fact that ego-documentaries have gradually become a valid part of literary context as well as by the fact that through ego-documentaries even traditional prose genres have been modified.)

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Jednota habrovanských a její kancionály

Jednota habrovanských a její kancionály

Author(s): Marie Hanzelková / Language(s): Czech Issue: 2/2012

Hymnography of the Habrovany community is, besides the Utraquist and Brethren (by Unity of the Brethren) production, an essential source of investigating the hymns of the 1st half of the 16th century and Czech poetry of the Humanism and Renaissance periods in general. The quality of the new Habrovany hymns nearly matches that of the hymnography of the time. All editions of the hymn books present the theological teaching of the Habrovany community with a relative conceptuality, the hymns being part of their religious works, the literary-aesthetic aspect is only secondary. It is the dominance of the teaching aspect at the expense of the aesthetic one that was probably the obstacle to accept the hymns into the hymnographic sources. Later the Habrovany hymn books became a prototype of its kind, with functional syncretism being typical for them (singing during a liturgy and the guide for the religious life of an individual). From the point of view of the content and motivation, the hymns correspond to the concept of the Middle Ages rather than the poetics of national Humanism (that can rarely be seen, e.g. in hymns by Beneš Optát), the Habrovany hymnography with its didactic approach and simple vocabulary represents rather a continuation of the Tabor or Brethen poetry. The specific position of the Habrovany community led to only a very small number of hymns being included in the later hymnography canon.

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Svět slov Věry Linhartové

Svět slov Věry Linhartové

Author(s): Michaela Křivancová / Language(s): Czech Issue: 1/2011

This paper focuses on Věra Linhartová’s prose texts published between 1964 and 1968. Its aim is to present the main features of her poetics, above all the epistemological-philosophical and ontological-existential dimension of words. It also seeks to demonstrate how both aspects determine the intra-textual reflection of the construction of literary utterances and that the epistemological principle affects language and contextual transformations in the author’s artistic formulation of texts. Furthermore, it shows that in Linhartová’s poetics the manner of formulating literary utterances is not merely a self-contained reflection of the epistemological (and ontological) principle, but also has communicative aims.

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Tvůrčí filmový přepis: Adelheid

Tvůrčí filmový přepis: Adelheid

Author(s): Petr Bubeníček / Language(s): Czech Issue: 1/2011

This study deals with Adelheid (1969), František Vláčil’s film adaptation based on Vladimír Körner’s novel of the same name. The director does not disrupt the main story line of the original text; nevertheless he simplifies it by omitting some episodes. With his “open adaptation” Vláčil offers greater space for the viewer to reflect on a still traumatic historical topic: the expulsion of the German minority from post-war Czechoslovakia. Such a shift is made possible thanks to the “unorthodox material” of the literary text. This study explores the creative avant-garde methods used in the film, which above all demonstrate Vláčil’s exceptional cinematic poetics. The adaptation itself is then examined as a distinctive process of intermedial transposition. The outcome of such a creative process is a new audiovisual work of art constructing a fictional world that portrays human freedom, the relationship between an individual and external unfortunate events and the topic of misunderstanding. Vláčil’s Adelheid is shown ultimately to provide universal testimony about human existence in a disturbed world.

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Hráliť pak s tím mumrajovým knížetem nejpřednější páni. Syžet o jednodenním králi v karnevalovém a morálním kontextu

Hráliť pak s tím mumrajovým knížetem nejpřednější páni. Syžet o jednodenním králi v karnevalovém a morálním kontextu

Author(s): Tomáš Havelka / Language(s): Czech Issue: 1-2/2010

The article aims to show fundamental changes in one of hundreds of example published in Postila katolická (1691) by a Czech Jesuit Matěj Václav Štajer. The plot, worldwide known as the “awakened sleeper” (number 1531 in Aarne-Thompson-Uther system), appeared in literature in two basic forms: the older one was included into The Arabian Nights Entertainments, but all early modern versions are based on newer precedent of Philip the Good, Duke of Burgundy: he carried a drunken peasant into his own palace and celebrated him as a lord for one day. In the evening, all changes were put back and the sleeping peasant (again drunk) was returned into the street. Undoubtedly, this plot has a carnival character in Bachtin`s meaning, but all literary interpretations of early modern humanists (especially Ludovicus Vives) and religious writers (e. g. Ludowicus Hollonius, Christian Weise, Johannes Masenius, also Matěj Václav Štajer) put extraordinary moral and anagogic emphasis on parallel between one exceptional day and a whole life – dream; paradoxically, Philip the Good was mentioned as a typical example of a virtuous, pious and prudent aristocrat. Interpretations of this plot in lower social classes were free of all moral aspects: low urban and also rural texts put emphasis on the superordinate mockery of the drunken peasant, his immorality and incapability. In the early 17th century, a very clear example of this attitude is a Polish farce Peasant became a king: this comedy with a drunkard is organised by Polish soldiers. Drama Jeppe of the Hill (1723) by Ludwig Holberg is undoubtedly very important, because we can see a shift to a new matrimonial derision and morality: Jeppe (after a “dream day”) was sentenced to ludicrous death, but after he had been hanged at gallows, his life started in the same way again. Plots rather analougous to Holberg`s attitude appeared in Czech literature in the18th century in a farce Hašteřivá žena a zoufánlivý manžel (A Shrewish Wife and a Desperate Husband, 2nd half of the 18th century) from Kravaře in north Moravia and in the prosaic form in two jest books written by a teacher Antonín Borový from Zlatá Koruna in southern Bohemia (1792, 1796). Both versions are very similar and propably have a close relationship: a drunkard (Gibsa in Moravian text, Rylps in Borový`s version) was put in a dark room with various infernal signs at first, and later he awakes up in bright room with eternal look – so he thinks he was in the hell and heaven. This experience brings about a reconciliation with his wife and changes his all life, especially in the Moravian version. In my opinion, the changes in the plot of “awakened sleeper” mentioned above show a fundamental shift in early modern thinking. At first, it shows the difference between a late medieval spontaneous carnival and humanistic moral commentaries (with emphasis on the state order and the idea of an exemplary Christian ruler). It also discloses a shift of the social target of the mockery: it is a drunk peasant in older texts and a foolish hen-pecked husband in the late 18th century.

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Působení Františka Xavera Jiříka na německém divadle v Budíně a v Pešti v letech 1789–1813

Působení Františka Xavera Jiříka na německém divadle v Budíně a v Pešti v letech 1789–1813

Author(s): Richard Pražák / Language(s): Czech Issue: 1-2/2009

František Xaver Jiřík ist in der tschechischen literaturwissenschaftlichen und theatrologischen Literatur eine fast unbekannte Persönlichkeit. Seine Wirkung auf den deutschen Bühnen in Ofen und Pest registrierte mit einigen Bemerkungen nur die ungarische und deutsche wissenschaftliche Literatur. Der Autor bezieht sich auf seine langjährige Forschung in den ungarischen Bibliotheken und Archiven. F. X. Jiřík war ein Mitglied des Opern- und Schauspielenensembles bei den deutschen Theatern in Ofen und Pest in den Jahren 1789–1813. Neben den Hauptrollen in den Harlekiniaden und Kasperliaden des älteren Typus brillierte er vor allem in den komischen Rollen in romantisch-komischen Märchen- und Volksopern von Vincenc Ferrerius Tuček und Wenzel Müller (man könnte seine Titelrolle in der komischen Oper von Tuček Hans Klachel im Jahre 1802 besonders hervorheben). Oft trat er auch in den Opern Mozarts auf (er war z.B. ein langjähriger Papageno in der Zauberflöte). Er war aber auch in kleineren Rollen in den Schauspielen von Shakespeare und Schiller zu sehen. Ein wichtiger Teil des Lebenswerkes Jiříks waren die Übersetzungen der italienischen Opernlibretti ins deutsche. Jiřík übersetzte Libretti zu den Opern Haydns (Armida, Ritter, Roland der Stärke), Mozarts (Don Juan und Die Großmut des Titus), Salieris (Axur, König von Ormus), Guglielmis (Die adelige Schäferin), Paisiellos (Die Müllerin) u. a. Er schrieb auch zwei originelle Libretti zum Singspiel von Johann Panneck Die christliche Judenbraut (1789) und zu der biblischen Oper von Vincenc Ferrerius Tuček Israels Wanderung durch die Wüste (1810). Er unternahm auch Versuche um eigenes dramatisches Schaffen. Neben der Tragödfie Achilles und Polyxena (1808) dem „historisch-militaristischern“ Schauspiels Die Einführung des Prinz-Eugenius-Thores oder Temeswars Befreyung (1813) schrieb er vor allem das Schauspiel Stephan, der erste König der Hungarn (1792), und das als Vorlage für das gleichnamige Stück des bedeutenden ungarischen Dramatikers József Katona diente. Die ungarischen Zuschauer wollte Jiřík auch mit der komischen Oper mit Ballet Hungarns Gastfreiheit (1802), wo er der Autor des Textes und vielleicht auch der Musik war, gewinnen. Das Autorenwerk Jiříks zeichnet sich abgesehen von den dramaturgischen Mängeln (schleppende Handlung, langwierige und nicht funktionelle Dialoge u.a.) durch aufklärerischen Widerwillen gegen die Stände- und Rassen Vorurteile und demokratisches Empfinden aus. František Xaver Jiřík vereinte in sich das österreichisches Bewußtsein und den europäischen Ausblick mit Aufklärungseinsichten. Dem Verlust der tschechischen Identität setzte er seinen Beitrag zu der deutschen und ungarischen Kultur in Ungarn entgegen.

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Čeští katoličtí intelektuálové a Druhá republika

Čeští katoličtí intelektuálové a Druhá republika

Author(s): Jaroslav Med / Language(s): Czech Issue: 1-2/2009

The study deals with the malaise threatening democracy in Europe and its projection into the Czech intellectual milieu. It focuses on the First Republic, its ideas based mainly on Masaryk’s and Čapek’s pragmatism and humanism in contrast to the rejected Catholicism represented by Jaroslav Durych, Jan Zahradníček, Josef Florian, Jakub Deml and others. The Munich dictate meant a tragic change in the situation and different interpretations of this historical event occurred. The Catholics interpreted that as a “God’s Punishment”. This may be the reason why Catholic authors were blamed for their sympathies for Fascism due to their attitude to Antisemitism. This study stresses the ambivalent attitude of Catholic authors to Antisemitism which is usually misunderstood. Just one of them, Jakub Deml, showed the primitive Antisemitism based on racial intolerance. These attitudes were used later on by Communist propaganda to condemn Catholic authors.

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When We Walk Down Wenceslas Square… A Picture of the Return of Czech Legionnaires to Their Homeland in Their Recollections and Autobiographic Novels

When We Walk Down Wenceslas Square… A Picture of the Return of Czech Legionnaires to Their Homeland in Their Recollections and Autobiographic Novels

Author(s): Dalibor Vácha / Language(s): English Issue: 7/2019

The study stems from the author’s long-time interest in the history of the Czechoslovak foreign resistance during the Great War, particularly in Russia. As to its sources, it draws from a collection of published recollections of Czechoslovak legionnaires and their autobiographic novels and other texts of prose. The author attempts to reconstruct the picture of the return of Czechoslovak legions from Russia to their home country; due to the nature of his sources, however, his intention is not to convey an authentic experience of the return in the first days and weeks, but rather to examine the construct created by the legionnaires’ memories and novels. In this respect, he makes use of, in particular, Anglo-Saxon historical literature dealing with similar topics. The key issues include how individuals or whole social groups were coping with the reality of the newborn republic, which was rather different from the visions of the home country they had been dreaming about while away. An important factor affecting their reflections was also the required political non-affiliation of organizations of legionnaires, as well as the criticism of the situation not just among the veterans, but in the entire society. The extent of the idealization of Russia, which was a fairly frequent phenomenon among them, was directly proportional to the disillusionment after their return, and was a mirror image of their previous idealization of home while they had been in Russia. In the author’s opinion, the topic of the return of Czechoslovak legions home and their life in their home country is far from exhausted; this is why the present study should be just a springboard to further broadly conceived research.

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Socialistický realismus jako uzavřený vesmír znaků

Socialistický realismus jako uzavřený vesmír znaků

Author(s): Petr Andreas / Language(s): Czech Issue: 2/2020

The reviewed work titled "The country of lyres and steel: Subjects, ideologies, models, myths and rituals in the culture of Czech Stalinism" (Prague: Academia, 2018) is an attempt to grasp official art production during the period of Stalinism (1948–1954) in Czechoslovakia from a new angle, that of literary history. Firstly, the author strives to properly capture and deal with the project of socialist realism and rehabilitate it as a distinctive art phenomenon, explicitly in opposition to simplifying sociological approaches. Secondly, he undertakes a semiotic analysis of specific works, emphasizing ideological meanings which form their poetics and world of fiction. In doing so, he draws inspiration mainly from approaches of Katerina Clark and Russian studies in the West in general. The reviewer analyzes in detail the author’s theoretical frameworks, terminological instruments and ideas that the later has formulated, and points at limitations resulting from the selected angle of view and at the bias in the argumentation against the “traditional” criticism of socialist realism as a product of power pressure. The reviewer admits that the monograph is a pioneer in the Czech context due to its captivation by the topic it deals with and in its commitment to historicize it. Insofar as its reception of the Russian studies in the West are concerned, it brings a number of impulses and shows the way to domestic research. Its core consists in meticulous interpretations of specific authors and works, which are authentic, sovereign and successful. On the other hand, the author’s suggestive rhetoric and obsession with general concepts prevail over interpretation logic and contribution to knowledge; in general, the attempt to grasp socialist realism from a new angle as an art and cultural phenomenon failed, as the method focusing solely on an analysis of text does not permit capturing its historical aspect.

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"Temné jeho oči doslova fascinují"

"Temné jeho oči doslova fascinují"

Author(s): Jiří Křesťan / Language(s): Czech Issue: 3+4/2020

Between 1939 and 1943, trips to Nazi Germany and to territories occupied by Germany (France, Belgium, the Netherlands, Poland, a large part of the Soviet Union) ranked among important tools influencing the public opinion in the so-called Protectorate of Bohemia and Moravia. The study deals with a trip of a group of Czech intellectuals – artists, representatives of culture and journalists – to Germany and the Netherlands in September 1940. Under German guidance, the 35-strong delegation was composed to give a representative and diverse impression. Apart from newspapermen collaborating with Germans, such as Karel Lažnovský (1906–1941) or Vladimír Krychtálek (1903–1947), men active in different segments of culture were invited as well, including personalities as outstanding as the directors of the dramatic company and the opera ensemble of the National Theatre in Prague, Jan Bor (1886–1943) and Václav Talich (1883–1961), respectively, operatic singers Jan Konstantin (1894–1965) and Pavel Ludikar (1882–1970), violin virtuoso Váša Příhoda (1900–1960), publisher Bedřich Fučík (1900–1984), or architect Jan Sokol (1904–1987). The study focuses primarily on five writers who took part in the trip. Jaroslav Durych (1886–1962) and Václav Renč (1911–1973) ranked among Catholic-oriented authors, while Josef Knap (1900–1973) and Jan Čarek (1898–1966) represented so-called ruralists (writers of the country), and Josef Hora (1891–1945) was a leading poet, initially writing social poetry and later reflexive lyric poetry. Between the wars, all of them had been critical toward the reality of the First Republic in one way or another, the first four from conservative positions and Hora on the left (until 1929, he had been a member of the Communist Party). The trip’s programme had been put together very ingeniously. In addition to proofs of the Third Reich’s brutal strength (a visit of the bombed-out city of Rotterdam, a sightseeing tour of the Krupp arms factory in Essen), the travelers were served a menu of diverse cultural experiences (visits of theatrical performances, exhibitions and museums, outstanding architectural creations etc.). In Berlin, they were received by Joseph Goebbels (1897–1945), Reichsminister of Public Enlightenment and Propaganda, who emphasized, while addressing them, that the survival of the Czech nation and its culture depended on its submission to the German Reich. Upon their return home, all participants were forced to give public statements about the trip and their impressions, which had to conform to Nazi propaganda. Having described the above facts, the author analyzes defence strategies which the above mentioned authors were using while writing made-to-order articles or showing their supposed loyalty in order to avoid being dragged into the Nazi propaganda machine. They were bypassing some topics, resorting to allegories and ambiguities, and making use of concealed irony. In the end of the study, the author follows the fates of those who took part in the trip to Germany and the Netherlands, pondering, in a more general manner, fuzzy boundaries and dilemmas of guilt and collaboration in a totalitarian regime. Attached to the article are short biographies of all thirty-five participants in the trip.

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"Křičel jsem: – Mrdat, mrdat!"

"Křičel jsem: – Mrdat, mrdat!"

Author(s): Tomáš Glanc / Language(s): Czech Issue: 3+4/2020

In August 1934, poet and writer Vítězslav Nezval (1900–1958), a leading personality of the Czechoslovak inter-war art avant-garde and also a member of the Communist party, visited Moscow as one of the Western guests invited to the founding congress of the Union of Soviet Writers; one year later, he published a prosaic-essayistic reflection of his visit under the title "The Invisible Moscow" (Neviditelná Moskva. Praha: F. Borový, 1935). The purpose of the present study approached from a semiotic angle is to obtain access to the intentional meaning of this specific testimony concealed behind a factual description of events and environments. The author first outlines a broader socio-political context consisting in an intensive interest of Western left-wing intellectuals in the Soviet Union between the world wars and, on the other hand, in systematic efforts of the Soviet leadership to make use of this potential for their own benefit. Nezval ranked among artists who felt a priori sympathies toward the Soviet social experiment, and they are clearly seen in his text, although he himself declared that his intention was not to provide a testimony about the Soviet “objective reality” which is what media reports or articles do. To understand Nezval’s work, the author believes it must be kept in mind that Nezval, while in the Soviet Union, was looking for, first and foremost, inspiration and connections with poetic and ideological principles he professed. Nezval’s cognitive method is intuition, free of any rational and critical reflections, and his creative principle is imagination, whose incarnation Nezval founds in surrealism. The reality around him serves as a matter for a distillation of experiences occurring in a dream mode. This allows him to overlook or willfully interpret various phenomena related, for example, to the repressive aspect of Stalin’s regime or the onerous everydayness of the Soviet Union’s citizens. The author sees the dominant feature of this dreamlike experience and the line connecting seemingly incompatible segments of reality into all-embracing lyrical intoxication in an erotic principle. Nezval is excited by Moscow as an object of bliss, as a source of sexual arousal. This principle is offered to him as a key enabling an individual to cross the boundary of individualism and blend into the society as a bridge between the eternity of sexual ecstasy and the eternity of the classless Communist society, thus promising the fulfillment of human utopias. The author provides an analysis of the text of "The Invisible Moscow" in support of his conclusions, and links them to some period esthetic and philosophical concepts.

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Sovětským Orientem

Sovětským Orientem

Author(s): Kateřina Šimová / Language(s): Czech Issue: 3+4/2020

In this introductory study opening the edition of selected reportage and travelogue texts, the authoress outlines circumstances and conditions of travelling to the Soviet Union in the interwar period, particularly to the country’s outlying regions which were, due to their remoteness, poor road and railway infrastructure and sometimes also security situation, difficult to access for visitors from abroad. She also describes the trips of four Czechoslovak authors (Julius Fučík, Egon Erwin Kisch, Franz Carl Weiskopf and Jiří Weil) to the interwar Soviet Orient, sets their reflections into a broader period context, and indicates their typical motifs. The central theme here is a conflict of the exotic, the oldbackward world of traditions and customs of indigenous inhabitants, and modernity. In the perception of the authors, the modernity is a combination of three interconnected segments; the first one is a process of industrialization, converting backward regions into dynamic agrarian-industrial centers through electrification, development of transport infrastructure, and urbanization. The second segment is represented by a new organization of social relations based on social and material equality of citizens and reflected mainly in the emancipation of local nations and ethnics and also of women. The third segment is related to a group of topics which can be summarized under a Foucaultian term biopolitics. It consists mainly of a fight against illiteracy and an emphasis on education, development of a medical care system, or building of leisure and cultural institutions (clubs, cinemas, theaters). The principal tool and prime mover of the modernization process is labour which is, in a country striving to build a Communist system, not just a factor of existence, a source of subsistence, but, first and foremost, an existential factor – the meaning of life and a source of happiness and contentment – and also a medium of socialization and disciplination. It is through labour that the Soviet man or woman steps beyond his or her individual needs and interests and becomes a useful part of the society and a “new man”.

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Ze země, kde zítra již znamenalo včera

Ze země, kde zítra již znamenalo včera

Author(s): Bohumil Melichar / Language(s): Czech Issue: 1/2021

The object of interest of the study are articles of the Communist journalist, literary critic and publicist Julius Fučík, which were written during his stays in the Soviet Union in 1930 and 1934 to 1936. The title of the study paraphrases the name of a selection of some of the texts published as "V zemi, kde zítra již znamená včera" [In the Land where Tomorrow Already Means Yesterday] (Prague, K. Borecký 1932), which became a “ubiquitous” propaganda slogan after the war. A few years after his death at the gallows in Berlin, Julius Fučík (1904–1943) turned into anicon of Czechoslovak Stalinist propaganda which was spreading his story as that of a paragon of a dedicated communist, with inexhaustible work and vital élan, and a determined fighter against Nazism. His cult, which was primarily targeting young people, was organized around a narration about his sacrifice, which Fučík wrote himself and smuggled out of prison on scraps of paper and which was published after the war in many countries as "Reportáž, psaná na oprátce" [Notes from the Gallows]. However, an important factor of this worshipping was also Fučík’s admiration of Stalin’s Soviet Union, which he was uncritically promoting even at a cost of official persecution. The author asks himself a question why it was travelogues written by Julius Fučík which, selected from a massive body of texts of various left-wing authors adoring the Soviet social experiment between the wars, were canonized after the war. Having analyzed them, the author infers that Fučík depicts the Soviet reality as a heroic age, born out of the Bolshevik revolution, continuing by enthusiastic building of socialism, and heading toward a happy future of humankind after the overthrowing of capitalism. In doing so, he stylizes his narrations as chapters of a heroic epos reliving the ancient Promethean myth. The role of the mystical hero is taken over by udarniks and that of the fire by nationalized production assets and technologies representing tools of a watershed civilization change. Its dynamism also creates a new global social spacetime, with borders of the Soviet state separating the future of humankind in the East from the human prehistory in the West. The author shows that Fučík was obviously writing his reportages with subversive intention, using a multitude of examples to illustrate the contrast between the rapid economic growth in the Soviet Union and the deep crisis in the West. Fučík’s convincingness is enhanced by his specific, vivid writing style and a clear narration framework applying principles of historical materialism about the alternation of socioeconomic formations to specific stories. Combined with Fučík’s loyalty to the current party line, participation in the resistance movement, and his martyr’s death, all of the above provided those formulating the post-war cultural policy with enough suitable material to create an unblemished communist hero.

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Co vypovídá samizdat o české společnosti za socialismu?

Co vypovídá samizdat o české společnosti za socialismu?

Author(s): Kristina Andělová / Language(s): Czech Issue: 1/2021

The reviewer has a high opinion of the encyclopedic publication titled "Český literární samizdat 1949–1989: Edice, časopisy, sborníky" [Czech literary samizdat 1949–1989: Editions, periodicals, collections] (Prague: Academia and Ústav pro českou literaturu AV ČR, v. v. i., 2018), a work of a team of authors of the Institute of Czech Literature of the Czech Academy of Sciences under the leadership of Michal Přibáň. She appreciates they have amassed a huge amount of information on the Czech samizdat production during the Communist rule in Czechoslovakia, their systematic approach to the processing of the rich source material, and a well-arranged list of more than 350 entries on Czech samizdat editions, periodicals, publishers and collections with at least some literary orientation. Although the publication does not aspire to providing an exhaustive account of these independent literary initiatives, it has succeeded in mapping a vast area of not very well known or almost forgotten (often regional) publishers and titles and in describing the (literary) samizdat as a comprehensive phenomenon including authors’ creations, production, copying, distribution and reception of nonconformist texts under the rule of a repressive regime which was trying to suppress these manifestations of independent thinking. The reviewer also considers the stimuli the publication offers to historians studying the Czech society, particularly during theso-called normalization period, and to current ongoing discussions on the nature of the Communist regime, and speculates about the potential of similarly structured research results in the context of the developing field of digital humanities.

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O undergroundu stále dokola a nikdy jinak

O undergroundu stále dokola a nikdy jinak

Author(s): Marta Edith Holečková / Language(s): Czech Issue: 2/2021

In her summary review, the reviewer assesses three collective volumes on the Czechoslovak, or rather Czech, underground culture of the 1970s and 1980s, which were published under the titles "Reflexe undergroundu" [Reflections on the Underground], "Podhoubí undergroundu" [Hotbed of the Underground] and "Od mániček k undergroundu" [From Long-hairs to the Underground], and edited by Ladislav Kudrna (Prague, Ústav pro studium totalitních režimů 2016, 2018 and 2019). The individual volumes summarize contributions from three conferences on the issue of the underground during the normalization period. According to the reviewer, the books suffer considerably from the fact that the original papers have been only minimally edited for publication. They vary greatly in terms of quality as well as genres, from personal reflections to attempts to contextualize some of the events and texts related to the environment of the Czech underground scientifically. Most contributions, however, contribute only little to the existing knowledge in terms of concepts, thoughts or facts, while repeating various clichés.

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