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Post-War Life and Collectivisation of the Moravian Countryside through the Eyes of Actors – Small Farmers

100%
Válka M.
Národopisná revue (Journal of Ethnology)
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2022
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vol. 32
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issue 3
192 - 205
EN
In the second half of the 20th century, the Czech countryside experienced two discontinuities in its development. The first one related to the collectivisation after 1948, while the other one led to the liquidation of unified agricultural cooperatives and the formation of owners’ agricultural cooperatives and agricultural enterprises of various sizes. The collectivisation of the village fundamentally changed village life, first in the economic and productive sphere, but it also interfered with the social structure of the village and the cultural sphere. It followed a well-established pattern: intensive agitation, coercion, intimidation, liquidation of large farms, but also confiscation of modern agricultural equipment (e.g. tractors). It did not only affect medium-sized peasants, and farmers, but also small farmers, the ‘progressive’ ones among whom were often at the origin of the local unified agricultural cooperative. The study uses the example of a family from the village of Závist (District of Blansko) to document the economic background of a small farmer, his everyday life and the circumstances that influenced his joining the unified agricultural cooperative.
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University Art History in Slovakia after WWII and its Sovietization in 1950s

75%
Kolbiarz Chmelinová K.
Artium Quaestiones
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2019
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issue 30
161-190
EN
In post-WWII Slovakia, art history was available only as a university field of study at Bratislava University (in 1954 regaining its name Comenius University) at the Seminár pre dejiny umenia / Seminar of Art History, a separate part of the Faculty of Arts of the university, where art history had been taught as an independent discipline since 1923 before its conversion to a department. Post-war changes in state structures and the new political system radically affected Slovak society and the education system in the country. This article is the very first attempt to present in detail the extent and character of changes in university art history instruction in the part of the socialist era of the Czechoslovak Republic. It is based on the study and comparison of previously unprocessed sources from various university and state archives and their classification in the context of known historical facts. This contribution represents an in-depth probe into the post-war efforts to build a new university foundation and system of art history instruction in Slovakia within the Czechoslovak Republic, and its Sovietization as well. The text analyzes the university environment, the curriculum, the study program of art history and the relevant changes resulting from political pressure from 1945 to 1960. They were the consequence of two directly related, significant moments in the history of Slovakia: the establishment of the Third Czechoslovak Republic in 1945 and the communist coup in 1948, which was followed by the most totalitarian period in the history of the state. The article also discusses the personal changes in the art history staff forced by the political situation (J. Dubnický, V. Wagner, V. Mencl, A. Güntherová-Mayerová, R. Matuštík, T. Štrauss, K. Kahoun). After a brief presentation of the situation in Czechoslovakia at the time, the article first deals with the ad hoc activities and efforts of scientists seeking to maintain art history studies in Slovakia at the university level immediately after the end of the war. The central issue in the article is the changes in the way of teaching resulting from the political upheaval in February 1948. Against the background of political and social changes, the new law on higher education (Act No. 58/1950), which forces significant organizational transformations, is discussed. As part of the process of Sovietization of university education in Slovakia, the modified Seminar of Art History lost its independent status for a long time, and its staff was largely replaced. At the same time, throughout this period, there was a visible tendency to stabilize the teaching system and attempts to become independent again and to develop discipline, undertaken contrary to the imposed system. The 1950s, with their new rhetoric and propaganda optimism, appear to be a decade devoid of internal consistency. It started the most totalitarian period, which lasted until Stalin’s death in 1953, but was followed by a short thaw and then by a new wave of repression after 1957, which chose victims even at the beginning of the next decade. The article focuses on two sides of the 1950s – centralization and the dominant ideological control of the Communist Party, on one hand, and on the other, the obvious effort to unify and professionalize the teaching of the discipline. The factual material presented here shows the scale of changes interpreted in the context of the political and social changes of that time. The case study provides an analysis of system efforts made in the 1940s and 1950s to establish new principles of university teaching for the history of art in Slovakia as part of the Czechoslovak Republic. It aims to broaden the factual basis and existing overview of knowledge of art history in Slovakia and supplement existing studies on the history of art history in the country (J. Bakoš, I. Ciulisová, B. Koklesová).
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Portrait of the All-American Girl in Time: The Contradictions Between 1950s Gender Ideology and Style in Serenteen Magazine

75%
LEWANDOWSKI T.
Stylistyka
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2007
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vol. 16
455-464
EN
“Portrait of the All-American Girl in Time: The Contradictions Between 1950s Gender Ideology and Style in Seventeen Magazine, by Tadeusz Lewandowski, examines the ideał of adolescent femininity constructed by Seventeen magazine in the decade of the 1950s. Seventeen, First published in 1944, was the first periodical directed at teenage girls during the postwar era, and has until today remained the most popular. From its immediate in- ception during World War II it promoted a vision of the American girl as independent, and spoke out against gender inequality, much in keeping with the war emergency govem- ment propaganda of the time. However, by the 1950s Seventeen had been transformed from an organ that endorsed the emancipation of women from traditional gender roles to one that fully promoted the role of housewife as the single legitimate goal for young women. This was in accordance with the prevailing theories that emerged after the war as to women’s natural inclination to domesticity and motherhood, and the feminine ideał that appeared with it. To this, Seventeen added a consciously constructed ideał of adolescent femininity that its readers were expected to conform to, existing within the confines of a larger gender ideology that placed boys in a dominant position and encouraged physical beautification and allure. This paper explores Seventeen ’s adolescent feminine ideał and its roots, and also examines the contradictions between its emphasis on chastity and inno- cence, and the sexually charged clothing and make up styles that young women were urged to adopt within Seventeen 's pages.
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„Libušino proroctví přeměňujeme ve skutečnost!“ Komunistická vize Prahy v období stalinismu

75%
Kurz M.
Historie – Otázky – Problémy (History, Issues, Problems)
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2016
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vol. 8
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issue 1
132-145
EN
The article focuses on the construction and symbolic encoding of Prague during the 1950s. After 1948 the political and professional elites constructed a suggestive propagandist image of the capital as a ‘new socialist city’. Prague began to be transformed through interventions in its physical space (architecture, monuments), production of its social reality (organized work teams) and reinterpretation of its history. The leading role of the Communist Party of Czechoslovakia in this process was systematically popularized by the political representatives, the local press and guidebooks. The Communist rhetoric emphasized both Soviet paragons and selected Czech historical traditions (in particular, the Hussite Movement and the Czech National Revival). Citing the example of Prague, this article attempts to underline the spatial aspect of Stalinist ideology and the social ‘constructability’ of any space.
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The Vanishing Soviet Utopia in Hungary in the Light of de-Stalinization – Soviet Union as the Land of Modernization in the Hungarian Press 1950–1958

75%
Takács R.
Central European Papers
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2014
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vol. 2
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issue 1
132-149
EN
The Stalinist Soviet Union integrated Hungary – and the nations of Central Europe – by 1949 forcing the Soviet-style political dictatorship and economic system to these societies and emphasizing the importance of the Soviet example in the modernization of all spheres from automation through cotton harvesting to public libraries. Stalinized publicity was saturated with information on the Soviet Union. After March 1953, it became clear that a different, more effective Soviet Union propaganda was necessary; however the first delegation of writers and journalists could only enter the Soviet Union in late 1955. December 1955 was the exact date of the launching of the first organized Hungarian tourist groups to Kiev, Leningrad and Moscow as well – after the ‘years of delegations’. The revolution of 1956 brought another twist in this regard and efforts were made to shape a renewed friendly image of Khrushchev’s empire. Emphasis within modernization changed in this period – but the main goal of modernizing and overtaking the ‘capitalist world’ did not. The paper strives to reveal and analyse these changing attitudes and motives in depicting the Soviet Union as a modern empire. It thrives to explore the different threads in the de-Stalinization process – what changes stemmed from changing politics and policies, technical development and where we can grab the de-Stalinization of journalism and publicity.
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Przekład jako narzędzie propagandy. Miesięcznik „Polska: czasopismo ilustrowane” w latach 1954—1956

63%
Solová R.
Przekłady Literatur Słowiańskich
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2019
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vol. 9
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issue 2
55-76
EN
The monthly Poland: Illustrated Magazine was published (with an interruption) from 1954 to 1999. In the period under analysis (1954—1956), apart from its Polish version, the magazine was also published in English, French, Spanish, German, and Russian. The periodical was a product of the export circulation of cultural goods, the aim of which was to export translations of texts published in the country and those specifically intended for foreign readers. The initial task of the monthly was to shape the image of socialist Poland abroad. Through an analysis of texts intended for export, we examine how the monthly was used for propaganda purposes in the years making to the end of Stalinism and the beginning of “the thaw” in Poland.
FR
Le mensuel « la Pologne : revue mensuelle » a été publié (avec une interruption) de 1954 à 1999. Pendant la période étudiée (1954—1956), outre la version polonaise, la revue est parue en cinq langues étrangères : anglais, français, espagnol, allemand et russe. Selon la typologie de Ioana Popa relative à la circulation des textes pendant la guerre froide, « Polska » se laisse classifier dans le « circuit d’exportation » de « l’espace réglementé », qui englobe les traductions publiées dans le pays d’origine en vue d’une diffusion à l’étranger, indépendamment de la demande des pays destinataires, mais dans le respect de la politique culturelle extérieure du pays d’origine. À ses débuts, le mensuel avait pour objectif d’imposer une certaine image de la Pologne socialiste à l’étranger. l’analyse du contenu de la revue permet d’étudier l’usage du mensuel à des fins de propagande vers la fin de l’époque du stalinisme et pendant la période du dégel polonais de 1956.
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All Paths Lead to Rome. Establishing an Italian American Archive of the Visual Arts of the late 1950s and early 1960s

63%
Blandino L.
Review of International American Studies
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2017
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vol. 10
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issue 2
EN
Laura BlandinoUniversity of TurinItalyAll Paths Lead to Rome. Establishing an Italian American Archive of the Visual Arts of the late 1950s and early 1960sThis paper examines the role Rome played in the 1950s as an important outpost for the development of a distinct art scene, where the American and the Italian experience had the opportunity to blend with the artists gathering and sharing innovative ideas. It is a part of an ongoing research and it presents and sums up the early stage of the project which focuses mostly on archival sources and interviews with the central figures of this period. This paper, in particular, follows some of the members of this tran-Atlantic community, focusing in particular on the art galleries that fostered an international dialogue. Above all, this paper addresses the fundamental questions concerning whether this period could be considered as an “archive” of Italian and American art. It aims at demonstrating that, though not altogether free from contradictions and misconceptions, the period under study was very fertile in terms of the results of cross-cultural experience.
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Psát okem na zeď cely… Črta k vězeňské lyrice Václava Renče

51%
Wiendl J.
Slovo a smysl - Word & Sense
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2019
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vol. 16
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issue 31
132-146
EN
This article presents an analysis of Václav Renč’s lyrical poetry from the period of his imprisonment by the Communist regime in 1951–1962. From Renč’s extensive collection of prison poems (including such lyrical-epic compositions as Cinderella of Nazareth, first published in book form in 1969; Prague Legend, 1974; and Loretan Light, 1992; as well as several poems collected in Meeting with the Minotaur, 1969) we take a look at the nineteen poems Renč included in an anthology of his works from 1941–1962 under the title Lark Tower (1970). To the section of lyrical texts from the years 1951–1962 the poet gave the title Without Echoes. In particular, the study focuses on how Renč’s lyrical poetry from the period of his imprisonment builds upon his previous critically acclaimed poetry, simultaneously aiming to address the question of what makes this work unique. The unique quality can be found in the formal precision of the texts, which represents the poet’s effort to maintain his moral integrity and identity while in prison, while at the same time, by virtue of carefully constructed allusions to the verses of certain poets with whom Renč had worked as a poet and translator before his imprisonment, strengthening his sense of inner freedom. A key starting point for the aesthetic composition of the prison poems is the combination of various expressive and often elementary contradictory motifs, perspectives or attitudes, a process typical of prison poetry in general. In Václav Renč’s poetry, this initial moment is re-envisioned on the principle of the so-called lyrical dichotomy, which, on the basis of subtle gradational and compositional techniques and intersections, connects distinctive opposites into subtle poetic images. However, this is not the expression of a selfcentered aesthetic game, but an attempt to articulate — and cope with — a new and exacting life situation. In this way, Václav Renč’s poetry, which had always been characterized by its compositional and figurative rigor, would later become more austere in its semantics, at the same time gaining in intensity, depth and reach.
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O vědě, ideologii a strukturalismu

51%
Hana Š.
Slovo a smysl - Word & Sense
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2015
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vol. 12
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issue 23
105-114
EN
The paper starts from a consideration of two variant critiques of structuralism: in 1935, Marxistoriented historians polemicized with Mukařovský’s concept of the development of literature; in 1951, Mukařovský himself presented a critique based in the ideology of the totalitarian regime. A comparison between the state of the scholarly debate in the 1930s and the latter event allows us to develop some more general characteristics of the ingerence of power ideology into scientific discourse and its paradigm. The focus of our inquiry is the question as to what allowed Mukařovský to perform this radical turn and adopt an ideological doctrine. What we find is that a link between the topics pursued in our argument — i.e. between the structuralist theory, an ideology in the service of power and the deformation of the scholarly paradigm — is provided by the position of the individual in history, in both artistic and social discourse. The gist of the matter is that with the weakening or even elimination of the individual’s role disappears the ethical dimension of the human relating to the world, disappears individual responsibility as an essential, irreducible part of one’s identity.
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