Search results

1

“MNICHOV“ JAKO MORÁLNÍ NARATIV ČESKÝCH DĚJIN. ČESKOŽIDOVSKÁ STANOVISKA V KOMPARACI S VĚTŠINOVÝMI POSTOJI

100%

Soukupová B.

Etnologické rozpravy (Ethnological Disputes)

|

2021

|

vol. 28

|

issue 2

24 – 36

EN

“Munich” (the Munich Agreement of the 29th - 30th September, 1938) paved the way for the destruction of the First Republic’s liberal democracy. The influence of foreign political powers played a decisive role in this destruction. Very soon afterward, doubts, regarding the sovereignty of the state, were even expressed by political representatives of the Second Republic, who understood the “new” Czechoslovakia as a part of German Central Europe. Immediately following the 30th September, Czech society began to question whether “Munich” was a betrayal by the “immoral” Western powers, who ignored their Allied commitments in exchange for a dubious peace, or perhaps it was a moral punishment from history or even God for the alleged fatal mistakes of First Republic democracy, now being visited upon the citizens of the Second Republic. At the same time, of course, the public also questioned the morality of the military capitulation of a small nation, an issue which was also repeatedly raised by Czechoslovak historiographers and mass media after the liberation of Czechoslovakia in the May of 1945. While after the 30th September 1938 and shortly after the liberation of Czechoslovakia the moral narrative was ideologically and politically structured (the Czech-Jewish movement understood Munich as a moral failure of all of Europe), in the final weeks of the Second Republic, during the Protectorate of Bohemia and Moravia and after the February coup (with the exception of the Prague Spring), a single “official” view prevailed. Following the February coup (1948), this view was also adopted by Czech Jews. The objective of this study is to analyse the meaning and ways in which “Munich” was moralized after the 30th September 1938, from May 1945 to February 1948, after the February coup, in the “golden sixties” and during the years of “normalization”. At the same time, it demonstrates that “Munich” was used to legitimize period political interests and create socio-political capital.

2

The experience of the war against terrorism in Afghanistan

88%

Koszegvari T.

Hadtudomany (Military Science)

|

2004

|

vol. 14

|

issue 3/4

67-74

EN

During the 1972 Munich Olympic Games the Palestine terrorist group called 'Black September' attacked the accommodation of the Israeli Olympic team. They took several sportsmen as hostage, started gunfire on German policemen and soldiers. Five terrorists were killed and three arrested. This tragic event captured the attention of the world and most governments were realizing the incredible danger of terrorism and its widespread international scope. The author in this article summarizes the unsuccessful military operations of the Soviet Armed Forces in Afghanistan that lasted for almost a decade, and the experience of the allied military operations.

3

BOHEMIANS IN HUNGARY, HUNGARIANS IN “BOHEMIA”

63%

Szűcs G.

ARS

|

2012

|

vol. 45

|

issue 2

170 – 182

EN

In 1893, István Réti worked in Munich and Paris, doing sketches for his Bohemians’ Christmas Abroad. The painting itself was completed in his native town, Nagybanya (now Baia Mare, Romania). With the assistance of Réti, the Nagybanya art colony was founded in 1896 by artist and Munich art school manager Simon Hollósy and his pupils and friends. In Nagybanya, the artists went on with their urban bohemian lifestyle: work outdoors or in open studios was often followed by conversations and partying with Gypsy music in pubs or coffee houses. Also Gypsies were the first models, and a range of compositions depicted, often in stereotypes, the lives of marginalized Gypsies. While the founders’ generation gradually abandoned their libertine artists’ lifestyle to become part of the urban middle class, newer generations of artists would in subsequent years establish their own “Bohemias”.

4

RULE OF ART. A SHORT INTRODUCTION TO THE MUNICH ART WORLD IN THE NINETEENTH CENTURY

63%

Muthesius S.

ARS

|

2012

|

vol. 45

|

issue 2

126 – 142

EN

In the 19th century Munich was one of the art capitals of Europe. Did it fit with the definition of the art world as “bohemian”? It decidedly did not if the term is understood as stressing privation and the artist’s isolation from society. However, if a more general definition of the “bohemian” art world is considered, which includes also a distinct group of bona-fide geniuses, this term could be applied aptly to the successes of the “Kunststadt” throughout the 19th century. The article traces the various constituents that characterised Munich art life, of the ways in which its principal artists, from Cornelius to Lenbach, were dubbed “Kuenstlerfuersten” and the ways they were adulated by the patrons, from the king down to the buyers of their works at the Kunstverein.

Refine search results

2 ARS

1 Etnologické rozpravy (Ethnological Disputes)

1 Hadtudomany (Military Science)

1 Koszegvari T.

1 Muthesius S.

1 Soukupová B.

1 Szűcs G.

1 2021

2 2012

1 2004

“MNICHOV“ JAKO MORÁLNÍ NARATIV ČESKÝCH DĚJIN. ČESKOŽIDOVSKÁ STANOVISKA V KOMPARACI S VĚTŠINOVÝMI POSTOJI

The experience of the war against terrorism in Afghanistan

BOHEMIANS IN HUNGARY, HUNGARIANS IN “BOHEMIA”

RULE OF ART. A SHORT INTRODUCTION TO THE MUNICH ART WORLD IN THE NINETEENTH CENTURY