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Osudy deprivovaných dětí - cesta sirotků z Terezína za Annou Freudovou

100%
Preiss M., Doubková N.
Československá psychologie (Czechoslovak Psychology)
|
2022
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vol. 66
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issue 4
437-446
EN
The article deals with connecting information about a group of children who lost their parents at an early age during World War II, were placed in the Terezín concentration camp and after the liberation of Czechoslovakia were sent to England, where they were provided with comprehensive support. The article focuses on two sources of psychoanalytically oriented authors - a study by Anna Freud and Sophie Dann entitled An experiment with group upbringing (Freud and Dann, 1951), which is an example of annual monitoring of the development of deprived children and a study by Sarah Moskovitz (1983, 1985) documenting further development of Terezín children in adulthood. From a psychological point of view, observations indicate the possibility of good adaptation even after severe deprivation in childhood. From a historical point of view, this is a documentation of the fate of Jewish children connected with their stay in Terezín, the engagement of a number of interested helpers, including Anna Freud.
CS
Článek se zabývá propojením informací o skupině dětí, které přišly v útlém věku o rodiče během 2. světové války, byly umístěny do koncentračního tábora Terezín a po osvobození Československa poslány do Anglie, kde jim byla poskytnuta všestranná podpora. Článek se zaměřuje na dva zdroje psychoanalyticky orientovaných autorek – studii Anny Freudové a Sophie Dannové s názvem Experiment se skupinovou výchovou (Freud a Dann, 1951), která je ukázkou ročního sledování vývoje deprivovaných dětí, a studii Sarah Moskovitzové (1983, 1985) dokumentující další vývoj terezínských dětí v dospělosti. Z psychologického hlediska sledování ukazují na možnost dobré adaptace i po těžké deprivaci v dětství. Z historického hlediska jde o dokumentaci osudů židovských dětí spojených pobytem v Terezíně a angažmá řady zainteresovaných pomocníků včetně Anny Freudové.
2
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Místa paměti v digitálním prostředí

85%
Pýcha Č.
Historie – Otázky – Problémy (History, Issues, Problems)
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2018
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vol. 10
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issue 1
32-45
EN
The author focuses on the problem of representation of traditional Czech sites of memory in the environment of digital platforms designed for travellers. The content analysis is divided into a visual and a narrative part, the key research topic being the stability of the national essence of memory in the digital environment. The assumption that the national narrative will not be the main component of the content is not entirely confirmed. Despite the international and intermediary nature of the platforms in use, user-generated content is sometimes based on national narratives. An important part of the paper is a theoretical and methodological discussion based on the concepts of media and memory studies.
3
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Art in the Holocaust: On Josef Bor’s Novella Terezínské rekviem and its Reception

74%
Ibler R.
Poznańskie Studia Slawistyczne
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2017
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issue 12
167-179
PL
The name of the Czech writer Josef Bor (1906–1979) is nearly forgotten today, although he was very successful with two works in the sixties. Both works deal with the Holocaust. The novel Opuštěná panenka (1961) is inspired by the author’s own horrible experiences at Terezín, Auschwitz and other places of the Holocaust. In 1963, the novella Terezínské rekviem followed which is subject of this paper. Bor’s novella is about the Jewish musician Rafael Schächter and his staging of Verdi’s Requiem at Terezín. From the viewpoint of reception, this work is interesting on two counts: on the one hand, in the story the reception and interpretation of art play a crucial role, on the other hand, there are some special features in the reception of the novella itself, as the work has mostly been read in the light of the real events the story is referring to, whereas the text’s literary character has often been neglected.
4

Śmierć porwana. O terezińskiej sztuce Hledáme strašidlo Hanuša Hachenburga z 1943 roku

71%
Firlej A.
Slavica Wratislaviensia
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2019
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vol. 168
327-335
EN
The stolen death: About the play Hledáme strašidlo by Hanuš Hachenburg from 1943 The puppet theatre play Hledame strašidlo by Hanuš Hachenburg was written in the Terezín/Theresienstadt ghetto in 1943 and over 50 years was hidden in the archive until it was presented to readers and viewers in the 1990s — but it turned out to be still surprisingly valid and cogent. The author, a 14-year-old prisoner of the ghetto, used the conventions of the puppet theatre, the carnival and the fairy tales. The mythical or fairytale like “timelessness” allowed him to show the absurdity of Nazism and — yet unnamed — the Holocaust. The main character of the play, the King, captures Death itself, which soon becomes so ordinary and kitschy that no one is afraid of her. The confinement of Death — a motif known, among others, from the myth of Sisyphus — is an important theme of the theatre in Terezín; it appears also in the German-speaking opera by Peter Kien and Viktor Ullmann, Der Keiser von Atlantis (Emperor of Atlantis). In this article, I show how the old themes of enslaved Death and the dance macabre between extasy and destruction become the symbols of the war, and indeed of the 20th century, which culminates in the devastating forces of the great ideologies and in which there can be found the origins of retrotopia, which is now, according to Zygmunt Bauman, the dominating point of view in East- and West-European and in American discourse.
CS
Únos smrti. O terezίnske divadelnί hře Hledáme strašidlo Hanuše Hachenburga z roku 1943 Divadelní hra Hledáme strašidlo od Hanuše Hachenburga byla napsána v ghettu Terezín / Theresienstadt v roce 1943 a více než padesát let byla ukryta v archivu, aby v 90. letech si našla cestu pro své čtenáře a diváky — a ukázalo se, že je překvapivě platná a přitažlivá. Autor, čtrnáctiletý vězeň ghetta, využil konvencí loutkového divadla, karnevalu a pohádek. Mýtická nebo pohádková „nadčasovost“ mu umožnila ukázat absurditu nacismu a — tehdy ještĕ nemenovaného — holocaustu. Hlavní postava hry, Král, zachytí samotnou Smrt, která se brzy stane tak obyčejnou a kyčovitou, že se ji nikdo nebude bát. Únos smrti — motiv známý mimo jiné i z mýtu Sisyfa — je důležitým tématem divadla v Terezíně; objevuje se také v německojazyčné operě Petera Kiena a Viktora Ullmanna Der Keizer von Atlantis (Císař Atlantidy). V tomto textu ukazuji, jak se staré motivy zotročené Smrti a danse macabre mezi extázi a zničení stávají symbolem války a celého dvacátého století, v který vyvrcholily ničivými sily velké ideologie a kde lze nalézt počátky retrotopie, která je podle Zygmunta Baumana dominantním hlediskem ve východním, západoevropským a americkým diskurzu.
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