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EN
Egon Bondy’s poetry, fiction, and even philosophical essays contain a lot of factual remarks, both explicit and anonymous (albeit quite transparent), on the woman he met by the end of 1948 and with whom he was in a love-affair for many years. However, Honza Krejcarová seems to have inspired Bondy in a number of other cases. Some fictitious female characters in his literary work are likely to be shaped by the image the poet had created about his ‚femme fatale‘. On the other hand, Krejcarová’s own literary heritage is comparatively modest in its scope. The voluminous ‚letter to Egon Bondy‘ (1962), together with the memoir biography on her mother Milena Jesenská are very important among her works. In the letter, she expressed the gist of her aesthetics and ideas; only in her private correspondence — contrary to her works of fiction published in the sixties — could she write openly, without the interference of any censorship and self-censorship.
EN
The goal of the study is to present memoir texts as an important and rich source for onomastic research. The analysis is focused on usage, predominantly on thematization of place names in texts referring to the Czech cities of Hradec Králové and Písek. There are examined the following topics: the city name and urban names forms and appearances in the texts, the relationship between standardized and non-standardized forms of urban names, and etymology and interpretation of the selected urban names in the memoir texts. Place names in the texts are used in different ways – except the fact they identify particular objects and create urban space, they evoke emotional recollections of authors’ childhoods; they are also examined as the formative part of social group identity.
EN
In the first part of his essay dedicated to the Australian historian Sheila Fitzpatrick, a world-renowned expert in the field of Soviet studies, the author presents the beginnings of her academic career. He makes ample use of her self-reflections from several decades' distance in the form of autobiographical publications, particularly A Spy in the Archives: A Memoir of Cold War Russia (Melbourne, Melbourne University Press 2013), which he supplements and contrasts with other secondary sources. What interests him most about Fitzpatrick's scholarly career is how she became an unorthodox and open-minded representative of the revisionist current in the historiography of Soviet communism, and how her initiatory research experience in Moscow in the late 1960s shaped her. Fitzpatrick was born in 1941 in Melbourne, where she spent her school years and studied history and music at university. Both her father, Brian Charles Fitzpatrick (1905-1965), and her mother, Dorothy Mary Fitzpatrick (née Davis, 1913-2001), were historians and left-wing activists, and the author traces how this family background influenced her and how she positioned herself in relation to it. As a gifted student, thanks to a scholarship, she went on to postgraduate studies at St. Antony's College, Oxford, from where she headed to the Moscow archives in 1966 on a study exchange. She spent three years there, on and off, culminating in a doctoral thesis on the People's Commissariat of Enlightenment (Narodnyi komissariat prosveshcheniia) under the direction of Anatoly Lunacharsky (1875-1933). In the context of the Sovietology of the time, burdened with schematic Cold War thinking, the author emphasizes Fitzpatrick's efforts to understand the Soviet system from the inside, through archival sources. He examines her "survival strategies" in a space defined by the surveillance and pressure of the Soviet authorities and the demands of Western academic institutions and portrays her embeddedness in an intellectual circle of Russian friends in which Lunacharsky's brother-in-law and secretary, Igor Sats (1903-1980), was a key figure. The author also examines the personal and professional dilemmas associated with the spy-mania of the era on both sides of the Iron Curtain, which the ambitious historian had to deal with.
CS
V první části esejisticky laděného textu věnovaného australské historičce Sheile Fitzpatrickové, světově uznávané odbornici v oblasti sovětských studií, autor přibližuje počátky její akademické kariéry. Hojně k tomu využívá její sebereflexi z odstupu několika desetiletí v podobě autobiografických publikací, zvláště knihy A Spy in the Archives: A Memoir of Cold War Russia (Melbourne, Melbourne University Press 2013), které doplňuje a konfrontuje s dalšími sekundárními zdroji. Na její vědecké dráze ho především zajímá, jak se stala neortodoxní a otevřeně smýšlející představitelkou revizionistického proudu v historiografii sovětského komunismu a jak ji formovala iniciační badatelská zkušenost v Moskvě druhé poloviny šedesátých let. Fitzpatricková se narodila v roce 1941 v Melbourne, kde prožila školní léta a vystudovala na univerzitě historii a hudbu. Otec Brian Charles Fitzpatrick (1905–1965) i matka Dorothy Mary Fitzpatricková (rozená Davisová, 1913–2001) byli historici a levicoví aktivisté a autor sleduje, jak ji toto rodinné prostředí ovlivňovalo i jak se vůči němu vymezovala. Jako nadaná studentka díky stipendiu pokračovala v postgraduálním studiu na St. Antony’s College v Oxfordu, odkud v roce 1966 zamířila na výměnný studijní pobyt do moskevských archivů. Zde s přestávkami prožila tři roky a završila jej disertací o Lidovém komisariátu osvěty (Narodnyj komissariat prosveščenija) pod vedením Anatolije Lunačarského (1975–1933). V kontextu dobové sovětologie, zatížené schematickým uvažováním, autor zdůrazňuje úsilí Fitzpatrickové poznat a pochopit sovětský systém zevnitř, prostřednictvím archivních pramenů, zkoumá její „strategie přežívání“ v prostoru vymezeném dozorem a tlakem sovětských úřadů i nároky západních akademických institucí a vykresluje její zakotvení v intelektuálním okruhu ruských přátel, v němž byl pro ni klíčovou osobou Lunačarského švagr a tajemník Igor Sac (1903–1980). Pozornost věnuje také osobním a profesním dilematům ambiciózní historičky spojeným s dobovou špionomanií na obou stranách železné opony.
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