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Palackého Dějiny a historická paměť národa

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EN
This article analyzes the role that František Palacký’s multi-volume History of the Czech Nation in Bohemia and Moravia had in constituting the modern historical memory of the Czech nation. It starts from the concept of collective memory as defined by the sociologist Maurice Halbwachs, and focuses chiefly on the description and interpretation of collectively shared images of the past. The article examines the relationship between historiography and historical painting in the late nineteenth and early twentieth centuries, mainly in the works of Mikoláš Aleš, Luděk Marold, and Václav Brožík. Using specific examples, such as battle fields and symbolic architecture, the article considers the ability of the landscape and places on it to become media of historical memory.
CS
Tento článek rozebírá roli, kterou mělo mnohosvazkové dílo Františka Palackého Dějiny národu českého v Čechách a v Moravě v konstituování moderní historické paměti českého národa. Text vychází z pojmu kolektivní paměti, jak ho definoval sociolog Maurice Halbwachs, a zaměřuje se zejména na popis a interpretaci kolektivně sdílených obrazů minulosti. Článek zkoumá vztah mezi historiografií a historickou malbou v pozdním devatenáctém a na počátku dvacátého století, především v dílech Mikoláše Alše, Luďka Marolda a Václava Brožíka. S využitím specifických příkladů, jako bitevních polí nebo symbolické architektury, článek promýšlí schopnost krajiny a míst v ní být nositelem historické paměti.
EN
The study examines how readers use history when reading novels about the past. It focuses on two contemporary Czech historical bestsellers Bílá Voda (2022) and Šikmý kostel (2020). The reception examples are from the online reading platform Databazeknih.cz. The author relates the research of the reception of historical bestsellers to the issues discussed in contemporary memory studies. He is primarily interested in how new ways of digital communication contribute to changing shared ideas about the past. A probe into the reception of two historical bestsellers confirms that traditional ways of historical thinking (cause and consequence, continuity and change) are receding and a presentist relationship to the past based on emotions is gaining ground. The case study confirms the thesis about presentism and the dynamics of contemporary cultural memory formulated by François Hartog, Astrid Erll and Andrew Hoskins.
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