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PL
II wojna światowa spowodowała wybuch krwawych konfliktów na tle narodowościowym i etnicznym. Szczególnie niebezpiecznym miejscem stała się była gubernia wołyńska, gdzie dochodziło do niewyobrażalnych aktów przemocy. Prawie od stu lat te tereny zamieszkiwali m.in. nieliczni Czesi, którzy starali się przetrwać różne zawirowania wokół nich. Ataki na czeską mniejszość na Wołyniu ustały wraz z końcem II wojny światowej, gdy większość Czechów postanowiła wrócić do ojczyzny.
EN
World War II caused the outbreak of bloody conflicts on the grounds of nationality and ethnicity. The former Volhynian Governorate, where unimaginable acts of violence took place, became a particularly dangerous place. For almost one hundred years, these areas were inhabited by, among others, few Czechs who tried to survive various turmoil around them. Attacks on the Czech minority in Volhynia ceased with the end of World War II when the majority of Czechs decided to return to their homeland.
EN
This study deals with skilled employees of Prague book printers at the turn of the 20th century. Typographers have traditionally had a reputation as elite and elitist workers. In addition, they were active participants in public patriotic life in Prague in the 1860s-1880s. After 1890, however, their main provincial organisation, the Typographic Club, became involved in building a united workers’ movement under the auspices of socialism. The study examines the activities of several typographers-socialists within the structures of social democracy and the reaction of skilled typographers, i.e., the members of the Typographic Club, to the change of rhetoric and strategies of their organisation. It also focuses on how the Typographic Club mastered some cultural practices of the socialist movement (e.g., May Day celebrations, engagement in a unified socialist educational institution or the change in the relationship with unskilled workers). Using the example of the engagement of the Typographic Club in the Dělnická knihtiskárna a nakladatelství [Workers’ Printing Office and Publishing House], it shows the conflicting areas in which the typographic organisation began to split ideologically at the end of the century.
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