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Komunistický převrat v únoru 1948 a deformace spotřebního družstevnictví v letech 1948-19531

100%
Slavíček J.
Moderní dějiny: sborník k dějinám 19. a 20. století (Modern History: Studies into 19th and 20th century history)
|
2019
|
vol. 27
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issue 1
201-216
EN
This study focuses on the fundamental changes which took place in consumer co-operatives over the course of 1948–1953 as the result of “Victorious February” 1948. It looks at the original state of co-operatives during the First Republic and analyses how this changed during the war, the Third Republic and in particular following February 1948. It assesses the consequences these changes brought for co-operatives. Last but not least, it also looks at the role which KSČ expert in the field, Internal Trade Minister and head of the Central Co-operatives Council, Antonín Zmrhal, played in the process of “Gleichschaltungification” of consumer co-operatives. The study posits the core question of what part of the analysed changes (if any) would be possible without the February coup and establishment of the communist dictatorship.
2
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Music with a revolutionary purpose: jazz journalist Emanuel Uggé

51%
Vidomus P.
Hudební věda (Musicology)
|
2022
|
vol. 59
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issue 2-3
246-314
EN
Emanuel Uggé (1900–1970) ranked among the most influential Czech writers on jazz in the first half of the 20th century. This study charts his impact on the reception of jazz in the Czech context, and draws parallels with Western exponents of purist approaches to jazz, including the likes of Hugues Panassié, Rudi Blesh or Charles Edward Smith. The text also challenges the oversimplifying narrative about the strictly repressive character of the communist regime’s attitude towards jazz: himself a diehard Marxist, Uggé loved jazz and publicly defended it not just in the 1930s, but as a member of the Czechoslovak Communist party still after the communist coup of 1948. He was convinced that the new order, and the country’s nationalized recording industry, would finally make possible the definitive triumph over “commercial concoctions”, and “pure jazz” would emerge as an authentically revolutionary force in the service of the proletariat. Uggé’s influence on subsequent generations of jazz writers was essential, and his arguments continued to serve for a long time as a theoretical basis in dealing with music production organizers and censors.
CS
Emanuel Uggé (1900–1970) patřil k nejvlivnějším českým jazzovým publicistům první poloviny 20. století. Tato studie mapuje jeho vliv na recepci jazzu v českém prostředí a identifikuje paralely se západními jazzovými puristy typu Huguese Panassié, Rudiho Bleshe či Charlese Edwarda Smithe. Práce rovněž zpochybňuje příliš zjednodušující narativ o striktně represivní povaze komunistického režimu ve vztahu k jazzu: Uggé jako přesvědčený marxista jazz miloval a veřejně obhajoval nejen ve 30. letech, ale coby člen KSČ i po komunistickém převratu v roce 1948. Byl přesvědčen o tom, že nové uspořádání a znárodněný gramoprůmysl umožní konečně zvítězit nad „komerčními zplodinami“ a „ryzí jazz“ bude vskutku revoluční silou, ve službách proletariátu. Uggého vliv na další generace publicistů byl zásadní a jeho názory dlouhou dobu sloužily jako jistá argumentační báze při vyjednávání s pořadateli a cenzory.
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