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Nowy bard. Twórczość i działania Tomáša Hnídka w dyskursie czeskiej skrajnej prawicy

100%

Witkowska T.

Adeptus

2020

issue 15

A New Singer-Songwriter: The Songs and Activity of Tomáš Hnídek in Czech Extreme Right-Wing DiscourseThis article aims to present the songs and activity of Tomáš Hnídek and their reception among extreme right-wing sympathisers in the Czech Republic over the last decade. The study analyses the use of selected elements of collective imagery related to the singer-songwriter convention, with particular reference to the figure of Karel Kryl. It also draws attention to persuasive techniques of creating an image and to their influence on the reception of the singer-songwriter genre in the context of hate speech and struggle over a new politics of memory in the Czech Republic, pursued by extreme right-wing politicians and their followers. Nowy bard. Twórczość i działania Tomáša Hnídka w dyskursie czeskiej skrajnej prawicyZadaniem artykułu jest przybliżenie twórczości i działań Tomáša Hnídka oraz ich recepcji wśród zwolenników skrajnej prawicy w minionej dekadzie w Czechach. W artykule podjęto analizę zjawiska eksploatacji wybranych wyobrażeń zbiorowych łączonych z nurtem bardowskim ze szczególnym uwzględnieniem odwołań do postaci Karela Kryla. Zwrócono szczególną uwagę na występujące zabiegi z obszaru kreacji i autokreacji o niezwykle perswazyjnym potencjale oraz ich wpływ na kształtowanie się dalszej recepcji twórczości bardowskiej w kontekście mowy nienawiści oraz walki o nową politykę pamięci w Czechach, podejmowanej przez polityków skrajnej prawicy i ich sympatyków.

The Times They Are A-Changin’

80%

Jędrzejko P.

Review of International American Studies

2019

vol. 12

issue 2

5-24

The article, whose central premise is to address the ellusive issue of the Zeitgeist of the "long 1968," revolves around the appeal of the singer-songwriter activism and the international, cross-cultural popularity of protest songs that defy political borders and linguistic divides. The argument opens with reference to Bob Dylan's famous song "The Times They Are A-Changing," whose evergreen topicality resulted not only in the emergence of its numerous official and unofficial covers and reinterpretations, but also generated translations into all major languages of the world, and which has provided inspiration to engaged artists, whose present-day remakes serve as a medium of criticism of the unjust mechanisms of power affecting contemporary societies. The "spirit of the 1968," which evades clear-cut definitions attempted by cultural historians and sociologists, seems to lend itself to capturing in terms of what Beate Kutschke dubs "mental" criteria, perhaps best comprehended in the analysis of the emotional reactions to simple messages of exhortative poetry or simple protest songs, which appeal to the shared frustrations of self-organized, grassroot movements and offer them both the sense of purpose and a glimpse of hope. In this sense, the Zeitgeist of '68 is similar to that of revolutionary Romanticism that united the young engaged intellectuals on both sides of the Atlantic, and whose messages reverberate in the activist songwriters' work until today. As such, the essay provides the keynote to the whole issue, which explores some of the transnational legacies of "1969."

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1 Witkowska T.

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Nowy bard. Twórczość i działania Tomáša Hnídka w dyskursie czeskiej skrajnej prawicy

The Times They Are A-Changin’