1,688 research outputs found
The Slav and the Czech
No full textTitle: Slovan a Čech (The Slav and the Czech) Originally published: First published in Pražské noviny, 15 February–12 March 1846 Language: Czech Excerpts used are from ‘The Danger of Pan-Slavism’, in Hans Kohn, ed., Nationalism: Its Meaning and History (London and New York: Nostrand Reinhold, 1965), pp. 155–59. Originally published in Hans Kohn, The Mind of Modern Russia (New Brunswick, N.J. Rutgers University Press, 1955), pp. 83–90. About the author Karel Havlíček Borovský [1821, Borová nea..
"Laska K Vlasti" : Love to Fatherland : a Look at 19th Century Czech Immigration in Wisconsin
No full textA boom of Czech immigration into America began after revolutions in Europe in 1848, and for a number of years Wisconsin was the most popular destination for these incoming immigrants. This paper will discuss the reasons that Wisconsin held the most Czech immigrants from 1850 to 1880. Specifically, the paper will focus on the counties of Manitowoc and Kewaunee to serve as a sample for Czech economic and cultural life in Wisconsin during the nineteenth century. Finally, the paper will also look at why there was a decrease in the Czech population of Wisconsin after 1880, and discuss different theories as to their migration from Wisconsin during this time
The Slav Avant-garde in Australian Art
No full textAustralian art history includes a peculiar short period during which the European avant-garde values were brought to Australia by a group of Slav artists who gathered in Adelaide in 1950. They were brothers Voitre (1919–1999) and Dušan Marek (1926–1993) from Bohemia, Władysław (1918–1999) and Ludwik Dutkiewicz (1921–2008) from Poland, and Stanislaus (Stanislav, Stan) Rapotec (1911–1997) from Yugoslavia, later joined by Joseph Stanislaus Ostoja-Kotkowski (1922–1994) from Poland. Each of these artists went on to leave their individual mark on the overall Australian art practice. This brief moment of the artists’ working and exhibiting together also enriched their later individual work with the very idea of a common Slav cultural memory.Australian art history includes a peculiar short period during which the European avant-garde values were brought to Australia by a group of Slav artists who gathered in Adelaide in 1950. They were brothers Voitre (1919–1999) and Dušan Marek (1926–1993) from Bohemia, Władysław (1918–1999) and Ludwik Dutkiewicz (1921–2008) from Poland, and Stanislaus (Stanislav, Stan) Rapotec (1911–1997) from Yugoslavia, later joined by Joseph Stanislaus Ostoja-Kotkowski (1922–1994) from Poland. Each of these artists went on to leave their individual mark on the overall Australian art practice. This brief moment of the artists’ working and exhibiting together also enriched their later individual work with the very idea of a common Slav cultural memory
Alfons Mucha: The Slav epic: The question of housing the artwork
No full textIn this bachelor's work, there is presented a cycle of paintings called the Slav epic and its author, Czech painter Alfons Mucha in the context of the times, when the paintings were made until now. The work relates to the problem of the installation of these paintings which goes along with the cycle from the times of its origin until now and still isn't solved. This question is analyzed according to contemporary sources and how it is presented to Czech public in the media in last five years as well. Zbiroh chateau is presented in this work as a place where many of the paintings were made, furthermore U Studánky school where were the paintings until the WW2. Emphasis is put on transport of the Slav epic to Moravský Krumlov, its storage and exhibition on local chateau. Main part of the work is focused on the cause of moving the Slav epic from Moravský Krumlov to Prague. Arguments of both sides are presented here how they were shown in the media and this way the history of the cause which is closed for now by showing of the Slav epic in Veletržní palace
Slav-paganish sculpture and the antic world traditions (within a problem of historic-cultural unity)
No full textThe point of historic-cultural unity between Slav-paganish plastic tradition and antic world is not new for the Slav particularly archeological researches. It arose at the beginning of the systematic studies of Slav-paganish antiquities (near the middle of 19 century) and was stimulated by the first founds which were examples of Slav sculptures before Christian epoch. Many scientists were interested in this question since first analytic studies mainly from the Slav circle. Some observations, suggestions, theoretical studies linked with different antic things: coins, crafts founds on the territory of Slav settlements were made as well. But till nowadays they have not become the subject of deep systematic studies in Ukrainian science. The researchers touched these points from time to time in their articles dealing with relationship between Slav and antic worlds, more often while attributing some sculpture and plastic examples of late Rome and early medieval epoch. In preсeding literature the only monument had been considered under this point of view: idol pillar found in 1848 in the river Zbruch. Some authors in spite of different opinions in concrete points agreed that this sculpture has got some formal similarities with images of the antic pantheon sculptures. Such suggestion can be accepted at least in some degree. But they are mostly abstract in their formulation, not based on a comparative analyses of the all concrete characteristics of the monument. More over, they don’t include any explication concerning the issue of Slav sculptors repetitions in morphological schemes and iconographical moments which could be caused by its late dating (9/10–11/13 centuries). To clear up the problem we have to look for some more examples of Slav-antic relationship, first of all among the works which are posed chronologically close. The plastic monuments of the second half of the 1-st century settlements called Pshevor culture found near the village Zagai (Volyn), Tcerniakiv culture in the village Ivankivtsi, remains from the private collection of a little town Murovani Kurylivtsi (Chkmelnytski region) are considered and studied in the article. Taking attention on a) typological comparison of formal (morphological, iconographical, stylistic) features of three measure images with corresponding late antic sculpture items, b) closeness from the point of view of time and territory, in particular the localization of the monuments being analyzed in the field of the Dnister river – a water way well known in the antic world, at last the fact that the territory of the middle Dnister was included into a contact zone, neighbouring with antic world, we can observe in these monuments some exterior influences of the better developed antic sculpture tradition and so see them as an expression of mutual Slav-antic culture unity
Alfons Mucha: The Slav epic: The question of housing the artwork
No full textIn this bachelor's work, there is presented a cycle of paintings called the Slav epic and its author, Czech painter Alfons Mucha in the context of the times, when the paintings were made until now. The work relates to the problem of the installation of these paintings which goes along with the cycle from the times of its origin until now and still isn't solved. This question is analyzed according to contemporary sources and how it is presented to Czech public in the media in last five years as well. Zbiroh chateau is presented in this work as a place where many of the paintings were made, furthermore U Studánky school where were the paintings until the WW2. Emphasis is put on transport of the Slav epic to Moravský Krumlov, its storage and exhibition on local chateau. Main part of the work is focused on the cause of moving the Slav epic from Moravský Krumlov to Prague. Arguments of both sides are presented here how they were shown in the media and this way the history of the cause which is closed for now by showing of the Slav epic in Veletržní palace
Красная секта
No full textГрачев, Слав. Красная секта. Библиотекa университета Маршалла, Хантингтон, 2025.
Этот роман рассказывает о многом: о войне, об огромной любви и верности долгу, о советских шахматистах и, наконец, о судьбе одной маленькой испанской девочки, которая по воле случая оказалась на чужбине и смогла вернуться домой только через пятьдесят дoлгих лет. Этот роман о стране, которой уже нет на картах мира, которая не позволяла своим гражданам жить и думать свободно. То, что она всегда делала с успехом - это отнимала у людей их будущее.
Gratchev, Slav. The Red Cult. Marshall University Libraries, Huntington, 2025.
This novel discusses many things: war, love, loyalty to duty, Soviet chess players, and ultimately the fate of one little Spanish girl who, by chance, found herself in foreign land and returned home only after fifty years. The book shines light on the country that can no longer be found on a map; the country that did not allow its citizens to live and think freely. Yet, it always managed to heartlessly shatter people’s future.
Slav Gratchev, West Virginia, USAhttps://mds.marshall.edu/mu_books/1005/thumbnail.jp
ROBERT WILLIAM SETON-WATSON AND THE SOUTHERN SLAV QUESTION
No full textRobert William Seton-Watson je bil zgodovinar iz Velike Britanije, ki je spremljal jugoslovansko vprašanje. Na območju Balkana je deloval v začetku 20. stoletja. Kot eden redkih ljudi se je lotil problema južnih Slovanov, na to temo je tudi napisal znano knjigo The Southern Slav Question. Uvidel je, da se morajo ti združiti v obliki trializma, kajti s tem bi se okrepila Avstro-Ogrska. Natančno je spremljal dogajanje ob aneksiji Bosne in Hercegovine. V času trajanja te krize je spoznal pokvarjenost ogrske in avstrijske politike, saj je osebno spremljal sojenje, s katerim je monarhija opravičevala aneksijo. Slovencev v rešitev jugoslovanskega vprašanja do začetka prve svetovne vojne ni vključeval. Z njenim začetkom si je premislil tudi glede monarhije. Tako je v času vojne že zagovarjal združitev južnih Slovanov v Jugoslavijo zunaj Avstro-Ogrske. Tudi med vojno je aktivno sodeloval z ljudmi na področju Balkana. Jugoslovansko vprašanje pa je bila ena izmed glavnih tem tudi v politiki habsburških narodov.Robert William Seton-Watson was a historian from Great Britain, who was actively involved in Yugoslav question. He was active at the beginning of the 20th century at the Balkans. As one of the few people, he was researching the problem of Southern Slavic nations and he wrote a well-known book The Southern Slav Question. He found out that they had to be combined in the form of trialism, which would enforce Austro-Hungarian monarchy. He was precise in observation with annexation of Bosnia and Herzegovina. During the times of crisis, he recognized the corruption of Hungarian and Austrian policy. He personally observed the trial, where the monarchy apologized the annexation. Slovenians were not included into the solution of the Yugoslav question until the World War 1. Therefore, he defended the unity of Southern Slavic nations into Yugoslavia outside the Austrian-Hungarian monarchy. During the war he actively participated with people one the Balkans. Yugoslav question was one of the main topics in the policy of Habsburg nations
Painting a Nation: The Creation and Legacy of Alphonse Mucha’s Slav Epic
No full text In the early twentieth century, Czech artist Alphonse Mucha created the Slav Epic, a series of twenty monumental paintings depicting the history and struggles of the Slav and Czech people in their search for cultural and political identity. Despite Mucha’s intention to celebrate Slavic heritage, the Epic was met with controversy upon its unveiling in 1928, as its nationalist vision conflicted with an evolving political and national landscape. Critics dismissed the work as overly decorative, thus questioning its artistic merit and relevance. However, the Slav Epic continues to evoke discussions on Pan-Slavism, nationalism, and Czech cultural identity. Through its mythologization of Slavic history, the series remains a significant, if polarizing, work that reflects the complexities of national identity. Ultimately, the Slav Epic is a testament to art’s power to provoke thoughts and emotions in its ability to engage and be relevant to a multi-generational audience. 
Downtrodden Brethren Slavs…! The Activity of Pan-Slav Committee in Moscow during World War II
No full textThe formation in the Soviet Union of the Pan-Slav Committee, formally a social organization consisting of representatives of all Slav nationalities, was officially intended to propagate the idea of a broadly understood Slav cooperation. In fact, its role, in its crucial aspects, boiled down to being a spectacular (for that time), and most importantly, effective element of communist propaganda. Holding typically executive functions, it became a cover-up for the headquaters in the struggle for the power over people not only in the Soviet Union, but its satellite countries as well. The Pan-Slav Committee was not a sovereign institution, but only an instrument in the hands of the Soviet leadership. Its consequence was the actual perversion of the idea of Slav unity,
which weakened its social and political impact
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