Figurace paměti: J.A. Komenský v kulturách vzpomínání 19. a 20. století = Figurations of memory : Jan Amos Comenius and cultures of remembrance in the nineteenth and twentieth centuries
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| Format: | Buch |
| Sprache: | Czech |
| Veröffentlicht: |
Praha
Scriptorium
2014
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| Ausgabe: | Vydání první |
| Schlagworte: | |
| Online-Zugang: | Rezension Inhaltsverzeichnis Abstract |
| Beschreibung: | 504 Seiten, 16 Seiten ungezählte Bildtafeln Illustrationen, Karten |
| ISBN: | 9788088013082 |
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| 245 | 1 | 0 | |a Figurace paměti |b J.A. Komenský v kulturách vzpomínání 19. a 20. století = Figurations of memory : Jan Amos Comenius and cultures of remembrance in the nineteenth and twentieth centuries |c Lenka Řezníková a kol. |
| 246 | 1 | 1 | |a Figurations of memory |
| 250 | |a Vydání první | ||
| 264 | 1 | |a Praha |b Scriptorium |c 2014 | |
| 300 | |a 504 Seiten, 16 Seiten ungezählte Bildtafeln |b Illustrationen, Karten | ||
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| 337 | |b n |2 rdamedia | ||
| 338 | |b nc |2 rdacarrier | ||
| 546 | |a Zusammenfassung in englischer Sprache | ||
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| 650 | 0 | 7 | |a Rezeption |0 (DE-588)4049716-1 |2 gnd |9 rswk-swf |
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| 700 | 1 | |a Řezníková, Lenka |d 1970- |0 (DE-588)1089873484 |4 edt | |
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Datensatz im Suchindex
| _version_ | 1804152934331580417 |
|---|---|
| adam_text | Obsah
Úvod: Komenský jako místo paměti. Společenství
-
instituce
-
média
/
Lenka Řezníkova
/ 9
Komenský, jak ho (ne)známe
9
Místa paměti
13
Společenství
-
instituce
-
média
15
ČÁSTI. PAMĚŤ A IDENTITA
17
Úvod: Paměť a identita. Společenství paměti /Jan Horský
-
Lenka
Řezníkova
/ 19
Paměť mezi jedincem a skupinou
19
Skupina, její zkušenost a paměť
20
Polyvalence
Komenského jako místa paměti
22
I. Od praxe
к
příběhu.
Nacionálni narativizace
Komenského na pře¬
lomu
18.
a
19.
století
/
Lucie Storchová
/ 25
Polyvalence
v poosvícenském zvýznamňování Komenského
25
Rituál a interpretace jako dva typy komemorace
26
Vzpomínání orientované na náboženské a učenecké praxe
27
Regionální významové valence. Alternativy vzpomínání na Komenské¬
ho kolem roku
1800 35
Komenský jako autorita národního jazyka
38
Etablování nacionálních narativů po roce
1790.
Příběh českých dějin
a Komenského biografie
46
Před nástupem kolektivních komemorací
53
II.
Paměť v národní a
transnacionalni
perspektivě /Jaroslav Ira
/ 55
Komenský jako
cross-cultural issue
55
Geneze Komenského jako místa paměti v českém a německém
prostředí
57
Zaostávání české recepce Komenského za německou
63
Spor o Komenského
65
Němec Komenský
69
Komenský a Lešno: německá tradice a polské
ambivalence
71
Všelidský Komenský: kosmopolitismus a vlastenectví
77
Česko-moravské variace
82
Státní národ Komenského a německá menšina
84
Transnacionalni
přesahy a/nebo národní vymezování?
87
III.
Komenský
a
konfesijní
diskursy
/Jan Horský
-
Lenka
ŘEZNÍKOVA/
89
Komenský mezi sekularizací a konfesionalizací
89
Společenství paměti a konfesijní diskursy
91
Mezi cenzurou a participací. Kanonizace českého bratra v majoritně
katolické české společnosti
19.
století
94
Komenský jako místo paměti v českém evangelickém prostředí. Od
tolerančního patentu po dvacátá léta
20.
století
99
Komenský jako milník na cestě
к
přítomnosti
111
Komenský v náboženském vývoji
114
Komenský v dějinách vědy a vzdělanosti
115
Komenský v ráma českých dějin
117
Polyvalence
konfesijních reprezentací
120
IV.
„Ku potřebě kandidátův a kandidátek . Obraz Jana Amose
Komenského v českých učebnicích dějin pedagogiky
/
Michael Voříšek
/ 123
Paměť
s
(fučením omezeným. Od Amerlinga ke Student Festu
123
Učebnice
19.
a počátku
20.
století
125
První historický kánon české pedagogiky
135
Přichází komunistický Komenský
139
Posun
к
badatelskému pohledu na Komenského
145
Zpět
к
učebním příručkám
152
Trojí souřadnice: politika, komeniologie, pedagogika
157
V. „Předchůdce rozumné emancipace pohlaví ženského a dělnictva ?
К
absenci ambivalentních a polyvalentních forem vzpomínání na
Komenského v textech českých emancipačních hnutí druhé poloviny
19.
století
/
Lucie Storchová
/ 161
Paměť a diferenční diskursy
161
Bojovník za všeobecné vzdělání
163
Vzdělání a sociální spravedlnost
170
Emancipace jako stvrzování paměti, nebo produkce protipaměti?
173
ČÁST
II.
PAMĚŤ A VĚDA
177
Úvod: Historická věda a paměť. Dvojí modus vztahování se
к
minulosti?
/
Vladimír Urbánek
/ 179
I. Komeniologie mezi pamětí a historií
/
Vladimír Urbánek
/ 183
Vědecké komemorace a proměny kultur vzpomínání
183
Obnovit, zachovat a zasvětit
185
Komenský vítězný aneb Prorok československé svobody
189
Paměť mezi protektorátem a exilem
193
Pod ochranou strany a vlády
195
Komenský v
case
pomoderním
201
Muzea a jubilejní výstavy jako místa paměti
203
Komenský v národním panteonu
204
„
Obraz nehynoucích zásluh
2 05
Kde leží popel Komenského?
214
Komenský jako pokroková tradice
218
Muzeum hrou
222
Vytváření oborových kánonů
224
Kanonizace Komenského v literární vědě
230
(Ne)kanonizace Komenského v dějináchfilozofie
240
ČÁST
III.
PAMĚŤ A MÉDIA
247
Úvod: Médium je paměť. Mediální a transmediální aspekty kulturního
vzpomínání
/
Lenka Řezníkova
/ 249
Dějiny paměti jako dějiny médií
249
Médium
-
společenství
-
paměť
251
I. Paměť a text. Literární reprezentace Komenského a jejich mnemo¬
nické aspekty
/
Lenka Řezníkova
/ 253
Textualita a paměť
253
Limity literární paměti
256
Paměť společenství. Literatura jako nástroj sociální komunikace
260
Paměť literatury. Intertextualita jako mnemonický princip
263
Literatura jako symbolický systém
264
Kognitivní organizace reprezentací. Metafora a žánr jako nástroje
paměti
269
Metafora
jako nástroj paměti
275
Žánrj
ако
nástroj paměti
276
Opakování a změna
284
Mémoire,
nebo
contre-mémoire?
Iluze
konsenzu
286
II.
Paměť a obraz. Portrét jako nástroj vizuální kanonizace
/
Kateřina
Horníčková/
289
Číst a vidět
289
Zrození velikána
299
Komodifikace paměti
307
Portrét mezi autenticitou, politikou a metaforou
310
Obraz mezi opakováním a transformací
318
III.
Inscenace paměti. Divadelní a filmové vzpomínání na Komenského
/
Kamil Činátl/
321
Divadelní a filmové inscenace v proměnách mediality
321
Komenský: tragický, ne však dramatický
324
Putování Jana Amose filmem
338
Komenský
à la
Cimrman
340
Od afektivní monumentalizace
k afektivní
hře
s
kánonem
345
IV.
Topografie paměti. Reálná a imaginární místa kulturního vzpomí¬
nání /Jaroslav Ira/
347
Paměť a prostor
347
Cesty Komenského
348
Rodiště a hrob
354
Místa a kánon
363
Města a kraje Komenského
371
Komenacionalizace prostoru
379
Paměť v prostoru, prostor v paměti
382
V. Slavnost jako kulturně mnemonická praxe
/
Karel Šíma
/ 385
Moderní slavnosti mezi kontinuitou a diskontinuitou
385
Moderní oslavy Komenského jako médium kolektivního
vzpomínání
387
Zrod moderních oslav
389
Boj o festivitní prostor
396
Návrat vlády lidu ve jménu demokracie, humanity a mravnosti
399
Ve jménu vědy a pokroku pro mírový internacionalismus a socialistický
humanismus
409
К
„nápravě věcí lidských prostřednictvím harmonie rozumu
a ducha
417
Kontinuita pamětihodné události a proměny festivitní kultury
422
Závěr:
К
významu paměti a povaze komeniánských komemorací. Závě¬
rečné poznámky bez motta
/
Lenka Řezníkova
/ 425
Summary
/
Lucie Storchová
/ 431
Bibliografie
447
Seznam vyobrazení
483
Rejstřík osobních jmen
487
Rejstřík místopisný
495
Rejstřík věcný
498
Summary
Lucie Storchová
The monograph
Figumcepaměti.
J.
A.
Komenský
ν
kulturách vzpomínání
19.
a
20.
století
(Figurations of Memory: Jan Amos Comenius and cultures of re¬
membrance in the nineteenth and twentieth centuries) analyses the ways
in which the inhabitants of the Czech lands have seen their relationship to
the figure of Jan Amos Comenius over the last two centuries. Although its
starting point is the concept of
lieux de mémoire
introduced by Pierre Nora in
the
mid-1980s,
it also reflects some of the basic shifts through which this
concept has recently passed. To begin with, it is not confined to Nora s
emphasis on national identity; on the contrary it examines the constituti¬
on of the collective memory in different types of communities and makes
provision for other categories of identity, especially connected with religi¬
ous denominations, areas, professions and, as far as is appropriate, gender
and class. The concept created by French historiography has been adapted
to the conditions of multi-ethnic and multicultural Central Europe, and
takes into consideration the distinctive transnational overlaps of cultural
memory in this macro-region. Secondly, the volume does not place histo¬
rical science in explicit opposition to memory, as Nora did (following the
works of Maurice
Halb wachs).
Finally, it lays greater emphasis on the role
played by communication in the memory processes and with this, the
diff¬
érent
types of media. In so doing it bases itself on the thesis that, in terms
of social cohesion and identity, it is not so important for every member of
a given community to share the same knowledge of Comenius, since the
socially connective effects of memory already contain within themselves the
illusion of sharing, influenced by specific communication practices operati¬
ve within the given communities.
This work tracks particular commemorative practices and policies of
remembering from the end of the eighteenth century. At this time, repre¬
sentations of the past began to change under the influence of new social
structures in the process of becoming more complicated socially, politically
and technologically. The shaping of a meaningful narrative, relevant for
the new (national and civil) community, is characteristic of the first phase
of reflections on Comenius in modern times. The very existence of narrative
was a condition of establishing Comenius as a lieu
de mémoire,
for his life and
work could become the subject of a socially relevant communication only
in the form of a story.
Publications of Comenius s writings and of texts about him increased
in number from the end of the eighteenth century (especially after the
1781
Patent of Toleration) and through the nineteenth, although they continued
to be censored.
Lucie Storchová s
chapter
Od praxe k príbehu
(From practice
Summary
(431
to story) shows that between the end of the eighteenth century (when scho¬
larly correspondence and histories of literature commented on Comenius)
and the 1820s (when
Frantisele
Palacký
wrote the first canonical Czech bio¬
graphy of Comenius) literary practices underwent a considerable change.
Whereas the first post-Tolerance editions of Comenius s works were mainly
used for the performance of particular practices (especially religious), in
subsequent decades these works became more plainly the main subject of
historical reflections. It was not just the content of the text that was im¬
portant, but the text itself and its author. The purpose of reading was no
longer just iterative imitation (for example: prayer, contemplation, conso¬
lation, etc.) but rather the production and affirmation of socially relevant
meanings.
Storchová
draws attention to the
polyvalence
of post-Enlightenment
representations of Comenius, connecting the earlier locally patriotic point
of view with national perspectives that were being newly established. A new
field of meanings was created in the period after
1790,
linking the figure of
Comenius with the
normatives
of the Czech language that was a crucial
point of interest for the emerging Czech national movement. Comenius
was considered the most important figure in the post-White Mountain lan¬
guage development and
-
for this reason
-
also a model of style for the nine¬
teenth-century Czech literature. After the turn of the century, Comenius s
importance expanded from the field of language onto a more general histo¬
rical plane. Comenius entered the story of Czech history, and his individual
fate became a synecdoche of the fate of the nation in the period after the
Battle of the White Mountain.
Once the Comenius
topos
had undergone fundamental reconstruction
on the threshold of the nineteenth century, it stabilised, and repetition be¬
came the main principle of its being written into the cultural memory. From
the mid-nineteenth century especially, representations that may have been
small, but that were very effective from the point of view of memory, incre¬
ased considerably. The figure of Comenius was subjected to reconstructi¬
ons, some larger, some smaller, into which specific memory practices were
projected: the creation of schema, generalisation, distortion, the removal of
the inessential, and the conjecturing of lost data, analogies, and so on. The¬
se activities in part resulted from the manipulative tendencies of various
ideologies and political regimes, but in part were dictated by the purpose
of memory itself (i.e., to use information effectively and to organise our
knowledge and experience for the needs of further action). Problematic
aspects which would have been apparently easier to forget returned, se¬
emingly inexplicably, and stubbornly kept hold at some levels of comme¬
morative practices. The ability to adapt is also probably one reason why, in
comparison with other historical figures, Comenius s status has maintained
its distinctive mnemonic features up to the present.
Memory and Identities
The first part of Figurace
paměti
discusses the relationship between memory
and identities. As Maurice
Halbwachs
emphasised, memory is always tied
432)
to an individual, but its collective dimension counts on the individual ac¬
quiring and developing his/her own memory in the context of particular
communities. In the course of the nineteenth and twentieth centuries, Co-
menius became
a topos
capable of constituting a collective identity in the
cultural memory of a number of variously defined communities
-
including
national, professional, regional and denominational. The logic of the inter¬
pretation changed not only with the historical context, but also in connecti¬
on with the specific interests of individual commemorative communities.
The chapter by
Jaroslav Ira
titled
Paměť v národní a transnaaonálníperspek¬
tive(Memory
in the national and transnational perspective) tracks respon¬
ses to Comenius in the German, Czech and Polish linguistic environments,
primarily in the period of ascendant nationalism in European society from
the mid-nineteenth to the mid-twentieth century. He shows that Comenius
became a
lieu de mémoire
for various national communities, examines the
overlaps and interactions of the mnemonic discourses, and analyses the
different rhetorics of national communities which appropriated Comenius.
Whereas the central Czech narrative celebrated the metaphorical return
of the great exile to his homeland, the German narrative celebrated the
return of Comenius to modern education and pedagogy. Comenius was
presented as the founder of modern general education and an apostle of
humanity and social reform. Ira also points out that German interest in
Comenius served as a stimulus for Czech commemoration. The German
appropriation of Comenius in
Leszno,
which put even more of a burden on
the extremely problematic image of Comenius in the Polish memory was
a specific example. The more sound commemoration of Comenius in
Lesz¬
no
at the end of the nineteenth century unfolded against the background of
the Polish national struggle under Prussian partititon, and the simultane¬
ous efforts of the German state to assimilate the ethnic Polish population.
In the Polish collective memory, the black legend of Comenius as a traitor
to his second homeland was intertwined with the effort to exculpate him.
To close, Ira presents the new context of interwar Czechoslovakia in which
Comenius became an emblematic figure of the new state but also an argu¬
mentative weapon for the German minority.
However, thinking in national categories did not rule out voices that
were consciously constructing an international memory of Comenius in
opposition to national conflicts. In this spirit, the international dimension
of the
1892
Comenius celebrations, for example, was hailed as a surge of
internationalism.
The next chapter by
Lenka Řezníkova
and
Jan Horský
analyses the re¬
presentation of Comenius in denominationally defined communities. The
nineteenth century saw a development of new textual practices, and certain
newly shared dominant features began to be more distinctively outlined
in milieus of religious communities. These features played a role in endea¬
vours to define confessional identity of each group, to legitimise its existen¬
ce and to support it by religious controversies. In this sense, Comenius too
emerged on stage as a symbolic centre. Paradoxically the Roman Catho¬
lic Church, to which most of the population claimed to belong even after
the Patent of Toleration, was one of the main bearers of the Reformation
Summary
j
433
memory in the Czech lands. Censorship, being in the hands of the Catholic
institutions (and later at least under their unofficial influence), was in parti¬
cular one of the instruments used by church institutions to displace memo¬
ries of the Reformation and its founding fathers. The authors argue that the
establishment of Comenius, a senior of the non-Catholic Unitasfratrum, as
one of the central canonical figures of Czech history in a dominantly Catho¬
lic environment can be ascribed primarily to the denominational tepidity of
Czech society, in which denominational meanings were concealed by other
kinds of identity (membership of a nation, a social group, etc.). Comenius
did not become a major feature which would structure collective memory
in the Czech Protestant environment. He appeared there as one of many
figures and during the First Czechoslovak Republic especially sparked off
controversy in Protestant circles of theologians and historians concerning
his interpretation. His membership of the Unitasfratrum was a subject of
continual commemoration but was not deployed for primarily denomina¬
tional purposes. The small and suppressed Church served rather as a poli¬
tical metaphor for the small and suppressed nation and did not therefore
connote a denominational issue but rather the attitude of the Austrian state
towards minorities in a wider, generally political sense.
The professional community of teachers was another model type of
community in which Comenius figured as an important
lieu de mémoire.
This
is a topic of the next chapter by Michael
Voříšek.
In the new social con¬
ditions of the nineteenth century, questions of educational politics featu¬
red as one of the fundamental priorities of national and civil society and
in consequence became the subject of tense political debates. The link to
educational discourse had, under these circumstances, a fundamental im¬
portance for reflections on Comenius. In the long-standing struggle for a
Czech school , political representation employed Comenius as a welcome
figure of legitimation. It referred to him not only as a practising teacher and
educational theoretician, but at the same time as an advocate of instruction
in the mother tongue. In particular, the publication of his Czech
Didaktika
(Didactics) in
1848
was a strong impulse for strengthening the Comenius s
school valence. As early as the next few decades, the
topos
of Comenius be¬
gan to strengthen substantially in school discourse and Comenius became
a symbol for the Czech teachers movement. The stress put on Comenius s
connection with education has resulted in a distortion of his image, since
it has caused other, no less important, fields of his activity to more or less
retreat into the background of the general consciousness.
Voříšek
analyses Czech textbooks on the history of education and un¬
derstands them as an instrument of the socialisation of future generations
of teachers, strengthening awareness of the disciplinary and cultural canon.
He then tracks specifically first, the transformations in political discourse
to which textbooks of education adapted in the course of the nineteenth
and twentieth centuries; secondly, the impact that changes in Comeniolo-
gical research had on the image of Comenius in textbooks; thirdly, shifts
in the institutional form of teacher training; fourthly and finally, authorial
aspects in the concept of textbooks (general aims and method of presenta¬
tion in textbooks, as well as the structuring of the actual interpretation of
434
j
Comenius). The textbooks generally set themselves the aim of fortifying
the students general cultural outlook, together with pride in the teaching
profession, national pride, and the ability better to understand current pro¬
blems of education. Common to them all was an endeavour to shape Come¬
nius in a way that would be useful in practical terms, and a tendency to put
emphasis on him as an example to be followed. Their image of Comenius
reveals elements of relative stability, primarily at the level of associations of
places, works and biographical situations; on the other hand, the presenta¬
tion of his didactic ideas is more liable to change.
As
Voříšek
points out, the first Czech textbooks on education from the
end of the nineteenth century were largely collections of positive examples
published to help students prepare for examinations. These textbooks con¬
tained detailed biographies of Comenius, structured according to where he
had lived. On the other hand, they struggled hopelessly with Comenius s
educational legacy It was only with textbooks published at the beginning
of the twentieth century that something like a minimum exposition of Co¬
menius s didactic works appeared.
Otakar Kádner,
who had a definitive
influence on the shaping of Czech education under the First Republic, por¬
trayed Comenius with an ambition to establish a historical canon of educa¬
tion in the spirit of historical positivism for the purposes of university tea¬
ching and the needs of the national education system. The First Republic s
approach of anchoring Comenius
s
didactics in the history of human pro¬
gress (with regard to secular instruction, founded on rational and scientific
foundations, national and at the same time based on classless principles)
was also applied in post-war Marxist educational theory. Soviet textbooks
that presented Communist education as a new project in the context of
educational systems of the past brought a short-lived radical reversal. At
the end of the
1950s,
Marxist educational theory shared with
positivist his-
toricism the conviction that historical method is of the very essence of edu¬
cation. It saw the importance of Comenius
s
work in the present in the same
way, but took the attitude that Comenius s ideas found their fulfilment only
with the arrival of Socialism; nor did it admit historical relativism into the
interpretation.
Publications after
1968
show a clear shift towards a research-based view
of Comenius
(Dagmar Čapková, Vladimír Štverák),
including signs of re¬
sponse to specialist discussions and an attempt to set Comenius s educati¬
onal theory into a pansophical context. The strengthening in the
1980s
of
the scholarly aspect was accompanied by attempts to link subtly a Marxist-
Leninist theoretical foundation to elements of a more general
-
in fact, pre-
Marxist
-
legitimacy. References to the anchoring of the history of educati¬
on in the history of culture and to the strengthening of national pride were
enhanced. If we strip away the changed political conditions and discount
the Marxist evaluation, it could be said that textbooks of the history of edu¬
cation published after
1989
have continued in the same trend we recognised
before this year. Use continues to be made of an encyclopaedic basis, and
there is an increasingly detailed knowledge of Comenius s time and awa¬
reness of the cultural and historical context. At the same time, distancing
from the figure of Comenius grows wider. According to
Voříšek,
continuity
Summary
j
435
between representations at the beginning of the twentieth century and the
First Republic, and between those of the
1980s
and the
1990s,
prove that
the mere fact of political change is not always enough to change the dis¬
course of the history of education, nor even the resonance of the image of
Comenius.
Various commemorative communities presented in the first part of the
book feature at the same time as part of the national community. The way in
which they worked with Comenius confirmed national identity was central
to them. However, at least some presentations betray different interests and
attitudes.
Lucie Storchová s
chapter
Predchűdce
rozumne
emanápace
pohlavížen¬
ského a dělnictva?
(A Forerunner of the rational emancipation of the female
sex and the working class?) deals with the question of how the national
level interacts with other forms of remembrance in socially emancipatory
movements of the Czechs fighting for equal rights for women and workers.
She understands class and gender as products of cultural memory, and at
the same time as variables that participate in the memory s production and
are closely connected with power.
According to
Storchová,
Czech debates about emancipation in the ni¬
neteenth and beginning of the twentieth century did not contribute to the
deepening of memory
polyvalence.
In their context too, Comenius s im¬
portance was often connected with educational policy, above all the right
to general education. The debate was marked by a low degree of radicalism,
enhanced by extensive quotation from Comenius s work and from older
Czech pretexts with national resonances. It seemed that social inequality
and its reduction needed to be even more firmly anchored in the figure of
Comenius himself and the authority associated with him in Czech natio¬
nal discourse. The commemoration of Comenius in popular pedagogical
journals, especially women s magazines of this kind, demonstrated a strong
national level and appeal. Women s activity in the field of social emancipa¬
tion was understood as legitimate as long as it was limited to the field of
education and had a national dimension. Women teachers themselves used
Comenius as a conservative authority to legitimise, in connection with the
ideology of the separate spheres , their own intellectual and professional
activity.
Texts linked with the activities of the Czech Labour Movement also
point to the persistence of interpretation in the national framework; we
come across them even in works from the post-World War I period identi¬
fying with socialist internationalism. Here too, the question of social eman¬
cipation cannot be divided from the issue of education, still understood
as Comenius s greatest achievement. Similarly emphasised is the fact that
Comenius s work for the good of mankind never ruled out interest in the
good of his own nation, which now reached its independence. This ima¬
ge of Comenius illustrates very well the importance both of adaptation of
traditional and widely shared memory schemes and of the reduction of the
variety of meanings in the process of the stabilisation of socially emancipa¬
tory movements.
436
¡
Memory
and Scholarship
The second part of the monograph is devoted to scholarship as one of the
institutional contexts of collective remembering. Vladimir
Urbánek
takes
as his starting point the hypothesis that the historical disciplines can take
over the function of collective memory. He points to a certain ambivalen¬
ce in Comeniology regarding commemorative strategies; on the one hand
it helped to produce most of the memorial discourses in whose context
Comenius figured as a canonical personage but at the same time it distin¬
guished itself from popular forms of remembrance.
Urbánek
examines the
production of collective memory within Comenius studies in connection
with three practices: academic anniversary commemorations, anniversary
exhibitions together with the musealisation of Comeniology, and finally the
creation of disciplinary canons in the context of research into Comenius.
Academic commemorations of Comenius changed substantially
between the end of the nineteenth and the beginning of the twentieth
century. The earliest form consisted of ceremonial speeches by scholars at
collective festivities
(1865, 1871, 1892).
Anniversary lectures organised at
symbolic places (such as
Brandýs nad Labem,
the Pantheon of the Natio¬
nal Museum) were dominant until World War II. In the second half of the
twentieth century, large conferences presided over by state bodies became
the central events of the celebrations. One can find a remarkable continuity
in the introductory speeches. Regardless of whether the anniversary spea¬
ker was an educationalist, historian or philosopher of education, the mne¬
monic figures were essentially very similar and endeavoured to establish the
freshness and topicality of Comenius, and his relevance for the current (and
future) problems of society. In the nineteenth century and during the First
Republic the commemorations helped to strengthen national, professional
and state identity and fossilise Comenius above all as a teacher and national
cultural icon. Later he was revered as a hero of the anti-Habsburg resistan¬
ce, a prophet of Czechoslovak state independence, and a parallel to Presi¬
dent
Masaryk.
In the early days of the republic, the prophecy from
Kšaft
(The Testament of a Dying Mother, the Unity of Brethren) was repeatedly
brought up as a vision of the origin of an independent Czechoslovakia. The
reflection of Comenius had a strong memorial charge at the time of World
War II, being manifested in lectures and publications linked with the acti¬
vity of the exile government. In the post-war period, the main emphasis of
the academic commemorations was on a new beginning, caused not only
by radical socio-political changes but also by new discoveries in Comenius
studies and their gradual availability. The first great post-war celebrations
of
1956-1958
were an opportunity for a major public presentation of Co¬
meniology as a discipline. Academic conferences (often international) and
the ceremonial gatherings connected with them became the basic platform
for the production of memory. Until the
1960s,
scholarly commemorations
were dominated by the endeavour to connect Comenius and his work with
the narrative of European Modernism. Frequently used metaphors
-
the
Copernicus of education, the prophet of national emancipation, and the
representative of progressive traditions
-
corresponded to this. However,
Summary
j
437
roughly from the late
1960s,
Comenius s image in academic discourse be¬
came substantially more complicated, and twenty years later this applied
in commemorative discourse as well. It began to play a role, inter alia, of
a possible alternative to Modernism.
Other institutionalised mnemonic practices of museums and public ex¬
hibitions were pursued besides Comeniology.
Urbánek
tracks how modes
of collecting, organising and exhibiting were changing. These modes hel¬
ped to represent Comenius s life, work and relevance for the general audi¬
ence. Whereas in the exhibitions of
1892
and
1920
modes of collecting and
presenting all the acquired artefacts (documents, maps, old prints, pictu¬
res) dominated, to some extent a different concept emerged in the
1935
exhibition. This involved not only collecting artefacts, but also more care¬
ful planning in what to select from the collection and how to organise it.
Alongside the great anniversary exhibitions in Prague, the local museums
founded at places connected with Comenius s early years in Moravia,
Uher¬
ský Brod
and
Přerov,
were of fundamental importance in setting up a canon
of memory. In the First Republic, the climax of the Comenius cult was the
building of the
Naarden
Mausoleum in the Netherlands, opened in
1937.
The decoration of the chapel strengthened the intellectual resonance of the
monument as an official place of memorial, and at the same time staged
the connection of the present with the past, and the theme of nationwide
loyalty to Comenius s legacy.
An exhibition held in
1957
in the
Wallenstein
Palace in Prague, prepa¬
red cooperatively by a number of specialists, had a big influence on shaping
collective memory in the post-war period. The exhibition aimed to present
Comenius s biography and work in the wider historical context (the Thir¬
ty Years War, the English Bourgeois Revolution , popular chiliasm) and
in relation to the Communist scheme of progressive traditions in Czech
history, both Hussite and Brethren. Comenius was likewise updated; the
whole of the last section referred to his living legacy . On the occasion
of the
1992
anniversary, the Comenius Museum in
Uherský Brod
took on
the complete reconstruction and creation of a new permanent exhibition
entitled Jan Amos Comenius s bequest to mankind which introduced
a radically different concept. The exhibition avoided any attempt to exhi¬
bit as many Comeniological items as possible. Instead, it emphasised the
semiotic
quality of the metaphors used and of the objects on display, and
combined historical aspects with topical. At the same time, it anticipated
the era of interactive and multimedia exhibitions, which were frequently
completely emancipated from academic contexts, and used Comenius me¬
taphors as mnemonic signs and symbols.
In the last part of the chapter,
Urbánek
deals with the creation of disci¬
plinary canons in research on Comenius. For Comeniology itself, alongside
confirmation of collective memorial features (founding myths and so on),
a completely opposite tendency emerged: the production of new interpre-
tational schemes and new narrative structures (for example, alternatively
conceived biography).
Urbánek
then focuses on the history of literature
and on the history of philosophy, where model cases of Comenius s cano¬
nisation are presented; successful (in the case of the history of literature)
438
1
and rather unsuccessful (in the case of the history of philosophy). Litera¬
ry historians saw Comenius as a canonical author of Czech vernacular lite¬
rature and the disputes concentrated on whether he was conceptualized as
a Humanist or as a Baroque author. Much less consensus was among histo¬
rians of philosophy despite the efforts of
Jan Patočka
and number of other
philosophers to show Comenius as an important philosophical thinker.
This unsuccessful canonisation has been caused, among other things, by
the fact that Comenius s works do not fit easily to dominant narrative of
European philosophy.
Memory and Media
The third part of the monograph is devoted to the relationship between me¬
mory and the mediality. Media environments are not only a place where
symbolic meanings are stored, but where is an active share in their produ¬
ction. The text played a crucial role in the first phases of the reception of
Comenius from the end of the eighteenth and through the nineteenth cen¬
tury. It was precisely the ability to deal with the texts and literary forms of
communication that was constitutive for the cultural memory of this peri¬
od, while this competence
-
formerly reserved primarily for communities of
memory consisting of denominationally Protestant groups or the scholarly
Enlightenment circles
-
began to be relatively usual in proto-national and
proto-civil communities. The cultural importance of visual communication
began to strengthen substantially with the gradual simplification of repro¬
duction techniques. With the onset of other media (the telegraph, followed
by photography, radio and film, through to the internet) and specific me¬
dia environments (such as various types of collective celebrations), a whole
complex of mnemonic and commemorative instruments was created which
existed alongside each other and were interwoven. A range of questions
thus opens regarding the relationship of memory and the media, questions
which touch on the specifics of individual technologies or, alternatively, on
the overlapping of media.
Lenka Řezníkova
s
introductory chapter to this section is about the li¬
terary representation of Comenius. Literature is one of the central symbolic
systems that produce, enact and mediate cultural memory. Not only does
it enable symbolic communications to be preserved and distributed in its
own forms of materialisation, but above all it shares in their production.
Literature organises, constructs importance, and enables the stabilisation
of the communications in various layers and forms of cultural memory by
means of its textual and
intertextual
structures. Other meta-literary practi¬
ces are then extended to the sphere of the writing itself, especially the cre¬
ation of canons and censorship contributing to the stabilisation of cultural
memory or, alternatively, to its being forgotten. A certain tension between
the persistence of semantic codes and cognitive structures on the one hand,
and their transformations on the other, is typical for literature.
The Comenius Index acquired its initial meanings and social rele¬
vance mainly through the higher narratives into which it was inserted. Co¬
menius was admitted as
a topos
into narratives that included the National
Summary 1
439
Revival,
Czech Reformation, White Mountain, exile, history of education,
evolution of mankind and Czech-German disputes. This narrativisation
took place in a variety of model communities, in dependence inter alia on
the advance of literary awareness; in the scholarly environment at the end
of the seventeenth century and during the eighteenth, through the transfor¬
mation of controversial representations in scholarly biography; in
(proto)
national or (proto)civil milieus from the end of the eighteenth century and
during the nineteenth, through the transformation of the content and the
form of pretexts created in the period of the Enlightenment. During the ni¬
neteenth century a whole catalogue of attributes associated with Comenius
was gradually created (plebeian origin, references to the field of schooling
and education, patriotism, mental stability, a serious, reliable and highly
disciplined personality). Comenius was adapted to the new social and di¬
scursive context, but at the same time an opposite process took place, the
historicisation of Comenius, offering the possibility of explaining (and if
necessary also forgiving) some aspects of his life and work as products of
the time in which he lived. Among these were primarily his chiliasm and
belief in prophecy. With the changing political situation and the growth of
a spirit hostile to Vienna, Czech society ceased to regard belief in prophecy
as religious fanaticism and on the contrary, found in Comenius a coura¬
geous far-sightedness. After
1918,
this went as far as Comenius emerging
as the prophet of an independent state . The departure from Enlighten¬
ment pretexts and adaptations of Comenius to national conditions did not
mean that the old image was simply forgotten. Surprisingly, it was precisely
the aspects unfavourable to Comenius s image and requiring continual ex¬
planation and exculpation that exhibited a high level of persistence.
It was not only the different historical context of the origin of the repre¬
sentations that determined the differences between them, but also the diff¬
erent narrative structures of the individual genres and genre forms. On the
threshold of the nineteenth century there was a major development of the
genres that indicate a surge of interest in the individual, autobiographical
memory (diaries, biographies, autobiographies), and in the historical ima¬
gination of a shared past (the historical novel). Biography was practically
the only established genre capable of representing Comenius consistently
(with the passage of time, all the more thoroughly structured topographi¬
cally). For example, in poetic and publicist work of the second half of the
nineteenth century the commemoration was in itself a productive part of
the Comenius topic, so that the theme of Comenius and the theme of his
commemoration to some extent merged. In historical fiction, Comenius
appeared as a character resembling a dominant cognitive feature, lending
depth and weight to the action. However, he was, in historical fiction, most
frequently represented by references to his texts. The metaphors with who¬
se help he was fictionalised were mediated in the form of specific, striking
images (the pilgrim, labyrinth, light-bearer, teacher of nations etc.) and
simplified the complex narratives into easily memorable and easily commu¬
nicable cognitive abbreviations.
If nineteenth century biographies were marked by an endeavour to
monumentalise Comenius as an unmistakable bearer of national and civic
4401
virtues, such a model was
-
programmatically at least
-
overturned by some
of the fictional biographies of the second half of the twentieth century. The
fundamental transformation that took place at the latest from the start of
the
1960s
can be described as Comenius s initiation into high literature.
The
humanisation
of Comenius was realised by authors either through re¬
creating his private life
(Leontina
Mašinová)
or through the relaxation of
established biographical procedures, more consistent psychology, and the
development of existential themes
(Miroslav Hanuš, Miloš Václav Krato¬
chvíl).
Postmodern revisions of the genre in the
1990s -
whilst preserving
well-known features (the great teacher, wise man, sufferer, peacemaker)
-
also brought substantial innovation.
In the chapter
Pamet a obraz
(Memory and Image)
Kateřina Horníčková
focuses on Comenius in visual representations. In the cultural memory pro¬
cesses, these operate in
intermedial
unity with the text. However, whereas
in literary discourse Comenius was stylised above all as a kindly pastor and
teacher, in visual representation it was his serious qualities, sometimes even
strictness, that were emphasised.
František Palacký
produced a basic visual
interpretation in the imaginary description of Comenius he included in his
biography. In it, he projected Comenius s physiological features into the
narrative of national history. The earliest portraits of the scholar from the
end of the eighteenth century indeed refer to the past entirely in the spirit of
the basic principles of cultural mnemonics, but canonise it as the norm for
the present and future. Comenius was presented as one of the great men of
the past shared by the national community, thanks as well to his inclusion
in the earliest memorial albums. The linking of Comenius s portrait with
the political context of the National Revival can be traced from as early
as the 1840s. A series of drawings by Felix Jenewein from the first half of
the 1880s contributed to the creation of the
iconographie type
Comeni¬
us as Exile . Nationalism subsequently influenced historicism, operating
with the emotively charged themes of the Battle of the White Mountain,
the Counter-Reformation and emigration, in painting and in monumental
sculpture.
A strong culturally commemorative stream using a realistically conce¬
ived and characteristically compiled figure of Comenius was established
under the weight of social demands which culminated especially at the end
of the nineteenth century, and then with the emergence of the independent
state of Czechoslovakia. The 1890s, and especially the
ЗОО01
anniversary ce¬
lebrations of his birth in
1892,
formed a key turning point in how people
imagined Comenius to be. Apart from monumental realisations portraying
him as a great national figure, this anniversary introduced the mass circu¬
lation of his portrait on small souvenir items, in periodicals and as artistic
prints. The small souvenir products are in general characterised by a con¬
servative portrayal and popularity of a scholarly type. Production of such
visual promotional and mercantile materials culminated between the wars.
From the beginning, most of this production, undemanding but important
for establishing a canon, came from the teachers environment. Comenius
is in this respect an exceptional figure in the history of the Czech portrait,
for his image can be found at every layer of visual culture, and in every
Summary
441
medium, a cross
section
of the hierarchy of artistic work. It was to the for¬
mal emptiness of this kind of portrait art that twentieth century portraits
of Comenius reacted, in a search for new content and an endeavour to go
deeper into his psychology and find a way to express the meaning of his
work in art.
The commemorative culture attached to Comenius s figure in the in-
terwar period culminated with a competition for a statue in Amsterdam
announced in
1923,
and the decoration of a memorial in
Naarden
(re¬
alised in the
1930s)
with the first and most complete visual treatment of
Comenius s life as narrative. In spite of an increasing number of portrait
images at the time of the Comenius celebrations in the
1950s,
there was
a tendency to move away from artistic realisations. A new type of portrayal
of Comenius with a dove was connected to pre-war work. In the following
period his head and face remained at the centre of the portrayal and served
as a unifying and identifying element; the traditional canon was however
gradually disrupted by various artistic means, ranging from breaking up
the form through fragmentation and replication (the well-known collage
by
Jiň Kolář),
as far as grotesque exaggeration and caricature. At the end
of the millennium, visual images of Comenius were treated to the grotesque
elements of pop-culture anti-icons, aimed at lightening the traditional per¬
ception of the figure. The pop-culture portrayal usually achieved its effect
by manipulating partial elements (denial of seriousness, the addition of an
unusual attribute). However, they preserved enough characteristic features
for the figure to be identified without difficulty.
Kamil Činátľs
chapter is devoted to the representation of Comenius
in theatre and film, that is, media combining text with the word and refer¬
ring to oral forms of social communication. In the twentieth century these
forms were connected to the mass media networks of radio, television and
the internet which has transformed the conditions in which Comenius was
recreated in the memory (wide distribution, easy access, the rise of what
is known as secondary orality). Insofar as theatre productions are concer¬
ned,
Činátl
shows that Comenius never made an impact in the theatre,
even in the age when classic historical drama and materials from national
history were popular. From the end of the nineteenth century Comenius
most frequently appeared in productions employing a broad theme from
the Czech national past where he plays a supporting role without any be¬
aring on the real dynamic of the dramatic action. The absence of dramatic
plots and structure could be connected with the broad biographical span
of Comenius s life. Despite lack of success in the theatre, the dramas had
a mnemonic interest in the sense that they were often linked with collective
festivities; such a monumentalised Comenius represented a precisely esta¬
blished set of values for the national community and was intended to con¬
tribute to the public s emotional identification. The most important film
about the life of Comenius
-
the biopic by
Otakar Vávra
and
Miloš Václav
Kratochvíl PutováníJanaAmose
(The Wanderings of Jan Amos) of
1983 -
pro¬
voked uncertainty in the audience, the consequence of dominant features
of memory that were difficult to grasp. It mixed emphasis on the realities of
442!
the time with symbolic scenes imported mainly from the
Labyrint
světa
(The
Labyrinth of the World).
A rather more successful line consists of dramatisations of Comenius s
own work, mainly in the second half of the twentieth century when post-
dramatic theatre became popular.
Činátl
shows that the success of these
productions (the
Ústí nad Labem
Diogenes in
1974
and
Labyrinthof
the World
from the Brno Theatre on a String in
1983)
could be based on programma¬
tic distancing from stereotyped interpretations of Comenius and carried on
the wave of the discovery of his other legacy. It was paradoxically only
in the Postmodern situation that the theatrical Comenius made his full
impact as a dominant mnemonic feature. Recent theatre productions which
made use of ironic games with national myths and which assigned Come¬
nius the function of the cultural memory of the Czech nation are very suc¬
cessful with audiences and influence memory. For example, in the producti¬
on
České nebe
(Czech Heaven,
2008)
Comenius plays the role of a moderator
and guide to a comically conceived pantheon of great national Czechs. The
real subject of the play is the ironic reproduction of cultural memory, a lin¬
guistic game with facts of national history that for generations have fossili¬
sed in school education. However, thanks to their ironic presentation, these
facts and canonical images are returned to current circulation. The span
of biographical narrative which formerly caused problems in performing
Comenius as a classic historical drama now shows itself to be remarkably
productive.
A chapter by
Jaroslav Ira
deals with the issue of place, which he consi¬
ders simultaneously as the context of an enactment of memory and as the
product of mnemonic processes. Jan Assmann actually considered transfer
into a place as an ancient medium of every mnemonic technique. Ira fo¬
cuses on the spatial nature of Comenius, that is, the geographical extension
of his life and action, and the geographical localisation of memory itself.
The emotional metaphors of the pilgrim and of wandering also establis¬
hed themselves in the cultural memory from the first half of the nineteenth
century. The antithetical images of sorrowful wandering and active travel¬
ling are in the end subordinated to an image of the metaphorical journey,
whether this may be indicative of Comenius s resolute journey for a noble
aim, or the career for which he was destined, or the linear progress Come¬
nius showed mankind. At the same time a kind of model for the writing of
Comenius s popular biography appeared. The basic framework is formed
by a life story written as movement in space and on this framework the main
activities and works of Comenius are hung, for which his inspiring thou¬
ghts, particular qualities and general meaning create the outer envelope.
Comenius s travels were also portrayed in cartography; last but not least,
they are codified in Czech thought as the symbolic expression of exile.
Ira distinguishes three basic types of place which figure in some way in
any narrative on Comenius; first, places clearly linked with the life of Co¬
menius (his birthplace, places where he worked, the place he died, and his
resting place); secondly, places associated with important moments or epi¬
sodes of his life; and finally, places with which Comenius has no apparent
connection. Some of these places were thus marked by canonical motifs
Summary 1
443
from Comenius s life and work (for example,
Brandýs nad Orlicí,
Fülnek,
Uherský Brod)
and became places for collective commemorations and fes¬
tivities. Others became the focus of greater interest on the part of the pub¬
lic, thanks to their privileged mnemonic position further strengthened by
uncertainty about the exact locality in the case of the dispute over Comeni¬
us s birthplace and, in the case of his grave, its partial inaccessibility.
Topography became an important context of Comenius s representati¬
on, as well as a mnemonic instrument, as shown for example in numerous
biographies and exhibitions. The memory of Comenius could open out in
places directly connected with Comenius s stay; and also generally, especi¬
ally in connection with mass celebrations and often in connection with the
nationalisation or national occupation of a space. Ira speaks directly
of Comenationalisation , that is, processes of creating a national space by
means of anchoring the memory of Comenius there. The Comenationali¬
sation of streets in the Czech lands happened in two separate contexts: in
Czech towns, where it represented a permanent inscription of Comenius;
and in towns with a German population, as a part of a policy of Czechisa-
tion . Comenius functioned as a constant in local socio-critical discourses,
without regard to any external changes in their context.
The last chapter is by
Karel Šíma
and is devoted to the celebration as
a specific type of mnemonic practice and as the very complex media en¬
vironment. It was not only the changes in the semantic context in which
Comenius was contained that contributed to the form and content of the
celebration, but also the availability of the communication technology ma¬
king personal or virtual participation in the celebrations possible.
Šima
divides the history of modern Czech festivities into four periods, with at
least one great Comenius celebration and many smaller festivities charac¬
teristic of each of them. The first period begins with
Palacký s
interest in
Comenius and debates among patriots of the pre-March
1848
period about
possible celebrations. It continues with the first bigger celebrations in the
1860s and 1870s, and culminates with the great celebrations in
1892.
From
the 1860s onwards, festivities linked with Comenius began to emerge as the
legitimisation celebrations of specifically defined communities; of political
parties, professional groups, denominational congregations and so on. The
initiative was taken over by, for example, teachers associations that gradu¬
ally shifted the meaning linked with Comenius from the generally patrio¬
tic to the educational. At this time the celebrations themselves combined
classical elements of oral culture with elements of advanced literate soci¬
ety (for example, they used banners as textual manifestations of symbolic
communications). However, visual representations (illuminations and gar¬
lands) also applied, and a fascination with the institution of the telegram
was plain. In the case of the
1892
celebrations the main prestigious actions
took place in Prague but similar celebrations were held in smaller cities.
On the one hand, identities were confirmed in the context of the celebra¬
tion; on the other, the celebration itself became the subject of mediation
and even those who did not participate personally in the ceremonial events
were involved in the action through the use of communication means.
Sima
4441
devotes
specific attention to conflicts over the space of festivities, the form
of commemoration and cultural memory in general.
In the interwar period, under the strong influence of President
Masa¬
ryk,
the image of Comenius took shape as one of the representative icons of
the Czech state. The inaugural speech of the newly elected president on
22
December
1918,
which began with a quotation from Comenius s Testament,
was of crucial importance. On that occasion, the festive practices largely
copied former ceremonies, but for the first time the organisation of the ce¬
remonies came under the auspices of state institutions. The central chara¬
cters were the representatives of the state and the state symbols connected
with them. Comenius was transformed into a symbol of state autonomy,
all the more in that he was connected with the post-White Mountain end
of Czech independence and with the field of education, which was under
the direct influence and control of the state. After the birth of Czechoslo¬
vakia, the Comenius celebrations were to a large extent kept separate from
contemporary political conflicts, and the festivities lost at least part of their
former mobilisation ethos. The First Republic celebrations put a new em¬
phasis on internationalism and a peaceful world order.
After
1945
the new people s democratic regime gradually refashioned
itself into a compromise linking of state interests (i.e., mainly of the Com¬
munist Party interests) and academic agenda. The crucial years at this time
are
1956-1958,
when great celebrations took place that outlined a catalogue
of essential festive practices and established their new semantic context.
International peace became almost the central theme of the celebrations.
International representation became a visible element of celebrations un¬
der the auspices of the state, which now frequently took the form of an
academic conference. An academic edition of Comenius s work became the
chief lynchpin of the celebrations. At a regional level the celebrations con¬
tributed to the strengthening of local institutions linked with the places
where Comenius had lived. In
1970,
the celebrations did not make such
a radical intervention to this image of Comenius as to represent a distincti¬
ve milestone.
The fourth and last phase began on
1
January
1990
with the New Year
Speech of the newly elected president
Václav
Havel. In his opinion Co¬
menius had become a lynchpin that connected all three periods of inde¬
pendence and relative political freedom in modern Czech history. In
1992,
the 400th anniversary of the birth of Comenius, the theme of transition also
fundamentally marked the celebrations
-
as in
1920,
and indeed
1956-1958
and
1970.
The federal government and the office of the president gave cen¬
tral assurance to the organisation. The presence and patronage of
Václav
Havel as chief representative of the political representation post-November
1989
was an important element of the celebrations. Havel formulated the
main theme of the celebrations of
1992
as the reform of general affairs . It
derived from his conviction that the current critical situation of the world
and the crisis of technicist reason required the reform of general affairs
of which Comenius had spoken. As in previous celebrations, foreign re¬
presentation had an important place. The motifs of education and religion
similarly received new resonances.
Summary 1
445
Šima
shows
that in the case of the celebrations of
1992,
continuity sub¬
stantially predominated over discontinuity. In whatever way the picture of
the celebrations is presented
-
as indeed in preceding great celebrations
-
as a moment of transition and breakthrough, the semantic context shifts
only partially; the festive practices include everything that was part of them
in preceding periods, and above all, the very figure of transition is part of
the stabilised Comenius narratives. From the post-war period, the linking
of state and academic culture of the festivities survived. From the pre-war
period, the theme of return of the government to the hands of the people
was repeated, which also symbolised a new beginning and a return to the
Masarykian idea of the Czechoslovak Republic. The semantic contexts of
democracy and Humanism are a permanent part of the festive culture con¬
nected with Comenius, even though updated in the light of the post-Com¬
munist dichotomy of the periods of non-freedom and of freedom. At the
time of the 400th anniversary of Comenius s birth the references linked with
the regional centres and regional identities were similarly strengthened. Af¬
ter
1989,
the most stable forms of celebration were also maintained precise¬
ly by regional festive culture. Nowadays, the opportunity to represent the
local community as a part of world heritage still contributes to the lively
dynamics of the regional shaping of the Comenius memory.
The project as whole shows extreme complexity of Comenius as an im¬
portant mnemonic figure which was connected in multifaceted manner with
nineteenth- and twentieth-century politics of identities embodied in vari¬
ous cultures of memory. New strategies of remembrance were produced by
various social, professional, confessional and national communities which
were at the same time shaped by these practices of commemoration. In this
process, the crucial role was played by scholarly institutions and discourses
as well as by media of communication, such as print, visual arts, theatre
performances, and the networks of radio, television and the internet.
(Translated by Barbara Day)
4461
|
| any_adam_object | 1 |
| author2 | Řezníková, Lenka 1970- |
| author2_role | edt |
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| building | Verbundindex |
| bvnumber | BV042329858 |
| classification_rvk | KS 2746 |
| ctrlnum | (OCoLC)903697309 (DE-599)BVBBV042329858 |
| discipline | Slavistik |
| edition | Vydání první |
| format | Book |
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| id | DE-604.BV042329858 |
| illustrated | Illustrated |
| indexdate | 2024-07-10T01:18:36Z |
| institution | BVB |
| isbn | 9788088013082 |
| language | Czech |
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| physical | 504 Seiten, 16 Seiten ungezählte Bildtafeln Illustrationen, Karten |
| publishDate | 2014 |
| publishDateSearch | 2014 |
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| publisher | Scriptorium |
| record_format | marc |
| spelling | Figurace paměti J.A. Komenský v kulturách vzpomínání 19. a 20. století = Figurations of memory : Jan Amos Comenius and cultures of remembrance in the nineteenth and twentieth centuries Lenka Řezníková a kol. Figurations of memory Vydání první Praha Scriptorium 2014 504 Seiten, 16 Seiten ungezählte Bildtafeln Illustrationen, Karten txt rdacontent n rdamedia nc rdacarrier Zusammenfassung in englischer Sprache Comenius, Johann Amos 1592-1670 (DE-588)118521691 gnd rswk-swf Rezeption (DE-588)4049716-1 gnd rswk-swf Comenius, Johann Amos 1592-1670 (DE-588)118521691 p Rezeption (DE-588)4049716-1 s DE-604 Řezníková, Lenka 1970- (DE-588)1089873484 edt https://www.recensio.net/r/39276b8bf69c4c88a806e2f4d5e4e4dd rezensiert in: Český časopis historický, 2015, 4, S. 1043-1049 Rezension Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027766630&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027766630&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Figurace paměti J.A. Komenský v kulturách vzpomínání 19. a 20. století = Figurations of memory : Jan Amos Comenius and cultures of remembrance in the nineteenth and twentieth centuries Comenius, Johann Amos 1592-1670 (DE-588)118521691 gnd Rezeption (DE-588)4049716-1 gnd |
| subject_GND | (DE-588)118521691 (DE-588)4049716-1 |
| title | Figurace paměti J.A. Komenský v kulturách vzpomínání 19. a 20. století = Figurations of memory : Jan Amos Comenius and cultures of remembrance in the nineteenth and twentieth centuries |
| title_alt | Figurations of memory |
| title_auth | Figurace paměti J.A. Komenský v kulturách vzpomínání 19. a 20. století = Figurations of memory : Jan Amos Comenius and cultures of remembrance in the nineteenth and twentieth centuries |
| title_exact_search | Figurace paměti J.A. Komenský v kulturách vzpomínání 19. a 20. století = Figurations of memory : Jan Amos Comenius and cultures of remembrance in the nineteenth and twentieth centuries |
| title_full | Figurace paměti J.A. Komenský v kulturách vzpomínání 19. a 20. století = Figurations of memory : Jan Amos Comenius and cultures of remembrance in the nineteenth and twentieth centuries Lenka Řezníková a kol. |
| title_fullStr | Figurace paměti J.A. Komenský v kulturách vzpomínání 19. a 20. století = Figurations of memory : Jan Amos Comenius and cultures of remembrance in the nineteenth and twentieth centuries Lenka Řezníková a kol. |
| title_full_unstemmed | Figurace paměti J.A. Komenský v kulturách vzpomínání 19. a 20. století = Figurations of memory : Jan Amos Comenius and cultures of remembrance in the nineteenth and twentieth centuries Lenka Řezníková a kol. |
| title_short | Figurace paměti |
| title_sort | figurace pameti j a komensky v kulturach vzpominani 19 a 20 stoleti figurations of memory jan amos comenius and cultures of remembrance in the nineteenth and twentieth centuries |
| title_sub | J.A. Komenský v kulturách vzpomínání 19. a 20. století = Figurations of memory : Jan Amos Comenius and cultures of remembrance in the nineteenth and twentieth centuries |
| topic | Comenius, Johann Amos 1592-1670 (DE-588)118521691 gnd Rezeption (DE-588)4049716-1 gnd |
| topic_facet | Comenius, Johann Amos 1592-1670 Rezeption |
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