Od mániček k undergroundu:
Gespeichert in:
| Körperschaft: | |
|---|---|
| Weitere Verfasser: | |
| Format: | Tagungsbericht Buch |
| Sprache: | Czech |
| Veröffentlicht: |
Praha
Ústav pro studium totalitních režimů
2019
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| Ausgabe: | Vydání první |
| Schlagworte: | |
| Online-Zugang: | Rezension Inhaltsverzeichnis Abstract |
| Beschreibung: | 176 Seiten Illustrationen, Poträts 21 cm |
| ISBN: | 9788088292579 8088292573 |
Internformat
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Datensatz im Suchindex
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| adam_text | OBSAH ÚVODNÍ SLOVA EDITORA..................................................................... 7 Michal Stehlík Československo v letech 1970-1975................................................... 10 Ladislav Kudrna Proč se stal „vůdcem“ podzemí Ivan Martin Jirous, a nikoliv Milan Knížák......................................................................... 22 Petra Veselá Pavel Zajíček: zrod umělce na prahu normalizace.......................... 40 Martin Valenta „Aby se vodkryl další prostor.“ Mařenická kniha Pavla Zajíčka........................................................... 54 Martin Machovec Jirousova Zpráva o tretím českém hudebním obrození vznik, struktura a funkce................................................................... 70 Jan Cholínský Ivan Martin Jirous a jeho „ideologie“ českého undergroundu....... 94 František Stárek Čuňas Toskányho archiv promlouvá............................................................. 138 Martin Tharp Šest aktérů odloučení. К teoretickému konceptu opozičních sítí a policejních zásahů... 148 5
Jan Blüml „Co po swingu jest, od ďábla jest.“ Moderní jazz jako underground v éře normalizace..................... 162 Petr Placák Pavel Zajíček: Proč teď bejt svině................................................... 168 SUMMARIES.................................................................................... 172 6
SUMMARIES Michal Stehlík Czechoslovakia in 1970-1975 This article presents the situation in Czechoslovakia in 1970-1975 and addresses several different topics. It describes changes in policy, espe cially the power reshuffles inside the Communist Party after the 1968 occupation, the situation in society, the socio-political and economic situation, changes in the cultural sphere and also the international con text of the time. Attention is also paid to the condition of the future opposition, still not united in a single platform then. The General Sec retary of the Central Committee of the Communist Party of Czechoslo vakia, Gustav Husák, is seen as the key personality. The article does not address solely political aspects but also the nature of ordinary life, the situation in the mass media and the effects of living in a “normalised” society, including in the year 1989. Ladislav Kudrna Why Ivan Martin Jirous and Not Milan Knížák Became the “Leader” of the Underground The years 1970-1975 were the principal and integrating period for the Czech underground, during which it enjoyed its heyday, which permanently changed the map of political dissent. It took Ivan Martin Jirous to the imaginary post of its leader, and not Milan Knížák, who had played an important role in the preceding decade of Czech subcul ture. There were several reasons for this. Jirous was able to unite the people, appeal to them and add raison d’etre to their lives, while Knížák was a radical individualist who placed great cultural demands not only on himself but also on those around him, whom that period
of the Czech underground could not satisfy. However, his key role in the proto172
underground period (1962-1972) cannot be neglected, being a source of inspiration for the musical stream of the underground for the whole first half of the 1970s. It must also be emphasized that it is highly likely that Knížák wasn’t interested in becoming leader of the underground. Petra Veselá Pavel Zajíček: Birth of an Artist on the Verge of so-called Normalisation This article is the result of an ethnographic study carried out in 2011 which addresses the topic of remembrance and oblivion in current Czech society as seen through the artistic work of the DG 307 music group. There is something exceptional in the potential of the 1970s underground. Should we imagine the then communist regime and its exerting enormous pressure even on those who lived ordinary lives, we can say that the system itself helped to create extreme, liminal artistic expressions. The artistic work of Pavel Zajíček from the early 1970s brings forth a surrealistic view of the harsh reality on the one hand, while on the other it reveals and also adds to the liminal character of the underground community. These liminal contexts, also called liminoids, are perceived as connections from which new models, symbols and paradigms stem, i.e., a kind of “true greenhouse or floral nursery” of creativity. The emergence of fractal forms in the creative work of Pavel Zajíček, who has always sought to maintain his creative potential and try out alternative ways, is the result of these processes. Martin Valenta “To Unveil Further Room”. The Book “Mařenická kniha” by Pavel Zajíček This paper is a report on “Mařenická
kniha”, a book written by Pavel Zajíček in 1977, a handwritten source so far mostly overlooked by historians and commentators, which provides a distinctive testimony of the spiritual climate of the Czech underground in the mid-1970s, namely in 1973-1976. The book is approached within the context of the key sources from the Czech underground movement of the time, 173
such as the Report on the Third Czech Music Revival by Ivan M. Jirous, the chronicles of The Plastic People of the Universe band or the legacy of Milan Knížák and the ‘Aktuaľ movement. In methodological terms, the article has drawn on the history of emotions. Martin Machovec “Report on the Third Czech Music Revival” by Ivan M. Jirous Origins, Structure and Functions The study analyses I. M. Jirous’s seminal essay entitled Report on the Third Czech Musical Revival (1975): it deals with its origin, structure, main ideas, and its literary and extraliterary impact on the world of Czech (Czechoslovak) dissidence and underground communities of the 1970s and 1980s. It was published in English as “Report on the Third Czech Musical Revival by Ivan Martin Jirous - its origins, structure and function” in Martin Machovec’s book Writing Underground: Reflections on Samizdat Literature in Totalitarian Czechoslovakia (Prague, Karoli num 2019). Jan Cholínský Ivan Martin Jirous and His “Ideology” of the Czech Underground Ivan Martin Jirous (1944-2011) was one of the most remarkable per sonalities in the Czech resistance against the communist regime in the 1970s and 1980s. In the mid-1970s he established and also brought to life the concept of a distinctive social structure stemming from his efforts to create a specific “second culture” as opposed to the official communist “first culture”. This paper aims to introduce his concept of “underground” and “second culture” in broader cultural, political and artistic contexts, to identify Jirous’s notion of underground that drew upon reference
examples and recognised values, placing them in a de fined context, and to remind us of his non-communist opponents and his polemics against them. 174
František Stárek Cuñas Toskány s Archive Speaks Out The lecture draws upon the archives of Evžen Fiala, aka “Toskány”, who worked as the manager for the band Hells Devils from 1963 and lat er for The Primitives Group. It describes the situation that developed around Prague’s Deminka restaurant, which, as a result of a communist press campaign, ceased to serve the “long-haired”, and a similar case that occurred in Karlovy Vary. In the summer of 1966 the resolution of the Central Committee of the Communist Party of Czechoslovakia unleashed repression against the “poofs” (“mánička” in Czech), i.e., people with long hair. In Prague, the police officers Antonin Fiala and Josef Málek were especially known for their ruthlessness in this respect. These archival materials contain interviews and testimonies of several affected people which imply that interrogations were basically torturous in nature and many of them attempted to resolve this by attempting to commit suicide and were subsequently hospitalised in a psychiatric clinic. Martin Tharp Six Agents of Separation: Towards a Theoretical Concept of Oppositional Networks and Police Interventions Two main questions confront the scholar when attempting an analysis of a counterculture movement in state socialism. First is the nature of a social movement as an interpersonal social network autonomous of the confines and restrictions of a police state. Second is the extent and the specific forms or roles of the police state’s involvement: the “species of authorised scoundrelism” exemplified by the agent provocateur and the informant.
The study aims to propose, beyond the actual historical record, a pos sible model for networked social action and to bring up for consideration how oppositional social networks worked in the presence of extensive police surveillance and disruption. And in stressing the heterogeneity of networks in an oppositional counterculture, such an analysis can equally shed much-needed light upon the various forms of social interaction with in a state-surveillance society, among conformists and oppositionists alike. 175
Jan Blüml “Whatever Comes after Swing, Comes from the Devil”. Modern Jazz as Underground in the Era of so-called Normalisation Even though the notion of “music underground” during the period of so-called normalisation of society is linked primarily with the rock genre, similar artistic and socio-cultural features were manifested in musical phenomena in different genres as well. This paper focuses on the position which “free jazz” as a type of style and genre held in the context of the communist cultural policy, and especially on its leading representative, the Free Jazz Trio ensemble, then based in Olomouc. It discusses specific matters of the manner in which free jazz was received by Czechoslovak cultural institutions and the fans of popular music, and the history of the ensemble and how it “teetered” on the boundary between official and unofficial artistic existence. Petr Placák Pavel Zajíček: Why to Be a Bastard Now This short personal contribution offers a comparison of two prominent personalities of the Czech cultural underground, namely Pavel Zajíček and Ivan Martin Jirous. The profession of prophet, which always stood in opposition to the ruling power, was considered in Old-Testament Is rael as a solely divine matter - prophets in whom human motivation was found were seen as false prophets. In this respect, Jirous would have undoubtedly been a false prophet, provided that he had been, or had considered himself to have been, a prophet. Neither does Zajíček pretend to be a prophet, but he is one. While Jirous, as the author sug gests, escalates matters, ironises
them, parodies them and, willingly or unwillingly, stays on their surface, Zajíček omits the sphere of exist ence - he heals, calms and goes deeper... The author holds Pavel Zajíček up because in comparison with Jirous, Zajíček is often unfairly overlooked. The author sees them as two atti tudes in the underground movement which complement, potentiate and enhance one another. / —~v Bayerische ιβΚ Sí, Men chea 176
|
| adam_txt |
OBSAH ÚVODNÍ SLOVA EDITORA. 7 Michal Stehlík Československo v letech 1970-1975. 10 Ladislav Kudrna Proč se stal „vůdcem“ podzemí Ivan Martin Jirous, a nikoliv Milan Knížák. 22 Petra Veselá Pavel Zajíček: zrod umělce na prahu normalizace. 40 Martin Valenta „Aby se vodkryl další prostor.“ Mařenická kniha Pavla Zajíčka. 54 Martin Machovec Jirousova Zpráva o tretím českém hudebním obrození vznik, struktura a funkce. 70 Jan Cholínský Ivan Martin Jirous a jeho „ideologie“ českého undergroundu. 94 František Stárek Čuňas Toskányho archiv promlouvá. 138 Martin Tharp Šest aktérů odloučení. К teoretickému konceptu opozičních sítí a policejních zásahů. 148 5
Jan Blüml „Co po swingu jest, od ďábla jest.“ Moderní jazz jako underground v éře normalizace. 162 Petr Placák Pavel Zajíček: Proč teď bejt svině. 168 SUMMARIES. 172 6
SUMMARIES Michal Stehlík Czechoslovakia in 1970-1975 This article presents the situation in Czechoslovakia in 1970-1975 and addresses several different topics. It describes changes in policy, espe cially the power reshuffles inside the Communist Party after the 1968 occupation, the situation in society, the socio-political and economic situation, changes in the cultural sphere and also the international con text of the time. Attention is also paid to the condition of the future opposition, still not united in a single platform then. The General Sec retary of the Central Committee of the Communist Party of Czechoslo vakia, Gustav Husák, is seen as the key personality. The article does not address solely political aspects but also the nature of ordinary life, the situation in the mass media and the effects of living in a “normalised” society, including in the year 1989. Ladislav Kudrna Why Ivan Martin Jirous and Not Milan Knížák Became the “Leader” of the Underground The years 1970-1975 were the principal and integrating period for the Czech underground, during which it enjoyed its heyday, which permanently changed the map of political dissent. It took Ivan Martin Jirous to the imaginary post of its leader, and not Milan Knížák, who had played an important role in the preceding decade of Czech subcul ture. There were several reasons for this. Jirous was able to unite the people, appeal to them and add raison d’etre to their lives, while Knížák was a radical individualist who placed great cultural demands not only on himself but also on those around him, whom that period
of the Czech underground could not satisfy. However, his key role in the proto172
underground period (1962-1972) cannot be neglected, being a source of inspiration for the musical stream of the underground for the whole first half of the 1970s. It must also be emphasized that it is highly likely that Knížák wasn’t interested in becoming leader of the underground. Petra Veselá Pavel Zajíček: Birth of an Artist on the Verge of so-called Normalisation This article is the result of an ethnographic study carried out in 2011 which addresses the topic of remembrance and oblivion in current Czech society as seen through the artistic work of the DG 307 music group. There is something exceptional in the potential of the 1970s underground. Should we imagine the then communist regime and its exerting enormous pressure even on those who lived ordinary lives, we can say that the system itself helped to create extreme, liminal artistic expressions. The artistic work of Pavel Zajíček from the early 1970s brings forth a surrealistic view of the harsh reality on the one hand, while on the other it reveals and also adds to the liminal character of the underground community. These liminal contexts, also called liminoids, are perceived as connections from which new models, symbols and paradigms stem, i.e., a kind of “true greenhouse or floral nursery” of creativity. The emergence of fractal forms in the creative work of Pavel Zajíček, who has always sought to maintain his creative potential and try out alternative ways, is the result of these processes. Martin Valenta “To Unveil Further Room”. The Book “Mařenická kniha” by Pavel Zajíček This paper is a report on “Mařenická
kniha”, a book written by Pavel Zajíček in 1977, a handwritten source so far mostly overlooked by historians and commentators, which provides a distinctive testimony of the spiritual climate of the Czech underground in the mid-1970s, namely in 1973-1976. The book is approached within the context of the key sources from the Czech underground movement of the time, 173
such as the Report on the Third Czech Music Revival by Ivan M. Jirous, the chronicles of The Plastic People of the Universe band or the legacy of Milan Knížák and the ‘Aktuaľ movement. In methodological terms, the article has drawn on the history of emotions. Martin Machovec “Report on the Third Czech Music Revival” by Ivan M. Jirous Origins, Structure and Functions The study analyses I. M. Jirous’s seminal essay entitled Report on the Third Czech Musical Revival (1975): it deals with its origin, structure, main ideas, and its literary and extraliterary impact on the world of Czech (Czechoslovak) dissidence and underground communities of the 1970s and 1980s. It was published in English as “Report on the Third Czech Musical Revival by Ivan Martin Jirous - its origins, structure and function” in Martin Machovec’s book Writing Underground: Reflections on Samizdat Literature in Totalitarian Czechoslovakia (Prague, Karoli num 2019). Jan Cholínský Ivan Martin Jirous and His “Ideology” of the Czech Underground Ivan Martin Jirous (1944-2011) was one of the most remarkable per sonalities in the Czech resistance against the communist regime in the 1970s and 1980s. In the mid-1970s he established and also brought to life the concept of a distinctive social structure stemming from his efforts to create a specific “second culture” as opposed to the official communist “first culture”. This paper aims to introduce his concept of “underground” and “second culture” in broader cultural, political and artistic contexts, to identify Jirous’s notion of underground that drew upon reference
examples and recognised values, placing them in a de fined context, and to remind us of his non-communist opponents and his polemics against them. 174
František Stárek Cuñas Toskány's Archive Speaks Out The lecture draws upon the archives of Evžen Fiala, aka “Toskány”, who worked as the manager for the band Hells Devils from 1963 and lat er for The Primitives Group. It describes the situation that developed around Prague’s Deminka restaurant, which, as a result of a communist press campaign, ceased to serve the “long-haired”, and a similar case that occurred in Karlovy Vary. In the summer of 1966 the resolution of the Central Committee of the Communist Party of Czechoslovakia unleashed repression against the “poofs” (“mánička” in Czech), i.e., people with long hair. In Prague, the police officers Antonin Fiala and Josef Málek were especially known for their ruthlessness in this respect. These archival materials contain interviews and testimonies of several affected people which imply that interrogations were basically torturous in nature and many of them attempted to resolve this by attempting to commit suicide and were subsequently hospitalised in a psychiatric clinic. Martin Tharp Six Agents of Separation: Towards a Theoretical Concept of Oppositional Networks and Police Interventions Two main questions confront the scholar when attempting an analysis of a counterculture movement in state socialism. First is the nature of a social movement as an interpersonal social network autonomous of the confines and restrictions of a police state. Second is the extent and the specific forms or roles of the police state’s involvement: the “species of authorised scoundrelism” exemplified by the agent provocateur and the informant.
The study aims to propose, beyond the actual historical record, a pos sible model for networked social action and to bring up for consideration how oppositional social networks worked in the presence of extensive police surveillance and disruption. And in stressing the heterogeneity of networks in an oppositional counterculture, such an analysis can equally shed much-needed light upon the various forms of social interaction with in a state-surveillance society, among conformists and oppositionists alike. 175
Jan Blüml “Whatever Comes after Swing, Comes from the Devil”. Modern Jazz as Underground in the Era of so-called Normalisation Even though the notion of “music underground” during the period of so-called normalisation of society is linked primarily with the rock genre, similar artistic and socio-cultural features were manifested in musical phenomena in different genres as well. This paper focuses on the position which “free jazz” as a type of style and genre held in the context of the communist cultural policy, and especially on its leading representative, the Free Jazz Trio ensemble, then based in Olomouc. It discusses specific matters of the manner in which free jazz was received by Czechoslovak cultural institutions and the fans of popular music, and the history of the ensemble and how it “teetered” on the boundary between official and unofficial artistic existence. Petr Placák Pavel Zajíček: Why to Be a Bastard Now This short personal contribution offers a comparison of two prominent personalities of the Czech cultural underground, namely Pavel Zajíček and Ivan Martin Jirous. The profession of prophet, which always stood in opposition to the ruling power, was considered in Old-Testament Is rael as a solely divine matter - prophets in whom human motivation was found were seen as false prophets. In this respect, Jirous would have undoubtedly been a false prophet, provided that he had been, or had considered himself to have been, a prophet. Neither does Zajíček pretend to be a prophet, but he is one. While Jirous, as the author sug gests, escalates matters, ironises
them, parodies them and, willingly or unwillingly, stays on their surface, Zajíček omits the sphere of exist ence - he heals, calms and goes deeper. The author holds Pavel Zajíček up because in comparison with Jirous, Zajíček is often unfairly overlooked. The author sees them as two atti tudes in the underground movement which complement, potentiate and enhance one another. /" " —~v Bayerische ιβΚ Sí, Men chea 176 |
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| genre | (DE-588)1071861417 Konferenzschrift 2018 Prag gnd-content |
| genre_facet | Konferenzschrift 2018 Prag |
| geographic | Tschechoslowakei (DE-588)4078435-6 gnd |
| geographic_facet | Tschechoslowakei |
| id | DE-604.BV046659738 |
| illustrated | Illustrated |
| index_date | 2024-07-03T14:19:12Z |
| indexdate | 2024-07-10T08:50:31Z |
| institution | BVB |
| institution_GND | (DE-588)1207880752 (DE-588)16015883-7 |
| isbn | 9788088292579 8088292573 |
| language | Czech |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-032070847 |
| oclc_num | 1150857630 |
| open_access_boolean | |
| owner | DE-12 DE-M457 |
| owner_facet | DE-12 DE-M457 |
| physical | 176 Seiten Illustrationen, Poträts 21 cm |
| psigel | BSB_NED_20200724 |
| publishDate | 2019 |
| publishDateSearch | 2019 |
| publishDateSort | 2019 |
| publisher | Ústav pro studium totalitních režimů |
| record_format | marc |
| spelling | Od mániček k undergroundu (Veranstaltung) 2018 Prag Verfasser (DE-588)1207880752 aut Od mániček k undergroundu Ladislav Kudrna (ed.) Vydání první Praha Ústav pro studium totalitních režimů 2019 176 Seiten Illustrationen, Poträts 21 cm txt rdacontent n rdamedia nc rdacarrier Teilweise aus dem Englischen übersetzt Zusammenfassungen der Beiträge in englischer Sprache Plastic People of the Universe (DE-588)6123385-7 gnd rswk-swf Geschichte 1970-1979 gnd rswk-swf Musikgruppe (DE-588)4170827-1 gnd rswk-swf Rockmusik (DE-588)4115774-6 gnd rswk-swf Underground Kultur (DE-588)4997921-8 gnd rswk-swf Tschechoslowakei (DE-588)4078435-6 gnd rswk-swf Counterculture Popular culture Popular music Underground music Social movements Politics and government Czechoslovakia Czech Republic Plastic People of the Universe 1900-1999 History (DE-588)1071861417 Konferenzschrift 2018 Prag gnd-content Plastic People of the Universe (DE-588)6123385-7 b Tschechoslowakei (DE-588)4078435-6 g Underground Kultur (DE-588)4997921-8 s Rockmusik (DE-588)4115774-6 s Musikgruppe (DE-588)4170827-1 s Geschichte 1970-1979 z DE-604 Kudrna, Ladislav 1975- (DE-588)132543362 edt Ústav pro studium totalitních režimů (DE-588)16015883-7 isb https://www.recensio.net/r/71741c63317a4642a10646a4d298004a rezensiert in: Soudobé dějiny, 2021, 2, S. 561-566 Rezension Digitalisierung BSB München 25 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032070847&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB München 25 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032070847&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Od mániček k undergroundu Plastic People of the Universe (DE-588)6123385-7 gnd Musikgruppe (DE-588)4170827-1 gnd Rockmusik (DE-588)4115774-6 gnd Underground Kultur (DE-588)4997921-8 gnd |
| subject_GND | (DE-588)6123385-7 (DE-588)4170827-1 (DE-588)4115774-6 (DE-588)4997921-8 (DE-588)4078435-6 (DE-588)1071861417 |
| title | Od mániček k undergroundu |
| title_auth | Od mániček k undergroundu |
| title_exact_search | Od mániček k undergroundu |
| title_exact_search_txtP | Od mániček k undergroundu |
| title_full | Od mániček k undergroundu Ladislav Kudrna (ed.) |
| title_fullStr | Od mániček k undergroundu Ladislav Kudrna (ed.) |
| title_full_unstemmed | Od mániček k undergroundu Ladislav Kudrna (ed.) |
| title_short | Od mániček k undergroundu |
| title_sort | od manicek k undergroundu |
| topic | Plastic People of the Universe (DE-588)6123385-7 gnd Musikgruppe (DE-588)4170827-1 gnd Rockmusik (DE-588)4115774-6 gnd Underground Kultur (DE-588)4997921-8 gnd |
| topic_facet | Plastic People of the Universe Musikgruppe Rockmusik Underground Kultur Tschechoslowakei Konferenzschrift 2018 Prag |
| url | https://www.recensio.net/r/71741c63317a4642a10646a4d298004a http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032070847&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032070847&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
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