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Masculinities in Polish, Czech and Slovak Cinema
Gender, especially masculinity, is a perspective rarely applied in discourses on cinema of Eastern/Central Europe. Masculinities in Polish, Czech and Slovak Cinema exposes an English-speaking audience to a large proportion of this region’s cinema that previously remained unknown, focusing on the relationship between representation of masculinity and nationality in the films of two and later three countries: Poland, Czechoslovakia/the Czech Republic and Slovakia. The objective of the book is to discuss the main types of men populating Polish, Czech and Slovak films: that of soldier, father, heterosexual and homosexual lover, against a rich political, social and cultural background. Czech, Slovak and Polish cinema appear to provide excellent material for comparison as they were produced in neighbouring countries which for over forty years endured a similar political system – state socialism.
Czechs, Germans, Jews?
The phenomenon of national identities, always a key issue in the modern history of Bohemian Jewry, was particularly complex because of the marginal differences that existed between the available choices. Considerable overlap was evident in the programs of the various national movements and it was possible to change one's national identity or even to opt for more than one such identity without necessarily experiencing any far-reaching consequences in everyday life. Based on many hitherto unknown archival sources from the Czech Republic, Israel and Austria, the author's research reveals the inner dynamic of each of the national movements and maps out the three most important constructions of national identity within Bohemian Jewry - the German-Jewish, the Czech-Jewish and the Zionist. This book provides a needed framework for understanding the rich history of German- and Czech-Jewish politics and culture in Bohemia and is a notable contribution to the historiography of Bohemian, Czechoslovak and central European Jewry.
The Collected Works of Somerset Maugham
This carefully created volume of "THE COLLECTED WORKS OF W. SOMERSET MAUGHAM” contents Theatre, The Moon and Sixpence, Cakes and Ale, or, The Skeleton in the Cupboard, Of Human Bondage, The Magician, The Razor's Edge One of the most popular writers of Interwar Britain, W. Somerset Maugham earned vast sums as a playwright, novelist and master of the short story. His work is characterised by a clear unadorned style, cosmopolitan settings and a perceptive understanding of human nature. The novel ‘Of Human Bondage’ (1915) is generally regarded as his masterpiece, offering a semi-autobiographical account of a young medical student’s painful progress toward maturity.
Velvet Retro
Scholars of state socialism have frequently invoked “nostalgia” to identify an uncritical longing for the utopian ambitions and lived experience of the former Eastern Bloc. However, this concept seems insufficient to describe memory cultures in the Czech Republic and other contexts in which a “retro” fascination with the past has proven compatible with a steadfast critique of the state socialist era. This innovative study locates a distinctively retro aesthetic in Czech literature, film, and other cultural forms, enriching our understanding of not only the nation’s memory culture, but also the ways in which popular culture can structure collective memory.
Prague Pictures
Prague is the magic capital of Europe. Since the days of Emperor Rudolf II, 'devotee of the stars and cultivator of the spagyric art', who in the late 1500s summoned alchemists and magicians from all over the world to his castle on Hradcany hill, it has been a place of mystery and intrigue. Wars, revolutions, floods, the imposition of Soviet communism, or even the depredations of the tourist boom after the 'Velvet Revolution' of 1989, could not destroy the unique atmosphere of this beautiful, proud and melancholy city on the Vltava. John Banville traces Prague's often tragic history and portrays the people who made it, the emperors and princes, geniuses and charlatans, heroes and scoundrels, and paints a portrait of the Prague of today, revelling in its newfound freedoms, eager to join the European Community and at the same time suspicious of what many Praguers see as yet another totalitarian takeover. He writes of his first visit to the city, in the depths of the Cold War, when he engaged in a spot of art smuggling, and of subsequent trips there, of the people he met, the friends he made, the places he came to know.
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