An outspoken opponent of pro-Russian, authoritarian, and far-right streams in contemporary Czech society, Martin C. Putna received a great deal of media attention when he ironically dedicated the Czech edition of Russ–Ukraine–Russia to Miloš Zeman—the pro-Russian president of the Czech Republic. This sense of irony, combined with an extraordinary breadth of scholarly knowledge, infuses Putna’s book. Examining key points in Russian cultural and spiritual history, Russ–Ukraine–Russia is essential reading for those wishing to understand the current state of Russia and Ukraine—the so-called heir to an “alternative Russia.” Putna uses literary and artistic works to offer a rich analysis of Russia as a cultural and religious phenomenon: tracing its development from the arrival of the Greeks in prehistoric Crimea to its invasion by “little green men” in 2014; explaining the cultural importance in Russ of the Vikings as well as Pussy Riot; exploring central Russian figures from St. Vladimir the Great to Vladimir Putin. Unique in its postcolonial perspective, this is not merely a history of Russia or of Russian religion. This book presents Russia as a complex mesh of national, religious, and cultural (especially countercultural) traditions—with strong German, Mongol, Jewish, Catholic, Polish, and Lithuanian influences—a force responsible for creating what we identify as Eastern Europe.
An outspoken opponent of pro-Russian, authoritarian, and far-right streams in contemporary Czech society, Martin C. Putna received a great deal of media attention when he ironically dedicated the Czech edition of Russ–Ukraine–Russia to Miloš Zeman—the pro-Russian president of the Czech Republic. This sense of irony, combined with an extraordinary breadth of scholarly knowledge, infuses Putna’s book. Examining key points in Russian cultural and spiritual history, Russ–Ukraine–Russia is essential reading for those wishing to understand the current state of Russia and Ukraine—the so-called heir to an “alternative Russia.” Putna uses literary and artistic works to offer a rich analysis of Russia as a cultural and religious phenomenon: tracing its development from the arrival of the Greeks in prehistoric Crimea to its invasion by “little green men” in 2014; explaining the cultural importance in Russ of the Vikings as well as Pussy Riot; exploring central Russian figures from St. Vladimir the Great to Vladimir Putin. Unique in its postcolonial perspective, this is not merely a history of Russia or of Russian religion. This book presents Russia as a complex mesh of national, religious, and cultural (especially countercultural) traditions—with strong German, Mongol, Jewish, Catholic, Polish, and Lithuanian influences—a force responsible for creating what we identify as Eastern Europe.
Výbor ze studií literárního historika a editora Martina Machovce, které vznikaly v posledních dvou dekádách (2000–2018), představuje celou řadu faset uvažování o fenoménu undergroundu. V jednotlivých studiích se zabývá zejména undergroundovou literaturou z okruhu I. M. Jirouse a rockové skupiny The Plastic People of the Universe, ale věnuje pozornost i širším souvislostem této literatury – jejím předchůdcům z 50. let (okruh Egona Bondyho a Ivo Vodseďálka), roli ve společenství Charty 77, vazbám na angloamerické prostředí nebo hudebním a scénickým realizacím a způsobu, jakým byly tyto texty v samizdatu šířeny. In this collection of writings produced between 2000 and 2018, the pioneering literary historian of the Czech underground, Martin Machovec, examines the multifarious nature of the underground phenomenon. After devoting considerable attention to the circle surrounding the band The Plastic People of the Universe and their manager, the poet Ivan M. Jirous, Machovec turns outward to examine the broader concept of the underground, comparing the Czech incarnation not only with the movements of its Central and Eastern European neighbors, but also with those in the world at large. In one essay, he reflects on the so-called Půlnoc Editions, which published illegal texts in the darkest days of the late forties and early fifties. In other essays, Machovec examines the relationship between illegal texts published at home (samizdat) and those smuggled out to be published abroad (tamizdat), as well as the range of literature that can be classified as samizdat, drawing attention to movements frequently overlooked by literary critics. In his final, previously unpublished essay, Machovec examines Jirous’s “Report on the Third Czech Musical Revival” not as a merely historical document, but as literature itself.
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