A city of immense literary mystique, Prague has inspired writers across the centuries with its beauty, cosmopolitanism, and tragic history. Envisioning the ancient city in central Europe as a multilayered text, or palimpsest, that has been constantly revised and rewritten—from the medieval and Renaissance chroniclers who legitimized the city’s foundational origins to the modernists of the early twentieth century who established its reputation as the new capital of the avant-garde—Alfred Thomas argues that Prague has become a paradoxical site of inscription and effacement, of memory and forgetting, a utopian link to the prewar and pre-Holocaust European past and a dystopia of totalitarian amnesia. Considering a wide range of writers, including the city’s most famous son, Franz Kafka, Prague Palimpsest reassesses the work of poets and novelists such as Bohumil Hrabal, Milan Kundera, Gustav Meyrink, Jan Neruda, Vítĕzslav Nezval, and Rainer Maria Rilke and engages with other famous authors who “wrote” Prague, including Guillaume Apollinaire, Ingeborg Bachmann, Albert Camus, Paul Celan, and W. G. Sebald. The result is a comparative, interdisciplinary study that helps to explain why Prague—more than any other major European city—has haunted the cultural and political imagination of the West.

A poignant reflection on alienation and belonging, told through the lives of five remarkable people who struggled against nationalism and intolerance in one of Europe’s most stunning cities. What does it mean to belong somewhere? For many of Prague’s inhabitants, belonging has been linked to the nation, embodied in the capital city. Grandiose medieval buildings and monuments to national heroes boast of a glorious, shared history. Past governments, democratic and Communist, layered the city with architecture that melded politics and nationhood. Not all inhabitants, however, felt included in these efforts to nurture national belonging. Socialists, dissidents, Jews, Germans, and Vietnamese—all have been subject to hatred and political persecution in the city they called home. Chad Bryant tells the stories of five marginalized individuals who, over the last two centuries, forged their own notions of belonging in one of Europe’s great cities. An aspiring guidebook writer, a German-speaking newspaperman, a Bolshevik carpenter, an actress of mixed heritage who came of age during the Communist terror, and a Czech-speaking Vietnamese blogger: none of them is famous, but their lives are revealing. They speak to tensions between exclusionary nationalism and on-the-ground diversity. In their struggles against alienation and dislocation, they forged alternative communities in cafes, workplaces, and online. While strolling park paths, joining political marches, or writing about their lives, these outsiders came to embody a city that, on its surface, was built for others. A powerful and creative meditation on place and nation, the individual and community, Prague envisions how cohesion and difference might coexist as it acknowledges a need common to all.

Kafka’s Other Prague: Writings from the Czechoslovak Republic examines Kafka’s late writings from the perspective of the author’s changing relationship with Czech language, culture, and literature—the least understood facet of his meticulously researched life and work. Franz Kafka was born in Prague, a bilingual city in the Habsburg Empire. He died a citizen of Czechoslovakia. Yet Kafka was not Czech in any way he himself would have understood. He could speak Czech, but, like many Prague Jews, he was raised and educated and wrote in German. Kafka critics to date have had little to say about the majority language of his native city or its “minor literature,” as he referred to it in a 1913 journal entry. Kafka’s Other Prague explains why Kafka’s later experience of Czech language and culture matters. Bringing to light newly available archival material, Anne Jamison’s innovative study demonstrates how Czechoslovakia’s founding and Kafka’s own dramatic political, professional, and personal upheavals altered his relationship to this “other Prague.” It destabilized Kafka’s understanding of nationality, language, gender, and sex—and how all these issues related to his own writing. Kafka’s Other Prague juxtaposes Kafka’s German-language work with Czechoslovak Prague’s language politics, intellectual currents, and print culture—including the influence of his lover and translator, the journalist Milena Jesenská—and shows how this changed cultural and linguistic landscape transformed one of the great literary minds of the last century.

Writings on the metropolis generally foreground illimitability, stressing thereby that the urban ultimately remains both illegible and unintelligible. Instead, the purpose of this interdisciplinary study is to demonstrate that mentality as a tool offers orientation in the urban realm. Nora Pleßke develops a model of urban mentality to be employed for cities worldwide. Against the background of the Spatial Turn, she identifies dominant urban-specific structures of London mentality in contemporary London novels, such as Monica Ali's »Brick Lane«, J.G. Ballard's »Millennium People«, Nick Hornby's »A Long Way Down«, and Ian McEwan's »Saturday«.

Presents an updated account of Hong Kong and its culture two decades after its reversion to China. In Found in Transition, Yiu-Wai Chu examines the fate of Hong Kong’s unique cultural identity in the contexts of both global capitalism and the increasing influence of China. Drawing on recent developments, especially with respect to language, movies, and popular songs as modes of resistance to “Mainlandization” and different forms of censorship, Chu explores the challenges facing Hong Kong twenty years after its reversion to China as a Special Administrative Region. Highlighting locality and hybridity along postcolonial lines of interpretation, he also attempts to imagine the future of Hong Kong by utilizing Hong Kong studies as a method. Chu argues that the study of Hong Kong—the place where the impact of the rise of China is most intensely felt—can shed light on emergent crises in different areas of the world. As such, this book represents a consequential follow-up to the author’s Lost in Transition and a valuable contribution to international, area, and cultural studies. “This is a wide-ranging and worthy sequel to Chu’s Lost in Transition. By juxtaposing a series of critical issues—urban development, self-writing, language education, and cultural production, among others—that have confounded those who care deeply about this former British colony, Chu offers his readers an intelligent and sensitive guide to connect and make sense of the various debates, and he places the conundrums Hong Kong faces in the contexts of both the limits of neoliberal capitalism and the ‘Age of China.’” — Leo K. Shin, author of The Making of the Chinese State: Ethnicity and Expansion on the Ming Borderlands

This volume offers new perspectives on a crucial figure of nineteenth-century cultural history – the flâneur. Recent writing on the flâneur has given little sustained attention to the widespread adaptation of the flâneur outside Paris, let alone outside France and indeed Europe, whether in the form of historic antecedents, modern sequels, or contemporary echoes. Yet it is clear that the allure of the flâneur’s persona has led to its translation and adoption far beyond Parisian boulevards and passages, and this in different media and literary genres. This volume maps some of the flâneur’s travels and transpositions. How far the flâneur is dependent on Paris as a milieu is opened up for questioning: for all the international dispersal of this idea and model, in some sense Paris is always present, if only as a reference to kick against or replace. When modern flâneurs step out in foreign cities, how much of a Parisian ethos clings to them, however they might claim independence? Cities which provide counterpoints to Paris discussed here are Amsterdam, Brussels, Dublin, Le Havre, London, Madrid, New York, Prague, and St Petersburg. This internationalised view also reconsiders the nature of the flâneur, and revises stereotypes based on Walter Benjamin’s account of Baudelaire. Another key feature is the chapters which analyse the flâneur in terms of visual representations, whether graphic illustration, streetscapes, urban design, cinema, or album covers (related to musical examples from the 1950s to the present).

How risky encounters between American and Czech writers behind the Iron Curtain shaped the art and politics of the Cold War and helped define an era of dissent. “In some indescribable way, we are each other’s continuation,” Arthur Miller wrote of the imprisoned Czech playwright Václav Havel. After a Soviet-led invasion ended the Prague Spring, many US-based writers experienced a similar shock of solidarity. Brian Goodman examines the surprising and consequential connections between American and Czech literary cultures during the Cold War—connections that influenced art and politics on both sides of the Iron Curtain. American writers had long been attracted to Prague, a city they associated with the spectral figure of Franz Kafka. Goodman reconstructs the Czech journeys of Allen Ginsberg, Philip Roth, and John Updike, as well as their friendships with nonconformists like Havel, Josef Škvorecký, Ivan Klíma, and Milan Kundera. Czechoslovakia, meanwhile, was home to a literary counterculture shaped by years of engagement with American sources, from Moby-Dick and the Beats to Dixieland jazz and rock ’n’ roll. Czechs eagerly followed cultural trends in the United States, creatively appropriating works by authors like Langston Hughes and Ernest Hemingway, sometimes at considerable risk to themselves. The Nonconformists tells the story of a group of writers who crossed boundaries of language and politics, rearranging them in the process. The transnational circulation of literature played an important role in the formation of new subcultures and reading publics, reshaping political imaginations and transforming the city of Kafka into a global capital of dissent. From the postwar dream of a “Czechoslovak road to socialism” to the neoconservative embrace of Eastern bloc dissidence on the eve of the Velvet Revolution, history was changed by a collision of literary cultures.

The Art of Czech Animation is the first comprehensive English language account of Czech animation from the 1920s to the present, covering both 2D animation forms and CGI, with a focus upon the stop-motion films of Jirí Trnka, Hermína Týrlová, Jan Švankmajer and Jirí Barta. Stop-motion is a highly embodied form of animation and The Art of Czech Animation develops a new materialist approach to studying these films. Instead of imposing top-down Film Theory onto its case studies, the book's analysis is built up from close readings of the films themselves, with particular attention given to their non-human objects. In a time of environmental crisis, the unique way Czech animated films use allegory to de-centre the human world and give a voice to non-human aspects of the natural world points us towards a means by which culture can increase ecological awareness in viewers. Such a refutation of a human-centred view of the world was contrary to communist orthodoxy and it remains so under late-stage consumer-capitalism. As such, these films do not only offer beautiful examples of allegory, but stand as models of political dissent. The Art of Czech Animation is a unique endeavour of film philosophy to provide a materialist appraisal of a heretofore neglected strand of Central-Eastern European cinema.

El volumen recoge catorce estudios que contrastan las obras historiográficas de Amiano Marcelino y de Eusebio de Cesarea: ambas coinciden en sentido amplio en el siglo IV d.C. y representan dos mundos religiosos, lingüísticos y literarios diferentes. El propósito de tal comparación no es la mera identificación de las diferencias de estilo, expectativas, público, método y escala, o una evaluación de méritos artísticos o de rigor histórico, aspectos tratados eventual y parcialmente en los capítulos, o la identificación de coincidencias entre la visión que ambos tienen de su propio proyecto literario. Dos estudios de conjunto se centran respectivamente en Eusebio de Cesarea y Amiano Marcelino, a los que se suman es capítulos centrados en la interpretación de pasajes particulares o de una determinada técnica literaria especialmente representativa de un autor o visión historiográfica, de modo que el volumen en su conjunto permite profundizar en los rasgos generales de continuidad y discontinuidad de la cultura literaria de la Antigüedad Tardía.

This volume focuses on the circumstances of women’s music-making in the vibrant and diverse environment of the Czech lands during the nineteenth century. It sheds light on little-known women musicians, while also considering more well-known works and composers from new woman-centric perspectives. It shows how the unique environment of Habsburg Central Europe, especially Bohemia and Lower Austria, intersects with gender to reveal hitherto unexplored networks that challenge the methodological nationalism of music studies as well as the discipline’s continued emphasis on singular canonical figures. The main areas of enquiry address aspects of performance and identity both within the Czech lands and abroad; women’s impact on social life with a view to different private, semiprivate, and public contexts and networks; and compositional aesthetics in musical works by and about women, analysed through the lens of piano works, song, choir music, and opera, always with the reception of these works in mind.