The "Occupy Gezi" protest movement which swept through Istambul and many other Turkish cities in the summer of 2013 started as an ecological protest to save one of the last green areas of Istanbul. After a brutal police crackdown on protesters and the Prime Minister's unbending stance, the protests spread to the rest of the country in support of the young people who were rebelling against the AKP's increasingly authoritarian style of rule and against the gradual Islamization of Turkish politics and society. This article focuses on the creativity of protesters who, through their use of social media such as Twitter, showed that revolutions need not be about throuwing stones and Molotov coctails, but can instead be about playing with words and undermining the ruling elite's insulting remarks with sarcasm and wit. This postmodern revolution took place in a public space which resembled an art scene where singers artists, students and others joined to create a carneval of civic disobedience based on passive resistence, solidarity and humor., Gabriela Özel Volfová., and Obsahuje bibliografii
The paper analyses the everyday life of Křivoklát vassals in the late seventeenth and at the beginning of the eighteenth century. As the primary source the author uses mainly the records of examination of sexual offenders. Tree particular cases are analysed in details with the help of other primary sources in order to discover the patterns of everyday life behavior in the period. The importance of role of honor in the everyday life of early modern people and individuality of decisionmaking of their authorities are the main conclusions of this paper., Josef Vacek., and Obsahuje bibliografické odkazy
Hlavní osou knihy je podle recenzentky konflikt mezi tradičními zájmy a hodnotami světa filmu na jedné straně a politickou snahou o jeho reformu v systému státního socialismu na druhé straně v Československu v poválečném čtvrtstoletí, především pak v padesátých letech. Autor přitom nevychází jen z podřízenosti kinematografie vládnoucí elitě, ale spíše z její proměnlivé autonomie. Staví na neobyčejně bohaté pramenné základně a efektivně využívá různé teoretické koncepty. Díky tomu dokáže zprostředkovat živý a plastický obraz mikrosvětů v pražských filmových ateliérech Barrandov, jejich neformálních vztahů a procesu zrodu filmového díla. Jedná se o strhující četbu pro poučenější čtenáře, kteří hledají metodologicky inspirovaný, otevřený výklad s bohatými odkazy i sebereflexí., According to the reviewer, the book The Barandov Factory: The world of filmmakers and political power 1945-1970 revolves around a conflict between traditional interests and values of the world of filmmaking and political efforts ro reform it within the Czechoslovak state socialism system during the twenty-five years after the war, mainly in the 1950s. The author´s starting assumptions include not only the subordination of cinematography to the ruling elite, but also a variable degree of the film industry´s autonomy. He builds on an extremely rich source base and employs various theoretical concepts in an effective manner. Thanks to the above, he can provide a vivid and plastic picture of micro-worlds in the Barrandov film studios in Prague, their informal relations, as well as the birth of a movie. He wrote a captivating book for more knowledgeable readers looking for a methodologically inspired and open account with ample references and self-reflection., [autor recenze] Alena Šlingerová., and Obsahuje bibliografii a bibliografické odkazy