Search

In the 1920s, a large influx of immigrants from Czechoslovakia came to Canada in search of industrial work and available land for agriculture. Interwar ethnic associations were predominantly led by individuals of Slovak origin. Czechoslovakia maintained contact with its nationals in Canada through its diplomatic officials. Their consular offices promoted loyalty to Czechoslovakia’s policies in the hopes that Slovaks and Czechs would adopt their home government’s pro-“Czechoslovak” ideology, and eventually defend their homeland in the event of a war. The Czechoslovak Consulate General in Montreal oversaw all diplomatic activity between Prague and its nationals in Canada. With Slovakia’s declaration of independence and Germany’s occupation of the Czech lands in March 1939, the Czechoslovak Consulate General in Montreal used its local diplomatic discretion in an attempt to unite Slovaks and Czechs as a “Czechoslovak” national community. However, although nationalist Slovaks supported Canada’s war effort, they opposed the Czechoslovak Consulate General’s pro-Czechoslovak agenda. Czechoslovak diplomats lobbied the Canadian government for political recognition of the Edvard Beneš-led Czechoslovak government-in-exile in London to legitimize their efforts to re-establish a postwar Czechoslovak Republic. After British recognition, Canada became the last Dominion to recognize the London government-in-exile. [ABSTRACT FROM PUBLISHER]

The termnostalgiawas initially coined to describe a newly recognized form of homesickness so acute it was considered often fatal. Over time, the medicalized origins of nostalgia have disappeared and it would be unthinkable today to find medical professionals diagnosing patients with this condition. Nonetheless, contemporary usage of the term continues to reverberate with negative overtones, often suggesting suffering, melancholy or loss. This article presents a counter-case of nostalgia, considering the possibilities of nostalgia as a mode of therapeutics. Focusing on Czech trampers’ re-enactments of the imagined environments, personas, and activities of the American “Wild West”, the author argues that Czechs’ nostalgic re-enactments of so-called “Indian” or “cowboy” ways of life open up an imaginative horizon conducive to promoting physical and mental well-being. Much like drama therapy, these enactments enable participants to momentarily embody foreign personas and experiment with forms of masculinity and relations to nature that might otherwise be foreclosed to them. Such acts of nostalgic play are indicative, the author argues, not of an unhealthy detachment from the present but of an agentive and highly creative means of using imagined pasts to recast one’s sense of self in the present and future. [ABSTRACT FROM PUBLISHER]

Since the end of the 1990s, post-socialist nostalgia has been a powerful trend in Czech film and television. This article focuses on the examples of Filip Renč’s 2001 musical comedyRebelové(The Rebels) and the Czech television seriesVyprávěj(Tell Me a Story, 2009–2013), which both portray the period around the 1968 Warsaw Pact invasion of Czechoslovakia. Through an analysis of the visual style of the film and television series, as well as a discussion of the way the texts recontextualize the popular culture of the period they portray, the article proposes that Czech post-socialist nostalgia is more fruitfully viewed as “retro”, which is here differentiated from non-nostalgic depictions of socialism through a comparison with the mini-seriesHořící keř(Burning Bush, directed by Agnieszka Holland, 2013). Although retro’s concern with surface and style can be interpreted as apolitical, the author argues that the political agenda of Czech retro texts needs to be understood by the ways they combine a fetishization of the aesthetic trappings of the period with a condemnation of the political system of the time. [ABSTRACT FROM PUBLISHER]