This project explores strategies to effectively address the challenges surrounding the ‘dissonant’ heritage of totalitarian regimes. The difficulties associated with this heritage rises from multiple factors, such as the characteristics of materials and objects involved, historical and cultural contexts, political influences, ethical considerations, religious aspects, and personal beliefs of individuals involved. These differences give rise to conflicts and obstacles in preserving and managing such heritage. The main point of disagreement is whether undesired and painful objects and sites should be demolished or if they are to be preserved, how they should be appropriately presented. Therefore, it is essential to adopt a balanced approach that respects diverse perspectives, fosters dialogue, and embraces adaptive strategies. This approach is crucial for ensuring the long-term viability and meaningful interpretation of our shared collective heritage. The case study chosen is Lithuania, a former part of the Soviet Union. Most built heritage from the Soviet era may not be traditionally seen as culturally significant, but it does bear witness to collective memory. The goal is to analyze and propose an adaptive reuse project for a partially abandoned building, the former Taxi Park in Vilnius. To address historical memory, the proposal suggests a programic shift from a Taxi Park to a Film Park. This approach showcases artifacts from the Lithuanian film industry and transforms the space into an archival institution that engages with history. The building is organized in a chronological framework, with different floors that create a cohesive narrative that honors the past, preserves the present, and allows for future engagement. By incorporating these elements, the space serves educational, cultural, and future-oriented purposes.

On the eve of the twentieth century, the dismembering of old empires brought the formation of many new nation states, therefore of emerging new capitals. Becoming independent in 1912, Albania chose its definitive capital, Tirana, in 1920. Since then, the city has been a showcase of planning and architectural interventions for various regimes that have come in power, and its centre was and still is seen as a possibility to show the political ideals of each. The aim of this study is to examine how this important part of the city was produced, used and transformed in a timespan starting from 1920 until the fall of the People&#039 / s Socialist Republic in 1991. The spatial analysis of the city&#039 / s centre and the description of the relations between the main actors of these processes will help us understand the underlying goals for which these representative spaces were designed. On the other hand, comparing its urban elements with those of several coetaneous capitals will locate Tirana among the important planning examples of the time.

The Abstract The main focus of the diploma thesis named "GULAG as a life experience" is on the Soviet repressive system in the era of 30's to 50's of the 20th century. There are two approaches in this thesis: the first one is concerning the narrating and memory, the other point of view is the topics reflecting in the narrations. Both, oral and written stories are used, the written ones are prevailing. In the third chapter, I deal with the topic of human memory and its relation to history and telling about past. I am posing the question concerning the relation between memory and society, memory and history, how do the people conceive their narrations, what sort of language tools and schemes of telling do they use and what the differences between oral and written narrations are. This empirically focused part of the thesis is forgone by a theoretical part dealing with the mentioned topics. All is illustrated by using examples from the life stories of survivors. The other main topic is discussed in the eighth chapter, dealing with topics often appearing in the memories of the survived people. As well as in the other part I am using here the examples of the life stories for better illustration of the explained topic. The subtopics are divided into five groups: "time and space", "death and suicide", "strategies...

The thesis about The Portrayal of Women in Czech Film in Times of Dictatorship is examining the female characters in the movies influenced by nazi and communist propaganda. The main objective is to find out the similarities and differences that are typical for the Czech movies of those times. In the case of the movies influenced by communist propaganda and ideology, this thesis is examining those made in the period between 1948-1956. In order to analyse female characters, 15 movies were chosen for this task after making sure they fulfill the condition of woman playing the main of one of the main roles. The theoretical part of this work is dedicated to the anchoring of the topic, therefore there are sections about propaganda, nazi and communist propaganda, development of Czech cinematography and the role of women in nazi and communist ideology. For the purposes of analyses in practical part of the thesis, I use Jens' Eder model - The Clock of Character.

This work examines the prosecution of the Roman Catholic Church in the Communist-ruled Czechoslovak Republic. The first part analyzes the mutual relationship of the communist ideology and the Roman Catholic Church. The basic tenets of communism are presented via the works of Karl Marx, Vladimir Ilyich Lenin and consecutive texts labeled Marxist- Leninist. The thoughts of the church are presented through the statements of several popes that took a stand against the ideals of communism and the atrocities committed in their name. The second chapter analyzes the individual steps the Communist-controlled state took against the church. Particular attention is devoted to the period from the February 1948 Communist takeover up to the end of the 1950s. This period can be further divided into three phases, distinguished by the differing tactics employed by the Communist Party. In the first phase, the Communists were attempting to subdue the church, the second phase was characteristic by very ruthless prosecution of the church officials, while the hallmark of the third phase was mainly a systematic policy of atheization. The aim of this work is a comparison of the ideological underpinnings of the Communist ideology with the real-world practice of the attempted elimination of religion from society. Focus is...

The thesis deals with the topic of the pastoral letters of the Old Catholic bishop Augustin Podolák from the years 1971 till 1989, in other words during the time, when the bishop was deprived by the state of his state approval for spiritual functions. To illustrate the case the thesis include also three letters from the time after the revolution, that can shed some lite on the depth of the personality of Bishop Augustin. Beside the pastoral letters the thesis deals also with the history of the Old Catholic Church, because this history often influenced the content of the bishop's letters. Last but not least the thesis offers also a biography of the second Old Catholic bishop from his birth till his death.

La volonté d’inscrire l’apologie monumentale que représente le Centre civique de Bucarest dans une histoire urbaine et sociale nous a poussé à analyser les raisons qui ont guidé sa mise en œuvre et, plus largement, à reconstruire le fil narratif de l’histoire bucarestoise à travers l’héritage bâti prestigieux de la ville. C’est ainsi que nous nous sommes intéressés aux rapports entre édification des bâtiments et espaces remarquables et (re)construction d’une identité nationale roumaine, depuis de la déclaration d’indépendance jusqu’à l’intégration européenne perçue comme reconnaissance suprême de l’État roumain. Ce travail analyse donc les techniques d’instrumentalisation de la production architecturale et urbaine dans la définition et la promotion de l’identité nationale. Il complète également le peu d’études scientifiques traitant du Centre civique, à la fois emblème et stigmate en raison des efforts exceptionnels octroyés pour sa construction. Enfin, il aborde la question de la réception d’un ensemble « idéologiquement chargé » et, plus largement, les divers emplois faits des héritages urbains par les régimes politiques qui se sont succédés à la tête de la Roumanie. / This paper aims to place the monumental apology represented by the Civic Center of Bucharest in its urban and socio-political context. Therefore we have analysed the reasons and decisions that led to the way it was conceived and set up, and in addition we have tried to rebuild the narrative of the history of Bucharest through the city’s prominent built heritage. For this reason we have looked into the relations between the fact of erecting buildings and remarkable spaces and the (re)construction of a Romanian national identity, beginning with the Declaration of independence and ending with the European integration, the latter standing for the supreme legitimacy granted to the Romanian State. Therefore this research engages into the analysis of the mechanisms involved in using architectural and urban productions as instruments for defining and promoting national identity. In addition it fills a gap of almost non-existent scientific work dealing with the Civic Center, which is, due to the exceptional efforts engaged in its construction, in the same time Bucharest’s emblem and scar. Finally, it deals with the question of the reception of “ideologically charged” buildings, and more generally, with the fate of urban heritage inherited from totalitarian regimes.

This diploma thesis deals with the issue of the teaching profession in the period of totalitarianism on a particular territory of the Czech Republic. It deals with the period of 1948-1989 from the point of view of teachers and the school system. The theoretical part will give insight into the school structure, legislation, management and the position of primary school teachers in the given period, in the context of Sedlčany. The research part is based on the testimonies of teachers-witnesses of the time. Data acquisition methods are based on characteristic oral history tools. KEYWORDS Teacher profession, teacher, primary Education, totalitarian regime, Education system, Sedlcany, unified Education.

Kerhartová, J.: Czech grotesque /Graduation thesis of the post-Bachelor study programe/ Prague 2012 - Charles University in Prague, Faculty of Education, department of Art, 81 pages This work is oriented as a theoretical study with research aim. It's focused on analysis of the phenomenon of Czech Grotesque and it's causality as a wide cultural - social problem. We use qualitative research methods and research design by The Grounded Theory, authors Strauss - Corbin. Main theme of this study is to investigate possibilities about didactic use of this topic in art education at grammar school. We reflect contemporary trends in art education in czech education curriculum - methods of constructivist pedagogy and discursive analysis. Important part of this work is research probe leading to find out student's pre- concepts about Czech grotesque. At the end, we construct resulting theory which is grounded on our previous research. Key words Czech grotesque, absurdity, art education, existence crisis, constructivist pedagogy, quality research methods

The thesis explores certain aspects of Zvědavá kamera, a Czechoslovak television journal that belonged among the most progressive pieces of Czechoslovak television journalism in 60-ties. The thesis is based on interviews with 3 of the still living makers of the journal: Otka Bednářová, Vladimír Branislav, and Jaromír Kincl. Based on their testimony, contemporary documents, and available television archive material the main question is being answered as to why Zvědavá kamera was allowed to exist for such a long time despite being politically controversial and why the makers did not face repression much earlier. The most substantial episodes of the journal are being explored in detail, among all Volba povolání (The Choice of Profession) by Otka Bednářová, Spor (Dispute) and Porota (Jury) by Vladimír Branislav and Jaromír Kincl. Based on the presented facts approaches are analyzed the makers took in order to make relatively free television journalism possible within the limits imposed on them by the totalitarian regime.