Prague Panoramas examines the creation of Czech nationalism through monuments, buildings, festivals, and protests in the public spaces of the city during the twentieth century. These "sites of memory" were attempts by civic, religious, cultural, and political forces to create a cohesive sense of self for a country and a people torn by war, foreign occupation, and internal strife. The Czechs struggled to define their national identity throughout the modern era. Prague, the capital of a diverse area comprising Czechs, Slovaks, Germans, Poles, Ruthenians, and Romany as well as various religious groups including Catholics, Protestants, and Jews, became central to the Czech domination of the region and its identity. These struggles have often played out in violent acts, such as the destruction of religious monuments, or the forced segregation and near extermination of Jews. During the twentieth century, Prague grew increasingly secular, yet leaders continued to look to religious figures such as Jan Hus and Saint Wenceslas as symbols of Czech heritage. Hus, in particular, became a paladin in the struggle for Czech independence from the Habsburg Empire and Austrian Catholicism. Through her extensive archival research and personal fieldwork, Cynthia Paces offers a panoramic view of Prague as the cradle of Czech national identity, seen through a vast array of memory sites and objects. From the Gothic Saint Vitus Cathedral, to the Communist Party's reconstruction of Jan Hus's Bethlehem Chapel, to the 1969 self-immolation of student Jan Palach in protest of Soviet occupation, to the Hoskova plaque commemorating the deportation of Jews from Josefov during the Holocaust, Paces reveals the iconography intrinsic to forming a collective memory and the meaning of being a Czech. As her study discerns, that meaning has yet to be clearly defined, and the search for identity continues today.

A poignant reflection on alienation and belonging, told through the lives of five remarkable people who struggled against nationalism and intolerance in one of EuropeÕs most stunning cities. What does it mean to belong somewhere? For many of PragueÕs 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 VietnameseÑall 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 EuropeÕs 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.

Six million people visit Prague Castle each year. Here is the story of how this ancient citadel was transformed after World War I from a neglected, run-down relic into the seat of power for independent Czechoslovakia?and the symbolic center of democratic postwar Europe. The restoration of Prague Castle was a collaboration of three remarkable figures in twentieth-century east central Europe: Tom ? Masaryk, the philosopher who became Czechoslovakia?s first president; his daughter Alice, a social worker trained in the settlement houses of Chicago who was founding director of the Czechoslovak Red Cross and her father?s trusted confidante; and the architect, Jo?e Ple?nik of Slovenia, who integrated reverence for Classical architecture into distinctly modern designs. Their shared vision saw the Castle not simply as a government building or historic landmark but as the sacred center of the new republic, even the new Europe?a place that would embody a different kind of democratic politics, rooted in the spiritual and the moral. With a biographer?s attention to detail, historian Bruce Berglund presents lively and intimate portraits of these three figures. At the same time, he also places them in the context of politics and culture in interwar Prague and the broader history of religion and secularization in modern Europe. Gracefully written and grounded in a wide array of sources, Castle and Cathedral in Modern Prague is an original and accessible study of how people at the center of Europe, in the early decades of the twentieth century, struggled with questions of morality, faith, loyalty, and skepticism.

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.

The story of modernity told through a cultural history of twentieth-century Prague Setting out to recover the roots of modernity in the boulevards, interiors, and arcades of the "city of light," Walter Benjamin dubbed Paris "the capital of the nineteenth century." In this eagerly anticipated sequel to his acclaimed Coasts of Bohemia: A Czech History, Derek Sayer argues that Prague could well be seen as the capital of the much darker twentieth century. Ranging across twentieth-century Prague's astonishingly vibrant and always surprising human landscape, this richly illustrated cultural history describes how the city has experienced (and suffered) more ways of being modern than perhaps any other metropolis. Located at the crossroads of struggles between democratic, communist, and fascist visions of the modern world, twentieth-century Prague witnessed revolutions and invasions, national liberation and ethnic cleansing, the Holocaust, show trials, and snuffed-out dreams of "socialism with a human face." Yet between the wars, when Prague was the capital of Europe's most easterly parliamentary democracy, it was also a hotbed of artistic and architectural modernism, and a center of surrealism second only to Paris. Focusing on these years, Sayer explores Prague's spectacular modern buildings, monuments, paintings, books, films, operas, exhibitions, and much more. A place where the utopian fantasies of the century repeatedly unraveled, Prague was tailor-made for surrealist André Breton's "black humor," and Sayer discusses the way the city produced unrivaled connoisseurs of grim comedy, from Franz Kafka and Jaroslav Hasek to Milan Kundera and Václav Havel. A masterful and unforgettable account of a city where an idling flaneur could just as easily be a secret policeman, this book vividly shows why Prague can teach us so much about the twentieth century and what made us who we are.

"Though Einstein is undoubtedly one of the most important figures in the history of modern science, he was in many respects marginal. Despite being one of the creators of quantum theory, he remained skeptical of it, and his major research program while in Princeton--the quest for a unified field--ultimately failed. In this book, Michael Gordin explores this paradox in Einstein's life by concentrating on a brief and often overlooked interlude: his tenure as professor of physics in Prague, from April of 1911 to the summer of 1912. Though often dismissed by biographers and scholars, it was a crucial year for Einstein both personally and scientifically: his marriage deteriorated, he began thinking seriously about his Jewish identity for the first time, he attempted a new explanation for gravitation-which though it failed had a significant impact on his later work-and he met numerous individuals, including Max Brod, Hugo Bergmann, Philipp Frank, and Arnošt Kolman, who would continue to influence him. In a kind of double-biography of the figure and the city, this book links Prague and Einstein together. Like the man, the city exhibits the same paradox of being both central and marginal to the main contours of European history. It was to become the capital of the Czech Republic but it was always, compared to Vienna and Budapest, less central in the Habsburg Empire. Moreover, it was home to a lively Germanophone intellectual and artistic scene, thought the vast majority of its population spoke only Czech. By emphasizing the marginality and the centrality of both Einstein and Prague, Gordin sheds new light both on Einstein's life and career and on the intellectual and scientific life of the city in the early twentieth century"--