Číslo 2, roč. 105 (2018)

The article is based on a long-
term field research in an Eastern Slovak
Romani settlement and an English town, to
which Roma migrated from the settlement.
The paper attempts to disrupt a bipolar
approach to the migration of Roma to
England, and, at the same time, to point
to the transnational interconnectedness
of the Romani community and to the
replication of inter-group boundaries
patterns. Such a dynamic approach
to migration allows the authors to
consider a different phenomenon,
namely religious conversion of Roma to
Pentecostal churches. This leads to an
observation of parallels in the narratives
of conversion and migration, which are
both based on a dichotomy of “new”
and “old”, and inclusion of the religious
conversion phenomenon into the analysis
of migration, alongside highlighting
transnational social networks, acquiring
secondary social bonds and strengthening
local inter-group boundaries.

The study is focuses on the phenomenon of so-called home tourism of German-speaking people who have been forcibly displaced in 1945 from Czechoslovakia and now they live in different places of the Federal Republic of Germany. The first illegal border crossings occurred immediately after forced displacement. The first legal travel to Czechoslovakia can be seen from the second half of the 1950s as a response to releasing the Czechoslovak tourism policy, the issuing of visas to foreigners and improving the economic situation of displaced persons. This text focuses on the narrative reflection of these specific kind of trips, ie the stay in the "old home" by the actors of this type of tourism. Through biographical narrative interviews, the author looks for the importance attributed to these 'places of return' which have undergone a significant social and cultural transformation during the absence of displaced persons.

The essay deals with the
transformation of society and culture in
totalitarianism with the example of the
Czech folklore revival movement between
1948 and 1989. The text reflects the results
of research that used the method of oral
history in combination with the study of
official and unofficial written and pictorial
sources. While describing the principal
objectives of the Communist cultural policy,
the essay observes the reasons for the
mass development of folk ensembles in the
1950s and the gradual transformations of
their activity’s philosophy. The degree of
cooperation between folk ensembles and
political power, and their exploitation for
the propagation of Communist regime was
varied. Politically engaged performances as
well as participation in the events organized
by the totalitarian state apparatus – all
that has resulted in the negative attitude
that a part of the Czech public has adopted
towards the folklore revival movement as
a whole.

The essay deals with the problem of baptismal practice in the rural society in the 19th century on the base of quantitative analysis. 7229 entries from parish register of births of the market town of Nový Rychnov and four surroundings villages from 1800–1899 were analyzed. The attention is paid to the interval between the birth and the christening of a child and to the popularity of names. During all the century, the children were baptized usually in one week after the birth, but the interval was slowly prolonging. The day of birth often influenced the name of the child, the custom to christen according to the calendar was still vital. The list of given names reflected persisting popularity of some baroque saints, but also growing trends and patriotic sentiment.

This paper focuses on the work
of a North-Bohemian painter, Vincenz
Janke (1769–1838). While active, this author
belonged among the most important
representatives of craft painting on glass.
His importance is evidenced by a collection
of over 200 extant pieces which can be
directly attributed to V. Janke or a family
workshop operating in today’s Nový Bor,
which was run by him in the first third of
the 19th century. The painter’s work is
exceptional due to its undoubtable artistic
and drawing qualities which derive from
high art. However, it also bears discernable
features coincident with those of mass-
produced goods destined for wide popular
classes (e.g. thematic selection, production
in series, contours favoured over painting).
According to a widespread thesis,
folk painting on glass originates in the
artistic expression of professionally trained
painters who were primarily oriented on
a bourgeois customer base.

Příspěvek je zprávou z konference s auto-referenčním názvem The Migration Conference. Ta se prezentuje jako největší odborná konference věnující se migraci.