A Homérosz egyesület 1988-ban kapott engedélyt az Egészségügyi Minisztériumtól AIDS prevenció és a homoszexuális közösség társadalmi intergrációjának elősegítése céljából. A szervezet elnöke és képviselője Dr. Romsauer Lajos pszichiáter, aktivista lett, aki nyíltan vállalta a társadalom felé a képviseleti szerepet.
A Homérosz egyesület alapító okirata különösen két szempontból tanulságos. A késő Kádár-korszak diszkriminatív politikája mellett csak úgy lehetett egy meleg szervezetet létrehozni, hogy annak tevékenységét szorosan összekapcsolták a fennálló AIDS helyzettel, mivelhogy a homoszexuálisok promiszkuisabbak heteroszexuális társaiknál, tehát jobban veszélyeztetettek - szólt az indoklás.
A Homérosz egyesület megalapításáról az MTI is beszámolt, amit több nyugati hírügynökség is átvett (Reuters, AFP, EFE, dpa) a politikai változások egyik jeleként tálalva.
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The founding statement of the Committee for the Defence of the Unjustly Prosecuted (VONS) of April 27th, 1978, signed by seventeen signatories on the Charter 77, who posted their addresses so that people could find them. VONS's goal was to track the cases of people who had been prosecuted or imprisoned for their opinions and beliefs or who had become victims of police and judicial arbitrariness. VONS, by means of numbered communications, familiarised the domestic and international public with these cases and asked the Czechoslovak authorities for remedy. They helped to provide legal representation and mediate financial assistance to the unjustly persecuted and imprisoned.
The impulse for the creation of VONS was, among other things, the events associated with the Railroad Ball in January 1978, in which the signatories of the Charter 77 wanted to attend to. However, three of them were detained by the state security. In support of them, the Defence Committee was formed by Václav Havel, Pavel Landovský and Jaroslav Kukal, who gathered documents for their defence and informed the Czech and foreign public about the whole case. The accusations were released after six weeks and the prosecution was halted. This was a great success for committee members and other dissidents, so VONS was founded in May 1978.
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Na Zátorách 6, 170 00 Praha 7 - Holešovice, Czech Republic
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A special exhibition piece in the Heiner Müller Archiv / Transitraum are four chairs designed by Karl von Appen in 1956 for Bertolt Brecht's production of the "Leben des Galilei" [Life of Galileus] at the Berlin Ensemble stage. In Müller's possession they were by no means used as just props or basic furniture. They were meaningful, because in Müller’s early years he had declared his dream to become a master student of Brecht (1898-1956). In his work, Müller his entire life was inspired and guided by Brecht's theatrical style. The fact that he came from the Berlin Volksbühne theatre, and in 1992 took over as director of the Berlin Ensemble, which had been founded by Brecht, should be viewed as a late homecoming and the fulfillment of his long held dream.
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Berlin Dorotheenstraße 24, Germany 10117
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Front-page of the second issue of
Bratislava Papers from October 1988. The collection contains copies of all issues (5 issues). On every front page there was an editorial appeal and table of contents. Some contributors published under their real names, others under pseudonyms (on the photo: -el je-, V. D. etc.).
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In some film and television works, director and screenwriter Niksa Fulgosi developed a subversive critical discourse that has the features of opposition. Sto ljepotica na dan [A Hundred Beauties per Day] is one of three films from his critical- feuilletonist trilogy of 1971 (which also includes Sto kletvi na sekundu [A Hundred Curses per Second] and Sto zaduženja Betike Gumbas [The Hundred Duties of Betika Gumbas]). It was broadcasted in abridged versions "approved for presentation."
Sto ljepotica na dan is a satirical and multi-layered presentation of Yugoslav society, which presents the novelty of beauty contests in a humorous way. The film is characterized by the sharp social and political satire of socialist society; under the guise of an event, the author critically interprets the current social problems such as faulty administration, social differences, backwardness, low standards and so forth. The original film is held in the Documentation Centre of Croatian Television in Zagreb.
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Zagreb Prisavlje ulica 3, Croatia 10000
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Mala Jole (Little Jole) from 1955 is the first feature film by Nikša Fulgosi, produced by Jadran Film. The film was shot in Hvar, in black and white technique. The recording of this comedy about the female captain of a ship who became a "boss" to men was aborted after direct intervention by Ivo Vrhovac, the new general director of Jadran Film.
According to the testimony of actress Ksenija Urličić, the official explanation for the cessation of production and the ‘lock-down’ of the film was an interpretation according to which a "socialist sailor was shown in the wrong light" (Tko je taj Nikša Fulgosi? Who is that Niksa Fulgosi?).
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Zagreb Savska cesta 131, Croatia 10000
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In the period from 1969 to the end of the 1970s, Nikša Fulgosi, as to do so in Yugoslavia, recorded a television series on sexuality for TV Zagreb (today HRT) under the title of Ljubavni jadi Pepeka Gumbasa i Marijete Buble [The Romantic Problems of Pepek Gumbas and Marijeta Buble]. The Monty Python-approach revealed "a master of common humour, avant-garde direction and promoter of liberal attitudes"; a filmmaker who – in times of "ideological eligibility" – mocked all manner of religious, political, and sexual hypocrisy. The provocative contents of the sketches showed women holding banners such as "We are being denied by kilometres of penises" and "Our right to be sexually exploited," along with a multitude of other "diversions," such as photographs of politicians who behave like sheep. According to sociologist Alexander Štulhofer, Fulgosi "used sex to criticize the bureaucratized political system" (Danko Volarić 2014).
Fulgosi shot and completed 13 episodes, of which only two were aired. Despite the end of the broadcast, Fulgosi continued to shoot new episodes (37 in total) which were also never aired. This unusual relationship between the creator and the "censor" illustrated the peculiarities of the Yugoslav socialist model, in which creative freedom was possible, but at the same time disproved as inadequate.
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Zagreb Prisavlje ulica 3, Croatia 10000
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The screenplay for the feature film Kasni stisak ruke (The Late Handshake) from 1965 was the subject of a complex background of human drama based on stories from the Second World War, set in Dalmatia in 1943.
Faced with wartime circumstances and inspired by the universal human aspirations for overcoming the conflict, Fulgosi made a brilliant study of the controversy surrounding the war. However, the film was never made. There is no specific information about the reasons for the screenplay’s rejection. It can be assumed that Fulgosi's unconventional approach and choice of themes had come to the attention of censors as in the case of the making of his first film Mala Jole.
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Zagreb Savska cesta 131, Croatia 10000
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Písemnosti Rady svobodného Československa byly zkompletovány v roce 2006 v Centru československých exilových studií. Fond zahrnuje 190 kartonů archivních materiálů, ve kterých lze najít materiály řídících orgánů Rady, dále také materiály, které byly připravovány jako podklady pro jednání (novinové výstřižky, rozhovory, rukopisy, poznámky atp), dále také zápisy ze schůzí a poznámky, samozřejmě i bohatá korespondence ať už mezi členy Rady, nebo s exilovými, vládními i nevládními organizacemi. Ve fondu lze také nalézt tiskové zprávy, prohlášení a memoranda.
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Na Hradě 5, 779 00 Olomouc, Czech Republic
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