Jaroslav Mezník's critical commentary on the Charter 77 document No. 11/1984, The Right for History is written on a tape machine, has 9 pages, and is dated to the 17th November, 1984. Jaroslav Mezník criticises the black and white negative claims made by the authors of the document. A relatively long critical commentary is compiled by quoting a problematic passage of the document, followed by an evaluation ("inaccurate", "false", "very problematic"), and a detailed analysis with the submission of Mezník´s arguments. Mezník found most of the problems simple, and taking what the document claimed, he demonstrated a more varied spectrum of professional thinkers and scholars within contemporary Czechoslovak historiography. The most problematic part of the Document for Mezník is the sentence, "History without a human being and without God naturally cannot have any meaning…“, which caused a great upheaval among other philosophers too. At the end of the commentary Mezník expressed his sadness over the document that had been drafted. The interlocking critical response to the document led to debates that continued into the following year and led to the publication of the text History and Historiography, which partly revised the original radical denouncement of official Czechoslovak historical science.
- Brno, Czech Republic
- Charakteringas eksponatas:
The bird itself was a central figure in the work of Baász. In the preface to The Bird and the World of Peace [A madár és a béke világa] exhibition catalog from 1986, he explains the usage of the bird’s eternal motive. According to this text, the bird serves as a symbol of the artist’s creative power, of his privilege to rethink, rebuild, but also to rediscover. The wings, present in Baász’s oeuvre even without the body of the bird, are a call for options, open possibilities, freedom.In the silkscreen print from 1984, we are confronted with two types of bird depictions. First, we can see a flock of real birds with wings heading right, organized, together, in front of a blue background. Second, on the upper left side of the artwork, we can see a more particularized bird, a swallow, with closed wings. If we look closely, we see that it’s not a real animal. It’s only a wind-up toy, which is paralyzed when not activated. Despite all its disadvantages, it’s much bigger than the real birds, and it’s heading in a different direction. This again conjures emigration by drawing a parallel between the migrating birds who make long flights in order to survive the winter and the artist’s acquaintances who left the country in hope of a better future. According to another interpretation, the seven migrating birds symbolize the seven Székely counties clinging to traditional values, while the swallow, who could be interpreted as a representation of the artist, chooses to focus on the future instead of the past.
The last issue of the CADDY bulletin contained a recapitulation of the work of both the CADDY and the bulletin itself. Although the last issue appeared in November 1992, sometime later, at the beginning of March 1994, it was announced that the work of the CADDY had ended, which included the publication of the bulletin. This all happened against the backdrop of the definitive disintegration of the Yugoslav state and the war in its former territory. Such a turn of events signalled a defeat for the ideals championed by Mihajlo Mihajlov and Rusko Matulić as the main leaders of the project, who believed in the possibility of maintaining Yugoslavia in a democratized form.
Most likely, this epilogue forced Mihajlov and Matulić to forsake their work around the CADDY and the bulletin. On the other hand, there was no single-party dictatorship in the republics of the former Yugoslavia, and the public was no longer strictly controlled as it was in the preceding period. During the 1990s, the first multiparty elections were held in all of the Yugoslav republics. However, in his final message to readers, Mihajlov pointed out the pioneering role of the CADDY in informing the Western public about the status of political freedoms and human rights in Yugoslavia, and in presenting the fate of each dissident. He also stressed that CADDY was quoted in over 20 books and 60 magazines and newspapers throughout the Western world. (Rusko Matulic Papers, box 4).
The manuscript of Mihajlov's travels, “Moscow Summer,” written in English is in the box 28. The text was the fruit of Mihajlov's visit to the Soviet Union in the summer months of 1964. Mihajlov supported Nikita Khrushchev's reforms and the program of de-Stalinisation, and he criticized the changes in the Soviet leadership after Kruschev’s fall. This criticism alarmed those in charge of Yugoslavia’s foreign policy, since it could once more undermine Soviet-Yugoslav relations, which had normalized in the mid-1950s.
Referring to the publication of the first two essays of this book, Tito himself called out Mihajlov in February 1965 as a result of pressure from the Soviet ambassador due to his criticism of the new political course following the fall of Khrushchev in the autumn of 1964. Despite censorship of Mihajlov’s essays in Yugoslavia, American politicians and the public were interested in Mihajlov's case precisely because of his stance on the Soviet Union during the political upheavals in the upper echelons of the Soviet party in those years.
A letter from Milan Uhde to the Host Publishing House in October 1970 shows him rejecting the report of his dismissal from work, the editorial office Host do domu. Uhde protested against the whole process, and rejected the term "agreement" in connection with the dismissal, then refused to sign a document on the termination of employment. Uhde also wrote about the non-existent opportunities to find other reasonable employment. The short letter documents practices of persecution towards important cultural figures criticising the post–August development in Czechoslovakia, as well as a concrete example of defiance towards them.