{"title":"A Dot on the Map: Some Remarks on the Magazine Nová Bratislava","authors":"Sonia de Puineuf","doi":"10.1353/jmp.0.0003","DOIUrl":null,"url":null,"abstract":"prohibitions against consulting the archives in the countries of the former communist block. Numerous research projects have allowed scholars to advance their knowledge of the active avant-garde circles in Central Europe in the 1920s and 1930s—a taboo subject during the postwar period. Some remarkable fi ndings have already brought to light a wealth of artistic creations. This impulse of rediscovery has offered new views of the theory of centers and peripheries: one removes Paris from its throne as the capital of arts, one pits the cosmopolitan Berlin against the infl uential Moscow, and between these east-west poles, one revalorizes Warsaw, Prague, Zagreb and Bucharest. However, within this revised historic-artistic geography, there are some areas of relative obscurity. There is considerable disparity between the amount of research into (and presentation of ) art and literature of the Czech Republic, Hungary, and Poland on the one hand compared to that of Bulgaria, Romania, and Slovakia on the other. 1","PeriodicalId":39045,"journal":{"name":"Journal of Modern Periodical Studies","volume":"1 1","pages":"100 - 111"},"PeriodicalIF":0.1000,"publicationDate":"2010-08-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/jmp.0.0003","citationCount":"3","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Journal of Modern Periodical Studies","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1353/jmp.0.0003","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"HUMANITIES, MULTIDISCIPLINARY","Score":null,"Total":0}
引用次数: 3
Abstract
prohibitions against consulting the archives in the countries of the former communist block. Numerous research projects have allowed scholars to advance their knowledge of the active avant-garde circles in Central Europe in the 1920s and 1930s—a taboo subject during the postwar period. Some remarkable fi ndings have already brought to light a wealth of artistic creations. This impulse of rediscovery has offered new views of the theory of centers and peripheries: one removes Paris from its throne as the capital of arts, one pits the cosmopolitan Berlin against the infl uential Moscow, and between these east-west poles, one revalorizes Warsaw, Prague, Zagreb and Bucharest. However, within this revised historic-artistic geography, there are some areas of relative obscurity. There is considerable disparity between the amount of research into (and presentation of ) art and literature of the Czech Republic, Hungary, and Poland on the one hand compared to that of Bulgaria, Romania, and Slovakia on the other. 1