The motto “Národ sobě”—“From the Nation to Itself”—inscribed over the proscenium arch of Prague’s National Theatre symbolizes the great importance theater holds for the Czechs. It also belies an extraordinary history of subversion, repression, and an enduring capacity for reinvention. In Trial by Theatre, Barbara Day sets that story in its political and sociological contexts, painting a vivid portrait of the evolving nature and importance of Czech theater that illuminates the nation’s history more broadly.

Drawing on a range of oral and written sources, as well as her unique personal experience of cultural and historical events in Czechoslovakia from the 1960s to the 1980s, Day offers a sweeping view of Czech theater, its colorful personalities, and international connections. Her story details: the days of the National Awakening in the nineteenth century, when theater took the place of politics, becoming an instrument of national identity in the hands of the revivalists; theater as a symbol of independence during the Nazi occupation; its survival of Socialist Realism and Stalinism and subsequent blossoming in the “Golden Sixties”; and theater’s essential role in Prague Spring and beyond, when for two decades theater operated in provisional spaces like gymnasiums, bars, trade union halls, art galleries, and living rooms. Trial by Theatre culminates in the Velvet Revolution of 1989, a year that saw the installation of Václav Havel—a playwright—as the first post-Communist president of Czechoslovakia.

Crossing Between Tradition and Modernity presents thirteen essays written in honor of Milena Doleželová-Velingerová (1932–2012), a member of the Prague School of Sinology and an important scholar of Chinese literature who was at the forefront in introducing literary theory into sinology. Doleželová-Velingerová was that rare scholar who wrote with equal knowledge and skill about both modern and premodern Chinese literature. The essays emulate Doleželová-Velingerová’s scholarship in terms of treating a broad range of historical periods, literary genres, and topics—from Tang travel essays to cultural identity in postcolonial Hong Kong. Organized into two parts, “Language, Structure, and Genre,” and “Identities and Self-Representations,” the essays are motivated by an abiding concern with issues of language, narrative structure, and the complex nature of literary meaning that were at the heart of Doleželová-Velingerová’s work.

The Theatre Theory Reader provides the first comprehensive and critical anthology of texts reflecting on the development of the theater theory of the Prague School—or Prague Linguistic Circle—beginning with early twentieth-century composer and aesthetician Otakar Zich. The majority of the thirty-eight texts date from the 1930s and early 1940s, the period when the Prague Linguistic Circle was most active as both a theoretical laboratory and a focal point for scholars, artists, and intellectuals. A substantial afterword places these writings in context, describing the emergence of the Prague School in an effort to promote a deeper understanding of its texts. Organized thematically and structurally rather than chronologically, the Theatre Theory Reader explores issues and themes in the study of the theater as an art form and as artistic practice. Just as the Prague School theorists viewed theory as a toolbox of approaches to theater analysis, this anthology should be considered a toolbox of analytic possibilities.

In this book, Czech lawyer and scholar Jakub Drápal tells the story of the life of Kamill Resler, an attorney who defended the most prominent Nazi tried in postwar Czechoslovakia: Karl Hermann Frank, who would go on to be executed for his role in organizing the massacres of the Czech villages Lidice and Ležáky in 1942. Celebrating Resler’s lifelong commitment to justice—to honoring even the most nefarious criminals’ right to a defense—Drápal highlights events that influenced Resler’s outlook and legal career, important cases that preceded Frank’s trial, Resler’s subsequent defenses of other Nazi criminals, and the final years of Resler’s life under the communist regime.

This is a book about collective guilt, individual fate, and repentance, a tale that explores how we can come to be responsible for crimes we neither directly commit nor have the power to prevent. Set in the Czechoslovakian borderland shortly after WWII amid the sometimes violent expulsion of the region’s German population, Jaroslav Durych’s poetic, deeply symbolic novel is a literary touchstone for coming to terms with the Czech Republic’s difficult and taboo past of state-sanctioned violence.

A leading Catholic intellectual of the early twentieth century, Durych became a literary and political throwback to the prewar Czechoslovak Republic and faced censorship under the Stalinist regime of the 1950s. As such, he was a man not unfamiliar with the ramifications of a changing society in which the minority becomes the rule-making political authority, only to end up condemned as criminals. Though Durych finished writing God’s Rainbow in 1955, he could not have hoped to see it published in his lifetime. Released in a still-censored form in 1969, God’s Rainbow is available here in full for the first time in English.

The volume deals with the interaction between syntax, informational structure (or functional sentence perspective), and text in present-day English and Czech. Libuše Dušková focuses on the two facets of functional sentence perspective: syntactic structures as carriers of informational structure functions and the connection of functional sentence perspective within the level of text. Functional sentence perspective is investigated as a potential factor of syntactic divergence between English and Czech, and the role of functional sentence perspective is examined with respect to theme development, text build-up, and style. Other topics include the hierarchical relationship between syntax and functional sentence perspective and general and specific questions of word order, with major attention paid to the role of semantics.

For The Pied Piper, Czech writer Viktor Dyk found his muse in the much retold medieval Saxon legend of the villainous, pipe-playing rat-catcher. Dyk uses the tale as a loose frame for his story of a mysterious wanderer, outcast, and would-be revolutionary—a dreamer typical of fin de siècle Czech literature who serves Dyk as a timely expression of the conflict between the petty concerns of bourgeois nineteenth-century society and the coming artistic generation. Impeccably rendered into English by Mark Corner, The Pied Piper retains the beautiful style of Dyk’s original Czech. The inspiration for several theatrical and film adaptations, including a noted animated work from critically acclaimed director Jiří Barta, Dyk’s classical novella is given new life by Corner’s translation, proving that the piper is open to new interpretations still.