As far as he could remember, he had fallen asleep next to his beloved Barbara. His chest rising and falling, Juro tried to make sense of this situation. Juro turned his head a bit and looked into the excited eyes of Johan Litisky, the Chief of Police of Liptov County. “Surrender, Janosik! The game is over! You cannot escape!” The sharp ends of swords were kept pointed at his lightly hairy chest and abs. Immediately all alert, Juro rose up from the hay, only to stare into the barrels of pistols. Soldiers and policemen came running in, armed with pistols, swords and sticks. Juro Janosik woke up alarmed only as the door of the barn burst open. (Revised text published at Aquadude’s Bunker in February 2015) Three pieces of art, by AfterDark ©2014, illustrating an early version of Commander’s JANOSIK story (Click each to enlarge) I hope you enjoy my story, and look forward to your comments, if you care to post them. My story is a fantasy, of course, but I have remained close to history, albeit that my ending differs from historical fact.ĭuring the writing process I have imagined Henry Cavill as the model for my Juro Janosik, as he was in his role as Superman (see top right photo). My version of the story concentrates on the way Juro Janosik was captured, put on trial and punished. Some of the legends about him appear to be based in historical fact, as research has shown. As such, he remains a source of inspiration to Polish and Slovak (popular) art, literature and film until today (see top left photo.) According to the stories about him, he was a tall, handsome and particularly strong young man, who was able to inspire his followers with ideals of justice and freedom. Also, his conduct as a highwayman was chivalrous. He was said to have stolen only from the rich, in order to help the poor. In Polish and Slovak popular legend, Juro Janosik became a hero figure like Robin Hood or the Swiss Wilhelm Tell. The manner of his execution was gruesome: a hook was pierced through his left side, and he was left hanging by his rib on gallows until he died. He was captured in 1713, put on trial, sentenced to death and executed that same year. During his short life, he was part of an insurgency against the Austrian Empire, then was a soldier in the Austrian army, and finally became a highwayman. He lived in an area belonging to North-Slovakia, the Tatra mountains, then a part of the Habsburg Austrian-Hungarian Empire. Juro (English: George) Janosik was born in 1688. In Poland and in Slovakia (both central-European countries) he is a hero-figure from history, who is still regarded as a legendary character. I am happy to introduce to you my version of the story of the brigand and highwayman Juro Janosik. How does the employment situation impact the family unit? What solutions do directors present to these men who find themselves ill-equipped for life in the industrial periphery after the post-1989 transition? This paper draws from and contributes to recent work in the field of Czech gender studies and functions as a Czech case study on the relationship between gender and space in former Eastern Bloc.(L) From a Polish video about Juro Janosik – (C & R) Inspirational actor Henry Cavill (Click each to enlarge) Intro by Commander:ĭear friends and fellow admirers of Heroes in Distress, Through an analysis of common themes in films released roughly 15 years after the Velvet Revolution, the author asks how these men relate to the panelák, or private space, when excluded from the masculine, public space of the factory. Within these spaces, many working-class men in industrial regions have faced more difficult transitions than women because they, as idealized workers under socialism, were more invested in the system and lost more from its collapse. After the narratives that made spaces “great” became irrelevant in 1989 and the paneláky and factories lost their metaphorical meanings, they became simply apartment buildings and privately-owned worksites. This article addresses how the private spaces in industrial regions achieve new meaning when the role of the factory or public space, idealized in communist propaganda, has undergone a dramatic transformation. “‘Something like Happiness:’ Post-1989 Cinematic Portrayals of the Czech Industrial North” uses the medium of film to analyze masculinities at the intersection of the regionally specific with the typical: the peripheral factory town with the universalizing panelák, or apartment block.
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