Actul oficial de acuzare referitor la cazul lui Zaharia Doncev (în rusă)
1957 - Julius Várallyay as a founding member of UHFS starts collecting the documents of the organization
Zaharia Doncev - Colecția de la Arhiva SIS a Republicii Moldova
Ljetni seminar Sveučilišta slobodna Europa u egzilu, 1957. Brošura
The Free Europe University in Exile (FEUE) was founded by the National Committee for Free Europe in New York in 1951 as a specific type of academic organisation. The purpose of the organisation was to enable academic education in a democratic spirit to a large number of immigrants who left the states ruled by communist regimes. Émigrés from Albania, Bulgaria, Czechoslovakia, Estonia, Yugoslavia, Latvia, Lithuania, Poland, Romania and Hungary could apply to this university. The University's goals were to train young émigrés to find jobs and fit into the democratic world as teachers, professors, engineers, doctors, scientists, economists, lawyers, historians, and so forth. They were supposed to become the drivers of a liberal-democratic system in Central and Eastern Europe after the fall of communism. Since 1952, the University has conferred scholarships for its summer seminars held in the Château de Pourtalèâs in Strasbourg. The seminars were focused on contemporary focal political and cultural issues. Lecturers at the Summer Seminar were prominent members of the academic community and experts from Western Europe and the United States.
Jakša Kušan was a FEUE student. He believes that the FEUE lecturers were elite members of the liberal academic community from the United States as well as numerous prominent European intellectuals and émigrés. What Kušan considered even more important was that students/refugees from the countries under communist rule could meet there and exchange ideas. There he began his cooperation with Tihomil Rađa and Branko Salaj, with whom he later founded and edited the magazine Nova Hrvatska. These summer seminars were, according to Kušan, an arena of ideas and cultural contacts. He thinks that the Poles and Estonians used these scholarships very well because their new liberal intelligentsia was forged there.
The Yugoslav communists wrote that the FEUE was a school for CIA collaborators. According to Kušan, the United States intended to gather people who would return to Europe one day and on whom they could rely when communist rule collapsed (Interview with Kušan Jakša_2). Of all the organisations that the USA funded, only Radio Free Europe survives to this day. Financing of the rest ceased when the US saw that there were no significant results from them (Interview with Kušan, Jakša_2).
The Jakša Kušan Personal Papers contain materials from some of the FEUE seminars, such as a brochure on a seminar held in 1957. According to the brochure, the seminar in 1957 continued the tradition of a one-month seminar that was held from 6 August to 7 September. It was devoted primarily to international relations and the political, economic and social problems of Central European satellite states. The 1957 seminar featured intellectuals such as Czesław Miłosz and Bogdan Radica as lecturers.
Vovk, Anton. Propovijed od 1. rujna 1957. Rukopis.
The sermon is an ideal example of Anton Vovk's theological views, which included preservation of the honour of the Catholic Church and its struggle for human liberty and dignity. It served as a source of encouragement for the faithful. The message was cloaked in rhetoric that did not openly attacking the ruling regime. But the fact that it was very clear about the Christian worldview, which was in conflict with the worldview imposed by the regime made the sermon a very influential and important milestone in relations between Bishop Vovk and the state, showing that he was not deterred from propagating the Christian truth even after an extremely violent attack – the burning in 1952. Document is located in the Anton Vovk Collection and it is available for research purposes.
Analiza pisanja Filmskog vjesnika, 1957. Rukopis
This analysis is part of the more extensive material that was sent to the Central Committee of the People's Youth of Croatia (PYC) by the Presidium of the Main Committee of the Socialist Alliance of the Working People of Croatia (SAWPC) on the forthcoming conference on problems of film releases and the columns of weekly and daily newspapers. The document analyses in detail the writing of the magazine Film News, published by Croatia-film, based on categories of articles, from June to December 1956. The opinion on the magazine was not good, and it was suggested that the paper did not contribute to "expanding of the film culture" but rather "meets the bourgeois taste of the audience" and also completely excludes film criticism. The negative role of the magazine was emphasized, as well as the erroneous formation of the public's cinematic education because of the preference for American productions, sensationalism and writing about movie stars, "spreading an atmosphere unsuited to our reality", publishing articles ideologically contrary to "our perceptions" and neglecting domestic film themes. Since the magazine was intended for young people, it was suggested that it should thoroughly change its writing style or cease to exist in this form. The content of the analysis argues in large part that the writing of the magazine was inappropriate to the authorities and therefore changing or abolishing the magazine was proposed.
This PYC document, along with the records of other so-called socio-political organizations, was until 1995 a part of the Archives of the Institute of History of the Croatian Workers' Movement/Institute of Contemporary History. In July of that year, the archives were handed over to the Croatian State Archives (CSA), where they are kept today. It is not known whether this document has been used by researchers.
Life Flows Quietly By.../Partisans, 1957. Film
Филмът е сътворен от позицията на участници в комунистическата съпротива, искрено вярващи в утопията. Първоначално сценарият е с име „Партизани“. Сюжетната линия се развива около сблъсъка между бивши партизани, които остават верни на идеалите и такива, които им изневеряват. Като основен герой, въплъщаващ морален упадък, оеснафяване, честолюбие и самозабравяне, е избран бивш партизански командир, заменил идеалите с висок пост на генерален директор. След поредица дълбоко обрисувани психологически драматични ситуации, финалът на филма засилва чувство за безнадеждност и безперспективност.
Създаването на филма е с множество препятствия. След поредица от обсъждания на сценария, на пробните снимки, на режисьорския сценарии, на готовия филм и т.н., през 1958 г. филмът е забранен с Постановление на Централния комитет (ЦК) на Българската комунистическа партия (БКП) за състоянието и по-нататъшното развитие на българската кинематография. Хронологията и местата на провеждане на обсъжданията и участниците в тях разкриват цензурните механизми, институциите и силната централизация, чрез които е провеждана партийната политика на директна намеса в творческия процес. Обсъжданията на сценария за филм започват през 1955 г. на ниво Художествен съвет (ХС) на Студията за игрални филми (СИФ) – на това ниво мненията са различни, редица творци се изказват положително за сценария на Христо Ганев, определят го като „крайно нужен“, „новаторски, смел сценарий, който поставя проблеми, които трябва да бъдат решени“, препоръчват дори „заостряне“. Подкрепа от кинематографисти получава и режисьорският сценарий на Бинка Желязкова. Смели положителни мнения се изказват и за готовия филм. Заседанията се пренасят в кабинета на министъра на културата. И на това ниво има дебати: Тогавашният директор СИФ Георги Йовков заявява „Това ще бъде един полезен филм. Ние винаги пледираме за реализъм, но много често го убиваме.“ Не малка част от присъстващите кинематографисти изказват открито подкрепата си за филма, в който виждат „пълно съответствие между режисьорския замисъл и изобразителното решение“. Художественият съвет на СИФ номинира в началото на 1958 г. филма за участие във фестивала в Карлови Вари през 1958 г., а друг оспорван филм „На малкия остров“, реж. Рангел Вълчанов, сц. Валери Петров, оператор Димо Коларов – за участие в кинофестивала в Кан. Няколко месеца след това следва поредно, последно обсъждане на готовия филм с вече промененото заглавие „Животът си тече тихо“, председателствано от началника на Управлението на кинематографията. Макар дори на това ниво да има дебати и присъстващите кинематографисти да отстояват подкрепата си за филма, той е заклеймен основно от присъстващите бивши партизани с високи обществени позиции, сред които преобладават военните, с обвинения като нездрав, клеветнически, антипартиен, „филм, който може само да даде материал на нашите врагове да говорят срещу партията и партизанското движение“, „вреден и ще влияе лошо и на работническата класа в народнодемократичните страни, и в капиталистическите страни“. Окончателното решение за филма е взето от ЦК на БКП с Постановление от 5.07.1958 г.: „В отделни филми нашата действителност се показва едностранчиво и изопачено като в ‘Животът си тече тихо...’. Този филм фактически развенчава образа на народните партизани, хвърля клевета върху тяхната борба и всеотдайност към народното дело, прави неверни обобщения за нашата действителност“. Филмите „Животът си тече тихо...“ и „На малкия остров“ са забранени. Сменени са ръководствата на Управлението на кинематографията, на СИФ, на Министерството на културата. Партийната цензура се засилва. „Животът си тече тихо...“ излиза по екраните 31 години по-късно, през 1988 г. (Всички цитати от протоколи от обсъжданията и решения за филма са по Станимирова 2012: 93-142).
Разправата с филма засилва атмосферата на страх и несигурност сред българските кинодейци от това време, сковава цялостния кинопроцес в България. Но въпреки това и през следващите години и десетилетия се реализират авангардни смели и ангажирани авторски филми.
Report for the Ideological Commission's session "About Some Problems of the University's Ideological Work," 1957
This is a document that analyses the ideological activity of the League of Communists (LC) at the University (in Zagreb) and is essential for understanding the way in which LC, through the Ideological Commission, directed the ideological activity in the desired direction in higher education. The "correct" ideological attitude was expected from both students and professors, so the issue of staff in the faculties was of great importance for the political guidance of students. The document criticizes political apathy and a lack of interest by professors and students and seeks to strengthen 'Marxist education" and ideological work, the suppression of religious and "enemy" propaganda opposing scientific (meaning Marxist) views of the world, attracting students providing information on current events and encouraging culture and entertainment. It also proposes a program of ideological work for the entire duration of schooling for students, as well as work with members of teaching organizations.
By 1995, the document was, along with the other records of socio-political organisations, a part of the Archive of the Institute of History of the Labour Movement of Croatia/Institute of Contemporary History. That year, in July, it was handed over to the Croatian State Archives (CSA), where it is kept today. The documents are accessible for use without any restrictions.
Aldonos Liobytės laiškas Antanui Sniečkui
In 1957, Liobytė wrote to Antanas Sniečkus, the first secretary of the Lithuanian Communist Party, and Antanas Venclova, the chairman of the Lithuanian Writer's Union. In the letter, she tried to explain the difficulties relating to the creation of the opera Sukilėliai (The Rebels). The opera was based on the novel of the same name by Vincas Mykolaitis-Putinas, who is often called the informal leader of the silent anti-Soviet opposition. Liobytė was invited by the composer Julius Juzeliūnas to write a libretto for the opera, which was blamed for nationalistic ideas and attitudes. In the letter, Liobytė argued that the accusations made about her behind her back were unfair, and asked for open consideration of the question of the opera. Despite this, the opera was never publicly performed. The writing of the libretto was one of the reasons why Liobytė was forced to step down from her editor’s position at the Literary Fiction publishers in 1961.
Confiscation of Eginald Schlattner's Manuscripts by the Securitate
During 1957, Eginald Schlattner was subject of searches by the Securitate, which confiscated several manuscripts, letters and books. Some of the letters and manuscripts, in particular the story “Gediegenes Erz” (Solid ore), were used by the secret police as evidence of his alleged “subversive” literary activity. The Securitate officers argued that although “Gediegenes Erz” followed the formal rules of realist socialism, its ideological content was “counter-revolutionary” because it described the “mobilisation” of Saxon youth in Transylvania in order to preserve their cultural identity. After his release from prison in 1959, Eginald Schlattner received back the material confiscated by the Securitate, including this story.
Records of the Union of Free Hungarian Students – Julius Várallyay’s collection, 1957-1967
Fodor, József. Pilgrimage Guide to Saint's Day Fests, 1957-1974. Publication
Legend says József Fodor was a prominent guide and organizer of religious festivals for a long time. When he appeared, he soon became the main figure of the events, beyond the liturgy proper. The old pilgrims had already known him and expected his entrance on these occasions.
József Fodor was born on 27 June 1921 in Veresegyháza. He learned how to lead a religious festival procession from his mother, who died in 1936. In 1940, Fodor began to lead regular pilgrimages to various shrines. In his handwritten and illustrated book, he documented his religious festival trips from 1957 to 1974. The book contains photos and religious quotes. On each trip, he asked the parish priest, the chief lieutenant, or the bishop to add personal notes to his collection. Between 1957 and 1974, he led 153 pilgrimage groups, 12 of which went abroad. In the nearly ten years between 1962 and 1971, 120 groups took a pilgrimage trip with his guidance. In the course of his journeys, he visited 45 Hungarian and 16 foreign shrines. He often returned to a few of his favorite places, but he always strove to visit new places. He was ill for longer periods. We don’t know much about the pilgrimages he took after 1974. József Fodor died in Budapest in 1984. József Fodor’s book was made part of the collection of the Christian Museum in 1986. Sándor Soós published József Fodor’s book in 2008. Soós listed the pilgrimages which Fodor had led, and he wrote about his life and his pilgrimage trips.