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Posted 2015-05-03 05:31:42 | Views: 771
Milada Horakova (1901 - 1950) 
Milada's grave is in Vysherad cemetary. Like Libuše and Šarka she fought against (TWO!) patro-fascist states and was persecuted for the brave resistance work she did.  
She was sentenced to the death by the Germans for her resistance work from the 1939 occupation, but was sent to Terezin instead of being killed. After she was released from Terezin she was urged to leave as friends feared for her safety, but she remained politically active in Prague. 
On 27 September 1949 she was arrested by the secret police. She was accused of being the leader of a plot to overthrow the Communist regime. The Czechoslovak secret police infamous for their brutal interrogation methods tried to force her to confess to treason and conspiracy, using both physical and psychological torture.
She was executed by the state in 1950. Her grave is a monument to her brave life and to all those who fought against occupation.  





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Posted 2015-05-03 04:46:11 | Views: 696
Dead women of Vysherad and the woman as the tragic, grief stricken mourner 

Here, the grieving woman is the emotional hyperbole without any historical context. While men are depicted on their graves, 
heroic | stoic | immovable
 women are trapped forever in lament. Is this the curse of loving? the curse of femininity? Is this pure strength or pain? 

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Posted 2015-05-02 11:27:32 | Views: 709
Social Realism and the Depiction of Women 

The statues in Prague depict women in the modes of Renaissance, Rococo,Baroque, Gothic, Greek and more! One prominent and fascinating way of looking at women depicted in Prague is the way Communist Era changed the depiction of women from decorative and symbolic objects to full-bodied, strong, feminine workers. 
When and how and why are women are women depicted in such a way? Is it limiting? Is it expansive // Empowering?? Is it freeing? 
This depiction celebrated women as workers and mothers which many women who have lived under Communism still react against. However, this working woman, this "productive" woman has become part of the daily fierce Womanly landscape that Libuše and šarka established in the Praha Vicinity. However, however however, these women do not reside on top of hills in enclosed in formal, royal fortresses -- these women line the streets and adorn doorways. the depiction of  These "everyday" women act as subtle resistance peices where women equal men, where women can react violently against men, where women can work as much and as hard as men, where women can maintain or shirk the beauty//confines of femininity.  


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