La présente thèse est née d’une interrogation sur le véritable rôle de l’iconographie de l’Éros adolescent, c’est-à-dire de l’adolescent érotisé, dans la culture occidentale et plus précisément sur l’enjeu et les fonctions que représente son image en tant que symbole d’amour, de beauté et de désir dans le cadre de la pédérastie en Europe et plus précisément dans l’Allemagne Wilhelmienne dans le contexte de l’intensification de la répression sexuelle au tournant du XXe siècle. Pour les Grecs, c’est le corps juvénile masculin avec ses charmes particuliers qui représente le plus beau sexe et le bon objet de plaisir. C’est une erreur fondamentale de croire que cette beauté était valorisée à cause de son parentage avec le corps féminin. La beauté de ses traits était liée à un certain charme et à des caractéristiques particulière au corps et à l’esprit masculins en voie de se former : la vivacité de l’esprit, la vigueur, la résistance, la force, l’endurance, la ténacité, l’ardeur, la fougue et l’enthousiasme faisaient partie de cette beauté que les garçons se devaient de renforcer par la pratique régulière d’exercices intellectuels et physiques. L’éducation pédérastique des garçons, garante des valeurs masculines, assurait que leur grâce et leur raffinement ne sombreraient pas dans la mollesse et l’effémination. L’ambiguïté féminine, l’androgynie qui sera perçue plus tard comme une caractéristique de la beauté adolescente mâle, plus encore, comme la raison de cette beauté, était plutôt, à cette époque, ce dont les garçons devaient se préserver et être préservés. Ainsi, le statut du jeune mâle lui confère, depuis la Grèce antique, un rôle prédominant dans la culture occidentale et explique, en partie, l’omniprésence de ses représentations dans l’art et la littérature européennes jusqu’au XIXe siècle. Pourtant, l’iconographie et la propagande autour de son image se transforment progressivement et fatalement jusqu’à l’aube de la Première Guerre mondiale. C’est notamment l’association de son image à l’érotisme et la beauté qui devient progressivement un tabou honteux, voire pervers. Instrumentalisée et esthétisée selon les intérêts de différents groupes qui s’opposent, le contrôle de l’iconographie et de la sexualité de l’adolescent devient, de cette manière, un enjeu majeur du pouvoir à la fin du XIXe et au tournant du XXe siècle. Ce phénomène est européen mais le Reich wilhelminien, en construction et en quête d’identité, représente un exemple idéal pour analyser ce phénomène que nous replaçons, d’une part dans le contexte de la répression sexuelle et, d’autre part, dans le contexte des mouvements de jeunesse et de contestation qui se développent parallèlement au cours de cette période. Notre étude, basée sur des observations et des faits précis, a l’audace d’essayer de comprendre un phénomène tabou et représente une invitation à une réflexion sur le destin de la beauté masculine et des amours masculins dans notre société. Nous invitons le lecteur à remettre en question certaines de ses convictions et nous espérons réussir à redonner à l’Éros adolescent, trop souvent censuré et négligé, au moins partiellement, la place qu’il mérite dans l’histoire européenne en insistant sur le rôle qui fut le sien dans l’art et la littérature ainsi que sur les enjeux et les fonctions qu’il a si souvent représentés dans les conflits politiques et sociaux. / The following thesis arose from an analysis of the actual role which the iconography of the adolescent Eros, i.e. the eroticized juvenile, plays in the western culture. More precisely, it is about the issue and the functions of its image as a symbol of love, beauty and desire in the framework of pederasty in Europe and more precisely in Wilhelminian Germany in the context of intensified sexual oppression at the turn of the 20th century. For the ancient Greeks, it was the young male body with its particular charms which represented the most beautiful gender and which was a fine object of pleasure. It is totally wrong, however, to believe that the value of this beauty was increased because of its descent from the female body. The beauty of its features was connected with certain charms and characteristics which are particular of the male body and spirit that are on their way to develop : A liveliness of the spirit, strength, power of resistance, endurance, toughness, verve, impetuosity and enthusiasm were part of this beauty which the boys had to intensify through regular mental and physical exercises. The boys’ pederastic education, a guarantee of male values, made sure that their grace and sophistication would not disappear into softness and effeminateness. Female ambiguity, the androgyny which will be seen later as a characteristic of juvenile male beauty or – even more – as a reason for male beauty, was at this stage rather something that the boys had to avoid or had to be sheltered from. Thus, the status of the young male has given him – since ancient Greece – a predominant role in western culture, which partly explains the omnipresence of his representation in European art and literature until the 19th century. However, the iconography and the propaganda about his image are transformed gradually and fatally till the beginning of the First World War. It is especially the association with eroticism and beauty which becomes gradually a taboo, something disgraceful or even perverted. Either instrumentalized or aestheticized – according to the interests of the different opposing groups – the control of this iconography and sexuality of the juvenile becomes in this way a great matter of dispute of power at the end of the 19th century and at the turn of the 20th century. This phenomenon is a European one but the Wilhelminian Reich – under construction and on a quest for identity – represents an ideal example for analyzing this phenomenon which on the one hand I put into the context of sexual oppression and on the other hand into the context of youth movements and contestation developing in parallel ways over this period of time. In my research – based on both observations and precise facts – I dare to try to understand a taboo phenomenon and I invite the reader to reflect upon the destiny of male beauty and male love in our society. The readers are invited to question some of their convictions and I hope I succeeded in giving back to juvenile Eros – too often censured and neglected, at least partially – the place he deserves in European history, insisting both upon the role he had in art and literature as well as on the issues and functions which he represented so often in political and social conflicts.

The sociocultural model of eating pathology is an empirically-supported model explaining eating disorder etiology. The model poses that body dissatisfaction and subsequent eating pathology stems from the unrealistic standards formulated by Westernized society. Although the model has strong empirical support, variables within the model do not account for 100% of the variance in disordered eating. Thus, the current researcher attempted to explore potential moderating factors in the sociocultural model of eating disorders that may help to explain variance currently unaccounted for. In particular, the researcher focused on the relationship between sociocultural internalization and body dissatisfaction, given that this relationship has not been previously explored within the literature. Based on theoretical support, the researcher chose several potential variables to test, including perfectionism, neuroticism, body surveillance, and shame. Primary analyses tested each variable for moderating effects using hierarchical moderated regression, but no significant findings were shown. Results of post hoc analyses showed all variables had significant mediating effects, with the exception of self-oriented perfectionism. The discussion section addresses consistency with previous research, limitations of the present study, treatment implications and guidelines for future research.

Les romans de Dostoïevski et de Bernanos se rencontrent sur la frontière fragile de la littérature et de la métaphysique ; l’incarnation des personnages dans des espaces et des lieux que leurs cœurs troublés contaminent donne au texte son symbolisme essentiel, qui n’est ni le « paysage choisi » romantique, ni l’espace surdéterminé des réalistes. L’incarnation ne contredit pas les règles de la création romanesque, puissamment remodelées par les deux auteurs, mais les refondent dans des histoires familiales archétypales où la maison paternelle peut être le lieu d’un meurtre moral initial. Derrière les discours de personnages bavards, avides de philosophie et de psychologie (ce qui a longtemps retenu surtout l’attention de la critique), se cache la question du langage et de l’esthétique face à la vérité. Beaucoup sont des menteurs, qui ont oublié le sens du langage enraciné auquel croyait Bernanos, et les soliloqueurs de Dostoïevski se perdent dans les méandres de leurs souterrains verbaux. La question de l’esthétique est tributaire des vicissitudes d’une époque (les années 1880-1930) qui est celle du déracinement des intellectuels ; quelle est cette beauté qui « sauvera le monde » dans un univers qui n’est plus théocentré, et quelle est la légitimité du romancier à en proposer la quête, surtout si elle est spirituelle ? Malgré la présence de figures du salut qui, dans la douleur de confrontations violentes, proposent l’acceptation de l’altérité, les déracinés persistent souvent dans la voie du mensonge et préfèrent le masque démoniaque du double ou le néant de l’«à quoi bon ? » / Dostoyevsky's and Bernanos's novels meet up on the frail boundary between literature and metaphysics; the incarnation of characters in spaces and places tainted by their troubled hearts gives the text its essential symbolism, which is neither the romantic "chosen landscape" nor the realists' overdetermined space. Incarnation does not contradict the rules of fictional creation —powerfully remodeled by the two authors— but recasts them in archetypal family stories where the father's home can be the locus of an initial moral murder. Behind the words of garrulous characters, who are eager for philosophy and psychology (which long caught the critics' attention), there lies the question of language and aestheticism confronted with truth. Many of them are liars who have forgotten the meaning of the entrenched language which Bernanos cherished, and Dostoyevsky's soliloquists get lost in the rambling development of their convoluted wording. The question of aestheticism depends on the vicissitudes of a period (1880-1930) which was marked by the uprooting of intellectuals: what is this beauty which will "save the world", a world which is no longer theo-centred, and how legitimate is a novelist who proposes its quest, especially if it is a spiritual one? Despite the existence of salvation figures who, through the suffering caused by violent confrontation, propose the acceptance of otherness, the uprooted characters often choose to lie persistently and prefer the demonic mask of duality or the nothingness of the "a quoi bon", an expression of absolute indifference and disillusionment.

La presente tesis tiene como objetivo principal determinar si existe relación entre la credibilidad y la interacción para-social de los Influencers con la intención de compra de productos de moda y maquillaje en la generación Y y Z de Lima Metropolitana. Para ello, se realizó un estudio cuantitativo correlacional, no experimental y transeccional, el cual busca determinar ¿cuál es la relación de las variables de estudio, respecto a la intención de compra de productos de moda y maquillaje? El instrumento de investigación que se utilizó fue un cuestionario online para recopilar datos (n=451 encuestas válidas). El cual se realizó mediante la herramienta de Google Forms y fue destinado al público objetivo, hombres y mujeres que siguen a un influencer, entre los 13 a 35 años de edad. Para medir si existe relación entre la intención de compra y las variables credibilidad e interacción parasocial se realizó el análisis correlacional y los resultados demostraron que si existe una relación entre las variables de estudio y la intención de compra de productos de moda y maquillaje. El estudio recomienda a las empresas que aún no han optado por las estrategias de marketing de influencia, a que lo realicen ya que los costos pueden ser menores a la publicidad del marketing tradicional y se obtendrá mayor cantidad de ventas y presencia en el mercado. La tesis consta de 5 capítulos. En el primer capítulo, se presentan los antecedentes de la investigación basándose en papers o estudios de diferentes países, analizando la metodología de investigación que utilizaron, luego se mostrarán las bases teóricas que explican las variables y el marco referencial, el cual explica la investigación en el sector investigado. En el segundo capítulo, se analizó la situación de la problemática, se desarrollaron las hipótesis y objetivos de la investigación. En el tercer capítulo, se explica la metodología de trabajo, el tipo de investigación, la operalización de las variables, el proceso de muestreo y se define el instrumento. En el cuarto capítulo, se desarrolló la interpretación de los resultados cuantitativos y se presentan los resultados del análisis estadístico, el cual contempla el análisis de correlación, análisis de fiabilidad y la prueba de normalidad. En el último capítulo, se realizó el análisis de los resultados de trabajo de campo complementándose con la contrastación de hipótesis, discusión y limitaciones de estudio. Por último, la presente tesis contiene una sección de conclusiones y recomendaciones. / The main objective of this thesis is to determine if there is a relationship between the credibility and the para-social interaction of the Influencers with the intention of buying fashion and makeup products in the Y and Z generation of Metropolitan Lima. For this, a quantitative correlational, non-experimental and transactional study was carried out, which seeks to determine what is the relationship of the study variables, with respect to the intention to purchase fashion and makeup products? The research instrument used was an online questionnaire to collect data (n = 451 valid surveys). Which was done through the Google Forms tool and was aimed at the target audience, men and women who follow an influencer, between 13 to 35 years of age. To measure whether there is a relationship between the purchase intention and the credibility and parasocial interaction variables, the correlational analysis was carried out and the results showed that there is a relationship between the study variables and the intention to purchase fashion and makeup products. The study recommends companies that have not yet opted for influencer marketing strategies, to do so since the costs may be lower than traditional marketing advertising and a greater amount of sales and presence in the market will be obtained. The thesis consists of 5 chapters. In the first chapter, the background of the research is presented based on papers or studies from different countries, analyzing the research methodology they used, then the theoretical bases that explain the variables and the referential framework will be shown, which explains the research in the investigated sector. In the second chapter, the situation of the problem was analyzed, the hypotheses and objectives of the research were developed. In the third chapter, the work methodology, the type of research, the operationalization of the variables, the sampling process and the instrument are defined. In the fourth chapter, the interpretation of the quantitative results was developed and the results of the statistical analysis are presented, which includes the correlation analysis, reliability analysis and the normality test. In the last chapter, the analysis of the results of field work was carried out, complementing it with the contrasting of hypotheses, discussion and study limitations. Finally, this thesis contains a section with conclusions and recommendations. / Tesis

In this paper I argue that aesthetic appreciation of nature should be reflective and based on respect for nature. I believe first-hand experience is crucial and that nature can be aesthetically experienced freely in a multi-sensory way. Aesthetic experience will bring attention to features of the environment which the subject needs to reflect on and make sense of. My main argument is how Yuriko Saito’s metaphorical notion of “lending your ears to nature’s own story” and “recognize its reality as apart from your own” can manifest the moral obligation of reflecting on what is given in experience. Some implications of this notion will be looked at. First, the perplexity that nature has its own reality and story apart from us while nature is also what encompasses our own life and grounds the experience of judging it. Contemplation on this issue may bring with it a strong sense of self- and environmental awareness that potentially can result in a sublime response. Second, to lend your ears to a story of a landscape leads to considerations about authenticity and true wilderness. I argue that one can think of wildness and authenticity to acquire a better understanding and one should not see those terms as a basis for value judgments. I will then take a closer look at the links between the moral considerations and the aesthetic experience itself. To preserve the autonomy of taste I separate the perceptive and reflective parts of aesthetic experience, saying that although both levels can inform one another, knowledge or moral considerations don’t necessarily determine aesthetic judgment. Departing from other cognitivists, I don’t think the wild is per definition beautiful, it is even sometimes difficult to aesthetically appreciate at all. In the last chapter I consider the significance of the sublime affect in establishing aesthetic relationships with more diverse environments.

The project design processes multifunctional center for leisure and sports. The center is situated in Šternberk and its capacity is about 150 people. There is inter alia the wellness center, with saunas and whirlpool, a fitness, gym and a beauty salon. Architecturally, the object is conceived as paralell blending of three units of a different colors and sizes. As well as all construction compositions are more developed basis for air conditioning systems. Documentation is processed at the level of documentation for building permit.

JANA BLAHNÍKOVÁ Keywords: texture, matter, art informel, existentialism, time, change, traces, beauty, ugliness, imagination Abstract: The Master Thesis concerns itself with changes of artificial textures as an inspiration for creative work. By artificial textures are meant paints and layers on objects, on which time has left its mark. A part of the Thesis deals briefly with the basic categories of aesthetics with special regard to texture change. The Thesis maps out the Czech and the world art scene of the 1950s and 1960s and focuses on the main artists of that period, whose work relates to the subject. The theoretical base is linked with the artists and art schools of thought, which is presented in the didactic section a part of which I used in my practical work and described in the reflection.

The Law and Art - Symbolism, Aesthetics, Architecture Abstract The Law and Art can be considered as a field of legal science or as a part of the theory of law, which is beginning to enjoy the interest of lawyers and legal scientists and theoreticians. However, this is not an area of law dealing with the Art Law. The Art Law focuses more on intellectual property law and the application of law in the world of art and artists. This thesis analyzes the theoretical question of whether the law can be understood as a distinct artistic discipline. So called beautiful art. This question also is the main hypothesis of this thesis. The thesis consists of five backbone chapters, in which the author, with the help of partial hypotheses and submitting as much information as possible, seeks to defend or refute the main hypothesis. As a by-product of the research done, the author also introduces a new term "The Art of Law". The Art of Law is supposed to represent possible ways and (the) ways of the connections of particular beautiful and applied arts with the law as a field of human activity. The aim of the thesis is not only to provide comprehensive and definitive answers to the main hypothesis (but also to a comprehensive explanation of the concept of the Art of Law) likewise an effort to set up a stimulating environment...

Die Arbeit hat zwei Teile. Zuerst wird eine Analyse von drei großen Romanen Dostojewskijs vorgenommen: Der Idiot, Die Dämonen und Die Brüder Karamasoff. In jedem Roman werden verschiedene Themen in Betracht gezogen: die Schönheit in Der Idiot, die Liebe in Die Dämonen und das Opfer in Die Brüder Karamasoff. Durch diese Themen wird die Komplexität der dostojewskijschen religiösen Welt freigelegt. Im Werk des russischen Schriftstellers ist das religiöse Element wesentlich, wenn man die Handlung verstehen und interpretieren will. Das Drama der wichtigsten Figuren beruht immer auf einer Auseinandersetzung mit religiösen Themen. Die Religiosität ist auch das Hauptthema der Hermeneutik Guardinis in seinem Buch Religiöse Gastalten in Dostojewskijs Werk. Der zweite Teil der Doktorarbeit untersucht daher die guardinische Interpretation Dostojewskijs. Warum und wie hat der italienisch-deutsche Denker den russischen Schriftsteller gelesen? Welchen Beitrag haben die Romane Dostojewskijs dem guardinischen Denken geliefert? Welchen Beitrag leistet die Deutung Guardinis für die Kritik des dostojewskijschen Schaffens? Diese Fragen eröffnen die Grundzüge des zweiten Teils der Arbeit.:Einleitung ERSTER TEIL: DIE RELIGIÖSE WELT IN DOSTOJEWSKIJS GROSSEN ROMANEN I. Der Idiot 1. Die Figur des Fürsten Myschkin 2. Was ist das Schöne, das die Welt erlösen wird? II. Die Dämonen 1. Die Dämonen und die kluge Schlange 2. Das Böse und die Liebe III. Die Brüder Karamasoff 1. Vorwort 2. Das Weizenkorn 3. Die Empörung über das Opfer 4. Echtheit der Liebe durch das Opfer ZWEITER TEIL: ROMANO GUARDINIS INTERPRETATION VON DOSTOJEWSKIJ I. Methodologie 1. Die Einheit in der Spannung der Gegensätze 2. Die katholische Weltanschauung 3. Die guardinische Hermeneutik II. Genese und Entwicklung des Werkes über Dostojewskij 1. Guardinis Professur für katholische Weltanschauung in Berlin 2. Entwicklung des Werkes über Dostojewskij III. Romano Guardinis Interpretation von Dostojewskij 1. Vorwort 2. Glaube und Religiosität des Volkes 3. Die Religiosität am Ende der Neuzeit 4. Ein Christussymbol? IV. Die Gegensätze in Dostojewskijs Werk 1. Der Beitrag der guardinischen Methode zum Verständnis des Werkes des russischen Schriftstellers

Desde la creación de la sociedad, vivir en un constante comparativo de belleza y perfección entre los habitantes se normalizó de tal forma que se heredó a todas las generaciones posteriores hasta el día de hoy, convirtiendo la belleza en un constructo social (Yaa Oduro, 2016). Quienes tendían a sobresalir o ganar eran comúnmente quienes lograban ser superiores al resto en liderazgo económico, influencia social y belleza física. Esto los llevo a una necesidad muy fuerte por la búsqueda de la perfección y empoderamiento social. Esto ha repercutido de forma no solo simbólica sino tangible en las creencias sociales y acciones ejecutadas por los jóvenes de la sociedad de hoy, llevándolos a enfocar sus recursos, herramientas y fuerza en la búsqueda, al parecer, interminable hacia el logro social y la belleza perfecta (Ma, Fang, Zhang y Nie, 2017). Frente a dicho fenómeno, ya normalizado, los stakeholders alrededor de este sistema social han optado por responder de manera efectiva e inmediata a esta necesidad creada. Se han insertado modelos a seguir para poder alcanzar esa perfección tan deseada. Las nuevas celebridades, los influenciadores han tomado ese rol de guías hacia la perfección y éxito social que tantos parecen buscar. Pero es necesario verlo más allá de un tema psicosocial, verlo desde el punto de vista del negocio. Las marcas encuentran en estos personajes el aliado perfecto para aumentar no solo sus ventas, sino ver reflejada su personalidad de marca, a través de una comunicación efectiva generando una relación real y tangible entre la marca y el usuario (Saggers y Morris, 2018). / Since the creation of the society, living in a constant comparative of beauty and perfection among the inhabitants has been normalized in such a way that it was inherited to all subsequent generations until today, turning beauty into a social construct (Yaa Oduro, 2016). Those who tended to excel or win were commonly those who managed to be superior to the rest in economic leadership, social influence, and physical beauty. This led them to a very strong need for the search for perfection and social empowerment.This has reverberated not only symbolically but tangibly in the social beliefs and actions carried out by young people in today's society, leading them to focus their resources, tools and strength in the search, apparently, endless towards social achievement and beauty. perfect (Ma, Fang, Zhang and Nie, 2017). Faced with this phenomenon, already normalized, the stakeholders around this social system have chosen to respond effectively and immediately to this created need. Models have been inserted to follow in order to achieve that desired perfection. New celebrities, influencers have taken that role of guides to perfection and social success that so many seem to seek. But it is necessary to see it beyond a psychosocial issue, to see it from the business point of view. Brands find in these characters the perfect ally to increase not only their sales, but also to see their brand personality reflected, through effective communication generating a real and tangible relationship between the brand and the user (Saggers and Morris, 2018). / Trabajo de investigación