In this diploma thesis I deal with the concept of a new socialist man in Czechoslovakia between 1948 and 1956 on the example of Emil Zátopek. The aim was to analyze the form of the new socialist man on the example of selected fiction, newspaper articles, visual, audio and archival material, taking into account the person of Emil Zátopek. The research was conducted using methods of discursive analysis. I approached the concept of the new socialist man as a social construct. Research has shown that the image of the new socialist man was dynamic and was misused by communist ideologues to create images of ideal citizens and emphasize the negative qualities of external and internal enemies. Exceptional personalities, such as Emil Zátopek, were shown by period propaganda as ideal citizens who were a harbinger of a new world. Zátopek's period image consists of two forms that intertwined with each other. Their combination enabled the communist propagandists to present Zátopek as a new socialist man, yet an ordinary citizen. The diploma thesis is divided into three chapters, which refer to each other. The chapters were conceived according to the image of Zátopek in contemporary propaganda.

Uppsatsen utgår från Signerad textil, en kollektion tryckta tyger för offent­lig miljö, som tillkom 1954 i regi av NK:s Textilkammare. Tolv konstnärliga utövare, varav tio manliga, inbjöds att medverka. För nutida betrakt­are är den stora majoriteten män uppseende­väckande, då det textila området länge hade kodats som kvinnligt – och gör så än. Det leder till mina frågeställningar: Hur gick urvalet av inbjudna konstnärer till? Hur kom det sig att endast två av dem var kvinnor?  Hade en annan sammansättning av gruppen inbjudna konstnärer, bestående av fler eller enbart kvinnor, varit möjlig och hur hade den i så fall kunnat se ut?  Materialet utgörs av Astrid Sampes arkiv på Konstbiblioteket, Nationalmuseum, samt referenslitteratur inom konst och design. De teoretiska ramarna utgörs av genusteori, med stöd av Pierre Bourdieus teorier om fält, kapital och aktörer. Metod är arkiv- och text­analys. Uppsatsen består av inledning, ett analyskapitel, ett diskussionskapitel samt epilog. I analyskapitlet skrivs dels det textila områd­et fram som kvinnligt kodat, dels presenteras bakgrunden till Signerad textil. Parall­ellt vävs detta sam­man med ett försök att tolka det textila fältet och kollek­tionens kontext med hjälp av Bourdieus teorier. I det avslutande kapitlet diskuteras om och hur frågeställningarna kan besvaras samt möjliga orsaker till att de manliga konstnärerna var i stor majoritet. Epilogen handlar om hur kollek­tionen har presenterats efter 1954 samt att det textila fältet ännu är kvinnligt kodat.

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Diploma thesis is focused on the administration of the printed journalism by Ministry of Information (from October 1948 Ministry of Information and Education). Ministry was responsible for administration of the printed journalism from May 1945 to January 1953, when was dissolved. Thesis is divided into seven main chapters. The first one sets the topic into Czechoslovak history in years 1945-1953. The second section is focused on the restoration of Czechoslovak Republic during Second World War via perspective of legal and constitutional development. The third chapter characterizes the authority of the government and the ministry in the years 1945-1953. The fourth part deals with administration of the printed journalism before May 1945, which is structured according to historical periods. Period view of the printed journalism in observed period is topic of the fifth chapter. The sixth section is focused on personality of the Minister Václav Kopecký. The last chapter deals with own topic and it is divided into two subchapters (era of years 1945-1948 and 1948-1953). Both of parts contains description of structure of main printed newspapers and magazines, the legislative determination of the printed journalism and the establishment, changes in the internal structure of ministry and the dissolution of...

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This professional project estimates the upfront costs and utility savings expected from greening an approximately 1,100 square foot home built in the 1950s in the San Francisco Bay Area. Two sets of upgrades (alternative and original) were compared for costs and benefits. The alternative set (which included ceiling insulation and omitted upgrading to dual-pane windows) clearly out performed the original set. The alternative set would be expected to reduce resident utility bills by 28% annually, and to prevent approximately 2,700 lbs of carbon dioxide emissions annually. The water efficiency upgrades were the best performing group of upgrades, as they had the lowest upfront cost and shortest payback period. (These water efficiency upgrades consisted of modifying toilets, faucets, and showerhead, as well as upgrading the dishwasher and clothes washer to efficient models.) Future very low-budget greening programs, in nearly all cases, should include a full-set of water fixture modifications, weatherstripping, and clotheslines. As budgets allow, other upgrades from alternative upgrades list are recommended, such as ceiling fans, programmable thermostats, and ceiling insulation. Whenever possible, workforce development labor should be used to simultaneously reduce labor costs and multiply the social benefit of each project dollar by providing entry-level green collar jobs.

The purpose of this paper is to examine the multiple versions of "Invasion of the Body Snatchers" in concert and determine the reason for their continued presence in the American cultural landscape. To do so I will look at the novel and four films and examine the context in which they were created. In reexamining the novel and films, a central theme begins to emerge: interiority. Fear in "Invasion of the Body Snatchers" moves from an external to an internal threat. The bodily locus of the monstrous other has been re-purposed and re-projected outward. The internal nature of the monstrous threat is displayed in the narrative’s use of production and distribution, mental health professionals, pseudo-families, and the vilification of sleep. Finally, this paper will examine the studio influence on the various films and their impact on the relative endings.

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Cette thèse espère contribuer à l’histoire socio-culturelle du couple américain durant la période d’après-guerre. En discutant du récit national au travers d’aspects qui sont souvent considérés comme évident – génération, âge, situation géographique, individu et institution ainsi que cultures locales et nationales – ce travail essaie de nuancer ces définitions catégoriques qui en sont venues à représenter les années 1950 et 1960 tout comme l’ubiquité du discours sur la culture nationale. Le mariage, la famille, le genre, la sexualité, faire la cour (dating), les pratiques sexuelles et la culture des jeunes forment le cadre par lequel cette étude essaie d’éclairer la norme incarnée par le couple blanc, hétérosexuel, de classe moyenne. En introduisant deux villes du nord-ouest des Etats-Unis – Boise dans l’Etat d’Idaho et Portland dans l’Etat d’Oregon – dans une réflexion portant sur le récit national, cet essai tente d’élargir l’histoire locale de ces deux villes et de complexifier l’analyse des conventions sociales. L’histoire orale associée à des documents issus des archives d’universités locales et d’annuaires étudiants (yearbooks) ont permis à cette étude d’observer comment l’expérience d’américains « ordinaires » diffère et s’accorde avec le récit national dans des villes qui n’ont reçus que peu d’attention universitaire durant cette période et sur ces thèmes. Les informations des recensements, les documents et les discours politiques de l’époque étayent le modèle répandu d’un couple cent pour cent américain, alors que les films éducatifs, les livres de bonnes manières et les rubriques de chroniqueurs ont permis à ce travail d’explorer le processus au travers duquel cet idéal s’est imposé. Ce modèle connait un âge d’or pendant la « longue décennie » des années 1950. La mémoire collective nous dit qu’il constitue alors le dernier phare de la tradition familiale mais aussi peut-être son point de rupture. Cet essai défend l’idée que cet archétype n’était ni traditionnel ni catalyseur de bouleversements. Le couple blanc et hétérosexuel de classe moyenne était plutôt le point culminant de facteurs politiques, sociaux, économiques et culturels qui ont finalement ébranlés le couple « traditionnel », ce modèle ayant échoué à véritablement incarner les idéaux de la nation qu’il était supposé représenter. A la fin de la « longue décennie » des années 1950 cette norme représentait un statu quo, alors que les jeunes qui devaient perpétuer son héritage avaient consciemment et inconsciemment déjà commencé à saper ses fondations. / This thesis hopes to contribute to the postwar socio-cultural historiography on the American couple. In putting the national narrative into a discussion with some of its oft taken for granted aspects—generation, age, location, the individual and the institution, and local and national cultures—, this work attempts to provide nuance to the categorical definitions that have come to characterize the 1950s and the 1960s as well as the pervasiveness of the national culture’s voice. Marriage, family, gender, sexuality, dating, sexual activity, and youth culture are the framework through which this study has tried to elucidate the standard embodied in the white, middle-class, heterosexual couple. In incorporating two cities in the northwest United States—Boise, Idaho and Portland, Oregon—into a discussion about the national narrative, this dissertation tries to widen their local histories and complexify national convention. Oral histories paired with documents from the local universities’ archives and yearbooks have allowed for this work to look at how “average” Americans’ experiences differed from and coincided with the national narrative in places that have received very little scholarly attention on this time and these themes. Census data, scientific studies, political documents and speeches substantiate the pervasiveness of the “All-American couple,” while educational films, etiquette books, and advice columns have helped this thesis explore the process through which the ideal came into being. This model experienced a heyday during the long 1950s. Dominant memory tells us that either it was the last beacon of familial tradition or the breaking point for change. This dissertation contends that the archetype was neither traditional nor the catalyst for change. Rather the white, heterosexual middle-class couple was a culmination of political, social, economic, and cultural factors that ultimately undermined the “traditional” couple because it failed to truly embody the ideals of the nation it was purported to represent. By the end of the long 1950s, this model had become the status quo, but the young people who were to carry it into the future had consciously and unconsciously began chipping away at its foundations.