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Women-artist of the Czech underground movement Abstract The thesis will deal with the artworks by woman artists, who lived and created in Czech underground subculture of the 1970s and 1980s Czechoslovakia. Underground subculture was rather a lifestyle and dislike to the establishment. The thesis focuses on woman artists, for example, Naďa Plíšková, Zorka Ságlová, Kateřina Černá, Věra Jirousová, Juliána Jirousová, Iva Vodrážková and some others. It will examine if women, who were making art in the Czech underground subculture, had any female specificity of artworks, personal life or their position in the underground community. Keywords Czech Underground Culture in 1970s and 1980s, Communism, Normalization, Feminism, Independent Domestic Structures, Czech and Czechoslovak Art

This Bachelor’s Thesis introduces a previously unexplored visual artist to the field of Art history: Renata Wrede. Born in 1923 and active until her death in 1998, Renata Wrede produced a varied and colorful corpusof paintings, lithographies, drawings, sculptures, textile designs and pottery, most–but not all -of which is in the possession of her family. Herrigorous artistic training, deep engagement with her other passion –horses –and personal struggles for independence combined to create a varied style with anthropomorphizing images of -among many motifs-horses. Four of these images, taken from different periods of her life as an artist -are analyzed in this thesis paper. The focus on the analysis of the four works is the role of the horses in the picture: What do they do? How do they contribute to the composition? Why are they there? With the help of Renata Wrede’s autobiographical three books, Mitt romerska lejon (My Roman Lion), Juvelskrinet (The Jewelry Box) and Ior och hästarna (Ior and the Horses), the pictures are analyzed from the information provided by the writer and artist herself. The appendix includes a collection of Renata Wrede’s works (incomplete, but extensive) put together by the author of this thesis.

The dissertation thesis concerns with the issue of the left-wing terrorism in Italy and Federal Republic of Germany in the 1970s. The chosen topic is approached using the methods of transnational studies, which have been thus far applied only exceptionally in the relation to this phenomenon, despite the numerous parallels in different countries. The focus of the research lies in the analysis of the German-Italian terrorist network as a whole, the contacts between the organizations and mutual influence. The direct and indirect comparison of the cooperating terrorist organizations is also a substantial part of the thesis. The protest movement, which spread at the end of the 1960s and from which emerged the future terrorist groups as its most radical branches, was an important transnational phenomenon itself. The first chapter concerns with the analysis of this movement, emphasizing the reasons of its inception and its stances on political violence. The student and worker aspects of the movement are introduced, as well as older roots in the anti-fascist resistance or in the work of the Marxist authors. The thesis finds a special inspiration for the radicalizing Left in the events in the Third World. The thesis further examines the individual terrorist groups, chosen according to their importance and relevance...

This doctoral thesis deals with fundamental changes in West German foreign cultural policy during the 1960s and 1970s. Its objective is not only to examine how and under what circumstances the first (West) German conception of foreign cultural policy was conceived or which institutions and individuals participated most actively in its formation, but also to assess the understanding and definitions of foreign cultural policy and its role in the overall foreign policy of the Federal Republic of Germany. Further, the topic is analysed within a broad historical and international context. The research primarily uses the methodology of political history but has also been inspired by cultural history and political science.

[pt] Esse trabalho se dedica a uma análise de ordem projetual e construtiva do Pavilhão João Lyra Filho, edifício principal do Campus Francisco Negrão de Lima, sede da Universidade do Estado do Rio de Janeiro (UERJ). O campus, objeto de um concurso realizado pela Universidade em 1968, no qual os arquitetos Flávio Marinho Rêgo e Luiz Paulo Conde foram os vencedores, tem origem em um período de transição da arquitetura moderna brasileira e de expansão da estrutura voltada para o ensino superior no Brasil e no mundo. Nesse período, surgem no cenário internacional propostas inovadoras de campi que dialogam com a ideia de megaestrutura. Stefan Muthesius, autor do livro The postwar university: Utopianist campus and college, publicado no ano 2000, reconhece esses campi como single structure campus, em uma tradução livre campus de estrutura única. Essa classificação remete à campi em que o complexo programa universitário se concentra majoritariamente em um único edifício. Nesses casos, campus e edifício se confundem em uma única estrutura, impossibilitando dissociarmos um do outro. / [en] This work is dedicated to an analysis of the design and construction order of the João Lyra Filho Pavilion, the main building on the Francisco Negrão de Lima Campus, headquarters of the Universidade Estadual do Rio de Janeiro (UERJ). The campus, the object of a competition held by the University in 1968, in which the architects Flávio Marinho Rêgo and Luiz Paulo Conde were the winners, has its origins in a period of transition of modern Brazilian architecture and expansion of the structure aimed at higher education in Brazil. During this period, innovative proposals for campuses that dialogue with the idea of megastructure emerged on the international scene. Stefan Muthesius, author of the book The postwar university: Utopianist campus and college, published in 2000, recognizes these campuses as single structure campus. This classification refers to campuses such as UERJ, where the complex university program is concentrated in a single building, in the case of the University in the João Lyra Filho Pavilion. In these cases, campus and building are confused in a single structure, making it impossible for us to dissociate from each other.

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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The thesis seeks to develop a more sophisticated view of the black power movement in twentieth century America by analysing the movement’s cultural legacy. The rise, maturation and decline of black power as a political force had a significant impact on American culture, black and white, yet to be substantively analysed. The thesis argues that while the black power movement was not exclusively cultural it was essentially cultural. It was a revolt in and of culture that was manifested in a variety of forms, with black and white culture providing an index to the black and white world view. This independent black culture base provided cohesion to a movement otherwise severely lacking focus and structural support for the movement’s political and economic endeavours. Each chapter in the PhD acts as a step toward understanding black power as an adaptive cultural term which served to connect and illuminate the differing ideological orientations of movement supporters and explores the implications of this. In this manner, it becomes possible to conceptualise the black power movement as something beyond a cacophony of voices which achieved few tangible gains for African-Americans and to move the discussion beyond traditional historiographical perspectives which focus upon the politics and violence of the movement. Viewing the movement from a cultural perspective places language, folk culture, film, sport, religion and the literary and performing arts in a central historical context which served to spread black power philosophy further than political invective. By demonstrating how culture served to broaden the appeal and facilitate the acceptance of black power tenets it is possible to argue that the use of cultural forms of advocation to advance black power ideologies contributed significantly to making the movement a lasting influence in American culture – one whose impact could be discerned long after its exclusively political agenda had disintegrated.

The thesis focuses on the Czech architect Zdeňěk Kuna and a selection of his projects and plans from the 1960s and 1970s. These include the Prague office buildings of Motokov, Strojimport and Omnipol, the east stand of the Strahov stadium, the Permanent Representation of the Czechoslovak Socialist Republic in Milan and Hotel Horal in Špindlerův Mlýn. His works are presented in the cultural and historical context of Czechoslovakia in the 1960s and 1970s. The buildings and their interiors are not only formally described, the thesis also focuses on their contribution to the urban environment and the technologies used. The main principles of Kuna's work and the way he conceives of architecture are covered, as well as his sources of inspiration.