Aim of this work is to make a comparison of three generations (1918 - 1989) of discourse art theorists and to point to their similarity. Specifically, the main personalities and spokespersons of Czech avant-garde art and underground, who are Karel Teige, Vladimír Boudník, Egon Bondy, Milan Knížák and Ivan Martin Jirous. This work analyses the content the interpretive models which are contained in the manifestos and manifestations text (Chapter 2) and reconstruction experience and feeling of historical avant-gards based on work with ego-documents (Chapter 3). The result of this analysis is a description of the differences (and dynamics) of development of avant-garde, but especially characteristic of avant-garde and underground mental world. The analysis shows that the artistic avant-garde (Teige) and underground (Jirous, Knížák), as well as the second generation standing on the edge of the avant-garde and underground (Boudník, Bondy) show great similarity with many common features. Individual features common to the avant-garde and underground are summarized in the conclusion. Key words avant-garde, underground, czech art, manifest, feeling, Karel Teige, Vladimír Boudník, Egon Bondy, Milan Knížák, Ivan Martin Jirous

This MA thesis is focused on the analysis of stylistic originality of Mykola Bazhan texts of the 1920-30s. The texts are considered in cultural and ideological context of this period, which is a result of a mixture of two artistic and philosophical platforms: avant-garde and socialist realism. Trying to reach this aim I trace the correlation of avant-garde and socialist realism poetic and cultural paradigms in Mykola Bazhan poems, the correlation which defines the stylistic originality of his texts from this period. The introductory chapter presents a detailed analysis of the development of Ukrainian literature in the late 19th - early 20th century. I focus on modernist and then on avant-garde movements and literature groups. One part of the MA thesis is dedicated to literary theory - I attempt to apply basic terms like "modernism", "avant-garde", "socialist realism", etc. to the area of my research. Another problem discussed is the change of Bazhan's approach to the communist ideology during several periods of his career. After that the dissertation shifts to philological and cultural analysis of several chosen poems of Mykola Bazhan in historical, philological and ideological contexts which were discussed in the previous chapters of my work. Keywords Mykola Bazhan, modernism, avant-garde,...

Le « ministère public » est aussi appelé parquet, expression par la quelle on désigne l'ensemble des magistrats qui dans une juridiction sont chargés a la fois de poursuivre les infractions pour défendre les intérêts de la société, et de protéger l'individu. Les magistrats debouts sont toujours une partie essentielle en matière pénale, parfois en matière civile. D'après les jurisprudences constitutionnelles française et taïwanaise, ils relèvent de l'autorité judiciaire.Mais le péché originel réside dans le principe de la subordination hiérarchique parce qu'il s'oppose au principe de l'indépendance. Ce paradoxe a émergé de l'arrêt de la CEDH, l'arrêt Medvedyev, qui affirmé que les procureurs français ne sont pas une autorité judiciaire. Cet arrêt a entraîné une polémique sur le statut et l'évolution du ministère public français.L'étude de l'institution du ministère public en droit comparé met en relief deux aspects fondamentaux :Le premier est l'aspect organique du ministère public et la deuxième est celui de son évolution.Quelle est à l'heure actuelle la structure du ministère public ? Est-ce que le procureurs vont garder le statut de magistrat ou est-ce qu'il vont évoluer vers un statut administratif après l'arrêt Medvedyev ? Est-ce que le procureurs français et taïwanais appartiendront dans le futur à l'autorité judiciaire ou devront-ils être indépendants ? Quel est l'avenir des ministère public français et taïwanais ? / The «prosecution »is also called parquet expression by any means all judges in a jurisdiction which are loaded both prosecute offenses to defend the interests of the society, and protect the individual. Judges are standing still an essential part in criminal matters, sometimes in civil matters. In constitutional jurisprudence after French and Taiwanese, they belong to the judicial authority. But original sin lies in the principle of hierarchical subordination because he opposes the principle of independence. This paradox has emerged from the judgment of the R, judgment Medvedyev, who said the French prosecutors are not judicial. This decision led to a controversy over the status and evolution of ministrère French public.The study of the institution of the prosecution in comparative law highlights two fundamental aspects:The first is the organic aspect of the prosecution and the second is its evolution.What is the current structure of the public ministry?Is that the prosecutors will keep the status of magistrate or is it going to change the administrative status after the case of Medvedyev?Is that the French and Taiwanese prosecutors in the future belong to the judiciary or will they be independent? What is the future of French and Taiwanese prosecutors?

Univerzita Karlova v Praze Filozofická fakulta Ústav české literatury a literární vědy Diplomová práce Petra Bílková KONEC KARNEVALU poetismus na přelomu 20. a 30. let THE END OF THE CARNIVAL Poetism on the verge of the 1930s Praha 2012 Vedoucí práce: doc. PhDr. Jan Wiendl, Ph.D. Abstract In the first half of the 1920's, in the Czech avant-garde, a new art began to form - Poetism. On the basis of individual manifests and programmatic articles it was defined as modus vivendi. In the 1920's many principles and ideas were shaping the future, not only for the society, but also for the artistic movements. Poetism featured mainly an original concept of art and life; the authors of theoretical articles were mainly Karel Teige and Vítězslav Nezval. Within a few years the concept of life as a careless game and a source of joy faded and bitter- sweet topics began to penetrate Poetism. At this time, the poetics of Poetism changed from the original cheerfulness and everyday beauty to serious existential topics - the evidence is provided by many works of art. This transformation affected poetry the most. In poems made by authors, who came out of Poetism, inspiration thereby gathered is still evident; however, more serious issues are coming to the fore. Each of those poems expresses a distinct reconciliation with the...

This dissertation aims to introduce propagandistic activity of Nazi Germany and Communist Russia, which fundamentally impacted all areas of people´s lives including human culture, which signifies absolute freedom under normal circumstances. Art production was faced with such immense ideological pressure that the artwork became mere tools of the propagandistic regime. In order to fully comprehend the success of the propaganda, the dissertation focuses mostly on the official art production of both regimes and its insertion into historical and psychological context. The dissertation follows the development of both regimes and their art worlds in order to find their basic characteristics, which in turn serve to show the common principles used by the propaganda that managed to manipulate millions of people all over the world under different ideologies.

Este trabalho consiste na tradução dos três dramas líricos de Aleksandr Blok: Teatrinho de feira, O rei na Praça e A desconhecida, todas escritas em 1906, acompanhados do prefácio à primeira edição do volume Dramas líricos (1908) e do diálogo dramático Sobre amor poesia e serviço civil (1906). O nosso breve comentário procura contextualizar esta primeira obra dramática de Blok recorrendo aos poemas de Júbilo inesperado (1906), seu segundo livro de poemas. / This work is a translation of Aleksandr Bloks lyrical dramas: The Showbooth, The King on the Square and The Unknown Woman, all written in 1906, together with the preface to the book Lyrical Dramas (1908) and the dramatic dialogue On love, poetry and the public service (1906). The brief context given for these plays are the poems of his second poetry book, Unexpected Joy (1906).

Cette thèse est faite dans le cadre de l'ILC. La détermination des couplages électrofaible du quark top, est une des tâches à l'ILC. La thèse est consacrée à la mesure de l'asymétrie avant-arrière dans des paires de quark top, à 500 GeV, utilisant deux configurations de polarisation de faisceau, dans la chaîne de désintégration purement hadronique. Le quark top se désintègre à un quark b et un boson W, presque exclusivement. L'état final, qui consiste de six jets, est analysé utilisant la simulation de détecteur complète. Deux jets avec le b-tag la plus haute, sont pris comme des b jets et les quatre jets qui restent, sont utilisés pour reconstruire les Ws. L'identification des quarks top et anti-top est faite en utilisant la charge de vertex du quark b. Les précisions sur la section efficace sont aussi calculées. On trouve que l'ILC sera capable de mesurer les couplages électrofaible du quark top, avec une précision meilleur que 0.5%. Cette thèse inclut aussi une chapitre sur l'optimisation de calorimètre Électromagnétique Si-W du International Large Detector(ILD), un des deux détecteurs à l'ILC. L'ECAL d'ILD, consistera en couches alternatives de Silicium et le Tungstène, où des couches de Silicium sont des couches actives, et le Tungstène est le matériel passif. Les couches de Silicium sont divisées en 'wafer', entourées par des anneaux de protection(guard rings), pour éviter les courants de fuite. L'analyse est concentrée pour optimiser la taille d'anneau de garde. Les résultats montrent que un anneau de protection de taille jusqu'à 2mm, ne dégrades pas la performance d'ECAL gravement. La thèse est divisée en 6 chapitres. Le premier chapitre donne un résumé du Modèle Standard. Le deuxième chapitre est consacré aux aspects théoriques de la physique de quark top à l'ILC. On donne une description détaillée de l'ILD et ses sous-détecteurs dans le 3ème chapitre. Le 4ème chapitre présente les études de l'optimisation de Si-W ECAL. Le 5ème chapitre contient les détails d'analyse de production tt à ILC et la mesure de l'AFBt. Le dernier chapitre contient le résumé des résultats. / This thesis is done in the framework of the ILC. The determination of the electroweak couplings of the top quark, is one of the tasks at the ILC. The thesis is dedicated to the measurement of the Forward-backward asymmetry in top quark pairs, at 500 GeV, using two beam polarization configurations, in the fully hadronic decay channel. The top quark almost exclusively decays to a b quark and a W boson. The 6 jet final state is analyzed using full detector simulation. Two jets with highest b-tag are taken as b jets and the remaining four jets are used to reconstruct the W s. The identification of the top and anti-top quarks is done by using the vertex charge of the b quark. Precisions on the production cross sections are also calculated. This thesis also includes a chapter on the optimization of the Si-W Electromagnetic calorimeter of the International Large Detector (ILD), one of the two detectors at the ILC. The ECAL of ILD, will consist of alternate layers of Silicon and Tungsten, where Silicon layers are active layers, while Tungsten is passive material. The Silicon layers are divided into wafers, surrounded by guard rings, to avoid the leakage currents. The analysis is focused to optimize the guard ring size. The thesis is divided into 6 chapters. The first chapter gives a brief over view of the Standard Model. The second chapter is dedicated to the theoretical aspects of the top quark physics at the ILC. A detailed description of the ILD and its sub-detectors is given in the 3rd chapter. The 4th chapter presents the studies of the optimization of Si-W ECAL guard ring size. The 5th chapter contains the details of analysis of tt production at ILC, and measurement of the AFBt . The last chapter contains the summary of the results.

[pt] Tema desta dissertação, o escritor Jorge Luís Borges nasceu em Buenos Aires, centro político-financeiro e capital da Argentina no ano de 1899. Remontando à aurora de seus escritos, o momento de largada de sua produção literária coincide com um intenso processo modernizador em sua cidade natal. Com efeito, frente a uma Argentina que cresce em escala alarmante, Borges em 1921 e aos 21 anos regressa a Buenos Aires após uma temporada de sete anos em solo europeu. Ao chegar se depara com uma cidade profundamente distinta de quando partiu: aumento populacional, imigração maciça e uma inegável transformação no tecido físico da cidade e dos meios de transportes. Estas novas características faziam parte do impulso modernizante que soprara na capital portenha. Por seu turno, Borges engaja-se nas correntes vanguardistas do período e do seu interior fazia ecoar tanto um tom de franco otimismo acerca das recentes possibilidades de intervenção no panorama literário local, quanto numa clave melancólica, um Fervoroso lamento poético sobre a abrupta transformação de sua cidade Buenos Aires.Esta dissertação tem como objetivo analisar o movimento literário do escritor frente às alterações que permitiram um alcance mais amplo para sua prática vanguardista, assim como refletir sobre o sentimento de perplexidade que se deu em seu retorno, ao perceber uma cidade alterada em seus traços primordiais. Desta forma, o entusiasmo de vanguarda será discutido à luz dos manifestos assinados pelo autor e seus textos programáticos de renovação literária. Quanto a outra postura, será analisada pelo Réquiem produzido por Borges em seu primeiro livro de poemas Fervor de Buenos Aires em que o escritor dá ensejo ao movimento de irrealização de uma realidade percebida como estranha com o fito de realizar seu imaginário. / [fr] Thème de cette dissertation, l écrivain Jorge Luis Borges, né en 1899 à Buenos Aires, centre politico-financier et capitale de l Argentine. En reprenant le début de sa production littéraire, on remarque que celui-ci coïncide avec le moment d un intense processus modernisateur dans sa ville natale. En effet, face à une Argentine qui grandit dans des proportions alarmantes, Borges, en 1921, revient à Buenos Aires après un séjour de sept ans sur le sol européen. En arrivant, il sera confronté à une ville profondément distincte de celle qu il a quittée: augmentation de la population, immigration en masse et une inégale transformation dans le tissu physique de la ville et des moyens de transport. Ces nouvelles caractéristiques faisaient partie de l impulsion modernisatrice qui soufflait dans la capitale porteña. À son retour, Borges s engage dans les courants avant-gardistes du moment et y fait aussi bien éclore un ton de franc optimisme quant aux récentes possibilités d intervention dans le panorama littéraire local qu une note mélancolique, une fervente plainte poétique sur l abrupte transformation de sa ville, Buenos Aires.Cette dissertation a pour objectif d`analyser le mouvement littéraire de l écrivain face aux altérations qui ont permis une portée plus ample à sa pratique avant-gardiste, ainsi que réfléchir sur le sentiment de perplexité vécu à son retour, en voyant une ville altérée dans ses traits primordiaux. De cette façon, l enthousiasme de l avant-garde sera discuté à l aide des manifestes signés par l auteur, ainsi que ses textes programmatiques de rénovation littéraire. Quant à l autre posture, elle sera analysée à partir du Requiém produit par Borges dans son premier recueil de poèmes Fervor de Buenos Aires où l écrivain laisse la possibilité au mouvement d irréalisation d une réalité perçue comme étrange avec l intention de réaliser son imaginaire.

O presente estudo analisa as transformações por que o Bólide passa no decurso da obra de Hélio Oiticica, na qual assume diferentes aspectos de 1963 a 1980. Pode-se dizer que, mais do que configurar objetos ou mesmo proposições, o Bólide oferece possibilidades abertas a um comportamento criativo. Ele é parte constitutiva de uma dinâmica própria ao Programa de Oiticica que redimensiona e rearticula seus elementos continuamente; é na particularidade dessa dinâmica que deve ser abordado. No processo experimental do artista, a cada inscrição, o Bólide instaura uma nova significação ele possui tantas significações quantas foram suas inscrições , de modo que estudá-lo implica restabelecer constantemente articulações de significados. Primeiramente, então, o estudo aborda os Bólides cujas estruturas estão vinculadas às experiências do artista com a cor. Entende-se que essas peças ampliam os limites formais do objeto por meio do corpo da cor. Num segundo momento, a análise incide sobre os Bólides configurados a partir de materiais retirados do contexto local, tais como brita, conchas e lata. A especificidade desses elementos, conjugada com uma estrutura formal aberta, reforça o anseio de Oiticica por instaurar uma experiência artística de cunho autônomo. Em seguida, o estudo dedica-se aos Bólides relacionados com os conceitos de suprasensorial e crelazer, que se estruturam como extensões do corpo do participador e podem atingir a escala arquitetônica. Por fim, são abordados o Para-bólide e os Contra-bólides, que trazem uma nova dimensão a essa ordem propositiva. / This study analyzes the transformations that the Bólide (Fireball) undergoes throughout the work of Hélio Oiticica, when from 1963 to 1980, it takes on different aspects. It can be said that more that shaping objects or even proposals, the Bólide discloses new possibilities for a creative behavior. The Bólide is a component of dynamics inherent to Oiticicas program that continuously reshape and rearticulate its elements. It is in the peculiarity of these dynamics that it should be approached. Studying them involves a constant renewal of new mingling of meanings. First then, the study approaches the Bólides whose structures are tied to the artists experiences with color. It is perceived that these pieces expand the formal boundaries of the object by means of the body of color. In a second instance, analysis focuses on the Bólides fashioned from materials taken from the local context such as gravel, shells and tin. The specificity of these elements together with an open formal structure strengthens Oiticicas craving to implant an artistic experience with an autonomous imprint. From then on, the study is centered on the Bólides related with concepts of supersensorial and creleisure, which are structured as extensions of the participants body and may attain an architectural scale. And finally, the Para-bólide and the Contra-bólides that bring forth a new dimension to this proposed order are approached.

Este trabalho cria um diálogo entre dois movimentos literários de vanguarda surgidos nos anos vinte do século passado no Peru e no Brasil: por um lado, a vanguarda indigenista de Puno dirigida por Gamaliel Churata, que afirmava tanto sua identidade regional e étnica, como os procedimentos vanguardistas empregados para expressá-la; e, por outro lado, seu contemporâneo brasileiro, a Antropofagia de Oswald de Andrade, que desde a metrópole paulista reunia elementos semelhantes (o indígena e o impulso vanguardista) com distintos propósitos. A tese pretende refletir sobre a imagem do indígena elaborada por ambos os movimentos nas revistas Boletín Titikaka e Revista de Antropofagia e que está subjacente em El pez de oro de Churata e em Serafim Ponte Grande de Andrade; esta imagem foi usada como plataforma simbólica a partir da qual enfrentar as configurações históricas, literárias e sociais hegemônicas, e elaborar um projeto de modernidade nacional. Os limites e aporias de ambos os programas, que falavam através de uma voz emprestada e ausente, não ressaltados com a intenção de mostrar as contradições da sociedade em que foram gestados. / The present work creates a dialogue between two literary avant-garde movementes that emerged in the twenties of last century in Peru and Brazil: on the one hand, the avant-garde\'s indigenismo of Puno directed by Gamaliel Churata, that claimed both their regional and ethnic identity, as the procedures avant-garde use to express it; and, on the other hand, his Brazilian contemporary, the Oswald de Andrade\'s Anthropophagy, who from the São Paulo metropolis brought together similar elements (the indigenous and the avant-garde impulse) with different intentions. The thesis intends to discuss the indigenous\'s picture drawn by both movements in the journals Boletín Titikaka and Revista de Antropofagia and present in El pez de oro by Churata and Serafim Ponte Grande by Andrade; this image was used as a symbolic platform which deal with historical, literary and perplexities of both programs, which spoke through an absent voise, are underlined with the intention of showing the contradictions of their society.