Controversy over the Nature of Dramatic Text This thesis will attempt to identify the nature of dramatic text in the context of two art forms: literature and theatre. It will investigate the changes which dramatic text undergoes when staged while also thematizing the relationship between the textual and other aspects of works of drama. The thesis will be primarily based around Czech theatre aesthetics of the twentieth century and will attempt to map and reflect on the theoretic discussion on this subject. At the same time it shall observe how these theoretic attitudes are reflected in dramatic texts themselves and in scenic practice of Czech theatre of the twentieth century.

The diploma thesis deals with the concepts of author and authorship in the photography of the Czech lands in the first half of the 20th century, taking into account the international influence, essential from the perspective of the development of photography in this region. This given era became a fruitful and manifold stage of development of the "fine art" photography and of the interest in the photographer himself. The thesis starts by giving a brief evaluation of the changing role of a photographer as an author since the very invention of photography. It then focuses on pictorialism and via the beginnings of modern photography moves on to discuss the avant-garde. In each particular development period the thesis finds outstanding authors as well as specific issues related to the subject matter of authorship, and by means of that also points out the power of an individual who is able to influence an entire generational movement. By unfolding individual development of particular authors (Drahomír Josef Růžička, František Drtikol, Josef Sudek, Jaromír Funke, Eugen Wiškovský, Jindřich Štýrský) the thesis aims to prove that every single style period in the history of photography bears specific significance for the next period; although this influence is often denied by the authors themselves in...

« Le juge des libertés et de la détention ». A l’oxymore de son appellation répond l’ambivalence de l’institution dans le procès pénal. Créé par la loi du 15 juin 2000 renforçant la protection de la présomption d’innocence et les droits des victimes, le magistrat s’impose, à l’origine, comme le compromis attendu entre la nécessité d’un nouveau contrôle de la détention provisoire et l’attachement français à l’institution du juge d’instruction. Investi d’un rôle central en la matière, le juge judiciaire a également vocation à intervenir dans le cadre de mesures diverses, que son contrôle irrigue les enquêtes pénales ou qu’il s’étende à d’autres contentieux, comme en matière de privation de liberté des étrangers, de visites et saisies administratives ou encore de l’hospitalisation sans consentement. La succession de modifications sporadiques de ses pouvoirs confirme sa fonction malléable, au service d’une quête pérenne : la protection des libertés, l’équilibre de l’avant-procès. Au rythme des louvoiements du législateur, le magistrat peine, pourtant, à s’identifier dans le processus pénal : hier au service des libertés, aujourd’hui de la coercition. Alors que l’institution semble poser les sédiments d’une nouvelle perception de la phase préparatoire du procès, l’évolution de son rôle préfigure d’autres mutations : de la justice pénale, des acteurs judiciaires, l’esquisse, enfin, d’une équation processuelle singulière. La présente recherche propose ainsi de situer ce magistrat au coeur de ces évolutions, comme la trame embryonnaire d'un "renouveau" de la phase préparatoire du procès. / « The Judge for freedom and detention » [Le juge des libertés et de la détention]. The oxymoron of its name reflects the ambivalence of this institution in criminal matters. Founded by the June 15, 2000 statute which reinforces the protection of presumption of innocence as well as the victims’ rights, this magistrate originally imposed itself as the expected compromise between the necessity of a new control over custody and ties of the French to the institution of the investigating judge [juge d‟instruction]. Empowered with a central role in this matter, the judiciary judge must also intervene when various measures are considered, both during criminal investigations and other types of litigations, such as those depriving foreigners of their freedom, administrative search and seizures or hospitalization without consent. The succession of the sporadic modifications of its powers only confirms the flexible nature of its function to serve a never ending quest: the protection of civil liberties and the balance of the pre-trial. As the legislator hedges, the institution struggles to find its place within the criminal process. Yesterday dedicated to civil liberties, today to coercion. Whilst the institution seems to set the basis for a new perception of the pre-trial phase, the evolution of its role announces further transformations: to criminal justice, to the judiciary actors and finally, the preparation of a singular equation in the litigation process. The present paper offers to locate this magistrate within these evolutions as the embryonic plot of a “new era” in the pre-trial phase.

À l’heure actuelle, le droit du cautionnement est une matière totalement désagrégée. Cet éclatement du droit du cautionnement provient essentiellement de l’abondance et de la superposition des textes : on ne compte plus les multiples interventions du législateur, ni les rebondissements jurisprudentiels. La matière aurait pu être simplifiée si elle avait bénéficié de la réforme du droit des sûretés avec l’ordonnance du 23 mars 2006. Mais il n’en est rien.Associée au droit des sociétés, cette matière en devient d’autant plus complexe. En droit des sociétés, le cautionnement est une garantie des plus répandues. Il constitue la plupart du temps, pour la société, un acte dangereux car il peut avoir des conséquences préjudiciables pour celle-Ci. En même temps, la réglementation doit garder une certaine souplesse afin de respecter les exigences de rapidité de la vie des affaires. Cette conciliation est délicate à réaliser.Cette étude se propose d’appréhender le lien existant entre le cautionnement et les règles du droit des sociétés. Pour mener à bien cette entreprise, il convenait d’envisager le sujet sous deux angles, à savoir d’une part le cautionnement donné par une société, et d’autre part, celui consenti au profit d’une personne morale.Un tel cautionnement qu’il soit donné par une société, ou en sa faveur, est de nature à soulever des difficultés au regard des principes gouvernant le droit des sociétés. C’est pourquoi, certaines règles ont été fixées. Le cautionnement se trouve ainsi gouverné par des règles de droit des sociétés spécifiques, au-Delà des règles de droit commun qui le régissent. Mais cela passe également par l’exploitation du formalisme supposé protéger la caution personne physique, les obligations du créancier telles que l’obligation d’information, de mise en garde, le principe de proportionnalité…Si la loi Dutreil a échoué dans son impératif de cohésion et de simplification du droit du cautionnement, peut-On dire que l’avenir est à une unification des différentes législations relatives au cautionnement ? / At present, surety law is a matter that has totally been breaking apart. This fragmentation of surety law is mainly due to the abundance and overlapping of legislative acts: there are more interventions on the part of the legislator, more jurisprudential developments than we can count. The matter could have be simplified, had it benefited from the reform of security law in accordance with the order of 23 March 2006. But that was not the case.In relation to corporate law, the subject is becoming even more complex. In corporate law, surety is the most widespread guarantee. To a company it represents, most of the time, an unsafe act because it may suffer adverse consequences from it. At the same time, regulation should retain some flexibility to meet the speed requirements of the business world. This is a delicate balance to achieve.This study aims at grasping the relationship between surety and the rules of corporate law. To carry out this undertaking, it was appropriate to consider the subject from two different angles, namely the surety bond as it is issued by a company, and that as granted for the benefit of a legal person.Such guarantee whether it is granted by a company or to it, is liable to give rise to difficulties with regard to the principles governing corporate law. Which explains why certain rules have been set. The guarantee is therefore governed by specific corporate rules that transcend the common law rules made to that effect. But it also involves meeting the formal requirements designed to protect the individual guarantor, and binding the creditor to obligations such as the duty of disclosure, duty of warning, the principle of proportionality ...If the Dutreil law has failed to observe the requirements of cohesion and simplification of surety law, can we therefore say that the future is dependent on a unification of the various laws pertaining to surety?

The impetus for this study was the question of whether the information, which has been handed down on Czech architects who worked with Le Corbusier is true or not. Working in the studio of one of the leading architects of the 20th century was a crucial formative experience for dozens of architects while also being an attractive entry in their résumés. The doctoral thesis Myth and Reality: The Czech Assistants of Le Corbusier 1924-1937 is based on vast research of primary sources abroad as well as in the Czech Republic. The thesis critically examines the information known in the literature until now. The study aims to look behind the curtain of the formation of the existing historiography of Czech architectural modernism. It proves that architects themselves often entered history by means of their self- promotion skills. Parts of the thesis consist of a verified and critical list of Czech assistants at Le Corbusier's studio in 35 rue de Sèvres in Paris, detailed analysis of how work was conducted in the studio and an analysis of related sources. The work presents 13 Czech architects who worked in the studio of Le Corbusier and Pierre Jeanneret in the period between the two World Wars. The study follows individual forms of dialogue between young architects and Le Corbusier. In some cases, the research of...

This thesis investigates possible connections between the music of Erik Satie (1866-1925) and the later surrealist movement, turning to Parade (1917) in a case study that seeks to understand surrealism in music through the idea of self-exploration, a well-established interpretive approach in studies of surrealism in the visual arts. This thesis seeks to redefine surrealism in music not as a set of concrete musical characteristics, but as a collection of techniques meant to evoke subconscious turbulence by blurring the boundary between the "outside" and "inside," between conscious and subconscious, leading to a new discovery of higher or deeper truth. Satie's music aligns with the psychoanalytic elements of the discourse on surrealism. Psychoanalysis, pioneered by Sigmund Freud (1856-1939) and his followers in the 1890s in Vienna, permeated France around the time of the creation of the work. It inspired early surrealist techniques like automatism, illusory formal structures, collage, and stylistic allusion. This thesis demonstrates that such techniques can be discerned throughout Parade, not only in Satie's music, but also in its scenario, staging, costumes, and choreography. As such, Parade was a foundational work for the surrealist movement, with Satie's music contributing with the other media equally to the emotional and psychological impact of the ballet.

The thesis focuses on texts written and translated by members of Group 42, Jiřina Hauková and Jiří Kolář, specifically. It begins with a description of 1940s' literary context, incorporating poetical principles stated by Jindřich Chalupecký, the leading theorist of the Group 42. The research section of the thesis begins with an analysis of Jiřina Hauková's Přísluní and Cizí pokoj and Jiřího Kolář's Křestný list, Ódy a variace and Limb a jiné básně, poetry collections directly influenced and heading towards the poetic principles of the Group 42. This is followed by an analysis of the translations of poems by Dylan Thomas, Carl Sandburg and T. S. Eliot, the key being a comparison of various published versions. In case of Thomas and Sandburg, these are versions by the same translator published in different selections; in case of Eliot, these are versions by different translators. The thesis is concluded by the answer to the question whether and to what extent Jiřina Hauková and Jiří Kolář fulfil the poetic requirements of the Group 42 and to what extent their own poetics are present in the translations.

This dissertation is devoted to a monographic processing of the work of sculptress Maria Bartuszová (1936, Prague - 1996, Košice). Methodologically, it is mainly based on the compilation and evaluation of knowledge from the in-depth research of the first list of works of M. Bartuszová "Catalogue Raisonné 2012-2018", Collection of drawings and photographs from the Archive of M. Bartuszová, biography, exhibitions and bibliography. It is divided into four chapters, in which it deals with the sculpture of M. Bartuszová, its transformations in the period of her ceramics studies at the Academy of Fine Arts, Design and Architecture during the 1950s in Prague, continues by tracking her sculptural beginnings since 1961, and it deals with the circumstances of her relocation to Košice where she lived most of her life. It tracks her work during the normalization period of the 1970s until the end of the 1980s, when the totalitarian regime ended with the Velvet revolution. It explores the reasons why her work was little exhibited and also why it was little known and reflected by the professional circles. Based on the process of assembling parts of the organism of her oeuvre reconstructs technological experimental procedures, original terminology of the sculptor, creative intentions, dating of works and their...

West European Impulses of Bulgarian Diabolism (A Look at the Bulgarian Literature of the 1920s) Abstract Keywords: Bulgarian literature, expressionism, avant-garde, diabolism, horror fiction, marvelous, uncanny, Menippean carnival discourse, romanticism, naturalism, individualism Svetoslav Minkov (1902-1966), Vladimir Poljanov (1899-1988), Georgi Rajčev (1882 - 1947), Čavdar Mutafov (1889-1954) Contrary to its generally innovative potential for Bulgarian literature, the phenomenon called Bulgarian diabolism has been a marginal one from the point of view of literary discourse. The interest of postmodern writers and reviewers has given rise to accentuating some of the partial aspects of the works of Svetoslav Minkov, Vladimir Polyanov, Georgi Raychev and Chavdar Mutafov. However, with the exception of Thomas Martin's monograph Der bulgarische Diabolismus. Eine Studie zur bulgarischen Phantastik zwischen 1920 und 1934, published in 1993, works explicating the nature of the phenomenon in Bulgarian literature have been missing. Due to their novelty and impurity, the syncretic writings of Bulgarian diabolists, blending fading individualistic modernist tendencies together with elements of romantic fiction of horror in the generally expressionist roots of their works, were a phenomenon difficult to rank for their...

1 Abstract A monograph on Jan Kotík (1916-2002) introduces both his art and theoretical work, it deals with a historical and cultural context of the now-defunct Czechoslovakia. Kotík's - an artist's, theoretician's, published author's, educator's - artwork enjoys a prominent position in the context of Czech art of the second half of 20th century. An art-historical assessment of artwork was based on Kotik's artwork inventory and on all the documentation on Kotik's life and art work archived in the Documentation Department of the Institute of Art History of the Academy of Sciences of the CR and in private archives in the CR and Berlin. The study is based on a method of organic combination of biographical data and art-historical data with quotation of Kotik's theoretical texts. An evolution of artist's work is demonstrated chronologically with the context to Czech and world art. The monograph includes chapters: "Father Pravoslav's Art Studio and Study Years", "Art Group 42", "Possibilities of Applied Art", "Painting-Object", "Stay in Berlin", "Returns".