The theses Maxmilian Pirner - The conception of allegory and symbol in the work of one artist on the end of 19th century discusses the work of Maxmilian Pirner and his attitudes to allegory and symbol. Becouse at the end of 19th century was the allegorical system in crisis, Pirner reflected it by its' modernization. The modernisation of system in his own conception consisted in gradual rejection of traditional allegory and admission of symbol. The these is trying to answer the question how this process came through and why it was unique. The main focus of the theses is to describe Pirners'role in the process of development in art since neoromantism to symbolism at the turn of 19th and 20th century.

O propósito desta dissertação é apresentar uma leitura de duas narrativas de Sagarana, São Marcos e A hora e vez de Augusto Matraga, como alegorias do fazer literário em G. Rosa. Na primeira, os elementos de feitiçaria, de reza brava e de experiências com a palavra são tomados como alegorias das concepções de linguagem e dos modos como se produzem os fazeres literários. Estas concepções e estes procedimentos passam por vários ensaios de avaliação de sua força produtora de efeitos poéticos e ficcionais, o que faz de São Marcos um laboratório da língua e de seus personagens verdadeiros artífices da palavra. Na segunda, a experiência do homem frente ao seu destino e sua luta contra a dominação e em favor da permanência de sua fama são consideradas como experiências semelhantes às do trabalho com a linguagem contra a domesticação normativa da escrita, o desgaste pelo uso excessivo ou o esquecimento pelo desuso. Assim, neste conto, a ficção encena, como seu efeito alegórico, a recaptura da condição selvagem, primitiva da linguagem. Em ambas, esta leitura tenta colher os elementos de uma poética rosiana, profundamente meditada e pensada no interior de sua própria produção literária. / This dissertation aims at presenting a reading of the Sagaranas two narratives, São Marcos and A hora e vez de Augusto Matraga, as literary composing alegories in G. Rosa. In the first narrative, the elements of sorcery, praying and experience with the word are taking as alegories of the language conceptions and the manners by wich the literary composings are created. These conceptions and proceedings are essayed to evaluate their producing force of poetics and fictional effects, in such a way that São Marcos turns a language laboratory and theirs characters true word artisans. In the further, The mans experience in front of his destiny and his fight both against the domination and for the permanency of his fame are taking as experiences like that of the labor with a language against writing normative domestication, the waste of excessive usage and the oblivion of the disuse. Therefore, in this story, the fiction shows, like alegoric effect, the recapture of the wild, primitive language condition. In both, this reading attempts to collect the elements of a Rosas poetic, deeply meditated and wellconsidered inside of their owns literary production.

Many portraits of Rudolf II were painted and created during his lifetime, forming a significant component of Rudolfine art, however, they have not received a sufficient art historical attention. They document, at times at stylyzed manner, the transformation of Rudolf's appearance. However, their most important task was to demonstrate and make tangeable Rudolf's authentic appearance to the world and to celebrate his magnanimity and personality. Thus, there are many portraits that represent Rudolf as a good emperor or a brilliant commander, although, as we know, they did not correspond to reality. A special chapter of the portrait iconography also create complicated allegories about Rudolf's reign relying on representations of personifications, mythological and animal symbols using Rudolf's personal impresa. Most of the portraits follow former portrait types typical for the 16th century, as bust, standing figure or equestrian monument. However, the peculiarity for Rudolfine portraiture is the allegorical portrait Rudolf as Vertumnus painted by Giuseppe Arcimboldo that combines classical portrait with allegory.

The aim of this theoretical and practical thesis is to clarify the idea of the existence of four basic elements with the focus on those of their features that can be straitforwardly used for the characterictic and temperamental traits of an individual. It also deals with the topic of symbol and allegory in art, explains some terms and, to some extent, characterizes their development, including their clarification based on particular works of art. The thesis con-centrates also on the use of the themes of elements, symbols and allegory as a source of in-spiration in Art lessons at basic schools. The practical part contains a colours drawing with the motif of figural composition of four allegoric figures representing the basic elements.

O propósito desta dissertação é apresentar uma leitura de duas narrativas de Sagarana, São Marcos e A hora e vez de Augusto Matraga, como alegorias do fazer literário em G. Rosa. Na primeira, os elementos de feitiçaria, de reza brava e de experiências com a palavra são tomados como alegorias das concepções de linguagem e dos modos como se produzem os fazeres literários. Estas concepções e estes procedimentos passam por vários ensaios de avaliação de sua força produtora de efeitos poéticos e ficcionais, o que faz de São Marcos um laboratório da língua e de seus personagens verdadeiros artífices da palavra. Na segunda, a experiência do homem frente ao seu destino e sua luta contra a dominação e em favor da permanência de sua fama são consideradas como experiências semelhantes às do trabalho com a linguagem contra a domesticação normativa da escrita, o desgaste pelo uso excessivo ou o esquecimento pelo desuso. Assim, neste conto, a ficção encena, como seu efeito alegórico, a recaptura da condição selvagem, primitiva da linguagem. Em ambas, esta leitura tenta colher os elementos de uma poética rosiana, profundamente meditada e pensada no interior de sua própria produção literária. / This dissertation aims at presenting a reading of the Sagaranas two narratives, São Marcos and A hora e vez de Augusto Matraga, as literary composing alegories in G. Rosa. In the first narrative, the elements of sorcery, praying and experience with the word are taking as alegories of the language conceptions and the manners by wich the literary composings are created. These conceptions and proceedings are essayed to evaluate their producing force of poetics and fictional effects, in such a way that São Marcos turns a language laboratory and theirs characters true word artisans. In the further, The mans experience in front of his destiny and his fight both against the domination and for the permanency of his fame are taking as experiences like that of the labor with a language against writing normative domestication, the waste of excessive usage and the oblivion of the disuse. Therefore, in this story, the fiction shows, like alegoric effect, the recapture of the wild, primitive language condition. In both, this reading attempts to collect the elements of a Rosas poetic, deeply meditated and wellconsidered inside of their owns literary production.

Cílem této práce je prozkoumat Baudelairův vztah k jeho době. Prozkoumat, jaké soudobé fenomény nejvíce ovlivnily jeho dílo, a jak. Abychom tohoto cíle dosáhli, budeme postupně zkoumat čtyři obasti - politickou situaci, tvářnost města, novinový provoz a umění ve Francii devatenáctého století. Budeme se snažit v těchto oblastech umístit Baudelairovu osobu a zrekonstruovat vliv, který na Baudelaira a jeho dílo tyto oblasti měly. Sledovat budeme zejména dvě baudelairovské studie - esej Paříž druhého císařství u Baudelaira Waltera Benjmaina a knihu Baudelaire. L' irreductible Antoina Compagnona. Oba interpreti zdůrazňují, že pro náležité uchopení Baudelairova díla je nezbytné právě projasnění Baudelairova postoje k výše uvedeným oblastem. Problematickým, ale ústředním pojmem této práce je pojem modernité. Jelikož je tento pojem vztažen jak k Baudelairově době, tak k jeho postoji k této době, není možné jej jednoduše definovat a není to ani cílem této práce. Cílem je spíše v rozmanitých fenoménech devatenáctého století, stejně jako v Baudelairově postojích a dílu, rozpoznat to, co je s pojmem modernité slučitelné, alespoň v určitém z jejích významů. Uvidíme, že jak básníkova doba tak jeho dílo v sobě nese mnoho rozporů, nebudeme se však snažit tyto rozpory překlenout, ale naopak se je pokusíme...

The aim of this thesis is to introduce and analyze not well known literary genre of mongyurok. Literary genre of mongyurok firs appeared in late 15. century on Korean peninsula. This diploma thesis is also focused on analysis of korean scholar Im Che's work called Wǒnsaeng mongyurok. For the purpose of this thesis, there is a typology of the genre mentioned above, created on the basis of seven different works of the genre, described in the first chapter. This typology was used for better analysis of the Wǒnsaeng mongyurok and for comparison of genres of mongyurok and mongjaryu sosǒl.

This diploma thesis is concerned with the use of symbolism in three selected novels by William Golding, Pincher Martin, The Spire and The Double Tongue. The theoretical part presents a brief biography of the writer and outlines theoretical background of literary symbolism, focusing especially on Northrop Frye's Theory of Symbols and the psychoanalytic perspective. It is concluded by listing sources of inspiration behind the selected Golding's works, taking his own experiences as well as literary influences into account. The practical part begins with characterization of Golding's use of symbols in general, including his methods, recurring topics and symbolic patterns. Its main part focuses individually on the three chosen books, in the order of their publication. Each section analyses symbolism of setting of the story and the protagonists' names, symbolic imagery, and it seeks for Christian and psychoanalytic symbols. In addition, it presents possible interpretations of other significant symbols occurring in the particular novel. The use of symbolism is put in context with outer influences to show the variety of topics and specificity of the author's style.

The master thesis presents and analyses a range of different ways in which the motif of the forest was treated in late-medieval literary sources as an element of thematic and compositional construction of the text. At the theoretical basis of the thesis is the concept of diachronic text reception and adaptations which bring along the transmission and simultaneous transformation of the use of topoi, while this process is being related to the development of the literary chronotopos signalizing a change in the public's horizon of expectation. The majority of sources for analysis are drawn from Czech sources of the long 14th century - courtly and chivalric romance, the Old Czech verse legend of St. Procopius and the Dalimil Chronicle - while a shorter part of the thesis is devoted to the presentation of individual tendencies in the development of the use of the forest topos in English and French literary allegory of the 14th and 15th centuries. In detailed comparison of specific passages from Old Czech texts with their actual models in other languages (Old Middle German, Latin), the thesis demonstrates, upon the example of the forest topos, that topoi do not represent fixed, inalterable clichés, but actually exhibit intense shifts in function, content and theme.

v anglickém jazyce This thesis is based on the Kurt Oppert's term "Dinggedicht" (in English "object-poem" or "thing- poem"), through which it views the transformations within the conceptualization of the subject and things in modern poetry. Apart from poems associated with the name of R. M. Rilke, thingness is also seen from the perspective of the functional use of the object in a poem (e.g. a thing as a tool of characterization orironization), whichis related to theuse ofobjects in figurativelanguage - the thing as a part of the metaphor, simile or allegory. As part of the definition of a thing-poem, the thesis also deals with the issue of subject-object relationship, which leads also to the category of a lyrical "I" in the literary theory. The thesis is based on individual poems which represent a concrete, prototypical way of dealing with the subject in poetry. These poems are delimited by the second half of the 19th century and the first two decades of the 20th century. The thesis is not based on strictly defined national literature, but it considers the German, French and Czech context in the comparative perspective.