The main objective was to create a normative model of determining the value of early stage for companies in the seed and start up stage. The model should be applicable to entrepreneurs and investors, taking into account the assessment of the value of qualitative factors. Another aim was to identify the significant factors affecting the value of early stage companies in the seed and start up stage, i.e. at a time when there are no or very little revenues. Based on a research among investors and other experts on the valuation of early stage companies and venture capital, the most significant factors were not only identified, but also determined by their weight. The quality of evaluating investment opportunities has a major impact on the profitability of the investor´s capital. Current knowledge of the key value drivers and the mechanisms of valuation can help businesses to set realistic expectations when trying to raise capital to finance the startup of the project. It is therefore necessary to provide a clear methodological framework applicable to both parties of investing. The actual research was divided into two phases - individual interviews with investors and questionnaires. It was confirmed that the most crucial factors are those associated with quality management and company founders.

ONDRA, Michal. Exorcism in Mark 5:1-20 and evil spirits in Jewish traditions The goal of this master thesis is to introduce the readers to Jewish demonology, how it evolved, what influenced it, and how it was reflected in the works on the evangelists when they wrote down the stories of Jesus' confrontations with the forces of darkness. At first you will be introduced to the term "demon", which is followed by an excursion into the Hellenistic culture, the period of the Old and the New Testament and, of course, into the intertestamental literature. It is specifically the intertestamental literature which is the most relevant, since it is a very rich collection of works many of which contain references to demonology and angelology. In the second half of this thesis you will find an analysis of Mark's fifth chapter (Mk 5:1-20), which is subsequently compared to similar stories found in the gospel of Luke and Matthew. The final chapter of this thesis shortly reflects the influence of the Jewish tradition on the demonology of Mark's gospel.

“Where the Shadows Lie: Finding the Other in the Spatial Depictions of the Underworld in The Book of Enoch, Inferno and Paradise Lost” answers a question of spatial behaviour in the three texts, in terms of the portrayal of the characters of Fallen Angels, who have been Othered from Heaven, in each text within the spatial context of their respective heterotopias. The spatial behaviour refers to how these characters are portrayed to act within a certain space, with that behaviour directly shaped and influenced by the space and place that the characters are depicted in. The question of spatial behaviour in this study revolves around whether the behaviour within the Othered space is that of acceptance, or of rebellion. The narrative of each text is analysed as a whole, in order to be contextualised through a Narratological analysis, as well as a Hermeneutic reading and a contextualisation within the realm of Social-Scientific Criticism. The texts are then analysed in more detail, with particular focus given to 1 Enoch 6-21, lines 1-9 and 22-57 in Inferno, and lines 33-45, 52-55, and 64-110 in Paradise Lost in order to Deconstruct their base similarities and then to answer the research question of spatial behaviour through Critical Spatiality. This analysis investigates the aspect of Thirding-as-Othering, in terms of how the Othered space is represented, and how the (Othered) Fallen Angels inhabit that space, based on the choices available to them: either, accept the imposed differentiation and division, or to resist their own “Otherness” and the Othered space that they were sentenced to. These spatial behaviours depict the choices taken by the author of each text, based on the cultural and religious values of their times and cultures, to represent the spatial behavioural options of their narratives’ characters. These options are the choice to fight against the banishment and make a space of Power out of the Othered space, or to accept being Othered and accept the Othered space for the prison it is meant to portray. This study incorporates a Narratological Analysis of The Book of Enoch, Inferno and Paradise Lost, followed by a Hermeneutical Interpretation and Social-Scientific reading. The texts are then analysed in terms of the focal points of 1 Enoch 6-21, lines 1-9 and 22-57 in Inferno, and lines 33-45, 52-55, and 64-110 in Paradise Lost, and are Deconstructed in terms of the spatial depictions of the Underworlds in order to determine the similarities in conditions, both physical and emotional, that are created by the Thirding, which is ultimately investigated, in terms of Critical Spatial Theory, in order to answer the aforementioned research question. / Dissertation (MA)--University of Pretoria, 2012. / Ancient Languages / unrestricted

The thesis deals with the prime period of the town Veselí nad Moravou. The aim of this thesis is to define the foundation activity of aristocratic families in the Veselí region. Aspecial attention is devoted to the altar paintings, whose origin has not been so far elucidated. The main aim of the thesis is to describe religious paintings in three different churches and try to attribute possible authers of the paintings through a confrontation of available materials.

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Jack Kerouac's spontaneous prose method was inspired in part by his use of drugs while writing. While there is abundant biographical evidence that Kerouac used drugs frequently, little attention has been paid to their effects on the development of his style. This thesis attempts to demonstrate that the altered states of consciousness produced by Kerouac's drug use should be considered in conjunction with historical, cultural, and biographical forces in tracing the evolution of Kerouac's creative growth. As a member of the Beat Generation, Kerouac used drugs both as a social statement of rebellion and for artistic insight. In fact, he consciously entered into a well-established tradition of writers looking to drugs as modern-day muses. Within this legacy, drugs were commonly viewed as chemical gateways to a transcendental realm of visionary truth that the artists could enter and return with, thus becoming a literary seer. Kerouac, who believed that the ossification of standardized written English into rigid forms of grammar and sentence construction curtailed its potential for complete communication, sought a prose style that would allow for a maximum of authenticity and fidelity to organic thought with a minimum of revision. Kerouac used drugs like amphetamine, marijuana, and alcohol, each of which offered unique modes of perception, to enter into new frameworks of consciousness, and then recreated these altered states in writing. These three substances—amphetamine, marijuana, and alcohol—served as the basis in the development of Kerouac's style. Amphetamine, in the form of the over-the-counter drug Benzedrine, gave Kerouac the energy for his legendary typing marathons, allowing him to write On the Road in three weeks and The Subterraneans in three days. While writing On the Road in particular, Kerouac began formulating the stylistic approach that he subsequently dubbed "spontaneous prose." Its basic tenants, including a de-emphasis on revision, limited punctuation, and long sentences, were encouraged by Benzedrine's stimulant properties, which tended to focus Kerouac's attention on the exterior world of events, temporality, and movement. His amphetamine-induced texts attempt to communicate accurately by confessing the minutia of surface details. Kerouac's spontaneous style, however, soon evolved into the "sketching" technique seen in Visions of Cody and Dr. Sax, partially as a result of his marijuana-induced desire to share subjective perceptions truthfully. Rather than focusing on the exterior world, the marijuana texts look inward for authenticity. Marijuana helped Kerouac facilitate this inner orientation by its pharmacodynamic tendency to induce dream-like, associative states; when reproduced textually, these impressions seemed to resemble the unconscious structures of Kerouac's mind, which he shared hoping for complete communication via the universality of shared experience. Kerouac used both the amphetamine and marijuana modes to varying degrees and interchangeably for most of his career, and with the first section of Desolation Angels, written in sobriety, achieved their greatest synthesis, demonstrating that drugs were not the props to his style, but rather the impetus—even in the absence of drugs, Kerouac's prose retained its own essential, idiosyncratic features. Finally, in the latter part of Kerouac's career, alcohol proved that drugs could also negatively affect his style, as shown in Big Sur and Vanity of Duluoz. Their return to a plainer prose—some would say poorer prose—was no doubt the result of rampant alcohol abuse, and the unfortunate end to Kerouac's life and writing.

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Engel definieren sich vor allem durch ihre Undefinierbarkeit, ihre Zwischenwesenhaftigkeit. Das Spannungsfeld unvereinbarer Bereiche ermöglicht den Engeln die Existenz. Um ihre Aufgaben – besonders die des Mittlers bzw. Boten – zu erfüllen, können sie fliegen. Jeder Engel, schreibt Rilke, sei schrecklich. Als besonders schrecklich mögen diejenigen Engel sein, die gefallen sind. Ausgewählte Fall-Studien zu ihnen stehen im Zentrum dieser Arbeit. Engel büßen bei ihrem Fall die Fähigkeit zu fliegen und ihre privilegierte Position ein. Auf sich gestellt, zeigen gefallene Engel zwei Reaktionsmuster: Macht und Melancholie. Mächtigen gefallenen Engel gelingt es – oder: sie beabsichtigen es –, die Beziehungsrelation zur göttlichen Autorität nach ihrem Fall aufrechtzuerhalten bzw. neu zu definieren: Durch Errichtung neuer Reiche, rebellischer und sinnlicher, führen sie die Versuchung fort. Aber sie sind keine Mittler mehr, weil sie keine Mitteilungen mehr empfangen, sondern Botschafter eigener Botschaften. Melancholische gefallene Engel lassen dagegen die nutzlos gewordenen Flügel hängen. Auch sie haben vor ihrem Fall in einem Beziehungsverhältnis existiert. Fällt das Gegenüber weg, sinkt ihre Erscheinung in sich zusammen, erlischt ihre Botenfunktion, senden und empfangen sie nicht bzw. nichts Neues mehr. Macht und Melancholie sind in aber auch Aktionsfelder. Der Künstler reflektiert in der objektiv – für sein künstlerisches Schaffen – wie subjektiv – für sein künstlerisches Selbstverständnis – genutzten Identifikationsfigur des gefallenen Engels beide Positionen. So greifen Macht und Melancholie, Rebellion und Resignation, Schöpfen und Scheitern ineinander. Gefallene Engel sind eigentlich ihres Botenstatus’ beraubt. Doch haben sie eine einzige letzte Botschaft – sie sind selbst die Botschaft vom Ursprung ihres Falls und haben darin ihr Ziel. / Angels are defined above all by their indefinability, their mutable essence. The conflict zone between irreconcilable areas makes the existence of angels possible. To fulfill their function – in particular that of medium or messenger – they can fly. Every angel, Rilke wrote, is terrifying. Most terrifying among the angels are, perhaps, those that have fallen. Selected case studies of those form the core of this dissertation. When angels are cast out of heaven, they forfeit their capacity for flight and their privileged position. Left to their own defenses, fallen angels display one of two reaction modes – might or melancholy. Mighty fallen angels are able – or they aim – to maintain their relationship with divine authority, or to redefine it, after the fall. By erecting new realms, more rebellious and sensual, they carry on with temptation. But they are no longer media, because they no longer receive communications. Rather they are the messengers of their own message. Melancholy fallen angels, on the other hand, let their now-useless wings droop. They too existed in a relationship before the fall. When their vis-à-vis disappears, their apparition caves in; their messenger function extinguished, they send and receive nothing or at least nothing new. Yet might and melancholy are not only reaction modes, but also fields of action. The artist, in using the identification figure of the fallen angel both objectively – for his or her artistic creation – and subjectively – for his or her sense of artistic self, reflects both positions. So might and melancholy, rebellion and resignation, creation and collapse mesh. Fallen angels are in fact robbed of their messenger status because, unable to fly, they are no longer a medium. But they do have just one last message – they are themselves the message of the origins of their fall, and that is their goal.

This thesis examines how themes about migrant workers, especially women migrant workers are depicted in the two films The world, Shijie 世界 (2004), directed by Jia Zhangke 贾樟柯 and Angels wear white, Jianianhua 嘉年华 (2017), directed by Vivian Qu, also called Wen Yan 文言. In the background of the thesis the subjects hukou 户口, the system of household registration; the floating population, liudong renkou 流动人口, the people who are not living at the place where they are registered at, according to the hukou system and black hukou, heihu 黑户, the people who lack hukou altogether are discussed. The methods used in the thesis are a qualitative thematic analysis and semiotics. The theories that are the basis of the analysis are Laura Mulvey’s theory of the male gaze, Emirbayer and Mische’s concept of agency and Steven Lukes’s concept of power.    The themes that are explored in this thesis are work, accommodation, the ID card and the passport, the commodification of the female body and women who are sex workers, the female virginity, violence as well as symbols and role models. Both films show that a person’s status as a migrant worker who is lacking an ID card or as a migrant worker who has their hukou elsewhere determines the living conditions of the person in China. Angels Wear White depicts how being in possession of an ID card or not affects whether you get access to healthcare, work opportunities and your housing situation. In The World poor living conditions for the migrant workers are depicted. Both films show differences between the sexes, where women are treated as object of male desire and the female body becomes an object that can be bought by means of money or services. The female’s virginity before marriage is valued greatly, which affects the young women migrants’ experiences in the film.    Some symbols that appear in the film are the white dress, that symbolizes a female ideal, the ID card and the passport that are symbols of social as well as physical mobility in Chinese society, lastly the theme park is a symbol of the dreams and desires that are being shaped in contemporary China.   Keywords: “the floating population”, “hukou”, “female migrant workers”, “The World”, “Angels Wear White” / Den här uppsatsen undersöker vilka teman kring migrantarbetare, särskilt kvinnliga migrantarbetare skildras i the två filmerna The world, Shijie, 世界 (2004), regisserad av Jia Zhangke 贾樟柯och Angels wear white, Jianianhua嘉年华 (2017), regisserad av Vivian Qu också kallade Wen Yan 文言. I bakgrunden beskrivs bland annat hushållsregistreringssystemet hukou 户口; den flytande befolkningen liudong renkou 流动人口, de personer i Kina som inte bor på den plats som de är registrerade på enligt hukou-systemet samt heihu 黑户, svart hukou, de personer som helt saknar hukou.     Metoden för studien är en kvalitativ filmanalys som grundar sig på en tematisk analys och semiotiken. Teorier som används i analysen är Laura Mulveys teori om den manliga blicken, Emirbayer och Misches begrepp som beskriver agens samt Steven Lukes maktbegrepp.    De teman som behandlas i uppsatsen är jobb, boende, id-kortet och passet, kommodifiering av kroppen och kvinnor som säljer sex, den kvinnliga oskulden, våld samt symboler och förebilder. De båda filmerna skildrar hur en persons status som migrantarbetare utan hukou eller status som migrantarbetare med hukou på en annan plats påverkar personens levnadsvillkor i Kina. I Angels wear white skildras hur id-kortet eller avsaknaden av id-kortet påverkar möjligheten att uppsöka vård, möjligheterna till anställning och boende. Även i The world har migrantarbetarna erfarenheter av boenden som är undermåliga. I båda filmerna uppvisas skillnader mellan könen, där kvinnor blir objekt för manlig åtrå och där det finns exempel på när den kvinnans kropp och sexualitet blir en vara som kan köpas med pengar och tjänster. Kvinnans oskuld innan äktenskapet värderas högt, vilket påverkar de unga kvinnliga migrantarbetarnas erfarenheter i de två filmerna.     Flera symboler framträder i filmerna, den vita klänningen fungerar som en symbol för kvinnoideal, id-kortet såväl som passet fungerar som symboler för social och fysisk rörlighet i det kinesiska samhället och temaparken blir en symbol för de begär och drömmar som formas i Kinas samtid.