The diploma thesis deals with new forms of sculpture in contemporary art. The theoretical part describes the development of sculpture and its changes in the course of time with a special emphasis on current Czech authors and their work. It also comments on materials and themes which most frequently occur and are used in sculpture. Last but not least, his part also deals with a public space and placing sculptures in here. The practical part presents a series of author's sculptural works which focus on various materials possibly usable in Art classes at the first school. Properties, availability and durability of the materials are examined and evaluated. In the didactic part, the author presents work of 5th year pupils who were inspired by creations of Anna Hulačová, a Czech sculptor. In the end, sculpture exhibitions visited by the author are presented. KEYWORDS Anna Hulačová, material, sculpture, theme, public space

Annotation: The present thesis is dedicated to the former Czech queen and Austrian Empress Maria Anna of Savoy (1803-1884) and the location of her frequent visits, Northern Bohemia's castle of Ploskovice. Anna Marie and her husband Ferdinand V (1793-1875) chose the castle as their summer residence after the Emperor's abdication in 1848. In order to properly represent the dignity of the former ruler of the House of Habsburg-Lorraine, both outside and inside, it was necessary to adjust the palace significantly in quite a short time, which was successfully realised in the spirit of contemporary rococo style by Czech artists and craftsmen. The individual chapters of the thesis deal with the life story of Anne Marie and the changes of castle Ploskovice - its history, reconstructions, facilities and decorations, especially from the perspective of history of art.

Uppsatsen behandlar Emma Ekwalls och Anna Nordgrens konstnärskap. Med genusperspektiv som teoretisk grund undersöker Två kvinnors konstnärskap – Ett nedslag och analys av Emma Ekwalls och Anna Nordgrens konstnärskap hur det såg ut för kvinnor och kvinnliga konstnärer i Sverige under 1800-talet. Då många kvinnor har blivit bortglömda eller dolda bakom sina manliga kolleger har Emma Ekwall och Anna Nordgren lyfts fram som verksamma konstnärer under 1800-talet. Analysen som genomförs av fyra olika verk belyser respektive konstnärskap och synliggör underliggande strukturer som har påverkat konstnärerna både motiviskt och hur motiven framställs. Genom att Emma Ekwall främst skildrade barn, rörde hon sig inom typiskt kvinnliga genremotiv, samtidigt som faktumet att hon var kvinna låste henne på ett sätt som skiljer som från männen under samma årtal. Här visas att även Anna Nordgren rörde sig till viss del inom vad som ansågs typiskt kvinnliga motiv, men hade däremot en bredare repertoar. Anna Nordgren var mer mobil och utvecklade såldes sitt konstnärskap mer tekniskt, men syntes även mer på konstscenen utomlands. I båda konstnärernas verk har kvinnor och flickor skildrats annorlunda från vad pojkar har gjorts. Detta visar på skillnaden mellan synen på män och kvinnor, samt hur århundradets sociala och politiska underliggande strukturer hade en väsentlig del i det hela.

I filmen Anna Karenina (Wright, 2012) används mise-en-scène för att skildra det sociala livet hos den ryska aristokratin i slutet av 1800-talet. Men på vilket sätt kan filmens narrativ förmedlas till publiken genom filmens visuella uttryck? Den här uppsatsen undersöker hur iscensättning kan använda symbolik för att skildra en films narrativ. Analysen utgår från sju scener ur Anna Karenina som tolkas efter dess scenografi, kostymering och ljussättning. Uppsatsen använder denotation och konnotation för att undersöka vilka tolkningar som kommer av filmens visuella uttryck. Analysen visar hur aristokraterna porträtteras i en teatral miljö för att skildra hur deras sociala interaktioner blir till ett framträdande, den teatrala miljön skildras genom både scenografi och ljussättning. Kostym tolkas bland annat utifrån färgsymbolik vilket kan ge flera olika tolkningar angående karaktärernas motiv och sinnesstämning. Undersökningens slutsats blir att filmens narrativ förstärks av dess scenografi, kostym och ljussättning men att det ofta finns flera möjliga tolkningar att göra gällande symboliken.

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Anna-Karin Palms debutroman Faunen (1991) innebar ett omedelbart genombrott. Romanen är skriven på ett fascinerande och egenartat sätt, med en blandning av olika genrer, berättarteknik och tidsplan. Berättelsen består av tre separata delar, som till en början tycks vara självständiga från varandra men emellertid visar sig vara sammanlänkade via ett flertal beröringspunkter. Jag har funnit romanen allt mer intressant och spännande desto mer jag har fördjupat mig i den. Efterhand som jag har studerat innehållet i de tre delarnas världar har jag upptäckt flera intressanta och fascinerande faktorer som bidragit till att utgöra en fängslande och egenartad historia. Romanen Faunen är en engagerande berättelse som är humoristiskt och lekfullt skriven med ett flertal spännande hänsyftningar till såväl litteratur, psykologi och mytologi, den innehåller exempelvis flera anknytningar till Virginia Woolfs liv och verk. Palm verkar på olika sätt vara tydligt inspirerad av just Woolf och hennes författarskap, men hon har till synes även tagit intryck av psykologen Carl Gustav Jung och speciellt av dennes teorier om det omedvetna. Jag avser att studera roman Faunen med utgångspunkt från Carl Gustav Jungs psykoanalytiska modell samt Virginia Woolfs feministiska synsätt, då jag anser att Palm fått inspiration från dessa båda personer och därmed låtit deras synsätt till stor del utgöra komponenter i romanen. Jag avser även att påvisa hur Faunen förhåller sig till och är påverkad av den rådande svenska samtidslitteraturen som var aktuell då romanen skrevs.

The musical compositions of Alfred Schnittke (1934-1998) have their own unique voice, and the Concerto for Piano and Strings is not an exception. Through the examination of Schnittke’s life and piano works in the context of the art and literature of his time, this monograph introduces Schnittke’s Concerto for Piano and Strings as something much more than just the analysis of a typical piano concerto while giving meaning to the polystylism existent in his works. Alfred Schnittke was of Jewish and German background and experienced living in the Soviet Union during World War II. An internal struggle for identity and the conflict present in the world at that time is evident in the works of Schnittke, which juxtaposes the dichotomy of good and evil. One cannot clearly understand the meaning behind the many different techniques and compositional devices of Schnittke’s music without a deeper knowledge of his life and the literature and art of the time; his music poses many poignant questions about religion and philosophy. The paper that follows consists of five chapters which begin with an introduction to Schnittke’s life, followed by a discussion of his pianistic style, an analysis of his works for piano, and a discussion of his piano concertos. The sections consist of a discussion of his Concerto for Piano and Strings within the context of his other works of the time and works of literature. Part of this discussion draws important parallels between Schnittke's Concerto for Piano and Strings and two literary works: The Master and Margarita by Mikhail Bulgakov and Doctor Faustus by Thomas Mann. It is hoped that this paper will bring a greater interest in Schnittke’s Concerto for Piano and Strings and his other piano works which are not frequently performed. / Music Performance

This dissertation reframes the Danish artist Anna Ancher (1859-1935) by expanding the context in which the artist has been considered, to position her as a Symbolist, modernist and independent artist. A revered and familiar artist in Denmark, most scholars discuss her paintings in association with the development of the art colony in Skagen, an important site of Denmark's Modern Breakthrough in the 1880s. The represented image of Ancher in paintings by male colonists during this period indicated her centrality within the group, depicted her as a fashionable bourgeois wife and respectable mother, but simultaneously neglected to reference the development of her professional practice. By 1889, Ancher had sold major paintings and gained national and international recognition. Michael Ancher's portrait of his wife in reform dress in Coming Home from Market (1902) signifies her freedom from conventional gender roles. Despite her affiliation with the Skagen colony, Ancher matured as a painter during the 1890s after its heyday. At this time Danish Symbolism and Vitalism came to eclipse the Naturalist orientation of the prior decade. The painter's study in Paris in 1889 and her contacts in cosmopolitan Copenhagen forged an avant-garde network that in many ways referenced, but also resisted, movements from the urban French center. An aesthetic that draws from the ostensibly contradictory and divergent ideas of Charles Baudelaire, Hans Christian Andersen and Friedrich Nietzsche can be found in Ancher's painting, positioning her alongside other Danish Symbolists. Ancher was also a native of the Jutland peninsula, which experienced the growth of pietist movements and major shifts impacting agricultural labor. Ancher's paintings of religion and harvest at the beginning of the twentieth century challenged contemporary French primitivist images of Breton peasants, especially those of Paul Gauguin. After 1900, Ancher's increasingly abstract paintings of unoccupied interiors reflect the complex modernist shift in valuation of the dwelling and a new emphasis on minimal decoration and strong planar surfaces in the home as conducive to physical and psychological health. In her paintings of her own studio, Ancher challenged normative gendered divisions in the organization of the home and asserted her identity as an autonomous artist. / Art History

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This study examined the relationship between microhabitat use and growth of age-0 smallmouth bass in the North Anna River. The study objectives were to describe microhabitat use during summer, assess the profitability of microhabitats, and determine if and how microhabitat use could determine which individuals gained a growth advantage. Age-0 smallmouth bass changed their microhabitat use as they passed through stages of ontogenetic development and became familiar with their environment. More than 30% of the area available to brood larvae contained mean water column velocities greater than 4 cm/s and no cover. More than 80% of larvae observed after dispersing from the nest site occupied areas approximately one m deep with velocities near 0 cm/s, or large cover objects that created low velocity shelters throughout the water column. By six weeks after dispersal (when all juveniles were > 40 mm), more than 50% of juveniles occupied depths less than 60 cm and focal point velocities > 3 cm/s, and microhabitat use by large and small juveniles did not differ. In these shallow microhabitats with moderate to fast current velocities, juveniles foraged at a higher rate (5.1 bites/min on average) than in deeper and slower velocity areas (1.3 bites/min). When these foraging rates were translated into estimates of energetic profit, juveniles in the shallow-fast microhabitats gained approximately 5 j/min more than juveniles foraging in other microhabitats. Microhabitat use was the only aspect of behavior that affected the foraging rate or energetic profit gained by juvenile smallmouth bass. I examined daily rings on otoliths to track the growth of individual smallmouth bass through time. Temperature affected growth rates below 22-23°C, so that individuals spawned later grew in warmer thermal regimes and grew relatively fast during early life stages. However, individuals that spawned early and grew slowly in cooler temperatures did not suffer higher mortality and compensated for their slow growth by accumulating growth over a longer period of time. Above 22-23°C, relative growth rates were not consistent through time; a fast growing individual during one life stage could grow relatively slow during the next. If growth above the temperature threshold depended on foraging success and foraging success depended on microhabitat use, then few individuals were consistently occupying the most profitable microhabitats. In experiments in an artificial stream, juvenile smallmouth bass assessed the potential profitability of an area by the foraging rate they achieved there. They usually did not remain in an area unless they foraged well at the time they searched it, and did not appear to associate habitat characteristics with profitability. In the river, most of the microhabitats available were relatively unprofitable, so an individual that abandoned a profitable area might (depending on its foraging behavior) spend Significant time in unprofitable microhabitats and consequently reduce its growth rate. Increasing the availability or density of food resources may improve growth of juvenile smallmouth bass in the North Anna River by increasing the rate at which juveniles encounter profitable microhabitats and elevating their intake rates in profitable areas. / Ph. D.