Thesis (Ph.D.) - University of Glasgow, 2008. / Ph.D. thesis submitted to the Faculty of Arts, Department of History of Art, University of Glasgow, 2008. Includes bibliographical references. Print version also available.

Thesis (Ph. D.)--Ohio State University, 2005. / Available online via OhioLINK's ETD Center; full text release delayed at author's request until 2007 Nov 22

(in English): The present thesis titled Translation of francophone comics deals with the subject matter of comics translation, while applying both a theoretical and an empirical approach. Particular attention is paid especially to translations from French into Czech. Regarded the fact that Czech science has only scarcely studied the subject so far, the present thesis is conceived as a global introduction to the subject matter with particular focus on some of its partial aspects. The introduction to the theoretical part of the present study defines the main characteristic features of comics as a medium, as these features are closely linked to the particular challenges raised by its translations. The key chapters of the theoretical part go further to the core of the principal subject and focus on setting a general theoretical framework for translation analysis of specific problems linked with comics translations. The most common challenges faced by a comics translator are identified based on the defined characteristics of the Ninth Art and systemized in three main groups defined as technical, cultural and linguistic aspects of translation. While translating comics from French into Czech, the translator's work is also influenced by the radical differences in approaches to the Ninth Art in the Czech...

The thesis provides an analysis of the First Czechoslovak Republic in Simon Mawer's novel The Glass Room. The first part of the thesis concentrates on Mawer's life, the beginnings of his writing career, his interest in the Czech Republic and the Villa Tugendhat which inspired him in writing the novel and also on the work's receptions. The second part focuses on history of the First Czechoslovak Republic and on an analysis of this era in Mawer's novel. It deals with Czechoslovak political, social and economic situation, Czechoslovak cultural life and art, minorities issue and growing radicalism of 1930's in The Glass Room and compares and contrasts it with the real Czechoslovakia.

The diploma thesis is focused on insurance of art. In the first part of the thesis the chapters contain areas of art which are insured in practice. The paper analyzes insurance of cultural heritage, works of art, musical instruments and cultural events. Each chapter describes the specifics of the areas and the most used kinds of insurance, including practical examples. In the last chapter of the first part I outline the situation abroad and its comparison with the Czech market. As an example, a foreign insurance company has been selected by AXA Art. The second part is devoted to insurance of Czech Philharmonic. It contains links to the orchestra, the historic building and the gallery. Funded organizations of the Ministry of Culture occupy a significant portion of the paper. In this thesis, I do not mention insurance in the film industry.

This thesis intends to assess various inspirations of Czech art of the nineteenth, mainly twentieth century by ancient Greek tradition. Special emphasis is given to following two viewpoints: travelling on the one side and body and physicallity on the other. The first part concerns itself with artists travelling south to discover new impulses for their work, the second one deals with various approaches to body and physicallity inspired by Greek art. The didactic section presents an application of these topics to the elementary school Art Education. The practical part consists of two series of photos describing the subjective view of the present Greek metropolis.

The dissertation examines the reception of Czech and European abstract art in Czechoslovakia in the 1920s and 1930s. It assumes that the Czechoslovak cultural milieu was unfavourable for abstract art at that time, yet various forms of its reception were occurring. Thus, the objective is to demonstrate and document opportunities for abstract art public presentation, related critical reactions and theoretical reflection. The reception history perspective followed in the dissertation deals with written sources, and focuses on relationship between viewers and abstract art and on handling particular artworks. Predominantly recipients such as theorists, art critics, editors, artists, and other participants in the arts sector are taken into consideration when exploring contemporaneous exhibiting, evaluation and interpretation of abstract art. The paper includes responses and attitudes to abstract painting and sculpture as well as to abstract photography, film and kinetic art.

The period after the February 1948 posed great changes for the cultural sphere, the groups and clubs were dissolved, artists who did not want to squeeze into the limits of socialist realism had no choice than to close themselves in the privacy of their homes and studios. After 1950, however, a group of friends around Jiří Kolář formed in Prague, who shared the same views on political and cultural development and, despite various artistic orientations, captured everyday experiences in pictures or texts. The thesis focuses on the friendship of Jiří Kolář, Vladimír Fuka, Eva Fuka, Zdeněk Urbánek, Jan Rychlík, Kamil LhoJan Hanč, Josef Schwarz-Červinka, Emanuel Frynta and others, and tries to portray this period of time, their mutual inspirations and relationships, and especially the extremely creative atmosphere, which was originated in this friendly circle. The thesis is based on diary entries, drawings, collages, poems and literary texts, which they created together and for each other in this unique, free and inspiring environment.

This diploma thesis focuses on the conceptual expressions, that reflect the landscape. This thesis is also trying to imply the possible genesis of these artistic approaches. After the general definitions of terms and introduction, the thesis examines the various topics, which was related to the landscape and it's anti-mimetic visual representation since the late sixties. Another part of the work focuses on Milos Šejn, an artist with a very specific, physical relationship to nature and at the same time a former head of The Studio of Conceptual art of the Prague Academy of Fine Arts, where many of his students were somehow related to nature. I chose four artists, who passed on Šejn's studio and on the basis of their work and available documents, I will try to show, how this new generation have reflected the landscape. If they were inspired by czech artists or by foreign examples, that were not available in the Czech Republic for a long time.

My dissertation thesis seeks to explore some specific social aspects of the dialogue between traditional Chinese art and thinking and Czech art scene after the February1948, when the Communist party took power in former Czechoslovakia. I am mainly interested in the problematic of inspiration from traditional Chinese calligraphy and Daoist philosophy on Czech painting, visual poetry and literature in the 1950s and 1960s. I will argue that the appropriation of selected Chinese philosophical and artistic themes helped Czech artists, working under the communist repression, to express their innermost human emotions in relation to home, culture, freedom, and one's artistic and human destiny. The communist regime meant to many artists the end of their official artistic career. Life in seclusion outside the main political and social streams became for some of them an opportunity to display pent-up feelings of affinity with the life stories of the ancient Daoist thinkers. In this context, focus is primarily placed on an analysis of several distinctive visual and literary works by Czech leading artists of the period, especially on the selected works by the visual artists Emil Filla, Jiří Kolář, Vladimír Boudník, Jan Kotík or Zdeněk Sklenář and the novelist Bohumil Hrabal (1914 - 1997) and his world famous...