The thesis "The Novinář Publishing House Profile" deals with the establishment, structure and production of Novinář publishing house. The first part of the thesis describes the historical events and implications that preceded the creation of Novinář and that had an impact on its activity. A separate chapter refers to conditions and circumstances of publishing specialized books and periodicals for journalists, i. e. the legislature in force and authorities that made decisions regarding the establishment of publishing houses, the editorial work of organizations and the content of books and other publications. One part of the thesis deals also with the education of journalists (through courses, newly established university studies), enhancing their expertise and qualification and the quality of their work, as well as with the related need for specialized publications for journalists and other reasons that led to the creation of Novinář publishing house. The second part of the thesis describes the establishment and operation of Novinář publishing house, its organizational structure and editorial and publishing work (books, journals, other publications). The last chapter presents important people that were involved in creation and operation of the publishing house (the directors).

During the research project "The situation of literary translation in Czech society after 1945", which was initiated by the Institute of Translation studies of the Faculty of Arts of Charles University and undertaken between 2008 and 2011, nearly thirty interviews were conducted with important Czech translators of the post-war generation. This thesis follows the cited research project. It is divided into three parts. The first part presents an introduction to the methods of oral history. The second part confronts objective historical facts with subjective memory - information obtained through the conducted interviews. The third part expands the corpus with two further sets of interviews. These are introduced by a short depiction of the presented narrators and followed by an editorial note. In the summary the paper points out and evaluates the results gained by the present research, including the newly collected material.

(in English): This thesis is devoted to the time of the Brazilian military dictatorship from 1964 to 1985 and effects of artists during these years. The first chapter outlines the historical development leading to the onset of military dictatorship and the subsequent period of military rule until its fall in 1985 and the return to democracy. The second chapter is a brief overview of the development of Brazilian art in the 20th century until the military coup. Then this thesis is focused on the visual arts from 1964 to 1985 and the text describes each part of the military dictatorship and the rate of censorship and restrictions. Further text describes the front anti-regime artists and their work at major exhibitions and demonstrations. For better illustration of the effects of artists during the military dictatorship there are two separate chapters devoted Artur Barrio and Cildo Meireles, two significant anti-regime artists. The conclusion summarizes the findings.

The master's thesis Witchcraft and Inquisition in literal and historical context of "El Crótalon" offers a look at displays od the Witchcraft in the literature of first half of the 16th century with special attention on classical Greek and Roman literal models. Furthermore, the thesis analyzes the influence of Erasmus'work and impact of the Reformation movement on intelectual panorama as well as on the popular opinion; it concentrates on the evolution of Witchcraft and its growing influence over the social life. It also studies how the changing caracter of the Witchcraft reflected in the literal activity of its times. Second part of the thesis is dedicated to religious aspects of the Witchcraft, its connection with heretical movements and persecutions by the Inquisition.

The thesis titled Self-reflection Of Czech Sport Journalists Working Between 1980 And 1999 In Printed Media And The Influence Of Ideology On Their Role In Society focuses on a question of whether the work of writing sport journalists was influenced by the ruling ideology before 1989. The thesis is based on biographical interviews of five sport journalists, which were taken while using the help of oral history research method. The sport journalists bring their testimonies, memories, experiences and stories associated with the period of normalization, the Velvet Revolution and the post-revolutionary period. The biggest emphasis is placed on a degree of impact of the ruling ideology on the editorial process before 1989. Therefore the thesis touches themes of self-censorship, targeted campaigns, relationships of the journalists to the Communist Party of Czechoslovakia or to The National Security. The work brings views of still writing sport journalists, who evaluate their motivation to do the profession, their ongoing journalistic career and the role of sport journalists in society. This study is a contribution to oral-historical research on the period of normalization and to understanding the influence of ideology on the media activity before 1989. This thesis extends the knowledge of sports...

Le poète arménien Yéghiché Tcharents (1897-1937) devient victime des répressions staliniennes des années 30. Tcharents est déjà un poète connu lorsque la révolution éclate en Russie. Il voit dans la révolution le sauveur de son peuple au destin tragique. Il croit aux idéaux humanistes de Lénine comme beaucoup de ses contemporains. Cependant, le pouvoir totalitaire de Staline change son regard politique. Sa poésie reflète ses inquiétudes. En 1933, le recueil de poèmes Livre du chemin, un compte-rendu de sa vision poétique de la construction de la nouvelle société, ainsi que de l’éducation de l’homme soviétique, est censuré. Il est publié à nouveau avec des modifications. Tcharents, le poète de tous les combats, ne parvient pas à cacher son désaccord, sa désillusion vis-à-vis du pouvoir politique. Il témoigne à travers sa poésie. Le système répressif ne le laisse plus en paix. Il est inculpé comme contre-révolutionnaire, trotskiste, nationaliste, terroriste. En juillet 1936, il est assigné à résidence. La poésie demeure l’unique espace où il pense et écrit librement. Malade et conscient de l’imminence de sa mort, il survit grâce à sa poésie, dans son univers de visions. L’argumentation de la thèse est construite sur l’analyse littéraire des textes du corpus : le Livre du chemin et les textes poétiques de 1935 à 1937 de Tcharents. Une étude concise du contexte historico-politique de sa poésie et une analyse littéraire de son œuvre avant 1933 sont aussi proposées, permettant de mieux percevoir la complexité des relations entre le poète-individu et son époque, et enfin, de réunir tous les éléments nécessaires de traduction faisant partie de l’objectif de cette étude doctorale. / The Armenian poet Yeghishe Charents (1897-1937) becomes victim of Stalin’s repressions in the Thirties. Charents is already known as a poet when the revolution bursts in Russia. He sees in the revolution the saver of his people with the tragic destiny. Like many of his contemporaries he believes in the humanistic ideals of Lenin. However, the totalitarian power of Stalin changes his political views. His poetry reflects his concerns. In 1933, the collection of poems Book of the way, a report of his poetic vision of the new society, as well as the education of the Soviet man, is censored. It is published with changes. Charents, the poet actively involved in a number of social issues, cannot hide his dissension and disillusion with respect to the political power. He bespeaks through his poetry. The repressive system does not leave him any more in peace. He is accused of being a contra-revolutionist, trotskyist, nationalist, terrorist. In July 1936, he is put under house arrest. Poetry remains the sole space where he thinks and writes freely. Ill and aware of the imminence of his death, he survives in his universe of visions thanks to his poetry.The argumentation of this doctoral thesis is built on the literary analysis of the texts in the corpus: the Book of the way and the poetic texts of 1935 to 1937. A concise study of the historical-political context of his poetry and a literary analysis of his work before 1933 are also proposed. This allows to better perceive the complexity of the relations between the poet-individual and his time and, finally joins all the elements necessary for the translation, which is an objective of this doctoral study.

This thesis deals with the translations beyond official publishers during the era of Communism in Czechoslovakia from 1948 to 1989. More particularly, the thesis is focused on mapping Czech translations of German literature published in samisdat during the Communist era and on understanding a sociology of translation in the samisdat production. Taking into account the social changes and cultural politics, the author explores when, by whom, in what circumstances and for what reason were the German texts translated. Furthermore, the aim of this thesis is to determine whether the translation work in samisdat was coordinated, and if so, to find out by whom. Another aim is to find out whether there was a publishing strategy during the samisdat translations. A method of oral history is used in order to interview the contemporary witnesses. Findings based on these interviews are later grouped into a force field using Pierre Bourdieu's sociological model. The conclusion consists of findings about the process of translating German literature to Czech during the samisdat era. These data are then evaluated and analysed from several points of view.

This dissertation deals with the topic of development of Czechoslovak press law during the First Republic, primarily through the legislative process of press law or of legislation related to press law, adopted by the National Assembly of the First Republic, and also by the impact that adopted legislation, and in particular the Act on Protection of the Republic in 1923 and amendments of press law in 1924, had on the rulings of the Supreme Court during the First Republic. It takes a comprehensive look at the development of press law during the First Republic based on the one hand on legislation carried over from Austro-Hungarian and later amended, and on the other hand on new legislation adopted during the First Republic. The study also analyses the common features of the legislative process of individual press regulations and at least in part the role of the Supreme Court in the interpreting of valid law.

Le blanchiment d'argent est considéré comme un crime organisé international. Du fait des progrès techniques et technologiques, il a connu un développement rapide. Ce qui a eu pour conséquence une évolution croissante de sa diffusion pendant vingt ans, en particulier après les attentats du 11 septembre 2001. Ceci a incité la communauté internationale à envisager soit au niveau régional soit au niveau mondial un certain nombre d'accords et de traités. Afin de lutter contre le blanchiment d'argent et le financement du terrorisme en tant que crime organisé du fait de leurs effets d'autant plus négatifs en temps de crise économique et internationale, il fut nécessaire de faire des efforts régionaux et internationaux dans le but d'en limiter l'expansion. La lutte contre le blanchiment d'argent inclut donc les obligations des professions juridiques et comptables et les professions bancaires et financières afin de rechercher et révéler les sources d'argent illicite qui ont été « lavées » et démasquer non seulement leur origine véritable mais également leur réutilisation. Le contenu de la lutte contre le blanchiment d'argent et le financement du terrorisme comporte trois obligations qui sont profondément attachées. Une obligation classique qui est l'obligation de secret professionnel, une obligation de vigilance allégée ou renforcée, fondée sur la qualité ou le degré du risque qui apparaît au cours de l'exécution d'opérations juridiques, comptables et bancaires, et une obligation de déclaration de soupçon sur les opérations suspectes envers les autorités compétentes visées par l'État. Il s'agit d'une étude comparative, analytique et critique des droits français et koweïtien dans une perspective législative, juridique et procédurale. / The crime of money laundering is not only considered to be an organized international crime but also an advanced and sophisticated task of fast and remarkable technology, which led to its spread globally over twenty years, particularly after 11 September 2001 attacks. Hence, the international community has called for the need to confront it at the regional and global level through the treaties and agreements, to prevent money laundering and terrorism funding. Money laundering is considered an organized crime as it has negative effects like economic crises. So it is necessary to exert efforts to stop its spread. There are three obligations to fight this crime, either it is for legal, accounting, or investment banking careers. These obligations aim at looking for sources of illegal and laundering money so as not to hide its illegal source but also to prevent its reuse or recycling. To confront this crime, there are three interrelated and interdependent obligations. First, traditional obligation of professional secrecy. Secondly, censorship or monitoring obligation can be diluted or intensive to fit (be adapted to) the dangerous degree which is shown through its implementation either in the legal, accounting, or banking transactions. Thirdly, the notification's obligation of suspicious transactions to the state's authorities to receive the suspicious notification of money laundering. This study is a critical and analytical comparison of French and Kuwait law through legal, legislative and procedure perspective.

La formation, à partir de 1966, d’un groupe de quatorze poètes autour de la revue El Caimán Barbudo affiliée au Parti Communiste de Cuba a fait émerger un nouvel ethos littéraire. Nous l’appelons « soupçon ludique » pour la méfiance facétieuse qu’il provoque chez le lecteur. Quels sont les traits définitoires, les implications et les incidences idéologiques et esthétiques de cet ethos ? En s’appuyant sur les 48 recueils produits par les membres du groupe entre 1966 et 2002, année de sa dispersion définitive, sur 29 entretiens ainsi que sur le dépouillement de dix fonds d’archives situés à Paris, Madrid et La Havane, cette thèse montre d’abord que la naissance de leur écriture répond à une série d’injonctions politiques et esthétiques paradoxales : être une « avant-garde officielle », rebelle mais pas trop critique, marxiste mais lyrique. Après le renvoi éclair du groupe par le Parti en 1968 puis la forte censure du Quinquennat Gris (1971-1976), l’esprit ludique déserte leurs poèmes politiques devenus solennels et sérieux pour se replier dans la sphère amoureuse et érotique. Dans ces poèmes d’apparence inoffensive, la mise en scène parodique des identités de genre constitue une cri- tique voilée des identités politiques produites par la Révolution. À partir de 1991, la dissidence de plusieurs membres du groupe, sa recomposition partielle autour de la revue Encuentro de la cultura cubana fondée à Madrid en 1996 avec le soutien du gouvernement espagnol invitent à évaluer à nouveaux frais leur écriture : les dissidents quittent le soupçon ludique pour une écriture de la dénonciation qui thématise toutefois le jeu comme le symbole de leurs illusions perdues. / From 1966 onwards, the formation of a group of fourteen poets around the Cuban Communist Party-affiliated journal El Caimàn Barbudo created a new literary ethos named “playful suspicion” because of the mischievous mistrust it provokes in the reader. What are the defining traits, implications and ideological and aesthetic occurrences of this ethos? This dissertation was based on the 48 collections produced by the group members between 1966 and 2002 (year of its final dissolution), on 29 interviews, and on the examination of 10 archival holdings in Paris, Madrid and Havana. This dissertation first shows that the birth of their writ- ing responded to a series of paradoxical political and aesthetic demands: to be an “official avant-garde”, to be rebellious but not overly critical, to be both Marxist and lyrical. After the sudden dismissal of the group by the Party in 1968, then the harsh censorship of the five Grey Years (1971-1976), their playful spirit deserts the political poems which become solemn and serious, and withdraws to the romantic and erotic sphere. The parodic staging of gender identities in these seemingly harmless poems constitutes a veiled criticism of the political identi- ties produced by the Revolution. Starting in 1991, the dissent of several members of the group dissent and its partial recomposition around the journal Encuentro de la cultura cubana founded in Madrid in 1996 with the support of the Spanish government invites a new evaluation of their writing. The dissidents abandon playful suspicion in favor of denunciative writing, which nevertheless thematically places playfulness as a symbol of their lost illusions. / En Cuba, a partir de 1966, se forma un grupo de catorce poetas en torno a la revista El Caimán Barbudo, afiliada al Partido Comunista nacional, generando un nuevo ethos literario que nosotros llamamos “sospecha lúdica”, por el recelo divertido que provoca en el lector. ¿Cuáles son los rasgos definotorios, las implicaciones y los impactos ideológicos y estéticos de este ethos? Para responder la tesis se basa en el estudio de los 48 poemarios escritos por los miembros del grupo entre 1966 y 2002, año de su desaparición, 29 entrevistas y 10 fondos de archivo sitos en Madrid, París y La Habana. El trabajo muestra en primer lugar que el naci- miento de esta escritura responde a una serie de requisitos políticos y estéticos paradójicos: ser una “vanguardia oficial”, rebelde pero no demasiado crítica, marxista pero lírica. En se- gundo lugar mostramos que, después del súbito desahucio del grupo por el Partido y la fuerte censura del Quinquenio gris (1971-1976), el espíritu lúdico deserta los poemas políticos, que se vuelven solemnes y serios, para replegarse en la esfera amorosa y erótica. En estos poemas aparentemente inofensivos, la paródica puesta en escena de identidades de género constituye une crítica velada de las identidades políticas producidas por la Revolución. A partir de 1991, la disidencia de varios miembros del grupo, su parcial recomposición en torno a la revista Encuentro de la cultura cubana, fundada en Madrid en 1996 con el apoyo del gobierno espa- ñol, son elementos que invitan a reevaluar esta escritura: los disidentes abandonan la sospecha lúdica por una escritura de la denuncia que, sin embargo, tematiza el juego como el símbolo de sus ilusiones perdidas.