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Due to the comprehensiveness of the topic of animal protection, the thesis focuses on its specific segment - liability in tort in the field of animal protection as individuals. In the diploma thesis the term "animal" is used stricto sensu - it means individuals falling under the term "animal", as defined by the Act No. 246/1992 Coll., on the Protection of Animals Against Cruelty - ie every living vertebrate, except humans, but not the fetus or embryo. The aim of the diploma thesis is to give an explanation of tortious liability in the field of administrative and criminal law in animal protection, to critically evaluate the current legislation, identify problematic areas and suggest possible changes. The secondary goal is to present the basic scope of the primary obligations set by the Act No. 246/1992 Coll., on the Protection of Animals Against Cruelty. The diploma thesis is divided into a total of six chapters, introduced by the introduction and supplemented by the conclusion. The first chapter provides an explanation of the basic concepts that are used in the field of animal protection, such as the term "animal" and similar terms or for example term "welfare". It defines the position of animals in private and public law and presents the subsequent categorizations of animals. The second chapter...

Criminal law protection of animals against cruelty and other inappropriate treatment Abstract This diploma thesis deals with animal protection in the Czech Republic from perspective of criminal law as a legal instrument ultima ratio. Primary goal of this thesis is to analyse legal regulation in Act no. 40/2009 Coll., Penal Code, de lege lata and evaluate possibilities de lege ferenda. Within current legal regulation this thesis works with articles 302, 302a and 303 of Penal Code and the current legal regulation is compared with the previous one. Particural attention is dedicated to Act no. 114/2020 Coll., which established entirely new crime into the Czech legal system called Breeding Animals in Iappropriate Conditions and widened the listing of penalties stated in article 52 of Penal Code by penalty of prohibition of keeping and breeding animals. Particular novelties are analysed in detail and the thesis also responds to the most frequent arguments in favour and against passing the new legal regulation. Secondary goal of the thesis can be seen in sociological considerations and comparative studies. Diploma thesis consists of five chapters, which divide more minutely further. The first chapter introduces key concepts of animal protection area, mainly the term "animal". Fundamental terms are defined in...

The topic of this master thesis is a description of female characters in short stories by Silvina Ocampo. The main goal is a study about how Silvina Ocampo works with female characters present in her stories and whether they share any similar characteristics. The stories were selected from the books: La furia, Las invitadas, Los días de la noche. The thesis analyzes typology of female characters and their relationships with other characters. Fantastical elements such as the theme of doppelganger and transformation are also part of the analysis. Key words: Silvina Ocampo, short stories, fantastic fiction stories, female characters, cruelty

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<p>Unfortunately I have had bit of difficulty with setting up the page numbers appropriately. I have been unable to figure out how to make the preliminary part of document in Roman numerals while at the same time separating this from the main body of the text using Arabic numbers. My apologies, but I sincerely do not know how to resolve this frustrating problem. I can resolve this problem if I send you the preliminary part and main body as separate documents, but just not as one continuous document. Please contact me if this latter method is the way to go.</p> / <p>This thesis provides an expository account and critical analysis of Friedrich Nietzsche’s genealogical position on cruelty. Its primary engagement is with Nietzsche’s <em>On The Genealogy of Morals</em>, however, other works by this author are discussed when relevant. The general import of this thesis is threefold. First, it demonstrates Nietzsche’s genealogical account of cruelty, detailing its complex evolutionary progression and its various facets of influence. Second, this work identifies some authors who are critical of Nietzsche position on cruelty. These criticisms are identified and are then largely refuted on various grounds. Third, this thesis argues that an appropriate critical analysis of Nietzsche’s genealogical theorizing will be based on a cross-examination of his positions with current palaeoanthropological findings. The conclusion drawn from this analysis is that there is insufficient empirical evidence to substantiate Nietzsche’s accounts and his methodical approach to genealogical theorizing is, furthermore, untenable.</p>

Situé entre entre le roman et le récit personnel, Cru. prend la forme d'un aller-retour entre fiction et autobiographie. Le texte, construit à l'aide d'une écriture syncopée et brute, présente deux personnages homosexuels à l'ère « post-sida », alors que ceux-ci tentent de comprendre ce que veut dire « être un homme » dans un contexte social où le mépris (envers les autres et soi-même) est encore présent, mais peut-être encore plus pernicieux qu'auparavant, parce que camouflé sous l'idée d'une acceptation globale. Au final, Cru. soulève la délicate question du droit à la vérité dans une démarche autobiographique et celle de l'implication de la cruauté dans un récit qui ne concerne pas que l'auteur, mais son entourage aussi. Cruauté nécessaire : le devoir d'une vérité autobiographique chez Guibert, Dustan et Rémès est un essai qui vise l'analyse de différents procédés se rattachant à l'écriture autobiographique homosexuelle des années 1990, particulièrement aux textes appartenant à la littérature du sida. Si l'autobiographie vise, dans une certaine mesure, le dévoilement de la vérité, comment ne pas parler de cruauté alors que les auteurs qui la pratiquent y vont de révélations qui ne concernent pas qu'eux? Si le processus d'écriture autobiographique se veut bénéfique, le résultat est-il purement diabolique? Il faudra d'abord, évidemment, définir ce que l'on entend par « vérité » et « cruauté » (lire « bénéfique » et « maléfique »). En ce qui concerne le Bien et le Mal, les textes de Bataille et Nietzsche contribueront à définir deux concepts qui peuvent, souvent, être relatifs. En confrontant les textes des trois auteurs français – tous séropositifs au moment de l'écriture – à différentes théories autobiographiques (Doubrovsky, Lejeune, Miraux) et identitaires (Foucault, Schecter, Butler), et à certains écrits sur le devoir et la responsabilité (Donner, Brooks), l'on tentera de démontrer que la cruauté dont Guibert, Dustan et Rémès font preuve est essentielle à l'écriture autobiographique. / A mix between a novel and a personal journal, Cru. is a cross-section between fiction and autobiography. The text, built around a type of writing that is dry and sometimes brutal, presents two gay characters in the « post AIDS » era, who are trying to figure out what it's like to be a man in a social context where contempt (towards others, as well as self-loathing) still exists. Perhaps even more than before, because this contempt is hidden under a false global acceptance. In the end, Cru. raises questions about the definition of «  truth » in an autobiographical approach and the implication of cruelty in a literary piece that not only concerns the writer, but it's surrounding too. Cruauté nécessaire : le devoir d'une vérité autobiographique chez Guibert, Dustan et Rémès is an essay that analyses the stakes at work in gay autobiographical writings of the 1990's, especially AIDS-related literature. If one of the main aspects of autobiography is to disclose the truth, how can we not talk about cruelty when the writers are revealing things that concern not only themselves? If the whole process of autobiography involves « healing », how can we not see the final product as « painful »? It will be relevant to first define what we mean by « truth » and « cruelty » (also « good » and « evil »). Regarding Good and Evil (le Bien et le Mal), Bataille and Nietzsche's writings will help us define two concepts that are, way too often, relative. When confronting the three French writers that we are studying here – all HIV-positive when writing their texts – with different theories on autobiography (Doubrovsky, Lejeune, Miraux), identity (Foucault, Schecter, Butler), obligation and responsibility (Donner, Brooks), we will seek to demonstrate that the cruelty used by Guibert, Dustan and Rémès is, in fact, essential to the autobiographical writing process.

Résumé Ce mémoire consiste en une étude de la transgression en ce qui a trait au lieu, au personnage et aux sacrifices dans La Comtesse sanglante (1962) de Valentine Penrose, une auteure et artiste qui a fait partie du mouvement surréaliste dès 1926. À partir de l’idée directrice du sacrifice et du sacré, nous exposons, dans un premier temps, l’état transgressif de la criminelle historique Erzsébet Báthory, présentée dans le récit comme une beauté fixe masquant une âme monstrueuse. Dans un deuxième temps, nous examinons la cruauté et la théâtralité des sacrifices pulsionnels qui servent la propre déification de la protagoniste. Partant de la théorie de la transgression de Foucault de laquelle nous dégageons l’idée du seuil, le premier chapitre présente la marginalité de l’univers de la meurtrière présenté comme une extension de son corps, du château en tant que structure froide et vide à l’intérieur. Dans le deuxième chapitre, nous mettons en corrélation la violence et le sacré en rapport, d’une part, aux mises en scène sacrificielles et au rôle de chaque femme participant aux sacrifices, et d’autre part, à la progression de la cruauté dans le récit. Dans le troisième chapitre sont explorés le phénomène de la rumeur et la filiation mythique du personnage par la réécriture de deux figures monstrueuses : la Méduse et Lilith. Par ces analyses, ce mémoire a pour but de faire connaître davantage l’auteure et de dégager la singularité de la comtesse Báthory dépeinte par Penrose comme l’archétype de la transgression au féminin. / Abstract The present thesis is an analysis of transgression in relation to the location, character and sacrifices in La Comtesse sanglante (1962) by Valentine Penrose, an artist and author who became part of the surrealist movement from 1926 onwards. In the first place, beginning with the salient aspects of the sacrifice and the sacred, the thesis will present the transgressive side of the historically notorious Erzsébet Báthory, who is portrayed in the story as a beauty that conceals a monstrous soul. In second place, then, the thesis will discuss the cruelty and theatricality of the compulsive sacrifices that serve to deify the protagonist. Starting from Foucault’s theory of transgression, from which we derive the idea of threshold, the first chapter will present the marginality of the murderess’s universe, which is described as if it were extension of her body, and the castle, as a cold and empty structure within. In the second chapter, the thesis will correlate the violence and the sacred in relation to, firstly, the staging of the sacrifice scenes and the role of each woman who took part in them, and secondly, to the escalation of cruelty in the story. In the third chapter, the thesis will explore the phenomenon of rumor and the main character mythical parentage by the rewriting of two monstrous figures: the medusa and Lilith. Through these analyses, the main goal of this thesis is to promote awareness of this author and to identify the uniqueness of the Countess Báthory, portrayed as the archetype of female transgression.

Cette approche de recherche sur Fernando Arrabal et le théâtre panique pointe une période circonscrite à l’œuvre théâtrale du dramaturge dite « panique ».L’objet de cette thèse cherche donc à essayer de comprendre la théorie panique (la mémoire, le hasard et la confusion) ainsi qu’une thématisation sur les différents modèles artistiques de ses pièces paniques et l’influence arrabalienne dans le devenir scénique d’aujourd’hui. L’étude part d’une nouvelle esthétique théâtrale baroque allant du texte à la scène ainsi que de la stratégie utilisée par l’écrivain dramaturge dans ces pièces appelée la cérémonie panique.La problématique centrale est celle de la perception esthétique et cathartique qui plonge le spectateur vers la confusion de la scène et de la vie. Le panique suivant la théorie artauldienne fusionne la réalité et le cauchemar. L’individu est confronté au chaos de la vie jusqu’à la fin tragique de la mort.La dramaturgie arrabalienne mène l’écrivain sur un double questionnement, celui de la quête de la gloire, de l’identité avec la réalité à travers la connaissance de soi et du monde mais aussi aux peurs que cela provoque. La représentation de ce théâtre plonge le spectateur dans un véritable choc émotionnel. Le théâtre panique de Fernando Arrabal est un théâtre universel, mais aussi un théâtre de l’extrême, qui va à l’encontre de la vérité, de la liberté et de la panique. Une panique individuelle et collective qui à travers un théâtre total fait éclater la raison et les carcans sociétaux cherchant un monde meilleur. L’écrivain est d’autant plus d’actualité que la triste réalité nous confronte au théâtre panique. / This approach to the research on Fernando Arrabal and the panic theater points out to a specific and limited time of the playwright’s theatrical work called "panic".The aim of this thesis is therefore to try to understand the panic theory (memory, chance and confusion) as well as a thematization on the different artistic models of these panic plays and the Arrabalian influence on the scenic future of today. The study begins with a new baroque theatrical aesthetics ranging from text to scene and from the strategy used by the playwright in these panic plays called the panic ceremony.The central problem is that of the aesthetic and cathartic perception that plunges the viewer into the confusion of the scene and of life. The panic following the Artauldian theory merges reality and nightmare. The individual is confronted with the chaos of life until the tragic end of death.The Arrabalian dramaturgy leads the writer on a double questioning, that of the quest for glory, of identity with reality through the knowledge of the self and of the world, but also that of the fears it fathers. The representation of this theatre plunges the viewer into a real emotional shock. The panic theater of Fernando Arrabal is not only a universal theatre, but also a theatre of the extreme, which goes against the truth, freedom and panic. An individual and collective panic which, through a complete theater, is breaking out reason and social contraints, and also looking for a better world. The writer is all the more topical as the sad reality confronts us with panic theater.

Este trabalho tem como objetivo abordar uma das obras mais importantes do escritor francês Antonin Artaud, Le Théâtre et son double, explorando o universo artaudiano, a partir de conceitos, como a peste e a crueldade. O estudo procura abordar a proposta de Teatro da Crueldade e as críticas feitas por Artaud em relação aos espetáculos apresentados na França na década de 1930. Por meio de uma crítica ao chamado teatro psicológico, Artaud exalta um teatro constituído por diversas linguagens, não restrito à mera reprodução do texto. Sem a pretensão de abordar a extensa obra escrita por Artaud, a dissertação tem como objetivo tratar de aspectos revelantes dos conceitos tratados por Artaud, como a crueldade e a peste, tentando identificar em sua proposta de teatro, o desenvolvimento de conceitos ligados à psicanálise, como a pulsão de morte. Procuramos, ainda, discutir o processo de criação de Artaud, problematizando a figura do Pai em sua escrita e a chamada outra cena do inconsciente que seria aberta pelo teatro da crueldade. / The purpose of this research is to analyse one of the most important works of Antonin Artaud, The Theater and its double (Le Théâtre et son double), exploring his universe from concepts like the pest and cruelty. The study seeks to analyse the proposal of the Theatre of Cruelty and the criticisms made by Artaud in relation to theatrical performances presented in France in the 1930s. By making a critique of the psychological theater, Artaud ideates a theater consisted of different languages, not restricted to the simple reproduction of the text. Without attempting to address the extensive work by Artaud, the dissertation aims to analyse some aspects of important concepts created by Artaud, as the cruelty and the pest, trying to identify in its proposal for the theater, as well as the development of concepts related to psychoanalysis, like the death drive. We also aim to discuss the creation process of Artaud, by analyzing the figure of the Father in his writing and the so called \"other unconscious scene\" that would be opened by the theater of cruelty.