TITLE: The Newest History of the Central Bohemian Borough Byšice AUTHOR: Bc. Jiří Sisák DEPARTMENT: History & History Didactics Department STUDY PROGRAMME: Teaching for high schools, Master degree Programme in History and Civics SUPERVISOR: Mgr. Dušan Foltýn ABSTRACT: This diploma thesis reviews the history of the borough Byšice in the last two centuries and attempts to assess the importance of the various epochs in the development of the community. The main body of the thesis examines its own history of the borough, the side lines represent the cultural history and the history of the village school in Byšice. All events are processed gradually in a chronological order. The role of various social groups in the history of the town is being examined, as well as the conversion of the urban village in the city. KEYWORDS: regional history, Czech towns, cultural history, history of education, 19th century, 20th century

The thesis focuses on the phenomenon of students from the so-called less developed countries in communist Czechoslovakia, specifically Arab students in the 50s and 60s of the twentieth century. In the first part the issue is put into a broader context of political and cultural connections. Apart from the situation inside the Arab region after the Second World War, the work offers insight into the mutual Czechoslovak-Arab contacts followed by a recap of Czechoslovak tertiary education after the year 1948. The text also presents the general situation of international students in the Czech environment in the observed era. Because it was the first wave of Arab scholarship holders supported by the Czechoslovak government to arrive at the end of the 50s, it is crucial to describe the shape of negotiation between the Czechoslovak and Arab sides. At the beginning of the second thematic part dealing with Arab students in Prague the attention is shifted towards cultural agreements and forms of studies in Czechoslovakia. The aspects of arriving abroad, preparatory language courses, accommodation in Prague, studying, everyday life of Arab students in Czechoslovakia and the conflicts they had faced are analyzed in the following subchapters. The problem of Arab student adaptation to the new environment and...

This dissertation defines aspects of Russian culture which bear the marks of French influence and explores the historical origins of that influence. While it is generally acknowledged that Russia’s culture has been influenced by France, no systematic history of the origins of this influence has been written. Previous research has dealt only superficially with the topic, focusing almost exclusively on the Francophile preferences of society’s elite. The present study examines Russian society more broadly and explores those elements of French cultural influence still relevant today through an historical analysis of the Russian language. French loanwords found in dictionaries from the time of Peter the Great to the present are analyzed chronologically and topically, yielding the conclusion that the most significant period of long-lasting French influence was the turn of the nineteenth century and was primarily cultural in nature—including the areas of fashion, cuisine, the arts, interior design and etiquette—but was also in areas related to technology and official administration. Following this lexical analysis, other primary sources—archival documents, military memoirs, and periodical publications from the resultant period—are searched for influences in these areas, especially during the period’s two major Franco-Russian events: the wave of immigration to Russia following the French Revolution and Russia’s war with Napoleon. The former facilitated deep cultural enrichment as native Frenchmen and French women, engaged in various occupations, acted as cultural mentors to the Russian nobility. The latter facilitated broad cultural immersion as tens of thousands of Russian troops—noble and common alike—marched into France and experienced French culture firsthand. This dissertation concludes that both of these explosive events, though by no means the beginning of French influence, were unique in the depth and permanence of their mark upon Russia’s culture.

This essay will use the views of two African American newspaper columnists, E. Belfield Spriggins of the Louisiana Weekly and Dave Peyton of the Chicago Defender, to argue that though New Orleans and Chicago both occupied a primary place in the history of jazz, in many ways jazz was initially met with ambivalence and suspicion. The struggle between the desire to highlight black achievement in music and the effort to adhere to tenets of middle class respectability play out in their columns. Despite historiographical writings to the contrary, these issues of the influence of jazz music on society were not limited to the white community. Tracing these columnists through the years of 1925-1929, a critical point in the popularity of jazz, reveals how considerations of black innovation and economic autonomy helped alter their opinions from criticism to ownership.

When the United States entered World War II, federal officials began planning a war on prostitution and decided to make New Orleans the poster city for reform. New Orleans held a reputation for being a destination for prostitution tin the U.S. A federally appointed group aptly named the Social Protection Division began a repression campaign in militarily dense areas throughout the United States. The goal was to protect soldiers by eliminating the threat from venereal disease carrying prostitutes. The Social Protection Division created a campaign with the New Orleans Health Department and the New Orleans Police Department to repression prostitution. Some in New Orleans, however, tried to undermine these efforts and continue the profitable tradition of prostitution. From 1942-1945, New Orleans became part of the internal war waged by the federal government against women deemed sexually dangerous to protect the patriotic male soldier being sent off to war.

Throughout World War II, the belligerent countries took enemy civilians, as well as soldiers, prisoner. The majority of the camps created to hold these prisoners were located in the European and Asian theaters of battle, but the United States operated prisoner of war camps and civilian internment camps as well. American internment camps, administered by the Immigration and Naturalization Service (INS), imprisoned persons from the Axis countries of Japan, Italy, and Germany, deemed a threat to national security and categorized as a group as “enemy aliens.” Generally, these individuals were not threats, and a sizable number were legal U.S. citizens. Crystal City Internment Camp, located in Crystal City, Texas, interned individuals from all three enemy national backgrounds and allowed entire families to reside with the arrested family member. This research will attempt to highlight the daily experience of the internees in the Crystal City Internment Camp through internees’ oral histories and official camp reports, with a focus specifically on the German prisoners. Although scholars have examined these internment camps, little attention has been given to daily life in these camps.

In 1942, in New Orleans a group of intellectual and artistic African-Americans, led by Marcus B. Christian, formed an art club named Les Cenelles Society of Arts and Letters. Les Cenelles members both looked to New Orleans’s Afro-Creole population as the pinnacle of African American artistic achievements and used their example as a model for artists who sought to effect social change. Many of the members of Les Cenelles wrote for the Louisiana Federal Writers’ Program (FWP). A key strategy the members of Les Cenelles used to accomplish their goals was gaining the support of white civic leaders, in particular Lyle Saxon. Christian and Saxon’s relationship was unusual in the 1940s Jim Crow era in the sense that it was built upon mutual respect and admiration. This thesis examines both the efforts of Les Cenelles and the black division of the FWP, as well as Christian and Saxon’s relationship.

Le Nouvel Empire marque une rupture dans l’évolution de la vaisselle de luxe en Égypte : de types nouveaux se développent en imitant souvent des modèles étrangers. Apparaît alors un paradoxe : ces mêmes formes, lorsqu’elles sont trouvées hors d’Égypte sont souvent qualifiées d’ « égyptiennes » voire « égyptisantes ». Cette étude vise à comprendre l’origine de ces formes nouvelles, les raisons de leur floraison à partir de Thoutmosis III et leur place dans les échanges culturels de l’Égypte avec ses voisins. Nous avons choisi sept types représentant le mieux ce paradoxe et étudié tous les vases de provenance certaine trouvés aussi bien en Égypte que dans le reste de la Méditerranée orientale. En les comparant aussi bien du point de vue technique que stylistique, nous tentons ici de définir les tendances de chaque région et de rendre à chacune sa part. Une approche sociologique et économique permet également d’examiner avec soin les mécanismes de ces échanges commerciaux et culturels. / In the New Kingdom, a change is visible in the typological evolution of Egyptian luxury vases: new forms appear, imitating foreign vessels. The paradox is that these vases, when discovered outside Egypt, are often regarded as “Egyptian”, or “Egyptianized”. The aim of this work is to understand the origins of these new forms as well as the reasons for their proliferation during the reign of Thumosis III, and to understand their role in cultural exchange between Egypt and it’s neighbours. The author selects seven forms and studies corresponding vases, from all over Egypt and the Eastern Mediterranean. Comparisons made, both from a technical and a stylistic point of view, help to define cultural trends for each region. A sociological and economical approach has been adopted to scrutinize the mechanisms of trade.

A tese apresenta uma análise sobre registros visuais produzidos no âmbito da Guerra do Paraguai (1864-1870), evento que envolveu Brasil, Argentina e Uruguai em luta contra o Paraguai, em uma conjuntura de consolidação de projetos nacionais na América do Sul. A natureza histórica do conflito é por si propícia à criação de imagens e imaginários. Além disso, a eclosão da guerra ocorreu em um momento em que o estatuto do olhar estava em debate, aliado a uma intensa transformação das tecnologias de reprodução e circulação de imagens. Nesse sentido, buscou-se compreender as imagens analisadas a partir do regime de visualidade em que estavam inseridas. Ou seja, não apenas quanto ao seu conteúdo aparente, mas em suas relações de produção, circulação, consumo e agenciamento. Fundamentado em indícios sobretudo gráficos, este trabalho intenta desvelar práticas visuais em voga a partir do exame do percurso social das imagens, em seus cruzamentos entre tecnologia e estética. Para isso, são analisados quatro conjuntos imagéticos que suscitam questões distintas, sem induzir uma relação de causalidade entre eles. Dos aspectos principais ressalta-se: um deslocamento de usos e sentidos dos desenhos militares a partir da cobertura feita pela imprensa ilustrada do Rio de Janeiro; a sobreposição do conteúdo científico e militar da expedição ao Mato Grosso, analisada a partir do álbum de desenhos de Alfredo Taunay; a natureza iminentemente múltipla das imagens produzidas para o mercado editorial pelo artista suíço Adolf Methfessel; a emergência dos debates raciais na crítica de arte que acompanhou a Exposição Geral de Belas Artes de 1879, associada à falta de prática de ver e representar o negro nas pinturas de história de grande monta. Do exame de fragmentos visuais da guerra, buscou-se historicizar os modos de ver e de fazer ver de um evento que, dessa forma, se demonstra também produtivo e criador, para além dos efeitos nefastos cujas consequências são sentidas até os dias atuais. / This thesis presents an analysis of visual records produced on the scope of the Paraguayan war (1864-1870), an event in which Brazil, Argentina and Uruguay engaged on a fight against Paraguay, while nationalist projects were being stablished in South America. The historical nature of the conflict is for itself worth of the creation of images and imaginaries. Furthermore, the war outbreak occurred on a time that the constitution of the gaze was under debate, alongside to an intense technology transformation on image reproduction and circulation. In this regard, we aimed to ponder the images trough out the visual system in which they were inserted. In other words, not only concerning its apparent content but also its production, circulation, consume and agency relationships. Primarily based on graphic media, this works aims to unveil visual practices in vogue through the analysis of the social path of the images, and its crossings between technology and aesthetics. This required the analysis of four image sets that raise different questions, with no induction of a causality relation between them. Among their main aspects, we emphasize: a displacement of use and sense of the military drawings by Rio de Janeiro\'s illustrated press coverage; the scientific and military conflict overlap of the Mato Grosso expedition, by the analysis of Alfredo Taunya\'s drawing albums; the imminently multiple nature of images by Swiss artist Adolf Methfessel produced to the publishing market; the racial debate rising on art criticism that followed the General Exhibition of Fine Arts of 1879, associated to the lack of practices of seeing and representing the Negro on great mount historical paintings. We have aimed to historicize the ways of seeing and make to see through the examination of visual fragments of the war, thus, showing its productive and creative side, in addition to the nefarious effects and consequences felt to the present day.

Présentant des styles musicaux spécifiques des musiques extrêmes, cette thèse permet au lecteur de découvrir leurs sources d'inspirations et imaginaires. Elle interroge, à travers l'histoire du genre, le concept de contre-culture attaché à la culture Metal. Dans cette perspective, cette recherche va s'intéresser aux stéréotypes et aux préjugés. Ceux liés à la pornographie, souvent mis en avant par les détracteurs de cette musique, avec l'analyse du projet Girls X présenté par le festival Hellfest Open Air. Puis ceux relatifs à l'homosexualité en étudiant le sous-genre du glam'metal et les figures de l'androgyne et du beefcake tout en s'interrogeant sur la place des femmes dans ce sous-genre. Ce travail met aussi en opposition deux sous-genres musicaux, le métal symphonique et le black métal afin de réaliser une analyse de la présence féminine sur ces deux scènes. Le premier a pour particularité de mettre en scène le conte de La Belle et la Bête et le second d'observer le lien entre femmes et religions, grandes inspiratrices du black métal, et de présenter un héros spécifique du Métal, le prêtre-guerrier. L'étude du corps féminin dans la culture Métal est essentielle. Ce sera l'occasion de mettre en lumière les muses du Métal et les critères auxquels elles doivent correspondre. Enfin, cette thèse s'intéresse aux interactions entre ce qui est traditionnellement associé à la féminité et à la masculinité dans cette culture musicale notamment à travers les notions de puissance et pouvoir, la pratique du maquillage et le port de la jupe. Enfin, le changement de genre fait l'objet d'un dernier point de ce travail. / Is Heavy Metal music a counterculture? To answer this question this thesis presents various styles of Metal music with their imaginary worlds and inspirations in relation to gender studies. First, this thesis studies pornography stereotypes and prejudices with Hellfest Open Air Festival's project: Girls X. Then, this analysis studies those in relation to homosexuality in the glam'metal and present androgyne and beefcake figures. There is also some question as to, where women are in the glam' metal ? This research shall also estimate the presence of women into symphonic metal and black metal. Symphonic metal staging tale of Beauty and the Beast and black metal study observe link between of women and religions and present the warrior-priest hero character. This work studies the female body in Heavy Metal culture as well as the interactions within this musical culture, which matter and are seen as traditionally masculine or feminine through notions power over and power to, makeup... Lastly the thesis study the transgender people in Heavy Metal culture.