The aim of the thesis is analysis cultural sphere in Czech Republic and analysis of existing cultural statistics in relation to tourism in Czech Republic. Furthermore, the thesis evaluates cultural tourism via cultural events, which are considered to be one of the most important forms of cultural tourism. Cultural events in Czech Republic have been researched from economic and social point of view. The thesis analyses festivals according to their structure, genres, attendance, and compares festivals in Prague with festivals in other regions of Czech Republic based on particular criteria.

Para el presente trabajo de investigación se detectaron dos problemas en la coyuntura Limeña. El primero es que las empresas organizadoras de eventos culturales tienen poca afluencia debido a una difusión ineficiente de sus eventos. El segundo, es complicado encontrar oferta cultural en Lima. Para darle solución a estos problemas, el equipo de investigación ha planteado el desarrollo de un aplicativo mediante el cual los organizadores pueden difundir sus eventos y vender entradas por el mimo aplicativo; y donde los usuarios podrán encontrar toda la oferta cultural que Lima ofrece mediante un mapa que le permite ver en tiempo real lo que sucede a su alrededor. Para el desarrollo del trabajo se realizaron un sin fin de experimentos con usuarios y clientes que permitieron hacer proyecciones adecuadas, así como los planes estratégicos, operativo, de marketing, de recursos humanos, de responsabilidad social y financiero de acuerdo a las necesidades del mercado. El análisis cuantitativo de la investigación concluye en la necesidad de invertir S/. 44,350.75 soles para obtener S/. 26,207.20 como utilidad neta el primer año, S/. 197,488.59 en el segundo año y S/. 609,430.36 en el tercer año. El valor del proyecto es de S/ 1,252,819.49. / For the present research work, two problems were detected in the Lima juncture. In first place, companies organizing cultural events have little influx due to inefficient dissemination of their events. On the other hand, it is difficult to find cultural offer in Lima. To solve these problems, the research team has proposed the development of an application through which organizers can disseminate their events and sell tickets in the same application; and where users can find all the cultural offer that Lima offers through a map that allows them to see in real time what is happening around them. For the development of the work, an endless number of experiments were carried out with users and clients that allowed adequate projections, as well as strategic, operational, marketing, human resources, social and financial responsibility plans according to market needs. The quantitative analysis of the research concludes in the need to invest S /. 44,350.75 soles to obtain S /. 26,207.20 as net income the first year, S /. 197,488.59 in the second year and S /. 609,430.36 in the third year. The value of the project is S/. 1,252,819.49. / Trabajo de investigación

Un nouveau courant de recherche en gestion est récemment apparu : celui de la gestion des événements culturels au sein des "festival and event studies". Nous interrogeons la portée et la pertinence de ce champ à partir de l’étude d’un événement artistique dont nous avons pu observer et expérimenter en première personne l’organisation. Dans un premier temps, nous avons analysé les récits faits par les participants à l’événement. Nous constatons que les récits obtenus ne sont aucunement superposables ou compatibles, et nous en arrivons à interroger la possibilité d’un tel récit d’un événement artistique. Le "management des événements artistiques" n’est qu’une forme de récit possible, dont nous montrons les limites et postulats et qui surtout nie les conflits de valeurs entre les mondes de la gestion et les mondes artistiques. Dans un second temps, nous nous tournons vers les travaux qui comme ceux de Boltanski et Chiapello ou Le Theule reconnaissent une conflictualité entre mondes de l’art et de la gestion au sein du capitalisme. Nous tentons de donner un récit dialogique et polyphonique de cette conflictualité dans le cas étudié mais nous concluons qu’un tel récit ne reconnait pas une pleine place à la notion d’événement, qui est pourtant si importante pour les acteurs. C’est la raison pour laquelle, dans un troisième temps, nous nous tournons vers le concept d’événement de Derrida et de la difficulté de raconter l’événement. Nous proposons à partir d’une telle lecture que l’organisation d’un événement artistique devrait être abordée comme un nouvel événement chaque fois singulier, laissant s’il est réussi une trace dans le parcours de tous les protagonistes. On ne saurait définir un mode de gestion générique de tels événements. Il s’agit à chaque fois de réaliser l’impossible (en conférant à ce mot une signification très précise). La gestion des événements artistiques devrait pouvoir accepter la conflictualité et les puissances distinctes de ces trois termes. Ne pas chercher à enserrer l’événement artistique dans le cadre maître de la gestion, mais d’inventer chaque fois une nouvelle manière de les articuler, que le cadre soit ouvert à de l’inattendu, qu’un événement (artistique) advienne – au risque sinon de n’organiser qu’un non-événement / Recently a new field of research on management became known: it is the management of the cultural events within the scope of the "festival and event Studies". Based on an artistic event that we had the chance to observe and experience, in the first person, we question the range and the pertinence of this segment. Initially we analysed the narratives of the people who were taking part of the event and realized that these comments were not consistent with each other neither could they be superimposed. This led us to question the possibility of such a narrative of an artistic event. Thus, we understand "the management of artistic events" as only one possible form of narrative, in which we underline the limits and the principles, and above all, it disregards the conflict of the values between the management worlds and the artistic universes. In a second phase, we will talk about the works, like the ones of Boltanski and Chiapello or Le Theule, which recognize the existing conflicts in the two worlds, above mentioned, inside capitalism. We tried to propose a polyphonic and a dialogic narrative of the conflict in the subject studied, but we came to the conclusion that such a narrative does not recognize a significant place to the concept of the event, which is yet so important for the actors. Because of this, in a third moment, we will evoke Derrida’s concept of event and also the difficulty in describing the event. Based on such a reading we propose that the organization of an artistic event should be approached as a new event, unique each time it happens and, if it is a success, it is able to leave traces on every protagonist’s course. We would not know how to define a format for the general management of these events. The point is: to make the impossible become possible at each event (giving to "(im-)possible" a very precise meaning). The management of artistic events should adopt the conflict and the individual power of these three terms. It should not fit the artistic event in the "master framework of the management", on the contrary, it should devise, every single time, a new way to articulate it, to guarantee that the Framework is open to the unexpected and that an (artistic) event could emerge – otherwise we run the risk of organizing only anything but a non-event

Cette thèse pose la question de la territorialisation de l'action publique avec pour champ d'application la culture. Il s'agit de déterminer dans quelle mesure le management stratégique du portefeuille territorial d'évènements culturels participe au management de la proximité territoriale et, par extension, à l'attractivité durable du territoire. Il s'agit dans un premier temps de rappeler les enjeux territoriaux d'un management de la proximité. L'un des concepts centraux mobilisés ici est le management territorial stratégique, entendu comme le nouveau paradigme de l'action publique locale. L'approche par les dynamiques de proximité est ensuite proposée comme grille de lecture du territoire, l'activation des potentiels de proximité permettant un renforcement de l'attractivité territoriale (Chapitre 1). Reste que l'action culturelle peut prendre des formes variées. Or, nous avons pu constater un déplacement de la politique culturelle française, anciennement fondée sur le développement d'équipements relais pour mailler le territoire et favoriser la démocratisation culturelle, et aujourd'hui soumise à un phénomène de « festivalisation ». Si l'évènement apparaît comme une forme moderne d'action culturelle, l'essoufflement constaté sur certains territoires et la mise en concurrence accrue des « destinations évènementielles », invitent à replacer l'analyse de l'évènement culturel dans une approche stratégique fonctionnelle et dynamique du portefeuille territorial d'évènements culturels. Il s'agit alors de s'interroger sur les différentes fonctions attribuées aux évènements et ce au regard d'une logique stratégique territoriale (Chapitre 2). / This work is a theoretical and methodological analysis of the public action territorialisation in the cultural field. We want to determine to which extent the strategic management of a territorial events portfolio takes part in the reinforcement of territorial proximity, and, by extension, in the sustainable attractiveness of this territory. First, we recall the territorial issues of a strategic management thought in the way of territorial proximity. One of the central concepts mobilized in this reflection is the territorial strategic management. It is understood as the new paradigm of the local public action. The “dynamics of proximity” approach is then proposed as an analytic framework of the local governance system. The activation of the potentials of proximity make a strengthening of territorial attractiveness possible (Chapter 1). Moreover, the cultural action can take many forms. However, we have seen a shift in French cultural policy. Formerly based on the development of equipment used to cover the territory and promote the democratization of culture, it is now subject to a phenomenon of “festivalization”. If the event is seen as a modern form of cultural action, the possible running out of steam as the development of a real competition on the “event destinations” marketplace invite us to place the analysis of the cultural event in a functional and dynamic approach of the territorial events portfolio. The aim is thus to consider the various functions assigned to the different events under a territorial strategic logic (Chapter 2).

Le festival n'est pas une activité a-juridique. Cette activité événementielle attractive est encadrée par les pouvoirs publics tant par des mesures de police administrative que dans son occupation du domaine public. Cet événement présentant incontestablement des atouts pour la politique touristique et culturelle d'un territoire est devenu une véritable institution cofinancée par les pouvoirs publics. Oscillant entre mission de service public et simple activité de prestation de services, la question de l'intérêt public local de cette activité est au cœur d'un contentieux émergent devant le juge administratif. Dans le même temps, la valeur du festival tend à se privatiser. L'introduction du mécénat, le recours à certains droits de propriété intellectuelle pour protéger cette valeur (droit des marques pour l'appellation et le droit d'auteur pour la programmation) et le travail des groupes de pression pour obtenir un nouveau droit voisin en faveur des organisateurs de spectacles sont autant d'indices qui illustrent ce mouvement de privatisation. De plus, la tentation d'appropriation des concepts festivaliers incite à proposer une qualification juridique globale pour laquelle la notion de fonds de commerce s'avère adaptée. Enfin, l'application de contrats de franchise ou de partenariat aux festivals constitue des instruments juridiques utiles pour permettre leurs duplications. / A festival is a legal activity. This attractive entertaining event is regulated by the government as well through administrative policies measures as by its occupation of the public domain. This event, undoubtedly providing with potential assets for tourism and cultural policies of a given territory, has become an institution cofinanced by public authorities. Oscillating between public service mission and plain private service provision, the issue of local public interest of this activity is at the heart of an emerging dispute before the administrative law judge. At the same time, the value of the festival tends to become privatized. The introduction of corporate philanthropy and sponsoring, the use of specific intellectual property rights to protect that value (name branding laws for the designation and copyright laws for the programming) and groups lobbying for new laws to protect event organizers are all indicators that illustrate the privatization trend. Moreover, the temptation of appropriation of festival concepts fosters the proposal of a comprehensive legal qualification for which the concept of business is appropriate. Finally, the application of franchise or partnership to the festivals provides legal instruments useful to enable their duplication.

Propõe-se para o objeto de pesquisa, Pirapora do Bom Jesus, a análise da simbologia contida no sagrado e no profano, reconhecida através da leitura da cidade e de seus espaços, de suas características culturais e históricas.Tais elementos são configurados como formadores da imagem da cidade e de sua representação urbana. / It is proposed for the object search, Pirapora do Bom Jesus, the analysis of symbology contained in the sacred and profane, recognized by reading the city and their spaces, their cultural and historical characteristics. Such informations are configured as elements of composition of the image of the city and its representation.

Propõe-se para o objeto de pesquisa, Pirapora do Bom Jesus, a análise da simbologia contida no sagrado e no profano, reconhecida através da leitura da cidade e de seus espaços, de suas características culturais e históricas.Tais elementos são configurados como formadores da imagem da cidade e de sua representação urbana. / It is proposed for the object search, Pirapora do Bom Jesus, the analysis of symbology contained in the sacred and profane, recognized by reading the city and their spaces, their cultural and historical characteristics. Such informations are configured as elements of composition of the image of the city and its representation.

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 work focuses on project of European capital of culture as a potential factor for supporting development of tourism. The first part examines the cultural events and festivals which represents innovation in the cultural tourism product, and evaluates their benefits. These benefits are visible in different areas of development which proves multiplier effect of those events. Potential impacts are described primarily in the field of tourism, further then in economic, social, cultural and marketing fields. This thesis also introduces history and functioning of the project, with reference to changes in the rules in recent years, which were designed to strengthen its role as a catalyst for local development. Practical, research part of the thesis assesses the feasibility of achieving these potential benefits in the tourism sector, based on the final reports from cities and external agencies to the European Commission. This part works with statistics on attendance changes of the host cities during the cultural year and after and thus deals also with the question whether the project can help promote tourism in the long term. The conclusion determines the conditions under which it is possible to realize the potential benefits of event.

The diploma thesis deals with Music education and culture and with the significant personalities in Brandýs nad Labem - Stará Boleslav. It maps the continuity between the past and the present through scanning bibliographic sources and interviews with nine significant personalities. Actual needs of Music education in the present and future such as the direction of music culture in the local region result from the findings in the practical part of the diploma thesis.