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The research in this thesis (composed of a written element, audio documents and a live performance) focuses on the relationship of the female speaking voice to her own body and others’ bodies within the particular temporality of performance space. Arguing that the female voice can be theorised as a resistant theatre material, which through its volatile nature can escape attempts at control, the work here develops practical strategies and methods for discovering how the voice eludes any easy identification or ownership as part of a feminist agenda. Following Michelle Duncan who writes that ‘voice puts matter into circulation, matter that is more, or other than language,’ the research undertaken investigates how this matter can be manipulated in performance so that the sound material of the voice makes meaning. Concentrating on how a female body might ‘handle’ the voice as matter, with the body in question being both performer of voice, and director/designer of voice, the work develops a methodology of the “auditorcomposer,” the female body who speaks through careful listening to others’ voices. Introducing the model of the auditor-composer through a rethinking of the character of Ophelia, both the practical and textual research undertaken then investigate how bodies compose through longdistance time and space, activating the return of past voices to reverberate in the present. Animating and patterning elements of the theoretical projects of Gina Bloom and Elin Diamond and using Gertrude Stein as a theorist of motion and return, the research argues that the material movement of sound happens in the continuous present, and as such the single voice cites many voices in the action of its live sounding

Resumé The diploma thesis represents a complex teaching method which is especially suitable for educating of students in their first year at secondary schools, or in the last year at lower secondary schools. This method introduces students to the basics of the secondary school literary education and to the "summary" characteristics of a literary work. The aim of the method is to guide students by means of the method of experiential pedagogy to acquire the whole complex of knowledge and skills in the field of interpretation and analysis which is required for the State part of school-leaving examinations. The method also aims to create and strengthen mutual relationships inside teams of students and the ability of students to cooperate more closely. The method is built up on four starting points: the constructivism, the creation or creativity, the comparison, and dramatic texts with drama education. We have chosen dramatic texts because, from the point of view of literary-theoretical analysis, they contain all the basic categories of "syuzhet" genres; all, apart from narration and narrators. In addition, and in contrast to epics, the interpretation of drama becomes a greater challenge due to the "gaps" which must be filled by the reader. In the method, we meaningfully connect the analysis and interpretation...

Our work is devoted to the Romanian philosopher and author of fantastic prose, Mircea Eliade. The unique feature of his fiction lies in the narrative building upon the initiating structure, and reflecting the mythological consciousness, which is perceived by the author as a means of escaping historical relativism. In order to analyse his work we applied the hermeneutic approach, which is in our view best suited for interpretation of Eliade's prose. The hermeneutic approach shows that the author-narrator assumes the function of a religious initiator, who is in possession of a vision of the world and conveys it to his readers. The initiated author can see a different world, a possible world that surpasses the material one, and he is able to bring this vision, inexpressible by words, to the reader. Thus, the process of reading and analysing such a text then turns into gradual initiation into the secrets of existence through its esoteric dimension. Eliade's aim in his fantastic prose is to show that even in the desecrated world the sacred is hidden anywhere and a man is still able to reveal it anytime. Key words: Eliade, initiation, narrator, symbol, sense, hermeneutics, imagination, inner and outer face of literature, sacred, profane, reality, death initiation, dramatic performance, salvation,...