Este estudo se dedica a uma parte pouco conhecida dos trabalhos de Leonhard Euler (1707 - 1783) relacionado à música enquanto uma ciência matemática. Tais trabalhos mostram, em certo sentido, um lado pitagórico do pensador e também algumas contribuições do mesmo à teoria musical. O interesse deste matemático pelo assunto permeia várias obras e épocas de sua vida, mas neste trabalho focamos em três delas: um conjunto de nove cartas que compõem a obra Lettres a une princesse dAllemagne sur divers sujets de physique e de philosophie (1768) e dois artigos, Conjecture sur la raison de quelques dissonances generalement reçues dans la musique (1766) e De harmoniae veris principiis per speculum musicum repraesentatis (1774). Para possibilitar uma melhor compreensão desses textos, faremos uma revisão histórica do tratamento aritmético dado à música desde os tempos clássicos até o Renascimento com enfoque nas principais contribuições que levam à construção da escala da entonação pura ou justa, trabalhada por Euler nos originais estudados. Após a apresentação e análise desses trabalhos eulerianos, especialmente seus diagramas para representar sons e acordes e do seu expoente de um acorde para medir consonâncias, terminaremos essa dissertação refletindo sobre as implicações pedagógicas e históricas, bem como as potencialidades e limitações do uso de fontes originais de determinados mestres do pensamento matemático ocidental, nomeadamente o próprio Euler, na formação de matemáticos, professores e licenciados. / This present research takes a journey into a little know part of Leonhard Eulers works about music as a mathematical science. Those works show, at certain level, his Pythagorean thoughts and also his contributions to music theory. Eulers interest for this subject permeates many of his works through his lifetime (1707 - 1783), but here we focus on three of them: a set of nine letters from the book Lettres a une princesse dAllemagne sur divers sujets de physique e de philosophie (1768), and two articles, Conjecture sur la raison de quelques dissonances generalement reçues dans la musique (1766) and De harmoniae veris principiis per speculum musicum repraesentatis (1774). To allow a better understanding of his ideas, first we put on a historical review of the arithmetic treatment of music since the ancient Greece to the Renaissance Era pointing out the main contributions to the development of the pure just intonation scale, the one used by Euler on the works just mentioned. After presenting and analyzing these Eulers contributions, specially his diagrams to represent sounds and chords to the eyes and the concept of exponent of a chord to measure consonances, we conclude this dissertation thinking about the pedagogical and historical impact, and also the potential and limitations concerning the use of historical sources of the masters of mathematics, to the training of future mathematics and teachers.

My thesis examines social conceptions framing rights and obligations by reviewing how possessions are used and exchanged in the poems of MS Junius XI. I identify several major additions to the scriptural source material of the poetic narrative where the poems present a unique treatment of possessions in a social environment. These poetic additions often feature novel combinations of events and even entirely new sub-stories. In reviewing these departures I focus specifically on possessions and examine how they frame the rights and obligations within social interactions. Focusing on objects of social exchange enables the discussion of the literary narrative to relate to secondary historical literature on possessions as well as social conceptions. This has not yet been done for the poems of Junius XI. This thesis is divided into four thematic chapters ordered from the most tangible to the most abstract: moveable objects, landed possessions, degrees of possession of people, and abstract notions of authority framing social interactions tied to holding and exchanging possessions. In chapter two moveable possessions will be discussed in relation to social status, cultural identity, exchange and hierarchy. The third chapter will examine the interplay between the allegorical and practical notions of land possession. The fourth chapter will discuss social hierarchy framed as a range of rights and obligations discussing to what degree people are themselves treated as possessions. The discussion will examine what types and levels of relative personal freedom is detectable in the Junius XI poems. The final chapter will amalgamate findings and issues of the previous chapters by examining how the exchange and treatment of possessions impact various types of authority which frame social interactions, hierarchies and values.

The thesis focuses on the digital library Kramerius, that provides electronic access to mainly Bohemian documents from 19th and 20th century. Its aim is not to describe all parts of this system and its hinterland - the thesis focuses rather on the user point of view. The core of the thesis is formed by user survey, which is conducted among the students of historical disciplines at the Faculty of Arts, Charles University in Prague, namely the students enrolled in the study programme Historical sciences. In the first part, there is a characteristic of digital library Kramerius with the focus on the aspects, that are closely related with its usability (user interface, accessibility of documents, conversion of the original documents to machine- readable form). The user survey, which is described in the second part, is devided into two parts.

The main focus of the dissertation is 15th century Italian court dance, which was one of the prime manifestations of the emerging aristocratic society all across renaissance Europe. The dissertation draws on a detailed research into original dance notations and works on dance theory of dance masters Domenico da Piacenza, Antonio Cornazana and Guglielmo Ebreo/Giovanni Ambrosio and contains first-time Czech translations of important parts of these works. The text first addresses general issues (occasions and locations for dancing, dance education and the role of the dance master, functions of dance in a given historical period, intellectual and philosophical framework of early dance treatises) and moves on to analyse specific features of period dance theory and provides a description of ractical aspects of the realization of dance choreography (basic steps and movements, figures, spatial dance forms etc.). The dissertation contains a reconstruction of one such dance choreography. A certain journey into related fields and later historical periods are chapters on the aesthetic of movement (required posture, position of the head, facial expression, hand gestures etc.) and period etiquette (acceptance of social hierarchy in dance and beyond, ways of showing respect and greetings, asking to dance and...