The Master thesis has for its objective mapping of destiny of czech comunity in Paris from sixties to eighties. Its purpose is not to get a complete list of all artists, who came to Paris. It's just a sellection of those important persons, who broke through Paris. The personal interviews play an important part of the sources. The thesis is not structured in medallion-biography way, but it is lined up in a thematic way. Most of the artists handled in their new home country withe similar problems and situations. First theoretical part characterise the period, the environment, the czech-french relations and the general phenomena of emigration in the czech historical memory. In sixties the czech-french relations started to be reanimated and many french art critics visited Czechoslovakia and they wrote about czech art. Beside France, the czech emigration refuged in sixties largely to West Germany, United States of America, Canada, austrian Wien, Swiss and nordic countries. Individuals art centres were connected to others by friendships and artists visited themselves. Second and more extensive part of the thesis works with the oral and witten interviews. The respondent artists are Miloš Cvach, Roman Kameš, Karel Machálek-Zlín, Miloslav Moucha, Vladimír Škoda, Ivan Theimer and art historian Jana Claverie....

<p>Питање експресионистичког наслеђа у поетички вишеслојној савременој српској поезији остало је занемарено у нашој књижевној науци, иако је у питању један од њених највиталнијих традицијских токова. Отуда се отвара значајно поље истраживања бројних интертекстуалних веза и утицаја експресионистичке традиције у поезији најистакнутијих српских песника друге половине XX века (М. Павловић, С. Раичковић, И. В. Лалић, Б. Петровић, Љ. Симовић, А. Ристовић, Д. Смиљанић, Н. Тадић). Утицај експресионистичке поетике у њиховој поезији није био директан и очит, него дубоко и спонтано уткан у њихову самосвојну песничку визију, што ове песнике и чини већ признатим, савременим &bdquo;класицима&rdquo; наше поезије. Експресионистичка традиција активирана је у њиховој поезији на стваралачки нов, креативан начин, у постмодернистичком кључу и садејству са другим, често опречним традицијским токовима (од неосимболизма и неонадреализма, до дубинских наслага усменог и средњовековног наслеђа), што је стварало неочекиване интертекстуалне спојеве и нов песнички квалитет.<br />На интертекстуалном и компаратистичком плану, уочавају се бројне духовно-поетичке сродности наших савремених песника са најзначајнијим експресионистичким ауторима у нашем и европском књижевном контексту (М. Црњански, Растко Петровић, Д. Васиљев, Г. Бен, Г. Тракл, Г. Хајм, Е. Ласкер-Шилер).<br />И поред свих специфичности и разлика индивидуалних поетика ових песника, утврдили смо да у њиховој поезији долази до реактуализације готово свих експресионистичких топоса (топоса града, смрти, рата, апокалипсе, &bdquo;живих мртваца&rdquo;, космоса/хаоса, дисоцијације и подвојености субјекта, као и топоса божанско/сатанско). Проблематизујући ове експресионистичке топосе у новим књижевно-историјским и цивилизацијским околностима, наши савремени песници отварају бројна питања духовног, личног и колективног идентитета и опстанка човека на крају другог миленијума. Такође, у њиховом песништву издвојили смо низ кључних експресионистичких стилско-реторичких и обликовних поступака, међу којима је на првом месту поступак гротеске и дисторзије, симултаности, црног хумора, колажа и монтаже, дисоцијативног низања слика, одуховљења и апстраховања материје, као и поступак интертекстуалности и цитатности. Утицај експресионистичке поетике огледа се и на формалном плану, у смислу деструкције и деканонизације традиционалних родољубивих и религиозних жанрова, као и усмених, фолклорних облика басми, бајалица, ругалица, гатки. Долази до жанровских померања и преплитања различитих језичко-формалних модела, од традиционалних, класичних облика (најчешће сонета), до слободног стиха и модерног, неоавангардног поигравања језиком и формом песме, односно песме у прози (прозаиде).</p><p>Истраживање експресионистичког наслеђа показује да су се из поетичке раслојености српског и европског експресионизма развиле и различите неоекспресионистичке струје нашег савременог песништва: критичка, (Љ. Симовић, Б. Петровић, делимично М. Павловић), неосуматраистичка (С. Раичковић), метафизичка (А. Ристовић, Д. Смиљанић), нихилистичка (Н. Тадић), религиозна (једним слојем свог песништва Иван В. Лалић и Новица Тадић).<br />Експресионизам је тако у трајно наслеђе нашој савременој поезији оставио дух критичког преиспитивања свих досадашњих духовних, културних, књижевних, историјских тековина, &bdquo;певање кризе&rdquo;, расапа вредности и визију &bdquo;сумрака човечанства&rdquo;, намећући се као исходиште даљих, постмодернистичких трагања и преиспитивања граница и моћи певања.</p> / <p>Pitanje ekspresionističkog nasleđa u poetički višeslojnoj savremenoj srpskoj poeziji ostalo je zanemareno u našoj književnoj nauci, iako je u pitanju jedan od njenih najvitalnijih tradicijskih tokova. Otuda se otvara značajno polje istraživanja brojnih intertekstualnih veza i uticaja ekspresionističke tradicije u poeziji najistaknutijih srpskih pesnika druge polovine XX veka (M. Pavlović, S. Raičković, I. V. Lalić, B. Petrović, LJ. Simović, A. Ristović, D. Smiljanić, N. Tadić). Uticaj ekspresionističke poetike u njihovoj poeziji nije bio direktan i očit, nego duboko i spontano utkan u njihovu samosvojnu pesničku viziju, što ove pesnike i čini već priznatim, savremenim &bdquo;klasicima&rdquo; naše poezije. Ekspresionistička tradicija aktivirana je u njihovoj poeziji na stvaralački nov, kreativan način, u postmodernističkom ključu i sadejstvu sa drugim, često oprečnim tradicijskim tokovima (od neosimbolizma i neonadrealizma, do dubinskih naslaga usmenog i srednjovekovnog nasleđa), što je stvaralo neočekivane intertekstualne spojeve i nov pesnički kvalitet.<br />Na intertekstualnom i komparatističkom planu, uočavaju se brojne duhovno-poetičke srodnosti naših savremenih pesnika sa najznačajnijim ekspresionističkim autorima u našem i evropskom književnom kontekstu (M. Crnjanski, Rastko Petrović, D. Vasiljev, G. Ben, G. Trakl, G. Hajm, E. Lasker-Šiler).<br />I pored svih specifičnosti i razlika individualnih poetika ovih pesnika, utvrdili smo da u njihovoj poeziji dolazi do reaktualizacije gotovo svih ekspresionističkih toposa (toposa grada, smrti, rata, apokalipse, &bdquo;živih mrtvaca&rdquo;, kosmosa/haosa, disocijacije i podvojenosti subjekta, kao i toposa božansko/satansko). Problematizujući ove ekspresionističke topose u novim književno-istorijskim i civilizacijskim okolnostima, naši savremeni pesnici otvaraju brojna pitanja duhovnog, ličnog i kolektivnog identiteta i opstanka čoveka na kraju drugog milenijuma. Takođe, u njihovom pesništvu izdvojili smo niz ključnih ekspresionističkih stilsko-retoričkih i oblikovnih postupaka, među kojima je na prvom mestu postupak groteske i distorzije, simultanosti, crnog humora, kolaža i montaže, disocijativnog nizanja slika, oduhovljenja i apstrahovanja materije, kao i postupak intertekstualnosti i citatnosti. Uticaj ekspresionističke poetike ogleda se i na formalnom planu, u smislu destrukcije i dekanonizacije tradicionalnih rodoljubivih i religioznih žanrova, kao i usmenih, folklornih oblika basmi, bajalica, rugalica, gatki. Dolazi do žanrovskih pomeranja i preplitanja različitih jezičko-formalnih modela, od tradicionalnih, klasičnih oblika (najčešće soneta), do slobodnog stiha i modernog, neoavangardnog poigravanja jezikom i formom pesme, odnosno pesme u prozi (prozaide).</p><p>Istraživanje ekspresionističkog nasleđa pokazuje da su se iz poetičke raslojenosti srpskog i evropskog ekspresionizma razvile i različite neoekspresionističke struje našeg savremenog pesništva: kritička, (LJ. Simović, B. Petrović, delimično M. Pavlović), neosumatraistička (S. Raičković), metafizička (A. Ristović, D. Smiljanić), nihilistička (N. Tadić), religiozna (jednim slojem svog pesništva Ivan V. Lalić i Novica Tadić).<br />Ekspresionizam je tako u trajno nasleđe našoj savremenoj poeziji ostavio duh kritičkog preispitivanja svih dosadašnjih duhovnih, kulturnih, književnih, istorijskih tekovina, &bdquo;pevanje krize&rdquo;, rasapa vrednosti i viziju &bdquo;sumraka čovečanstva&rdquo;, namećući se kao ishodište daljih, postmodernističkih traganja i preispitivanja granica i moći pevanja.</p> / <p>The question of expressionist heritage in poetic multilayer contemporary Serbian poetry has been neglected in our literary science, although it is one of its most vital traditional trends. A significant field of research of numerous intertextual ties and influence of expressionist tradition in the poetry of the most prominent Serbian poets of the second half of XX century (M. Pavlović, S. Raičković, Ivan V. Lalić, B. Petrović, Lj. Simović, A. Ristović, D. Smiljanić, N. Tadić) is therefore revealed. The influence of expressionist poetics in their poetry was not direct and obvious, but deeply and spontaneously interlaced in their unique poetic vision, which makes these poets already recognised, contemporary &bdquo;classics&rdquo; of our poetry. The expressionist tradition was activated in their poetry in a new inventive and creative fashion, in postmodernism clue, and in interaction with the other, often opponent traditional trends (from neosymbolism and neosurrealism, to deep layers of oral and medieval heritage), which has created unexpected intertextual bonds and new poetic quality.<br />At the intertextual and comparative level, a numerous spiritual and poetic similarities of our contemporary poets with the most significant expressionist authors in our and European literary context can be observed (M. Crnjanski, Rastko Petrović, D. Vasiljev, G. Benn, G. Trakl, G. Heym, E. Lasker-Sch&uuml;ler).<br />Besides all specificities and differences in individual poetics of these poets, we have identified the reactualisation of almost all expressionist toposes in their poetry (toposes of city, death, war, apocalypse, &bdquo;living deadˮ, cosmos/chaos, dissociative and divided subject, and divine/satan topos). By problematising these expressionist toposes in new literary-historic and civilisation circumstances, our contemporary poets open numerous questions of spiritual, personal and collective identity and survival of a man at the end of second millennium. Furthermore, we have detected a range of key expressionist stylistic-rhetorical and structural procedures, among others primarily the procedures of grotesque and distortion, simultaneity, black humour, collage and montage, dissociative sequence of images, spiritualising and abstracting matter, and the procedure of intertextuality and citationality.<br />The influence of expressionist poetry is also reflected on a formal plan, in terms of destruction and decanonization of traditional patriotic and religious genres, as well as oral, folk forms of chants, incantations, mocking poems, tales. There has been genres shifting and interlacing of different language and formal models, from traditional, classical forms (most<br />4<br />often sonnets), to free verse and modern, neoavant-garde play with the language and the form of a poem or a prose poem.<br />The research of expressionist heritage shows that different neoexpressionist currents of our contemporary poetry have developed from the poetic diversity of Serbian and Europe expressionism: critical (Lj. Simović, B. Petrović, partially M. Pavlović), neosumatraistic (S. Raičković), metaphysical (A. Ristović, D. Smiljanić), nihilistic (N. Tadić), religious (in a layer of their poetry Ivan V. Lalić and Novica Tadić).<br />The expressionism has thus left a spirit of critical questioning of all present spiritual, cultural, literal, historic inheritance, &bdquo;singing the crisis&rdquo;, destruction of values and vision of &bdquo;dusk of mankindˮ as a permanent heritage in our contemporary poetry, placing itself as an outcome of further postmodern searches and questioning of limits and power of poetry.</p>

In the 1960s Czechoslovak Airlines (ČSA) set up offices in the countries to which they operated regular flights. ČSA branches abroad were to match high standards of other airlines premises. In those years travelling by air was still regarded a luxury. ČSA had to take these facts into consideration. The same group of architects, designers and artists who participated in the design of ČSA branch offices took also part in the outline of the new Prague Ruzyně international airport checking-in hall. This thesis aims to depict some former, now vanished, ČSA premises. In the 1990s ČSA closed down some offices abroad and the Prague Ruzyně international airport checking- in hall (now Terminal 1) was completely reconstructed. Press and other articles, archive documents, monographies as well as information provided directly by architects, designers and artists or their relatives were used in order to describe some previous ČSA publicly accessible premises and works of art that they included. On the basis of ascertained facts, it is obvious that in the 1960s ČSA offices abroad were not only to promote the good company reputation but further fulfilled a political role to create a positive picture of the Czechoslovak Republic. ČSA offices were designed by groups around Karel Filsak and Jan Šrámek. Their signatures can...

We have an opportunity not only to interact with 3D content but also to immerse ourselves in it via Virtual Reality (VR). This work is deeply inspired by my experience as a Ukrainian witnessing the recent turmoil in my homeland. I wanted people around the globe to experience the horrors that are unfolding. The Voice of the People, explores narrative storytelling through VR. Ultimately, the viewer will be able to put on a VR headset and become deeply immersed in the story. With this technology, the user intimately experiences the war and devastation created by Russian occupation first hand. The end of World War II is a critical time in my country’s history. Included in the 3D environment are video segments of those affected by the current Russian occupation; historical themes underscore the narrative and help the viewer understand the recurring aggression by Russia that is part of Ukraine’s history. / Includes bibliography. / Thesis (M.F.A.)--Florida Atlantic University, 2017. / FAU Electronic Theses and Dissertations Collection

This essay attempts to bring the experiences of eight soldiers to light, seven of them Swedish and one English, that took part in the fighting on the western front as volunteers in the French foreign legion during World War One. The main source material consists of letters sent between these soldiers and another Swedish ex-foreign legionnaire, Sven Blom, both during Mr. Bloms recovery from wounds which put him out of service in late 1914, and through Mr. Bloms work as first secretary of the Swedish consulate in Paris, with the last letters dating to 1918. The letters, which are part of a large archive left behind by Sven Blom, are transcribed and analyzed in this essay to answer five questions posed in order to ascertain the experiences and mindset of these soldiers. Are there any common themes in the soldiers’ letters? Are there any examples where Swedish national identity is commented on by the soldiers? What is their experience of the war, and what do they choose to tell Mr. Blom about? How do they feel they are treated by the French system and French soldiers? And, what are the soldiers’ opinion of reports from the war, like their fellow Swede Elow Nilson’s articles in the Swedish newspaper Vecko-Journalen?

Poetic Spaces of Memory (on Chosen Czech Poets of the Second Half of the 20th Century) Abstract The dissertation Poetic Spaces of Memory (on Chosen Czech Poets of the Second Half of the 20th Century) offers interpretations of six Czech poetic works of the second half of the 20th century, with focus on the perspective of cultural memory. Chosen poetic works represent synecdoches of poetic description of (general) historical events and experience that are connected with the time during the World War II (the Nazi regime) and with communist regime after 1948 and to some extent are connected with spatial dimension - be it poetic reflection of space which is modelled on a phenomenon from real, "topical" world, be it (completely) imaginary description of space. Methodology of this dissertation is based on the concept of cultural memory by Aleida Assmann, particularly as presented in her book Cultural Memory and Western Civilization. Functions, Media, Archives. Individual chapters of the dissertation deal with interpretations of following poetic works: "Návrat" by Vladimír Holan is a poetic story that develops the topos of coming back - coming back home, to a space that the lyrical narrator enters after twenty years in order to look for his mother's grave in local graveyard; he fails. A verse book Dům Strach by Jan...

Titre de l'écran-titre (visionné le 7 août 2023) / Cette thèse propose d'explorer un courant d'idée informel et marginal du XXᵉ siècle qui, selon son hypothèse de départ, aurait assuré la transition entre les premières contestations contre la révolution industrielle et certains mouvements environnementalistes contemporains. Ce courant peut ainsi se caractériser comme une écologie politique révolutionnaire, se fondant sur une critique radicale de la civilisation industrielle et de son facteur principal, la technique moderne. Le but de cette étude est d'en évaluer la cohérence et la pertinence : a-t-on affaire à un ensemble dispersé d'idées et d'auteurs, ou bien à un diagnostic commun ? Est-ce que ces idées ont toujours un intérêt face à la crise écologique actuelle ? Un certain nombre d'intellectuels peuvent être rattachés à cette perspective technocritique ; néanmoins, cette étude se concentre sur les œuvres de quatre d'entre eux : l'urbaniste américain Lewis Mumford (1895-1990), le philosophe allemand Günther Anders (1902-1992), le sociologue français Jacques Ellul (1912-1994) et l'historien nomade Ivan Illich (1926-2002). Dans un premier temps, ce travail présente la méthode qui a guidé l'étude de ces textes : une socio-histoire des idées qui emprunte tout autant à la discipline historique qu'à la discipline sociologique. Les enjeux de l'étude des pensées environnementalistes et écologistes sont également exposés, afin de souligner les spécificités de cet objet de recherche. Ce qui amène à la formulation de la problématique de cette thèse : ce courant d'idées écologiste peut-il être défini comme un langage, au sens que l'histoire des idées politiques donne à ce concept ? La principale assertion de cette étude est qu'il doit plutôt être compris comme une matrice intellectuelle, un ensemble cohérent de leitmotivs visant la connaissance social-historique, et pouvant servir de base à des langages davantage tournés vers l'action politique. Ce qui contraste avec les polémiques romantiques contre le machinisme au XIXᵉ siècle, qui exprimaient une sensibilité anti-industrielle plus diffuse. Par la suite, les cinq principaux chapitres de cette étude fournissent un contre-récit du XXᵉ siècle, à travers la lecture profonde des textes des auteurs retenus. Ce récit débute avec l'examen des ouvrages pionniers de Lewis Mumford durant l'entre-deux-guerres. À la suite à la Grande Guerre, celui-ci chercha à édifier une perspective alternative à la fois au libéralisme, au conservatisme et au marxisme. En parallèle, il se lança dans une étude historique de fond de ce qu'il nommait « l'Âge de la Machine », et en tira une critique de la civilisation de la puissance. Après la Seconde Guerre mondiale et les bombardements nucléaires d'Hiroshima et de Nagasaki, Günther Anders et Jacques Ellul élaborèrent, de manière convergente, un diagnostic critique de la société technicienne et conformiste de l'après-guerre. Ils décrivirent le type d'individu qu'elle produit, un homme médial ayant perdu le contrôle sur les techniques qu'il a lâché dans son monde - qui ne serait alors justement plus le sien. De plus, ils s'interrogèrent sur la possibilité d'une extinction de l'humanité, avant tout par un ultime conflit atomique. Mumford, Anders et Ellul réitérèrent leurs analyses dans les années 1960 et 1970, alors que l'Occident était marqué par une vague multiforme de contestations et de révoltes. Prenant leurs distances face à ces mouvements, ces trois intellectuels estimaient qu'en réalité un système mégatechnique venait de triompher. Celui-ci se déploierait de manière purement causale, dans le seul but d'accroître sa taille et sa puissance. Par conséquent, la Révolution et l'Histoire semblaient être devenues obsolètes. Ivan Illich fit sienne cette critique de la démesure et de la déraison technologiques, en l'étendant au secteur des services. Il étudia également les sources profondes de cette civilisation industrielle, qu'il situa dans le passé chrétien de l'Occident. Finalement, en s'appuyant sur les travaux de ses homologues, Illich traça les grandes lignes de ce que pourrait être une société conviviale. Cependant, le mouvement écologiste contemporain échoua à intégrer ces idées, et manqua sa propre révolution. Se pose alors la question de savoir quelle attitude il est possible d'adopter face au « Temps de la Fin ». La matrice intellectuelle de cette écologie politique révolutionnaire reste active de nos jours, à travers les langages du néo-luddisme, de l'écosocialisme et de la décroissance. Des recherches futures sont nécessaires pour bien saisir cette filiation, et pour rattacher d'autres auteurs à cette matrice d'idées. / This thesis proposes to explore an informal and marginal current of thought of the 20ᵗʰ century which, according to its initial hypothesis, would have ensured the transition between the first protests against the industrial revolution and certain contemporary environmentalist movements. This current can thus be characterized as a revolutionary political ecology, based on a radical critique of industrial civilization and its main factor, modern technics. The purpose of this study is to assess its coherence and pertinency: are we dealing with a dispersed set of ideas and authors, or a common diagnosis? Do these ideas still have relevance in the face of the current ecological crisis? A number of intellectuals can relate to this technocritical perspective; nevertheless, this study focuses on the works of four of them: the American urban planner Lewis Mumford (1895-1990), the German philosopher Günther Anders (1902-1992), the French sociologist Jacques Ellul (1912-1994) and the nomadic historian Ivan Illich (1926-2002). First, this work presents the method that guided the study of these texts: a socio-history of ideas that borrows as much from the historical discipline as from the sociological discipline. The stakes of the study of environmentalist and ecological ideas are also exposed, in order to underline the specificity of this research object. Which leads to the formulation of the problematic of this thesis: can this current of ecological ideas be defined as a language, in the sense that the history of political ideas gives to this concept? The main assertion of this study is that it should rather be understood as an intellectual matrix, a coherent set of leitmotifs aimed at social-historical knowledge, and which can serve as a basis for languages more oriented towards political action. This contrasts with the romantic polemics against mechanization in the 19ᵗʰ century, which expressed a more diffuse anti-industrial sensibility. Subsequently, the five main chapters of this study provide a counter-narrative of the 20ᵗʰ century, through a deep reading of the texts of the selected authors. This account begins with an examination of the pioneering works of Lewis Mumford during the interwar period. Following the Great War, he sought to build an alternative perspective to both liberalism, conservatism and Marxism. At the same time, he embarked on an in-depth historical study of what he called the "Machine Age", and drew from it a critique of the power civilization. After the Second World War and the nuclear bombings of Hiroshima and Nagasaki, Günther Anders and Jacques Ellul elaborated, in a convergent way, a critical diagnosis of the technical and conformist society of the post-war period. They described the type of individual it produces, a medial man who has lost control over the technics he has unleashed on his world - which would then no longer be his own. Moreover, they wondered about the possibility of an extinction of humanity, above all by an ultimate atomic conflict. Mumford, Anders and Ellul reiterated their analyzes in the 1960s and 1970s, when the West was marked by a multifaceted wave of protests and revolts. Taking their distance from these movements, these three intellectuals believed that in reality a megatechnical system had just triumphed. This system would deploy in a purely causal way, with the sole purpose of increasing its size and power. Consequently, Revolution and History seemed to have become obsolete. Ivan Illich made this criticism of technological excess and unreason his own, extending it to the service sector. He also studied the deep sources of this industrial civilization, which he located in the Christian past of the West. Eventually, building on the work of his counterparts, Illich outlined what a society of conviviality might be. However, the contemporary environmental movement didn't integrate these ideas, and failed its own revolution. The question then arises as to what attitude one should adopt in the face of the "Time of the End". The intellectual matrix of this revolutionary political ecology remains active today, through the languages of neo-Luddism, ecosocialism and degrowth. Future research is needed to fully understand this filiation, and to link other authors to this matrix of ideas.

Тема данной диссертации – «Падение и возрождение “града и мира” в литературе XV-XVII вв.», сама работа посвящена осмыслению темы падения городов на материале «Повести о разорении Рязани», «Повести о взятии Царьграда» и «Казанской истории». В рамках исследования были выделены общие и особенные мотивы, использующиеся в соответствии с авторским целеполаганием, соотнесена сюжетная составляющая памятников в соответствии с проблемами исторических ситуаций. Для более полного понимания вопроса были изучены некоторые аспекты урбанистики, что позволило увидеть своеобразие средневекового взгляда на город, а также были привлечены тексты Священного писания для более полного понимания всех смыслов, вкладываемых средневековым человеком в понятие города. / The topic of this dissertation is "The fall and rebirth of the "city and the world" in the literature of the XV–XVII centuries", the work itself is devoted to understanding the theme of the fall of cities on the material of "The Tale of the destruction of Ryazan", "The Tale of the capture of Tsargrad" and "Kazan History". Within the framework of the study, general and special motives used in accordance with the author's goal-setting were identified, the plot component of monuments was correlated in accordance with the problems of historical situations. For a more complete understanding of the issue, some aspects of urbanism were studied, which made it possible to see the uniqueness of the medieval view of the city, and the texts of the Holy Bible were also involved for a more complete understanding of all the meanings put by a medieval person into the concept of a city.

This thesis deals with a myth concept in Thomas Mann's and Ivan Olbracht's work. In regard to the tertium comparationis, which is myth, Mann's novels Joseph and His Brothers (Joseph und seine Brüder) and Doctor Faustus (Doktor Faustus) as well as Olbracht's novels The Bitter and the Sweet (Nikola Šuhaj loupežník) and Valley of Exile (Golet v údolí) are analysed. The concepts of these two authors are being compared both on a genetic level, which includes a possible influence of the tetralogy Joseph and His Brothers on Olbracht's work, and on a typological level. The second one includes analogies, which are independent of the possible direct influence. The thesis is methodological based on interpretation of fictional texts and their continuous comparison considering a literary-historical context and cultural-historical background of that time. Especially in some details, it can be considered that Thomas Mann had a direct influence on Olbracht's work in case of both of the novels. A number of analogies have been found, which exemplify a resemblance between the authors but which don't deny that Olbracht was an autonomous and creative personality at the same time. The specific myth concept of both authors harmonise with a period tendency in the modern literature.

El propòsit principal d'aquesta tesi és analitzar críticament l'antropologia filosòfica de Charles Taylor.A la primera part abordem qüestions preliminars: les fonts, els fonaments teòrics i els elements metodològics del seu pensament.A la segona part elaborem la seva teoria de la identitat. Això implica: (1) donar compte de la relació inextricable entre el jo de la persona i la seva orientació moral, i (2) per mitjà d'arguments transcendentals, articular una ontologia que determini els trets perennes de la naturalesa humana.Una ontologia de la identitat exigeix l'articulació de les continuïtats i discontinuïtats entre els animals humans i no humans. És a dir, una filosofia de la biologia que aporti les intuïcions de l'aristotelisme al post-darwinisme. En línia amb Adaslair MacIntyre, intentem completar les aportacions realitzades per Taylor en el context de la seva filosofia de l'acció.D'altra banda, identifiquem alguns dels trets distintius de l'agent humà (lingüisticitat, propòsit i dialogicitat), i abordem els desafiaments de (1) les versions que radicalitzen les conseqüències de la contingència del subjecte i (2) els reduccionisme que prosperen entre els filòsofs analítics. Per això hem confrontat a les interpretacions de Richard Rorty sobre Nietzsche i Freud, i a la posició quasi-budista de Parfit, l'hermenèutica forta de Charles Taylor i Paul Ricoeur.A la tercera part, estudiem la dimensió històrica de la identitat humana. Això implica assenyalar les peculiaritats del anthropos modern. Per això, a més de contraposar al jo modern la versió premoderna de la nostra comuna humanitat, hem hagut d'enfrontar a la interpretació de Taylor sobre el sentit de les mutacions cosmovisionales, antropològiques i ètiques de la modernitat, les interpretacions que a aquestes mutacions concedeixen autors com Michel Foucault, Alasdair MacIntyre i Jürgen Habermas. / El propósito principal de esta tesis es analizar críticamente la antropología filosófica de Charles Taylor. En la primera parte abordamos cuestiones preliminares: las fuentes, los fundamentos teóricos y los elementos metodológicos de su pensamiento. En la segunda parte elaboramos su teoría de la identidad. Eso implica: (1) dar cuenta de la relación inextricable entre el yo de la persona y su orientación moral; y (2) por medio de argumentos trascendentales, articular una ontología que determine los rasgos perennes de la naturaleza humana. Una ontología de la identidad exige la articulación de las continuidades y discontinuidades entre los animales humanos y no humanos. Es decir, una filosofía de la biología que aporte las intuiciones del aristotelismo al post-darwinismo. En línea con Adaslair MacIntyre, intentamos completar los aportes realizados por Taylor en el contexto de su filosofía de la acción. Por otro lado, identificamos algunos de los rasgos distintivos del agente humano (lingüisticidad, propósito y dialogicidad); y abordamos los desafíos de (1) las versiones que radicalizan las consecuencias de la contingencia del sujeto y (2) los reduccionismos que prosperan entre los filósofos analíticos. Para ello hemos confrontado a las interpretaciones de Richard Rorty sobre Nietzsche y Freud, y a la posición cuasi-budista de Parfit, con la hermenéutica fuerte de Charles Taylor y Paul Ricoeur.En la tercera parte, estudiamos la dimensión histórica de la identidad humana. Eso implica señalar las peculiaridades del anthropos moderno. Para ello, además de contraponer al yo moderno la versión premoderna de nuestra común humanidad, hemos tenido que enfrentar a la interpretación de Taylor sobre el sentido de las mutaciones cosmovisionales, antropológicas y éticas de la modernidad, las interpretaciones que a éstas mutaciones conceden autores como Michel Foucault, Alasdair MacIntyre y Jürgen Habermas. / The main purpose of this thesis is to critically analyze the philosophical anthropology of Charles Taylor.The first part deals with preliminary issues: the sources, the theoretical and methodological elements of his thought.In the second part we elaborate his theory of identity. This implies: (1) to account for the inextricable relationship between the self of the person and his moral orientation, and (2) by means of transcendental arguments, to articulate an ontology that determines the perennial features of human nature.An ontology of identity requires the articulation of the continuities and discontinuities between human and nonhuman animals. That is, a philosophy of biology which provides insights from Aristotelianism to post-Darwinism. In line with Adaslair MacIntyre, we try to complete the contributions made by Taylor in the context of his philosophy of action.On the other hand, we identify some of the distinctive features of human agency (language, purpose and dialogue) and tackle the challenges of (1) versions that radicalized the consequences of the contingency of the subject and (2) the reductionism that thrive among the analytical philosophers. So we confront the interpretations of Richard Rorty about Nietzsche and Freud, and the quasi-Buddhism of Parfit, with the strong hermeneutics of Charles Taylor and Paul Ricoeur.In the third part, we study the historical dimension of human identity. That means pointing out the peculiarities of the modern anthropos. Therefore, in addition to contrast the modern self with the premodern version of our common humanity, we confront Taylor's interpretation of the meaning of the cosmological, anthropological and ethical mutations of modernity, with the interpretations that authors as Michel Foucault, Jürgen Habermas and Alasdair MaIntyre offer about these mutations.