Este trabalho é uma análise de três obras do escritor angolano Ondjaki, a saber: Bom dia camaradas, Os da minha rua e AvóDezanove e o segredo do soviético. Expoente da literatura angolana contemporânea, nestas três obras, Ondjaki apresenta o mesmo narrador – um menino de classe média que vive em Luanda. Embora sejam obras independentes, em todas o narrador explora as possibilidade do texto a partir do tempo mítico da infância. Nossa análise parte do conceito de “memória cultural”, desenvolvido pelo egiptólogo alemão e teórico da cultura Jan Assmann. Segundo ele, a memória cultural é a memória que conduz a história a partir de uma perspectiva narrativa, não oficial. Assim sendo, a memória cultural se insere nas esferas da tradição e do mito, passada de geração em geração através das mais diversas instâncias narrativas, tais quais as literaturas escrita e oral, a música, as lendas, a dança, as artes pictóricas e tudo aquilo que é parte da cultura de uma comunidade. A memória cultural difere da História na medida em que a primeira é dada pela história que narra, e a segunda pela história que investiga. Na edificação do conceito de memória cultural, Jan Assmann utiliza, como principais pressupostos, conceitos de Nietzsche e Freud, mais especificamente, o conceito nietzschiano de memória vinculante, a memória normativa que é forjada na dor, e o conceito freudiano de trauma. O objetivo deste trabalho é determinar de que modo as três obras de Ondjaki se coadunam com as teorias desenvolvidas por Assmann e como a memória cultural está presente nas narrativas do escritor angolano. / The current thesis presents an analysis of three novels by Angolan writer Ondjaki: Bom Dia Camaradas, Os da Minha Rua e Avó Dezanove e o Segredo do Soviético. Renowned contemporary Angolan writer, in these three books Ondjaki presents the same narrator, a middle class boy who lives in Luanda. Although the books are independent, in all of them the narrator explores the possibilities of the text from the mythical time of childhood. The analysis is built upon the concept of “cultural memory” developed by the German Egyptologist and culture theoretician Jan Assmann. According to him, cultural memory is that memory which conducts history from a narrative perspective instead of an official historical perspective. Therefore, cultural memory is integrant part of the traditional and mythical spheres of culture, being handed down from one generation to the next in the most diverse narrative media, such as written and oral literatures, music, dance, the visual arts and everything that is part of the culture of a community. Cultural memory is different from history in that the first is narrative, whereas the second is investigative. Jan Assmann builds the concept of cultural memory using as his principal presuppositions, Nietzsche’s concept of “linking memory,” that is, the normative memory that is forged in pain, and Freud’s concept of “trauma.” The purpose of this analysis is to determine how Ondjaki’s three novels are in line with Assmann’s theory and to explore the way cultural memory appears in the Angolan writer’s narratives.

The presented diploma thesis focuses on analyzing Spanish correspondence written by Jan Adolf of Schwarzenberg (1615-1683) between 1647 and 1683. The correspondence has yet to be thoroughly explored and is deposited in the State Regional Archive in Třeboň, the department of Český Krumlov - Rodinný archiv Schwarzenberků. Through a content analysis, the author tries to explore the relationship between Jan Adolf of Schwarzenberg and people of a different social status with whom the count had established a written communication; i.e. the author makes an effort to reconstruct the communication network of the baroque nobleman and examine the content of the letters. The author also suggests the typology of Spanish Schwarzenberg participants of the communication, who were divided into Habsburg family members, emperor's emissaries in Madrid, courtiers of Madrid, Spanish emissaries in Vienna, individuals working in the Spanish Netherlands, clerics and agents.

Jan Nepomuk, count Harrach (1828-1909) was a member of an antient aristocratic dynasty, an important squirearch, a politician and a member of the Conservative Great Landowners Party; but also, a Czech aristocrat. The aim of this work is to provide a detailed analysis of political activities, views and ideas of count Harrach, conveyed through his writings, articles and speeches presented on the Bohemian land diet; and to present him not only as a conservative faithful to his class but also as an aristocrat, who willfully claimed allegiance to ethnic-linguistic conception of the Czech consciousness. The work follows a narrower focus on Jan Nepomuk's activities mentioned above, however it attempts to put them in context of his life and historical period, which constitute inseparable context. The source basis for the study are first and foremost archives from the personal literary remains of count Harrach stored in the National Archives of Austria in Vienna. Alongside, the contemporary press and administrative sources have also been used. The presented work is also a contribution to the studies of the history of the Bohemian aristocracy and its political activities and attempts to balance two stereotypes that were and to some extent still are typical for this field of historical studies - the a priori...

Czech animated allegories of the period of 1946 to 2012 encode their political ideas in objects and things, rather than through conventional narrative techniques such as voice-over or dialogue. The existence of these objects in cinematic time and space is integral to this process of political encoding, which is achieved through the selection of objects, cinematography and editing. In some of these films, time and space themselves are politically encoded. Materialist critical approaches to the film texts can help illuminate these latent political meanings. 'Thing theory', which puts a critical emphasis upon reading objects and things, exposes the politically resistant role of simple, domestic objects in the films of Jiří Trnka and Hermína Týrlová. Trnka's cinema in particular defends traditional, pastoral modes of being in which the individual is rooted within their environment. 'Actor-network-theory', a means of interrogating the relationship between actors in networks, resonates with the political ideas present in the cinema of Surrealist artist Jan Švankmajer. Švankmajer's central political project is an interrogation of anthropocentrism and attempts by humans to exert systems of control and order upon non-human actors. Rather than celebrating functional, domestic objects like Trnka or Týrlová, Švankmajer's cinema is radically anti-utilitarian. Objects are depicted as things that resist categorisation. 'Rhythmanalysis' – a mode of poetic-scientific investigation developed by philosopher Henri Lefebvre – can be used to unpick the rhythms in the animations of Jirí Barta. Barta's films critique rational clock time and the design of urban spaces through the use of editing patterns and repetition. Finally, all three materialist approaches in combination help illustrate the political content of animated films (and live-action films with significant passages of animation) produced in the wake of the Velvet Revolution. Such films often question the relationship between the individual Czech citizen and the Czech capital city of Prague. The animated films of the aforementioned directors and historical periods, tend to give precedence to the material world of objects over the semiotic world of humans, though these two realms are often shown to be inter-dependent. To this end, the political messages of the films are conveyed not through language, but through images and things.

Este trabalho é uma análise de três obras do escritor angolano Ondjaki, a saber: Bom dia camaradas, Os da minha rua e AvóDezanove e o segredo do soviético. Expoente da literatura angolana contemporânea, nestas três obras, Ondjaki apresenta o mesmo narrador – um menino de classe média que vive em Luanda. Embora sejam obras independentes, em todas o narrador explora as possibilidade do texto a partir do tempo mítico da infância. Nossa análise parte do conceito de “memória cultural”, desenvolvido pelo egiptólogo alemão e teórico da cultura Jan Assmann. Segundo ele, a memória cultural é a memória que conduz a história a partir de uma perspectiva narrativa, não oficial. Assim sendo, a memória cultural se insere nas esferas da tradição e do mito, passada de geração em geração através das mais diversas instâncias narrativas, tais quais as literaturas escrita e oral, a música, as lendas, a dança, as artes pictóricas e tudo aquilo que é parte da cultura de uma comunidade. A memória cultural difere da História na medida em que a primeira é dada pela história que narra, e a segunda pela história que investiga. Na edificação do conceito de memória cultural, Jan Assmann utiliza, como principais pressupostos, conceitos de Nietzsche e Freud, mais especificamente, o conceito nietzschiano de memória vinculante, a memória normativa que é forjada na dor, e o conceito freudiano de trauma. O objetivo deste trabalho é determinar de que modo as três obras de Ondjaki se coadunam com as teorias desenvolvidas por Assmann e como a memória cultural está presente nas narrativas do escritor angolano. / The current thesis presents an analysis of three novels by Angolan writer Ondjaki: Bom Dia Camaradas, Os da Minha Rua e Avó Dezanove e o Segredo do Soviético. Renowned contemporary Angolan writer, in these three books Ondjaki presents the same narrator, a middle class boy who lives in Luanda. Although the books are independent, in all of them the narrator explores the possibilities of the text from the mythical time of childhood. The analysis is built upon the concept of “cultural memory” developed by the German Egyptologist and culture theoretician Jan Assmann. According to him, cultural memory is that memory which conducts history from a narrative perspective instead of an official historical perspective. Therefore, cultural memory is integrant part of the traditional and mythical spheres of culture, being handed down from one generation to the next in the most diverse narrative media, such as written and oral literatures, music, dance, the visual arts and everything that is part of the culture of a community. Cultural memory is different from history in that the first is narrative, whereas the second is investigative. Jan Assmann builds the concept of cultural memory using as his principal presuppositions, Nietzsche’s concept of “linking memory,” that is, the normative memory that is forged in pain, and Freud’s concept of “trauma.” The purpose of this analysis is to determine how Ondjaki’s three novels are in line with Assmann’s theory and to explore the way cultural memory appears in the Angolan writer’s narratives.

The thesis aims to interpret the philosophy of negative Platonism, which Jan Patočka developed during the 1950s. In the first part, negative Platonism, whose preliminary notion is derived from the interpretation of the eponymous programme essay, is studied in the context of contemporary philosophical discussion and Patočka's subjectivist humanistic conception he developed in the latter half of the 1940s as well as his lectures on classical philosophy. The second part contains author's own systematic interpretation of negative Platonism, including the reconstruction of the textual corpus of Patočka's programme. Finally, the third part, which considers first the inspirational sources of the observed project, reviews negative Platonism and outlines a concept, with which Patočka replaced negative Platonism in the late 1950s. The thesis aims to outline the philosophy of negative Platonism as an important stage in Patočka's philosophical development as well as a significant part of the modern history of European thinking.

The topic of this diploma thesis is a linguistic analysis of a defined part of the first volume of Jan František Beckovský´s baroque chronicle. The theoretical level approaches the life of the author, it summarizes his works and introduces the chronicle called Poselkyně starých příběhů českých I written in 1700 itself. The analysis deals with the phonological and lexical levels of the chronicle in several thematic wholes. Less attention was paid to the morphological and stylistic levels. The syntactic structure of the chronicle was not analysed there. The thesis aims at discussing the basic phonological features of the high Baroque style language and presenting the vocabulary specifics of a historiographical text.

Este trabalho é uma análise de três obras do escritor angolano Ondjaki, a saber: Bom dia camaradas, Os da minha rua e AvóDezanove e o segredo do soviético. Expoente da literatura angolana contemporânea, nestas três obras, Ondjaki apresenta o mesmo narrador – um menino de classe média que vive em Luanda. Embora sejam obras independentes, em todas o narrador explora as possibilidade do texto a partir do tempo mítico da infância. Nossa análise parte do conceito de “memória cultural”, desenvolvido pelo egiptólogo alemão e teórico da cultura Jan Assmann. Segundo ele, a memória cultural é a memória que conduz a história a partir de uma perspectiva narrativa, não oficial. Assim sendo, a memória cultural se insere nas esferas da tradição e do mito, passada de geração em geração através das mais diversas instâncias narrativas, tais quais as literaturas escrita e oral, a música, as lendas, a dança, as artes pictóricas e tudo aquilo que é parte da cultura de uma comunidade. A memória cultural difere da História na medida em que a primeira é dada pela história que narra, e a segunda pela história que investiga. Na edificação do conceito de memória cultural, Jan Assmann utiliza, como principais pressupostos, conceitos de Nietzsche e Freud, mais especificamente, o conceito nietzschiano de memória vinculante, a memória normativa que é forjada na dor, e o conceito freudiano de trauma. O objetivo deste trabalho é determinar de que modo as três obras de Ondjaki se coadunam com as teorias desenvolvidas por Assmann e como a memória cultural está presente nas narrativas do escritor angolano. / The current thesis presents an analysis of three novels by Angolan writer Ondjaki: Bom Dia Camaradas, Os da Minha Rua e Avó Dezanove e o Segredo do Soviético. Renowned contemporary Angolan writer, in these three books Ondjaki presents the same narrator, a middle class boy who lives in Luanda. Although the books are independent, in all of them the narrator explores the possibilities of the text from the mythical time of childhood. The analysis is built upon the concept of “cultural memory” developed by the German Egyptologist and culture theoretician Jan Assmann. According to him, cultural memory is that memory which conducts history from a narrative perspective instead of an official historical perspective. Therefore, cultural memory is integrant part of the traditional and mythical spheres of culture, being handed down from one generation to the next in the most diverse narrative media, such as written and oral literatures, music, dance, the visual arts and everything that is part of the culture of a community. Cultural memory is different from history in that the first is narrative, whereas the second is investigative. Jan Assmann builds the concept of cultural memory using as his principal presuppositions, Nietzsche’s concept of “linking memory,” that is, the normative memory that is forged in pain, and Freud’s concept of “trauma.” The purpose of this analysis is to determine how Ondjaki’s three novels are in line with Assmann’s theory and to explore the way cultural memory appears in the Angolan writer’s narratives.

Many small municipalities, in contrast to larger centers, struggle to offer natural social venues in their neighborhoods. As people choose larger cities for social gatherings, smaller city centers becoming depopulated and in turn they lose their necessary demand to sustain social meeting places. The purpose of this work is to see what small towns can do to make social spaces more attractive and vibrant and thereby encourage people to participated more in the public realm. This study will focus on Smedjebacken (Sweden) municipality's urban development and present proposals for measures that the municipality can take to become more socially sustainable from a planning perspective. The work is much based on Kevin Lynch and Jan Gehl's theories. Where Lynch's scientific strategies see the great perspective of how the city is built and Gehl's ideologies are at a more detailed level where the residents meetings in the city are the primary. A case study has been conducted to gather information about past and future strategies concerning Smedjebacken's city center, as well as documents, ideas and views of municipal official and knowledgeable persons through interviews. A Lynch-based observation analysis of central parts of the city was also used. The method is based on theories in Lynch’s The image of the city, Lynch argues that people see five critical elements in cities: paths, edges, districts, nodes and landmarks. This analysis was conducted during two days in Smedjebacken’s city center. The results show that Smedjebacken has several improvement points in order to increase the social sustainability in the city center. The city is divided into three major districts and has an incoherent character, which means that the few shops and social venues in the city are dispersed and do not benefit from one another as a result. In order to fuse the core of the city, recommendations based on Jan Gehl's theories are advanced. The key strategy recommended is to create social meetings that encourage residents to visit and participate in their community center. / Många mindre kommuner har idag svårt att bibehålla de naturliga sociala mötesplatserna i sina tätorter till följd av att större städer har mer att erbjuda. Att allt fler människor väljer större städer för olika sociala sammankomster leder ofta till att de mindre stadskärnorna blir folktomma och i sin tur försvinner den efterfrågan som behövs för att upprätthålla sociala mötesplatser. Syftet med det här arbetet är att se vad småkommuner kan göra för att uppmuntra sin befolkning att lämna hemmen och göra de sociala rummen mer attraktiva och levande. Arbetet kommer att ha fokus på Smedjebacken kommuns stadsutveckling och presentera förslag på åtgärder som kommunen kan vidta för att bli mer socialt hållbara ur ett planeringsperspektiv. Arbetet grundar sig mycket i Kevin Lynch och Jan Gehls teorier. Där Lynch vetenskapliga strategier ser det stora perspektivet av hur staden är uppbyggd och Gehls ideologier är på en mer detaljerad nivår där invånarnas möten inom staden är det primära. En fallstudie har genomförts för att samla in information om tidigare och framtida strategier för Smedjebackens stadskärna, även olika dokumentationer från kommunen har använts och insatta personer har intervjuats. En Lynchbaserad observationsmetod över de centrala områdena inom staden har tillämpats. Metoden grundar sig i Lynch teorier från boken The image of the city där Lynch hävdar att människor ser och upplever staden utifrån de fem kritiska elementen: stråk, gränser, distrikt, noder och landmärken. Analysen genomfördes under två dagar i centrala Smedjebacken. Resultatet visar att Smedjebacken har ett flertalet olika punkter som skulle kunna förbättras för att främja den sociala hållbarheten inom centrum. Staden är uppdelad i tre större distrikt och har en osammanhängande karaktär vilket leder till att de få affärerna och sociala mötesplatserna i staden är utspridda och inte gynnas av varandra till följd av det. För att knyta samman stadskärnan har stadsplaneraren Jan Gehls teorier applicerats där han menar att människor måste uppmuntras till sociala möten i staden för att vilja vistas där.

Tierps kommun upplever demografisk och ekonomisk tillväxt, och Tierps tätort är i behov av förnyelse och upprustning. Människor som lever i en stad som upplever tillväxt har högre förväntningar och ställer högre krav på offentliga miljöers hållbarhet, utformning och design. En centrummiljö som är tryggare, mer attraktivt och tillgängligt eftersträvas av Tierps kommun. Denna fallstudie är avgränsad till Centralplan i Tierps centrum och på platsen finns Tierps resecentrum, butiker och andra verksamheter. Syftet med denna studie är att uppfylla Tierps kommuns mål genom att skapa en social och välkomnande mötesplats för alla människor. Centralplan i Tierp har studerats utifrån Jan Gehls metoder för att studera det offentliga livet. Den avgränsade platsens fysiska förutsättningar har inventerats. Faktorer som sol, vind, material, verksamheter och fysisk utformning har studerats. Platsen har därefter analyserats utifrån Gehls 12 kvalitetskriterier. Kartläggning av människors sociala beteende i relation till platsens byggda miljö har även utförts. Denna kartläggning har bestått av Gehls metoder counting, mapping och tracing. För djupare insikt i platsens fysiska och sociala förutsättningar har förbipasserande intervjuats. Intervjufrågorna bestod av strukturerade frågor med möjlighet för respondenter att svara med öppna svarsalternativ. Detta gav respondenterna möjlighet att fritt beskriva hur de upplevde Centralplan och vad de ville förändra. Sedermera, grupperades och analyserades intervjusvaren för undersökning av statistiska samband. Utifrån observationer, intervjuer samt erhållen kunskap om planeringsteorier, har ett gestaltningsförslag skapats över en mer attraktiv, social och välkomnande mötesplats för alla människor. Studien har, med detta gestaltningsförslag över Centralplan, bidragit till kunskapen om svenska småstäders och deras byggda miljöer, samt hur dessa kan analyseras utifrån Gehls metoder. / Tierp´s municipality is experiencing demographic and economic growth, and Tierp´s urban centre needs renewal and renovation. People living in a city experiencing growth have higher expectations and higher demands on public spaces´ sustainability and design. Tierp´s municipality seeks for an urban environment that is more attractive, more secure and more available. This case study is delineated to Centralplan. The site contains Tierp´s centre for public transport, shops and other businesses. The purpose of this study is to fulfill the municipality goals by creating a social and welcoming meeting place for everybody. Centralplan was studied with Jan Gehl´s methods of studying public life. Centralplan´s built environment was inventoried and factors such as sun, wind, building material, businesses and physical design were documented. Centralplan was analyzed with Gehl´s 12 quality criterias. People´s social behaviour in relation to the built environment was also studied through Gehl´s methods counting, mapping and tracing. For deeper insight into Centralplan´s physical and social conditions, bypassers were interviewed. The interviews consisted of structured questions with possibility to answer openly, giving respondents the chance to freely explain how they experienced Centralplan and what they wanted to change. Subsequently, the answers were grouped and analyzed for statistical significance. Through observations, interviews and obtained knowledge about planning theory, a design proposal has been created over a more attractive, social and welcoming meeting place for everybody. The creation of a design proposal over Centralplan, has contributed to the knowledge of Swedish towns and their built environments, and thus how they can be analyzed with Gehl´s methods.