The theoretical diploma thesis presented deals with chosen artistic activities within a public space and outlines their educational purposes for pupils of grammar and high schools. For this purpose, the artistic movements and terms which are related to art in a public space are clarified at first, the problems in education of the current art lessons then follow. The thesis is concluded with the analysis of the three contemporary artistic activities which took place in a public space within the domestic surroundings.

O presente trabalho é o produto de minha pesquisa acerca dos aspectos históricos e linguísticos que subjazem o conceito do fonema. Nossa ideia originou-se a partir de dois extratos diferentes escritos pelo linguista russo Roman Jakobson: 1) sobre a gênese do fonema: “A procura pelos constituintes diferenciais discretos mais elementares da linguagem nos faz remontar à doutrina do sphoṭa dos gramáticos do sânscrito e a concepção do στοιχεῖον de Platão, mas o verdadeiro estudo linguístico desses invariantes iniciou-se apenas em 1870” (Jakobson, 1962:467); e 2) acerca dos fundadores da Fonologia: “Os primeiros alicerces da Fonologia foram assentados por Baudouin de Courtenay, Ferdinand de Saussure e seus discípulos” (Jakobson, 1962:232). Desta forma, tentamos realizar uma “reconstrução” desta trajetória histórica e linguística, dos nomes, fatos e teorias que formam o conceito da unidade fonológica no estudo científico da língua. Iniciamos com o estudo da ciência da linguagem na Índia antiga (em particular, o estudo da gramática do sânscrito), seguido pelo estudo do alfabeto grego (incluindo aí os problemas relativos à língua grega, assim como à Gramática e à Filosofia). Finalmente, tentamos fazer “um recorte” preciso do momento na história das ideias linguísticas quando o conceito científico do fonema foi delineado, definido e incorporado à terminologia da epistemologia linguística. Os grandes teóricos da escola incipiente da Linguística Geral, da Fonologia e do fonema, são, como disse Jakobson, o linguista e filólogo suíço Saussure, e o filólogo e foneticista polonês Courtenay; mas a história do fonema não é nada simples. Recentemente, um trabalho meticuloso por parte dos pesquisadores tem resgatado grande parte desta história já há muito esquecida, no que tange as teorias antigas dos gramáticos filósofos hindus e gregos, e os manuscritos de Saussure recentemente publicados, assim como os artigos de Courtenay e seus alunos (entre eles o polonês Mikołaj Kruszewski), escritos que, em sua maioria, permanecem sem tradução ao português. Nossa tarefa, então, foi trazer à luz esta história, seus desenvolvimentos no campo da Linguística em geral, e da Fonologia em particular. Realizamos nossa análise por meio de um cuidadoso estudo do fonema, um conceito no qual vários séculos de história e de ideias linguísticas estão sedimentados. / The present work is the product of my research into the historical and linguistic aspects that underlie the concept of the phoneme. Our main idea originated from two different extracts by the Russian linguist Roman Jakobson: 1) on the genesis of the phoneme: “the search for the ultimate discrete differential constituents of language can be traced back to the sphoṭa doctrine of the Sanskrit grammarians and to Plato’s conception of στοιχεῖον, but the actual linguistic study of these invariants started only in the 1870s” (Jakobson, 1962:467); and 2) on the founders of Phonology: “The first foundations of Phonology were laid by Baudouin de Courtenay, Ferdinand de Saussure and their disciples” (Jakobson, 1962:232). Thus, we attempted a historical and linguistic “reconstruction” of names, facts and theories that comprise the concept of a phonological unit and that of the phonological structure of language. We started with the study of the Science of Language in ancient India (in particular the grammar of Sanskrit), followed by the study of the Greek alphabet (including its implications concerning the Greek language, as well as Grammar and Philosophy). Finally, we attempted a precise “cut”, so to speak, on the moment in the history of Linguistic ideas when the scientific concept of the phoneme was outlined, defined and incorporated into the terminology of modern linguistic epistemology. The great theoreticians of the incipient school of General Linguistics, of Phonology and of the phoneme are, as Jakobson stated, the Swiss linguist and philologist Saussure, and the Polish philologist and phonetician Courtenay; yet the story inside the phoneme is anything but a simple one. Recently, meticulous scholarship has rescued a great part of this long forgotten history, in what concerns the ancient theories of both the Hindu and the Greek grammarian-philosophers, and the unpublished manuscript works of Saussure and the works of Courtenay and his students (among them the Polish professor Mikołaj Kruszewski), works that so far have remained without translation into Portuguese. Our task, then, has been to bring this history to light, its developments in the field of Linguistics in general, and Phonology in particular. We carried out this analysis by means of a careful study of the phoneme, a concept in which several hundred years of history and linguistic ideas have crystallized.

My project examines the pictorial and theoretical dimensions of the concept of melancholy as they were understood, expressed, and, most importantly, figured by Renaissance artists. By focusing on the figural pose traditionally associated with the melancholic state and humor, it presents a hitherto unexplored connection between Northern and Southern Europe, considering the different ways in which artists self-identified as melancholics and expressed this understanding in their art. In both Italy and the North, the basic figural structure is appropriated for somewhat different ends. The relationship of the isolated figure to its cultural context varies, either declaring a special creative status, responsive to a higher inspiration, or setting the figure apart as an outsider with special insight into the follies of this lower world. Chapter One serves as an introduction to the pose of melancholy, its historical weight and the visual meaning carried by the isolated, brooding figure, generally wth lowered head supported by a hand and often with legs crossed. This is the figure epitomized in Dürer's Melancolia I. Chapter Two considers Michelangelo as the exemplar of a melancholic and addresses the cultural and personal identification of him as such. The relevance of the melancholy pose to the identification of the artist in sixteenth-century Italy is demonstrated by Raphael's depiction of the melancholy Heraclitus in The School of Athens, which I accept as portrait of Michelangelo; articulated in his poetry, the artist's self-identification as melancholic is visually declared in his Last Judgment. Chapter Three addresses the works of Hieronymus Bosch, in whose art the figure of melancholy runs as something of a leitmotif, although it has remained generally unobserved; the figure serves as a running comment on the thematic concerns of the paintings--such as The Garden of Earthly Delights and Death and the Miser--at once participant and outsider. Chapter Four explores the role of melancholics in specific paintings by Bruegel, especially The Triumph of Death, and the relationship between melancholics and fools in the artist's oeuvre. Chapter Five has at its focus Titian's Flaying of Marsyas and the artist's self-inclusion in the guise of the melancholy Midas. As a conclusion, this chapter reflects on the personal significance of melancholy for Renaissance artists.

Jan Havlasa was the first Ambassador of Czechoslovakia to Brazil, a distinguished writer and explorer. The purpose of this thesis is to present the explorer's life. Havlasa visited Slovakia after finishing secondary school, and soon after he travelled also to Italy; Saint Louis, Missouri; or the island of Tahiti. After the Paris Peace Conference in 1919, Havlasa served as the Ambassador of Czechoslovakia to Brazil (1920-1924); in 1943, Czechoslovak president Edvard Beneš called him back into diplomatic service, this time as the Ambassador to Chile. Among his most important formative experiences we can find his membership in the Opium Commission of the League of Nations. Despite the fact that Havlasa spent most of his life abroad, he never relinquished his homeland: he took interest in the situation of Czechoslovakia and fought for its independence on the Austro-Hungarian monarchy. His extensive lecturing activities, as well as his treatise Colonial Policy in Relation to the Great War earned him one year of gaol in Vienna. The thesis also takes into account Havlasa's extensive literary work and his lectures, which took place all over Czechoslovakia and during which he presented his books, photographs and travel experience to his readers and listeners.

(EN) The thesis was created as an analysis of the applied photography of Jan Svoboda (1934-1990). The czech art photographer whose work concludes, next to his own fine-art photographs, amount of documentary pictures of his contemporary art colleagues. Based on an inside view of his fine-art works consisting mostly of still-lifes it became possible to re-analyze large quantity of found material of his so called art reproduction photography which follows the very same principles of his own artwork. The analysis focuses only on documentation of three dimensional pieces of work. Resulting conclusion shows Jan Svoboda as an actual creative competitor of the documented artist's work. By his act of opening a dialog with the documented art piece which leads to a photograph that might have been often considered as an abuse of the particular art piece for the sake of formal qualities of Svoboda's work. The last part of the thesis aims to briefly reveal worldwide context of photographers documenting art pieces with emphasis on the medium of photography and therefore often surpassing demand for faithful depiction of the art object.

This thesis concerns itself with the Minor Theatre after the year 1989, namely with changes in a staging style of this prague platform that focuses mainly on a production for the child audience. In the production of the theatres principal directors (Karel Makonj, Jan Jirků, David Drábek, Jiří Adámek) we can observe distinctive courses of staging methods, that shape the Minor's character. The primary aim of this thesis is to attempt to reflect these staging courses and demonstrate them using profile plays. An excursus into the history of the Minor Theatre precedes these analyses to define its character. Biographies of the said directors are also included in the thesis, as well as the list of theatre's plays form 1990 (with the dates of premieres) and photographic material ilustrating the theatricals analysed here.

The thesis focuses on the photographer and lecturer Jan Regal. In the theoretical section summarizes his life and work as a photographic and educational activities. Jan Regal scope is predominantly in the Zlin region, where he comes from. The intention of this work is not only biography, but also his work in the context in the times.

The theoretical part focuses on the theme of the book - letter print - from the technical point of view. Further it explores the history, origin and various forms of a book. The thesis includes also chapters about a copyright book and the term " bibliophile". It also gives brief information about the graphic art, especially the technique of gravure. In the last part it aims at two personalities of Czech culture - a painter and graphic artist Jiří John and Jan Skácel. The practical part of the thesis is conceived as a folder that includes series of graphics accompanied with poetic texts. The graphic works are made by dry needle. The texts are written by Jan Skácel. The topic of the the copyright book expresses the author´s memories of her grandmother. The topics of each graphic work depicts the psychology of the contrast between the oldness and the youth and at the same time of the loss of a close person. The practical part should be also a sort of bibliophile.

<p>Bakgrund: Den svenska teaterscenen befinner sig i vad som tycks vara en ständig ekonomisk kris. De offentliga medlen räcker inte längre till, vilket har fått till följd att teaterinstitutionerna har blivit tvungna att söka sig nya inkomstkällor. Kultursponsring är en alternativ finansieringsform som har blivit allt vanligare. Vi vill undersöka kultursponsringens möjligheter för svensk teater. </p><p>Syfte: Syftet med uppsatsen är att undersöka möjligheterna att gå bortom den traditionella definitionen av kultursponsring för att skapa ett helhetsperspektiv på utbyten mellan teater och näringsliv. </p><p>Avgränsningar: Vi utgår ifrån Sveriges teaterinstitutioner och de kulturpolitiska målen som är uppställda av Sveriges Riksdag. </p><p>Genomförande: Vår undersökning bygger på sju intervjuer med representanter från teatrar och företag. </p><p>Resultat: Idag ses kultursponsring främst som ett marknadsföringsverktyg, där det sker ett utbyte av image mot pengar. Vi anser att med denna begränsade definition förbises den största potentialen, vilken återfinns i själva mötet mellan teater- och affärsvärlden.</p>

<p><strong>Aim: </strong>To investigate the observed issues about the economy units’ importation in the municipal of Bollnäs, Sweden, and study the internal communication according to this matter. </p><p><strong>Method:</strong> This paper is written as a process where the information flow has been decided by the information held in the interviews. The interviews have dealt with the economy units issues and the communication linked to it, within the oganization. The persons that have been interviewed are Olle Nilsson Sträng -principal of the municipal executive board, Leopold Stoltz - head of the municipal, Jan Lahenkorva‐ principal of the youth and child care board Maj ‐Britt Karlsson‐ head of the youth and child care management and Eva Eklunddirector of junior school. After the interview report, discussions about what really happened and what can be done are made. </p><p><strong>Contribution of thesis:</strong> The thesis shows that the communication is important for the persons within the organization and its function. It also contributes to a understanding of the public organizations of Sweden.</p><p><strong>Future research:</strong> Suggest how decisions will be made in a public and private organization,are there any differences? I would also be interesting to know how the community is reacting on the information from public organization. </p><p><strong>Result & Conclusions: </strong>To build awareness about the internal communication problems and consider the decision ‐making process and how the decisions are made public. </p><p> </p>