Thesis (MA)--University of Stellenbosch, 2008. / Bibliography. Also available via the Internet.

This master thesis deals with the problematic position of the Czech puppet animator. Based on interviews with two puppet animators, representing the current puppet animation and the last century Golden era, I am trying to figure out how the puppet animator worked in the last century and how he works today. For the current generation I draw from the experience of puppet animator Jan Štencl. For the past generation I draw from the experience of Mr. Jan Klos. I'm trying to clarify what puppet animator has had to know and if these kind of skills varies according to the period in which the animator works/worked. Furthermore, this theoretical work deals with the problems that animators are facing today and how to puppet animators respond to the expansion of 3D technology. In conclusion, I outline the various solutions to the current situation.

Esta tese é um estudo da figura de Jan Hus, tradicionalmente conhecido como reformador religioso da Boêmia do século XV, olhando-o sob a perspectiva da História da Educação. Inspirados nas propostas metodológicas de Carlo Ginzburg para a construção da narrativa histórica a partir do estranhamento das fontes, o paradigma indiciário, analisamos as cartas escritas por Hus. Iniciamos com um estudo de como essas cartas, escritas há quase seiscentos anos, podem ser lidas levando em conta sua historicidade, estrutura retórica, edição e tradução. Identificamos a rede de relações que essa correspondência engendrou e observamos uma intenção educativa da parte do autor das cartas ao escrevê-las. Selecionamos um conjunto de vinte e três cartas que denominamos de pastorais e nelas encontramos um padrão de escrita voltado a dar continuidade à tarefa pastoral que Hus realizava na Capela de Belém, constituindo sua ação educativa por meio de cartas. Também analisamos a relação educador-educando que Hus estabeleceu com seu discípulo Martin de Volyne. Por fim, partimos do relato de Petr de Mladonovice e das edições traduzidas das cartas de Hus para observar a construção, rememoração e recriação do legado educativo deixado por Hus de mártir e mestre defensor da verdade. Concluímos com um questionamento para a História da Educação do lugar que esse personagem ocupa atualmente e como esse lugar é, e pode ser, construído pelo historiador. / This thesis is a study of the figure of Jan Hus, traditionally known as the Bohemian religious reformer of the fifteenth century, looking at it from the perspective of the History of Education. Inspired by Carlo Ginzburg\'s methodological proposals for the construction of historical narrative from the strangeness of the sources, the evidential paradigm, we analyze the letters written by Hus. We begin with a study of how these letters, written nearly six hundred years ago, can be read taking into account its historicity, rhetorical structure, editing and translation. We identify the network of relationships that engendered this correspondence and watch an educational intention of the author of the letters on writing them. We selected a set of twenty-three letters that we called \"pastoral\" and in them we find a pattern of writing intended to continue Hus pastoral task that was performed at the Bethlehem Chapel, constituting its educational activities through letters. We also analyzed the relationship between educator-learner that Hus established with his disciple Martin of Volyne. Eventually, based on the report of Petr of Mladonovice and the translated editions of the letters of Hus we look into construction, remembering and rebuilding the educational legacy left by Hus of martyr and master defender of the true. We conclude with a question for the History of Education concerning the place that currently occupies this character and how this place is and can be constructed by the historian.

A pesquisa se propõe a analisar a técnica de animação pixillation como linguagem específica, traçando relações deste tipo de animação com estudos ligados à imagem e ao movimento. Para isto, proponho atribuir ligações do pixillation com os trickfilms do early cinema, no âmbito da perspectiva mágica dos truques da técnica; estabelecer paralelos entre a prática fotográfica e a prática cinematográfica, utilizando-me de ambas as linguagens para avaliar questões do pixillation sob aspectos que dialogam com o conceito de magia e sua relação com as imagens técnicas; e, com base nos trabalhos em pixillation de Norman McLaren e Jan Svankmajer, entender a técnica como proposta poética e estética de linguagem audiovisual. Assim, através dos aspectos técnicos do pixillation, destacarei as potencialidades mágicas desse tipo de animação. / The research aims to analyze the technique of pixillation animation as specific language, tracing relationships of this type of animation with studies of image and movement. For this, I propose: assign connections of pixillation with the trickfilms of the early cinema, within the perspective of magic tricks of this technique; draw parallels between the photographic practice and the film practice, using both languages to evaluate the pixillation issues in ways that dialogue with the concept of magic and its relationship with technique images; and based on the work in pixilation of Norman McLaren and Jan Svankmajer, understand the technique as a poetic and aesthetics proposal of audiovisual language. Thus, through the technical aspects of pixillation, I will highlight the magical potential of this type of animation.

Realization series of lectures and workshop and printed reader

Dans « De l'essence et du concept de la φύσις », Heidegger appelle la Physique d'Aristote le livre caché de la philosophie occidentale. Le présent travail peut être lu comme une tentative de mettre au jour les efforts du phénoménologue tchèque Jan Patočka pour récupérer ce qui, de ce grand livre, a été oublié par l'histoire de la philosophie. Nous nous sommes concentrés sur un des résultats les plus aristotéliciens de Patočka, dont nous avons essayé de montrer la présence tant en filigrane (dans les effets qu'il a relativement à la conceptualité phénoménologique en général) qu'explicitement. On pourrait résumer ce résultat ainsi : le mouvement est phénoménologiquement et ontologiquement premier. C'est l'examen de la définition aristotélicienne du mouvement, dans sa reprise et dans les conséquences qu'en tire Patočka, qui nous a confirmé cette conclusion. Mais si le mouvement est premier, cela veut dire que les extases et les déterminations du mouvement ne sont, elles, que secondaires, c'est-à-dire phénoménologiquement et ontologiquement dérivées. La matière et la forme (du monde), l'acte et le possible, le temps et l'espace, l'hypokeimenon (le corps et le sujet) sont secondaires, car sédimentés, déposés par le mouvement, et ne s'éclairent donc fondamentalement que par leur reconduction au mouvement. C'est une telle reconduction que nous avons tâché d'accomplir à chaque étape de notre analyse. / We have explored in our work Jan Patočka's reception of Aristotle's definition of movement, and the phenomenological consequences it had throughout the last period of his reevaluation of Husserl and Heidegger.

L’écrivain tchèque Jan Cep (1902-1974), qui compta au nombre des médiateurs importants des rapports culturels franco-tchèques dans l’entre-deux-guerres, fut, à la suite du Coup de Prague en 1948, contraint à quitter son pays. Ami et traducteur de Pourrat et de Bernanos, il choisit naturellement la France comme patrie d’adoption. L’exil parisien s’avère pour Cep une rude épreuve existentielle. Conditions matérielles dures, déracinement linguistique, manque d’écho favorable pour son oeuvre, tout cela fait que Cep vit en marge de la vie littéraire française. Il s’engage d’autant plus dans diverses structures de l’émigration tchèque, notamment dans la rédaction tchécoslovaque de Radio Free Europe où il déploie son art de l’essai dans des méditations imprégnées d’humanisme chrétien. L’essai autobiographique Ma soeur l’angoisse que Cep écrivit directement en français dans les années 1960, représente la somme de sa vie et de sa pensée / The Czech writer Jan Cep (1902-1974), one of important mediators of French-Czech cultural relations between the two World Wars, was forced to emigrate after the Communist coup in 1948. As Cep was the friend and translator of Pourrat and Bernanos, he naturally chose France as his adoptive homeland. Nevertheless, exile in Paris turned into a harsh existential ordeal for Cep. Difficult material conditions, linguistic disunity, and the fact that his writing was not accepted by a new audience made Cep an outsider in a French literary life. This status led to his increased involvement in the Czech émigré community, especially work on the Czechoslovak editorial staff of Radio Free Europe, where he developed his essay style in meditations infused with Christian humanism. The autobiographical essay My Sister Anxiety, written in French in the 1960s, repesents a summary of Cep’s life and ideas / Ceský spisovatel Jan Cep (1902-1974), jeden z významných prostredníku meziválecných cesko-francouzských kulturních vztahu, byl po komunistickém puci v roce 1948 prinucen k emigraci. Jako prítel a prekladatel Pourratuv a Bernanosuv si za svou adoptivní vlast zcela prirozene zvolil Francii. Parížský exil se však Cepovi stal drsnou existenciální zkouškou. Tvrdé materiální podmínky, jazyková rozpolcenost, neprijetí jeho díla novým publikem, to vše je prícinou, že Cepuv exil se odehrál na okraji francouzského literárního života. O to více se Cep zapojoval do ruzných struktur ceské emigrace. Zcela mimorádný byl jeho prínos v ceskoslovenské redakci Rádia Svobodná Evropa, kde rozvinul své umení eseje v meditacích skrz naskrz proniklých krestanským humanismem. Sumu svého života a myšlení podal Cep v autobiografickém eseji Sestra úzkost, kterou napsal v šedesátých letech prímo francouzsky

This thesis emphasizes the senses of the audience in reception of Jan van Eyck’s heroic Ghent Altarpiece. This pivotal work may have demanded the viewer engage in a hierarchy of devotion ranging from intimate and private to public and liturgical. Jan van Eyck engages in a strategy of representation that focus and specify various aspects of vision to create a multivalent devotional experiences for the viewer. This thesis compares some of the visual uses of frames in miniatures and how they relate to altarpiece formats and hierarchies of vision. Reception of the Ghent Altarpiece is also discussed in relation to Augustine of Hippo’s theory of tri-partite vision as well as his theory of cross-modal uses of the sense in dialogues of spiritual truth. Sound is also a vital component of the devotional experience of the Ghent Altarpiece. Issues of music and speech acts are discussed to underscore the multivalent devotional uses of the Ghent Altarpiece. / text

M.A. (Philosophy) / Please refer to full text to view abstract

This thesis presents graphemic analysis of the work "Summovník" by Jan Augusta, based on transliteration of selected stretches of texts. Identified as late as in 2012, the work has not been described yet. The work represents a print of the humanistic period, therefore the principal objective was to find out how two orthographic systems of the period - diagraphic and diacritic - interact. The analysis was divided into several chapters corresponding to the examined features that were statistically evaluated. The interpretation was especially based on two key 16th century grammars of Czech - the Grammar of Náměšť and the "Czech Grammar" by Jan Blahoslav. The transliterated text has been analysed in Microsoft Word 2007 by means of "Find and Replace" with "Use of substitute characters" instrument. The work of "Summovník" in this partially transliterated form can be used as a baseline for preparation of an edition of this work.