The main aim of the Diploma Theses is to prepare, verify in practice and evaluate museum educational programme for pupils from 12 to 18 (junior schools and secondary schools) which is devoted to the changes in schooling in 20th century. The aim is to introduce to pupils historical facts by the means of three educational programmes and interactive elements in the exhibition. Pupils work with topics covering World War II, 50s and so called normalization period. Throughout the educational process they will use period realia from the above mentioned periods, such as schoolbooks, educational boards and educational aids from the collection of Comenius National Pedagogical Museum and Library in Prague. Powered by TCPDF (www.tcpdf.org)

My dissertation deals with personality of Jan Sádlo of Smilkov, who was a noble man in king's sevices and who lived at he turned of 13th and 14th century. Dissertation tries to express elemental aspects of his life, which determined his life and this dissertation also tries to complete missing information about his family, property and also tries to find in which community he could be found and with whom he kept in touch with and how can these persons influence his personality. Dissertation also deals with his career, mainly his activity in king's Václav IV. court, where he became a influential person, who became involved in political situation in country during the beginning of hussite revolution. In dissertation is also covered his political downfall and his death. Life of Jan Sádlo of Smilkov was in my dissertation shown as an exapmle of low nobleman who could due to political situation become influential person and who could become involved in political development. . Keywords gentry, court of Václav IV., holding, followers of Jan Hus, administrator of ro

This thesis examines the thought of Joan of Arc for categories of identity paving the way to modern nationalism. The underlying model for this undertaking is Ernst Kantorowicz's theory of the increasing depersonalization or abstractness of power. With this model as a guide, this thesis proposes a set of categories of identity on which the process of change put forward by Kantorowicz can be tracked. The thesis then classifies, against this backdrop, the individual categories as either progressive, i. e. abstract, or concrete, i. e. dependent on the older ideas of power and kingship, arguing that the concrete categories may be associated with the principles of popular mentality as described by Aron Gurevich. It turns out, however, that clear-cut criteria distinguishing concrete and abstract categories are difficult to establish and, at the end of the day, we have to settle for a simplifying and not entirely satisfactory classification. The analytical part of the thesis then examines what instances of categories of identity can be found in the minutes of the interrogation of Joan of Arc. The overwhelming majority of these categories of identity, it turns out, fall under the 'concrete' label. Such a result seems to correspond very well with the Gurevichian idea of difference, although by no means an absolute...

The canon of Western art history provides a selection of artists that have supposedly made an 'original' contribution to stylistic innovation within the visual arts. Although a process of selection cannot be avoided, this procedure has resulted in a Eurocentric and patriarchal art canon. For example, the Western art canon consists of certain white male artists who are given exclusive authority and are often referred to as the 'fathers of art'. As the status of a 'father of art' pertains to the highest level of achievement within artistic creativity, I argue that this excellence in creativity is based on a gender specific criteria. This issue refers to the patrilineage within Western art history and how this father-son model, in a general sense, excludes women artists from the canon. Further, the very few women included in the art canon are not given the equivalent status as a 'father of art'. I address this patriarchal bias through focussing on the father/daughter relationship as a way of challenging the patrilineage within Western art history’s patrilineage. Through this process of intervention, I position the daughter an assertive figure who directly confronts the fathers of Western art. Within this confrontation, I emphasise that the daughter has an assertive identity that is also beyond the father. On this premise my paper is based on the argument that the application of a father/daughter model, within a metaphorical and mythological sense, is useful in subverting the father figures within Western art history. That is, I construct myself as the metaphorical and mythological daughter of the Dada artist, Marcel Duchamp and the Fluxus artist, Joseph Beuys. As an assertive daughter, I insert myself into the patriarchal framework surrounding these two canonical figures in order to decentre and subvert their authority and phallocentric art practice. It is important to note that both Duchamp and Beuys are addressed as case studies (not as individual arguments) that illustrate the patriarchal constructs of the art canon. Within this premise, I draw upon the female artists Sherrie Levine and Jana Sterbak who directly subvert Western father figures as examples of assertive daughter identities. Within this exploration of the assertive daughter identity, I discuss feminist psychoanalysis (particularly the 'object relations' theorist Nancy Chodorow and the French feminist, Luce Irigaray) in order to offer metaphorical representations of the assertive daughter. These metaphors also assist in subverting the gender (male) specific criteria for creativity under the 'law of the father'.

This work attempts to bring the information about St. John Chrysostom liturgy. It deals with its formation, evolution and with the way it is used in the practice of the Exarchate of Greek-Catholic Church in the Czech Republic. It speaks also about the Exarchate as such and about traditions it is based on. Using St. John Chrysostom liturgy this work shows the richness of the Catholic Church rite, unity in diversity.

Diploma thesis Philosophy in the work of John Amos Comenius is focused on demarcation main points in the work of John Amos Comenius, great thinker, philosopher, pedagogic and theologic authority. I deal with philosophy and with influences of most important people, atmosphere of 17th century, significant finding and inventions and his live on his work. Comenius was great thinker of education and pedagogue in praxis and metodology. This is another part of my work, I focused on education in praxis and of course his work in books. I mention ODO - Opera didactica omnia, huge work of pedagogic metodology and Obecná porada o nápravě věcí lidských - his masterpiece. This work have to unify his work in one big complex. Than I am trying to compare it with our today reality and find similar problems in our school and education proces.

The master thesis Reflection of gospels from the view of choosen feminist theological texts is situated do the context of christian feminist theology, specifically in the framework of feminist theology of liberation. It's focused especially on the texts of feministic protestant theologists Jana Opočenská and Dorothee Solle, mainly on texts which are related to the choosen parts of the gospels. The theoretical part is aimed especially on the theoretical and methodological basics which includes besides others the major concepts of feminist theories of gender stereotypes and the sex-gender system. The attention is also paid to the concepts of feminist theology with main focus to the thesis of relatedness and mutuality exercised in the field of exegesis of Biblical texts, anthropology nad christology. In this part of thesis is also mentioned the biographical context of the canonical gospels origin including its follow-up interpretation by the prism of texts written by feminist-theological authors mentioned above. The analytical part of the thesis is aimed on two concrete moments of gospels and their interpretation through the texts of Jana Opočenská and Dorothee Solle, considering the theoretical and methodological basis. Through the gender focused method of qualitative content analysis is subsequently...

This thesis is a collection of five pieces of creative nonfiction written over the academic years 2003—2005. Creative nonfiction is a genre that, in some form or another, has always existed, though trends in form and style are constantly in flux. Based on the experiences of the actual author, creative nonfiction seeks to present the journey of a mind at work, in a style that is candid, quirky, and insightful. It seeks to persuade its reader by establishing a likeable and trusted narrator; by relating interesting facts that teach the reader something about the subject at hand; and by appealing to the reader's emotions, especially through techniques of metaphor and figurative language typically employed by writers of fiction, poetry, and drama. Thus, it utilizes the three main tools of rhetoric laid down by that great orator of yore, Aristotle; namely, ethos, logos, and pathos. Rather than exploring one subject in-depth, as is typical of a thesis, this work explores a number of different topics, as is typical of creative nonfiction. The topics include my physical quirks, especially a congenital defect that prevents me from smelling; my volunteer experiences at the Provo, Utah Boys and Girls Club; the traditions of fishing and storytelling in my family; and my burgeoning interest in family history, which was stimulated by a trip to Pine Valley, Utah—a small, rural town in southwestern Utah where some of my early Mormon ancestors settled. The pieces are united more by form than by content, as well as by having been filtered through a single consciousness. Mostly, they are supposed to be enjoyable reading.

The main focus of this disertation are relationships of Jan Neruda. They are explained from two different points of view: historical and didactic. The historical part is about the facts, for which the evidence can be found. Those that don't have any evidence in the historical sources are separated. In this part there were also discussed some novels, which portray Jan Neruda. The didactic part contains of the analysis of the textbooks, there was studied, how the information about Neruda's relationships were explained to the students. The last chapter is about websites, where the information about this topic can be found. This topic was there also assessed from the historical and didactic point of view.

This master thesis is devoted to Jana Stroblova, the Czech poet, novelist and translator from Russian language. The thesis is aimed at several goals: 1) to summarize and unite the known facts about life of this author and try to capture her personality, 2) to describe the relationship of Jana Stroblova to the Russian poet Marina Tsvetaeva, as the vast part of Stroblova's translations is dedicated to her, 3) to establish the similarities between the personalities of Stroblova and Tsvetaeva as well as to find the parallels in their poems, and, afterwards, to clarify the reasons that led Stroblova to decision to translate Tsvetaeva, 4) to summarize the reflections of Stroblova's translations while emphasizing the translations of Tsvetaeva's work and to use these reflections to define Stroblova's translation methodology, 5) to confront the findings of the thesis with opinions of Jana Stroblova during an interview with her. Powered by TCPDF (www.tcpdf.org)