Diese Arbeit befaßt sich mit der "Klangreihenlehre'', einer Musiktheorie, die von Josef Matthias Hauer aufgestellt und von meinem Lehrer Othmar Steinbauer weiterentwickelt wurde. Diese auf der Gesetzmäßigkeit der zwölf Töne beruhende Satzlehre hat jedoch mit der "Reihentechnik" jener Musik, die schlechthin als "Zwölftonmusik" bezeichnet wird, nichts gemein. Obwohl eine beachtliche Literatur über J.M. Hauer vorliegt, ist sie doch, was Hauers Musiktheorie betrifft, nicht zufriedenstellend, da sie hauptsächlich auf sein Leben und seine Musikphilosophie eingeht.

The thesis researches the poetry for children by Josef Brukner. The first part researches Brukner's poetry in terms of the poetic figures, contained themes, work with rhythm and rhyme, with regard to the application in drama. The second part researches the practical use of poetry for children by Josef Brukner in lessons of drama. This part contains propositions of lessons that offer examples how to work with poetry in some spheres of drama. For example: development of speech, learning about poetic figures, themes and stories contained in fine art, development of creativity and imagination, development of gaming and acting skills. This thesis researches the possibilities of Josef Brukner's poetry with regard to using in drama lessons and with regard to the way for poetic theatre.

Josef Bohuslav Foerster (1859 - 1951) was a leading Czech composer of the late romantic era, like for example Josef Suk (1875 - 1935), Vítězslav Novák (1870 - 1949) and Otakar Ostrčil (1879 - 1935). This generation is sometimes called as "The first generation of Czech modern", but their musical language is directly connected to oeuvre by famous Czech composers of the nineteenth century Smetana, Dvořák and Fibich. Foerster's musical language is mystical, lyrical and emotional, mostly replete rich harmony and especially specific polyphony. He was not only an important musician but also a thinker, writer and painter. Until today, his great composer's work is not valued and only sometimes performed. This thesis is concerned with the specific traits of composer's musical language, polyphony, which is often different from Bach, Beethoven or Smetana. We can talk about specific free polyphony and way of musical thinking dependent on many things and ideas. This cause and many others aspects provide particular problems for performers and music listeners. The dissertation includes many analyses of selected compositions by Foerster, which are also compared with others by his contemporaries, especially Suk and Mahler (1860 - 1911), who was Foerster's close friend. In liturgical music Foerster created a unique and very distinctive product of the Caecilian reform movement in church music, which had its striking culmination in the Czech lands during Foerster's lifetime. Extensive choral oeuvre is made in a specific musical-poetic style. Symphonic compositions, especially five symphonies are to a large extent autobiographical; and operas are in a realistic concept, which we can compare with dramas by Leoš Janáček (1854 - 1928). The thesis is based upon author's wide experience of performing composer's work and large volume of literature with some works written by J. B. Foerster. The author tries to solve problems of performing this music, as a conductor, choir master, educator and propagator.

Submitted Thesis consists of two parts theoretical and practical. The theoretical part aims at the chronological mapping and analyzing of all available Czech editions of Karel Čapek's play R.U.R. from 1920 until 1989. It also deals with design-transformations of Čapek's Robot on the examples of selected theatre plays in Czech lands as well as in foreign countries performances. The Thesis pays attention to stage executions on the basis of period photographs, drawings and reviews. It is created a united survey of this Čapek's play in the Czech lands in the given time period from its origins until its theatre realizations and book publications. The practical part of the Thesis will then extend the historical play book covers given in the theoretical part by creating an original author book based on Čapek's play, which will be the visual interpretation of the text. By that will be produced a continuity between the theoretical and the practical part of the Thesis.

This thesis focuses on the interpretation of harpsichord sonatas written by Josef Antonín Štěpán / Joseph Anton Steffan (1726–1797), who was an important figure in Viennese musical life of the eighteenth century. His works influenced a large number of his contemporaries, including Joseph Haydn, Jan Křtitel Vaňhal, Leopold Koželuh, and Wolfgang Amadeus Mozart. His compositional procedures departed from period conventions: a number of his sonatas and concertos for keyboard instruments begin with a slow introduction to an opening fast movement; he experimented with one-movement forms (sonatas, capriccios); in 1778 he published the very first collection of Germans songs with piano accompaniment in Vienna. The foundation for his music is his detailed knowledge of counterpoint and thoroughbass practice, and he draws on influences from Italian music, Czech folk music, the Gallant style and the Sensitive style. In his late works, he even arrives at a Pre-Romantic style. It is incomprehensible that he has nearly been forgotten in spite of his fame in his own day. In an attachement there is enclosed a critical edition of Steffan´s sonatas, PicŠ. 19–21 issued in ARTA (April 2017). Key words: Joseph Anton Steffan / Josef Antonín Štěpán Sonatas for keyboard instruments Sonata form Interpretation Chamber music with harpsichord Musical archive of the Arcibishop´s castle in Kremsier (the Czech Republic)

This thesis is focused on the Czech prestigious hispanist Josef Dubský and his linguistic labour. It is divided into five chapters. The first chapter outlines the history of Spanish studies in the Czech Republic. The second chapter speaks about life of Josef Dubský. Next three chapters are dedicated to Dubský´s labour in the field of grammar, lexicology and semantics and stylistics. There are presented studies and articles published by Dubský in different Czech and international periodicals and also his Spanish textbooks and Czech-Spanish (Spanish-Czech) dictionaries. In the annex there is enclosed the summery of Dubsky´s publications including the front pages of the textbooks and dictionaries we used in this work.

TITLE: Life of Josef Urválek AUTHOR: Bc. Alžběta Vašáková DEPARTMENT: Social Sciences and Philosophy Department SUPERVISOR: Prof. PhDr. Jan Županič, Ph.D. ABSTRACT: The thesis chronologically describes the life and career of the communist prosecutor Josef Urválek from his birth in České Budějovice, through the university studies at the Faculty of Law of the Charles University in Prague, the work in the First Republic, post-war and communist judiciary to the politically motivated end of his career in the Czechoslovak judicature. The thesis focuses on his activities at the Exeptional people's court in České Budějovice and at the same time at the State court in Prague during the most well-known but also less-known political lawsuits in the fifties. The last chapter is about the reflection of this unlawfulness during the political releasing in the sixties and about his understanding of the personal and legal accountability in the position of the state attorney of the communist judicature. The bibliography consists of juridical and historical literature, archive materials and newspaper articles. KEYWORDS: Josef Urválek, prosecutor, political trials, communist regime

The objective of this thesis is to present the life and work of Josef Bok, a Czech flutist from the first half of the 20th century. It brings information on his artistic development and on people who influenced his professional growth, it speaks about his time in Russia in the historical context, and last but not least it deals with his pedagogical activities at music schools in Brno and Prague. It also presents ?Škola hry na flétnu? (Flute Practice Book), a musical-didactic work written by J. Bok in cooperation with Rudolf Černý. The thesis tries to analyze this publication and compare it with the contemporary way of playing the flute. It marginally touches Bok?s role as a composer and a piano player. The significance of Josef Bok is evaluated through subjective observations and memories of other flute players and family members in the conclusion.

Master thesis titled " Josef Suk - houslista., Journey of artist" is focused on mapping personality and life of this unique czech violinist.

Made available in DSpace on 2016-06-02T20:12:12Z (GMT). No. of bitstreams: 1 2126.pdf: 540286 bytes, checksum: fee571d776653fbc4d84b3aa6c5f9d95 (MD5) Previous issue date: 2008-11-07 / This thesis analyzes the idea of meaning as language use, developed by Wittgenstein in the Philosophical Investigations, with the specific purpose of understanding the role played by the so-called private language argument in the elaboration of this concept. The concept of meaning as language use, which is based on the language games concepts, forms of life, family resemblance and the rules-following, is presented by Wittgenstein as an alternative to the concepts of meaning that were based on subjective and private experiences, that Wittgenstein considered as one of the images that has caused the greatest misunderstandings for the correct understanding of the language functioning. According to Wittgenstein, the acceptance of this image leads to skepticism concerning meaning, for if we have to accept that the basis of meaning is the subjective experience, we also have to accept that the association between word and experience takes place privately as well as accept the existence of subjective criteria of discrimination and identification of experiences, consequently subjective criteria for the correction or not of the use of the corresponding words. Now, according to Wittgenstein, a subjective criterion is not in fact a criterion and, opposing to this notion, he states that language has always a common origin and use and that, because of this, meaning always depends on this common use of words that happens in language games that, in turn, are developed in opposition to the forms of life background. The private language argument plays an important role for the elaboration of the concept of meaning as use, because with this argument Wittgenstein intends to demonstrate that, even for subjective experiences, for that which seems absolutely private, it is necessary to have public criteria of discrimination and identification. / A tese analisa a concepção de significado como uso da linguagem, desenvolvida por Wittgenstein nas Investigações Filosóficas, mas com o objetivo específico de compreender o papel desempenhado pelo assim chamado argumento da linguagem privada na elaboração dessa concepção. A concepção de significado como uso da linguagem, que se assenta nos conceitos de jogos de linguagem, formas de vida, semelhança de família e seguir regras é apresentada por Wittgenstein como alternativa às concepções de significado que tinham como fundamento experiências subjetivas e privadas, que Wittgenstein considerou como uma das imagens que têm provocado os maiores equívocos para a correta compreensão do funcionamento da linguagem. Segundo Wittgenstein, a aceitação dessa imagem leva ao ceticismo acerca da significação, pois se temos que aceitar que o fundamento da significação é a experiência subjetiva, temos também que aceitar que a associação entre palavra e experiência acontece privadamente e, com isso, aceitar também a existência de critérios subjetivos de discriminação e identificação das experiências, portanto, critérios subjetivos para a correção ou não do uso das palavras correspondentes. Ora, segundo Wittgenstein, um critério subjetivo na verdade não é critério algum e, contra essa noção, afirma que a linguagem tem sempre uma origem e um uso comuns e que, por isso, o significado é sempre dependente desse uso comum das palavras, que acontece dentro de jogos de linguagem que, por sua vez se desenvolvem contra o pano de fundo das formas de vida. O argumento da linguagem privada tem um papel fundamental para a elaboração da concepção de significado como uso, pois com esse argumento Wittgenstein pretende demonstrar que mesmo para as experiências subjetivas, para aquilo que parece absolutamente privado, temos necessidade de critérios públicos de discriminação e identificação.