This monographical work describes the life and work of the poet and translator Josef Hiršal in a chronological way. It is a reason why the work has two main part A, B. The first part A. Life and work of Josef Hiršal maps the importatnt bibliography moments, which had main influent on forming Hiršal's personality and work. Part two B. Bibliography of Josef Hiršal contains multi-layered bibliography of Josef Hiršal. This part try to catch and segment in a several sections Hiršal's literary produciton in all area.

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.

L'historiographie a étudié l'ancienne forteresse de Luxembourg, son démantèlement, l'urbanisation des anciens domaines militaires et la construction de la ville suivant les points de vue de l'ingénieur, de l'amateur d'histoire militaire, ou encore de l'historien d'art. La particularité de cette thèse consiste à étudier, à partir des comportements types des promoteurs (Gouvernement, commune, communautés religieuses, société civile) le pourquoi et le comment des choix opérés sur le plan de l'urbanisation, de la construction et de l'architecture historiciste de la ville au cours de la période 1859 (arrivée du chemin de fer) à 1920 (fusion avec les communes périphériques). Sources écrites, sources monumentales et photographiques se sont complétées pour délivrer les valeurs sociologiques, économiques et philosophiques qui ont guidé les « bâtisseurs » de cette ville, appelée à s'inventer une nouvelle identité suite au départ de la garnison prussienne au lendemain du Traité de Londres de 1867. Depuis 963, la ville de Luxembourg occupe un site accidenté, au centre de deux cultures différentes, latine et germanique. Sa situation stratégique et militaire, est constamment convoitée par la politique de ces trois voisins. Tout en étant la capitale d'un Etat indépendant depuis 1839, elle fait partie de l'espace économique allemand avec lequel le Grand-Duché a signé les accords douaniers. Alors qu'en 1867/68 les projets de création d'une université catholique échouent, que la topographie du site ne permet pas de raccordement direct au réseau ferroviaire, les autorités nationales devenues propriétaires des anciens domaines militaires, décident de convertir la ville en marché national et international, en la reliant par de larges percées aux marchés que présentent ses pays voisins. L'urbanisation épouse les cycles économiques, lâchant tour à tour les terrains au moment où le marché est prêt. En s'adjoignant Edouard André comme expert, l'Etat, s'inspire des expériences des capitales étrangères, notamment de Paris. Le Gouvernement est l'agent immobilier exclusif, maîtrisant, à ses propres fins, les pouvoirs législatif et exécutif. Les travaux d'urbanisme, faisant usage des nouvelles technologies, créent un paysage tout à fait artificiel répondant aux exigences d'hygiène. Les embellissements et services culturels et de loisirs implantés dans les nouveaux lotissements sont destinés à attirer une clientèle qui devait sa prospérité aux sociétés anonymes nouvellement créées. La taxe d'octroi servira jusqu'au terme de l'urbanisation des anciens domaines militaires, à bannir l'industrie du centre destiné à accueillir les services nobles et à rendement économique élevé. Celle-ci tout comme les communautés religieuses fuyant le « Kulturkampf » ou profitant de la proximité de la gare s'établissent en périphérie, qui de plus en plus attire à son tour les milieux populaires. Cette ségrégation sociale se reflète également au niveau de l'architecture. L'Etat arrête les valeurs qui définissent le citoyen: être instruit, appliqué et mobile. Celui qui les affiche sur ses façades ou sa tombe, fait partie des couches sociales bourgeoises qui détiennent le pouvoir. La monarchie protège l'Etat qui garantit le cadre légal à la prospérité. Il détient sa légitimité d'une présumée indépendance vécue au Moyen Age et retrouvée après le départ de la garnison prussienne. Le programme architectural de la révolution industrielle consomme des superficies élevées à organiser de façon rationnelle. Les études d'architecture exclusivement faits à l'étranger, les voyages d'études et la presse spécialisée permettent aux architectes de répondre aux nouveaux besoins. Vu l'ouverture sur les deux mondes culturels, l'architecture à Luxembourg revêtait un caractère résolument international. La recherche d'une fonctionnalité optimale et d'un prix minimal de construction ouvre la porte aux nouveaux matériaux. Le clivage entre l'architecture traditionnelle, axée sur l'esthétisme et l'artisanat, et une architecture moderne, fixée sur le rendement, la fonction et la technique est parfait.En conciliant ces vues, l'historicisme s'est voulu le fondement de l'architecture moderne. Le décor historisant, ni ne visualisant de façon satisfaisante, ni ne servant la fonction, devient progressivement superflu. L'égalité des citoyens prônée par la société post-révolutionnaire entraîne une rivalité entre les couches sociales et les mondes philosophiques. Le siège d'une société commerciale ou l'hôtel particulier rivalise avec le palais grand-ducal ou l'hôtel des Postes, le pensionnat religieux ou le projet d'une cathédrale. La nécropole du XIXe siècle, par ses monuments, devient le reflet de cette société.

The 1950s and 1960s in Czechoslovakia witnessed a fundamental shift in the dramatic and theatrical realms. Following the Communist takeover of 1948, Soviet-inspired Socialist Realism became the official aesthetic of the Czech lands, displacing the avant-garde trends that had dominated the pre-war era. This normative aesthetic program demanded a party-minded ideological perspective (partiinost) and a certain level of accessibility to the masses (narodnost). After the death of Stalin, as the political situation began to thaw, various theatre practitioners began to undermine these Socialist Realist demands, widening the literary horizons by experimenting with a variety of trends, and ultimately sowing the seeds that would lead to the flowering of the Czech theatre of the 1960s. This thesis investigates the ways in which the Socialist Realist model for dramatic and theatrical expression was subverted on the experimental stages of Prague in the late 1950s and 1960s. Specifically, it analyzes the changing role of ideology, dramatic and theatrical space, and objects during this period. By the 1960s, the earnest, socialist ideology that pervaded Socialist Realism in its purported message to the audience had become a stale aesthetic model. In 1963, Václav Havel’s Zahradní slavnost couches this ideology in an absurd dramatic world, subverting and satirizing the didactic nature of Socialist Realism while simultaneously drawing from the Czech avant-garde and foreign trends like the so-called Theatre of the Absurd. Prague’s experimental theatre movement in the 1950s and 1960s, though certainly present on large stages like the National Theatre, primarily sprang from the city’s small stages. Both Jiří Suchý and Jiří Šlitr’s Semafor Theatre and Otomar Krejča’s Theatre Beyond the Gate managed highly innovative productions despite limited stage space. This was made possible, in part, due to their remarkable use of the off-stage and imaginary action spaces. In his article “Man and Object in the Theatre,” Jiří Veltruský notes that human actors on stage operate between two poles: highly spontaneous and highly determined actions. Socialist Realism, which offered its audience models of behaviour for their lives outside the theatre, reduced characters to types, limiting their perceived spontaneity, as they exist primarily to fulfill necessary narrative functions (i.e., the positive hero). In a sense, human beings are objectified. In his adaptation of Alfred Jarry’s Ubu roi, director Jan Grossman takes this to the extreme. By presenting the actions of his actors as highly determined, he reduces the human figure to a manipulated object. When Ubu oversees the annihilation of these beings, Grossman both parodies the Socialist Realist approach to characterization and offers a stunningly subversive rebuke of the Czech political culture. In this work I show how the innovative spirit of Czech theatre and drama of the 1960s represented an era of shifting aesthetic norms, which reacted to the strict, normative Socialist Realist trend of the 1950s, borrowed from numerous foreign and domestic trends both past and present, and developed unique techniques of their own in order to create impactful works on the stage and on the page.

The 1950s and 1960s in Czechoslovakia witnessed a fundamental shift in the dramatic and theatrical realms. Following the Communist takeover of 1948, Soviet-inspired Socialist Realism became the official aesthetic of the Czech lands, displacing the avant-garde trends that had dominated the pre-war era. This normative aesthetic program demanded a party-minded ideological perspective (partiinost) and a certain level of accessibility to the masses (narodnost). After the death of Stalin, as the political situation began to thaw, various theatre practitioners began to undermine these Socialist Realist demands, widening the literary horizons by experimenting with a variety of trends, and ultimately sowing the seeds that would lead to the flowering of the Czech theatre of the 1960s. This thesis investigates the ways in which the Socialist Realist model for dramatic and theatrical expression was subverted on the experimental stages of Prague in the late 1950s and 1960s. Specifically, it analyzes the changing role of ideology, dramatic and theatrical space, and objects during this period. By the 1960s, the earnest, socialist ideology that pervaded Socialist Realism in its purported message to the audience had become a stale aesthetic model. In 1963, Václav Havel’s Zahradní slavnost couches this ideology in an absurd dramatic world, subverting and satirizing the didactic nature of Socialist Realism while simultaneously drawing from the Czech avant-garde and foreign trends like the so-called Theatre of the Absurd. Prague’s experimental theatre movement in the 1950s and 1960s, though certainly present on large stages like the National Theatre, primarily sprang from the city’s small stages. Both Jiří Suchý and Jiří Šlitr’s Semafor Theatre and Otomar Krejča’s Theatre Beyond the Gate managed highly innovative productions despite limited stage space. This was made possible, in part, due to their remarkable use of the off-stage and imaginary action spaces. In his article “Man and Object in the Theatre,” Jiří Veltruský notes that human actors on stage operate between two poles: highly spontaneous and highly determined actions. Socialist Realism, which offered its audience models of behaviour for their lives outside the theatre, reduced characters to types, limiting their perceived spontaneity, as they exist primarily to fulfill necessary narrative functions (i.e., the positive hero). In a sense, human beings are objectified. In his adaptation of Alfred Jarry’s Ubu roi, director Jan Grossman takes this to the extreme. By presenting the actions of his actors as highly determined, he reduces the human figure to a manipulated object. When Ubu oversees the annihilation of these beings, Grossman both parodies the Socialist Realist approach to characterization and offers a stunningly subversive rebuke of the Czech political culture. In this work I show how the innovative spirit of Czech theatre and drama of the 1960s represented an era of shifting aesthetic norms, which reacted to the strict, normative Socialist Realist trend of the 1950s, borrowed from numerous foreign and domestic trends both past and present, and developed unique techniques of their own in order to create impactful works on the stage and on the page.

Vegetation science, like any science, uses classification to organize knowledge about plants and plant communities. Classification is helpful for understanding how different plant communities relate to one another and their environments, for facilitating further studies of vegetation, and for conservation. To familiarize onself with vegetation of a large area, it is very convenient and efficient to begin with a few general units, such as plant orders rather than with many very detailed units, such as plant associations and subassociation. We offer such an approach and think that the information given in this series will be sufficient to assign any forested coastal community to one the orders or suborders. In spite of a history of vegetation studies in British Columbia, there has not yet been any attempt to develop a comprehensive hierarchical classification of plant communities for the province. As the culmination of fifty years of detailed surveys carried out by V.J. Krajina and his students, the Ecology Program Staff of the BC Forest Service, and other workers, we used tabular and multivariate analyses of 3,779 sample plots established in natural, old-growth, submontane, montane, and subalpine forest communities in coastal BC to develop a hierarchy of vegetation units according to the methods of biogeoclimatic ecosystem classification.

Univ., Diss--Tübingen, 2002. / Zsfassung dt. u. engl.

This work deals with the life and work of historian, educator, and priest Josef Sakař. Josef Sakař is one of the most prominent Týn nad Vltavou natives. His monumental four-volume work, The History of the town Tyn nad Vltavou and the Surrounding Area, includes the building blocks of South Bohemian regional history. Even though the greater balance of the work was written in the 1930s, to this day it has not been surpassed. Pardubice, like Týn nad Vltavou, owes much to Josef Sakař. It is the city where he spent most of his productive years and where he worked as a secondary school teacher. He wrote his major works here, among them a six-volume history of Pardubice nad Labem. Josef Sakař's activity was more than merely regional: for his efforts to protect historical monuments he was appointed (as the only one of thirty candidates from across the country) an honorary member of the Club for Old Prague in 1925.This thesis analyzes and compares sources, and it determines the importance and value of key events, family ties, friends and personalities that influenced Josef Sakař's life. For 21st-century educators, the thesis looks for inspiration that can be taken from his life and works. The work focuses on Josef Sakař's relationships with relatives, his life's story and activities in Týn nad Vltavou and Pardubice. It is organized chronologically, from his birth to his death. The last part concerns itself with seeking traces of evidence of Josef Sakař in contemporary life. A separate section is devoted to an analysis of four of his key works. The work includes all biographical data and important life milestones of Josef Sakař and contains a complete bibliography.

The thesis is called ?Czech cookery-books of 18th century?. During 18th century there were editted by printing-press totally 5 cookery-books that have come down just till today and are saved in our libraries, museum and archives. This thesis is concentrated on 4 of these books and is divided into 5 chapters. Each cookery-book is interpreted separately in its particular chapters. The main themes of these chapters there are the formal traits of each cookery-book and secondly inner analysis of the recipes. Mainly there was placed emphasis on the ingrediences that were used during cooking in the 18th century (meat, fish, vegetables and herbs, fruits, spices and other ingrediences). There is included the resume after the fourth book of Leopold Neubauer. All books are already presented together there. At the end the obtained pieces of information are summarized and the cookery-bookes from 16th century are partly compared with the ones from 18th century. The enclosure of this thesis is created by edition ?The cookery-bookes of Vienna? by Leopold Neubauer. The complete text was edited (except indexes at the end of the book).

The presented diploma thesis deals with the election and coronation of archduke Joseph to become the king of Rome that took place in January 1690 in Augsburg. It focuses on a reconstruction of the individual ritual steps of coronation ceremonies that had fixed ceremonial rules. It aims to interpret the rich symbolic message of all performance parts that the author describes chronologically as they followed one another. They included the ceremonial entrance of the imperial family into Augsburg, the arrival of the individual electors of the Roman-German Empire into the city, the pre-election negotiations, the election of the new king of Rome as such and the coronation of the elected archduke Joseph that followed. Attention was also paid to the sumptuous celebrations and the spectacular coronation feast that took place after the young Habsburg was enthroned. Presenting precious gifts to the emperor, his wife and son was also part of the performances. Members of the reigning dynasty accepted priceless objects from the representatives of the municipality of Augsburg and of the Estates of the Roman-German Empire, the allegoric decoration of which bore rich symbolism. The thesis therefore attempts to uncover the individual symbolic elements of the decoration constituted mostly by motives from ancient mythology and scenes from Christian catechism. They celebrated the recipients of the gifts and mirrored ideal virtues that a ruler from the House of Habsburg should possess.