Nachlingerová, J.: Illustration in Czech children's books. Animal's picture /Thesis/ Praha 2010 Charles university, Pedagogical faculty, department of art, number of pages 65 The illustrations in Czech book for children with concentration to picture of animal in illustration and literary texts create main subject of this Thesis. The work finds out various methods of animal illustrations within general illustrator approaches, it gets around of selected principal representatives of the Czech illustration. It looks at current production of books for children in their positive and negative aspects, it follows the efforts to look after the "belles-lettres" as well as unvalued production connected with irresponsibility towards the children's readers. It maps, on the background of magnificent books about animals, the current illustrators trying to present creatively ambitious illustration. Key words: illustration, animal, role of the animal in children's book, anthropomorphism, illustrative attitude, principal representatives of the Czech illustration, book, current production of children's books, "belle-lettre", kitsch, publishing house, current illustrators

Videogame tinkerers, players, and activists of the 21st century are continuing, yet redefining, the avant-garde art and literary movements of the 20th century. Videogames are diverging as a social, cultural, and digital medium. They are used as political instruments, artistic experiments, social catalysts, and personal means of expression. A diverse field of games and technocultural play, such as alternate reality games, griefer attacks, arcade sculptures, and so on, can be compared and contrasted to the avant-garde, such as contemporary tactical media, net art, video art, Fluxus, the Situationists, the work of Pollock or Brecht, Dada, or the Russian Formalists. For example, historical avant-garde painters played with perspectival space (and its traditions), rather than only within those grid-like spaces. This is similar in some ways to how game artists play with flow (and player expectations of it), rather than advancing flow as the popular and academic ideal. Videogames are not only an advanced product of technoculture, but are the space in which technoculture conventionalizes play. This makes them a fascinating site to unwork and rethink the protocols and rituals that rule technoculture. It is the audacity of imagining certain videogames as avant-garde (from the perspective of mainstream consumers and art academics alike) that makes them a good candidate for this critical experiment.

Worldwide liturgical music finds itself in a crisis. Liturgical music is made the scapegoat for everything that is wrong with liturgy, whereas the problems rather derive from the worship service as a whole, the theological thinking and the cultural environment in which the worship service is performed. Stereotyped liturgical forms, a cognitive verbalism, the demand for intelligibility, the loss of the poetic form of the liturgy, the disregard for symbols and rituals, the absence of visual and other art forms in the liturgy, the influence of the popular music culture and especially the lack of a profound theological reflection with regard to the essential place of music in the liturgy, are all contributing factors that have a negative influence on liturgical music. The worship service is surrounded by a postmodern culture, aspects of which might provide positive opportunities for the liturgy. A broader notion of rationality that includes the affective, non-cognitive dimensions of being human, opens up possibilities for the aesthetic, as well as the religious experience. The recognition of symbols, images, imagination and metaphors opens up new horizons for the worship service as Gesamtkunstwerk. Anti-foundationalistic thinking demands an open canon with regard to the liturgy and liturgical song. Ecumenicity as an expression of the postmodern 'global village' renders a plurality of liturgical and musical possibilities. Aspects that might influence the reception of liturgical songs and songbooks, such as a spirit of anti-authoritarianism must be borne in mind. The liturgical training of ministers of religion, especially with regard to their aesthetic formation must be given due attention. The reflection on liturgy with regard to the role of art and music as communicative acts, based on new theological insights, must come into full swing. Liturgical music can only be fully appreciated where liturgical renewal takes form in a comprehensive way and where theologically the space is opened up for music as a form of art that has the ability to communicate symbolically, especially that which defies clearcut definition - as such being a communicative act serving the gospel. / Liturgiese musiek verkeer wereldwyd in 'n krisis. Kritiek word dikwels slegs voor die deur van die musiek gele, terwyl die probleem verband hou met die erediens as geheel, die teologiese denke en met die kulturele omstandighede waarbinne die erediens plaasvind. Geykte liturgiese vorms, 'n kognitiewe-verbalisme, die oorbeklemtoonde eis om verstaanbaarheid, 'n verlies aan die kunsgestalte van die erediens, 'n miskenning van die simboliese waarde van rituele en handelinge, die gebrek aan visuele en ander kunsvorme, die invloed van die omringende musiekkultuur en veral die gebrek aan 'n grondige teologiese besinning ten opsigte van musiek in die erediens, bring die funksie, aard en wesenlike plek van liturgiese musiek in gedrang. Die erediens staan binne 'n · postmodernistiese denkkultuur waarvan sekere aspekte positiewe moontlikhede ten opsigte van die erediens kan bied. Die breer rasionaliteitsbegrip, wat ruimte open vir die affektiewe en nie-kognitiewe dimensies van menswees, skep nuwe ruimte vir die estetiese ervaring en die rol van ervaring in die geloofsproses. Die erkenning van simbole, simboolwerelde, metafore, beelde en verbeelding, bied nuwe moontlikhede vir die erediens as Gesamtkunstwerk. Die oog vir die heropname van die historiese en die simboliese bied ook geleentheid vir die herstel van die tradisionele lied. 'n Gees van anti-fundamentalisme vereis 'n oop kanon ten opsigte van die liturgie en die liturgiese lied. Ekumenisiteit as vorm van die postmoderne global village bied 'n pluraliteit van liturgiese en musikale moontlikhede. 'n Nie-outoritere tydsgees en die ontkenning van 'n 'kundigheidsgroep' deur die postmodernisme, moet verreken word as faktore wat 'n rol kan speel by die resepsie van liedere en gesangboeke. Die liturgiese opleiding, veral met betrekking tot die estetiese vorming van predikante, moet grondig aandag kry. Die besinning rondom die liturgie met betrekking tot die rol van kuns en musiek as kommunikatiewe handelinge moet op grond van nuwere teologiese insigte tereg kom. Die tese van hierdie studie is dat die kerklied, oud of nuut, eers daar tereg sal kom waar van liturgiese vernuwing in die omvattende sin sprake is en waar teologies die ruimte vir musiek as kunsvorm met die vermoe tot simboliese vergestalting - as sodanig dus kommunikatiewe handeling in diens van die Evangelia - verreken word. / Philosophy, Practical and Systematic Theology / D. Th. (Practical Theory)

The subject of diploma paper was anallysis of perception children and youth related to visual art. In the first chapter of theoretic part diploma paper I explain definitions related to the subject, i.e. that is fine art, aesthetics, culture, kitsch and relation of this species to the human being. In next chapters I acte problems, definition, delimitation of the odd time and I explain possibilities of transmission visual art to children and young people. The theoretic part of diploma paper is dedicated to possibilities of confrontation children and youth people with the visual art through various cultural institutions. This part of diploma paper is ended with basic dividing of spare-time activitity organizations. The practical part of diploma paper is dedicated to visual art project {\clq}qWho knows Piaristic square``, {\clq}qConversation`` and {\clq}qEntities in the nature``. Visual art expression of subjective experience evoked by visual perception of concrete image is the aim of this project. The project is intended for the children and youth in age between 8 and 24 years. I confront by means of projects both various components of visual art (painting, sculpture and architecture) and various movement epoch (gothic style, baroque and modern style). I wanted find the way how to transmit visual art to children and youth enjoyable, educational with aesthetic value. The end of the diploma paper summaries pieces of knowledge and perceptions from the visual art courses and projects.

My thesis concentrates on the game, the playfulness and the toy. At first, I was searching for where these topics were most common and how they effected our lives generally. I presented some of the definitions. Then I worked more with these definitions and I put them into a connection with the art and the padegogy. Later I made a separated point of the role of the game, the playfulness and the toy in the visual art. I introduced some artist, who have been using the topics of mainly the game and the playfulness in their art work. The toy was presented more like the theme of the art works. The final part concentrates on the visual art project, which is prepared for children at age eight to ten years. One of the range was introduced deeply. n this range present individual lessons, one of them is showed in detail. This lesson is named The painting by the soap bubbles and I had been taught it at The basic art school Na Proseku. After this lesson I wrote reflection of it. Whole thesis is ilustrated by the pictures. In the conclusion I try to summarize knowledge I reached.

The thesis deals with fine arts in the Protectorate of Bohemia and Moravia. It analyzes Czech fine art during the Nazi occupation of World War Two, concentrating on its official component that has not yet been deeply researched. The author surveyed archives, press and literature of the period. The aim was to identify key themes in the public discussion about artistic issues and to trace developments in the legal status of Czech fine art under the occupation. First, a brief portrait of the historical context of 1938 to 1945, accompanied by identifying several pathological phenomena that occupation and the war brought to Czech society. Those that crept into the fine arts are interpreted from a psychoanalytic point of view. Next the author focuses on the official cultural policy of the Protectorate of Bohemia and Moravia. He notes the short and long-term objectives of Nazi policies and their impact on the workings of cultural life in Czech society. He speaks about radical conservative critiques of modern art, which accused the avant-garde of mercantilism, of politicizing art, of being foreign, and arbitrary. So-called "degenerate" art (Entartete Kunst) is also briefly mentioned. A term that was used to defame and denounce modern art. For the first time, an unknown list of Czech "degenerate" painters...

Text in Afrikaans / Die lied en musiekinstrumente speel 'n baie belangrike rol in die Bybel. Die Moseslied (Eks 15) word in die Psalms aangehaal en kulmineer in die 11 nuwe 11 lied van Openbaring - die lied van die "nuwe" hemel en die 11 nuwe 11 aarde wat verlostes saam sal sing. Die brandende vraag wat "reg" of hoegenaamd standpunt ingeneem moet perspektief (die Woord van God) "verkeerd" is en of daar word, word uit 'n Bybelse beantwoord, gegrond op die beginsel van die Reformasie: ecclessia reformata semper reformandum. Die geskiedenis van die lied van die vroee kerk tot by die Ref ormasie word kursories behandel. Die lied wat in die geskiedenis uit die mond van die gelowige, die lidmaat gehaal is en aan die priesters oorgelaat is, word deur Luther weer teruggeplaas in die mond van die gelowige. Dit blyk dat Calvyn, tsv die Ref ormasie slagspreuk, in sommige aspekte van sy beskouing van die kerklied, steeds 'n Roomse standpunt bly handhaaf en net tot by die vroee kerk "gereformeer" het. Slegs sgn "heilige" liedere, direk uit die Bybel, musiek sender instrumentale begeleiding, kon gebruik word. Saam met ons voorsate, wat van oa Nederland gekom het, het ons liederebundels gekom. Van Riebeeck het met die Datheense Psalter (die amptelike Nederlandse kerklied) wat later deur die 1805- "Evangelische Gezangen" aangevul is, geland. Agv die "cuius regio eius religio"-beginsel het die Hollandse kerklied voorkeur bo Lutherse ea kerkliedere gekry. Die 1805-"Evangelische Gezangen", alhoewel dit hartlik verwelkom is, het gelei tot misnoee in Colesberg en later in Rustenburg, wat op sy beurt gelei het tot kerkskeuring. Die "Evangelische Gezangen" was ook, naas die Bybel en die Psalmboek die metgesel van die Trekkers, kommandolede (Anglo-Boereoorlog) en die krygsgevangenes in die konsentrasie- en krygsgevangenekampe. In die kampe was daar baie tyd vir die sing en skep van gewyde liedere. Nie-goedgekeurde bundels en die vertaling van die Bybel in Afrikaans (1933) het aanleiding gegee dat liederebundels hersien moes word. Die 1937 (Totius-beryming), die 1944 Gesangboek, die 76/78-Psalmboek en die 1978 Gesangboek was die resultaat. 'n Dualistiese standpunt, dat sekere liedere geskik is vir kerkgebruik en ander slegs vir buite-kerkgebruik (die 1984- Jeugsangbundel) het aanleiding gegee tot die publikasie van SOM en Jeugsangbundel 2, 1993. Huidig gebruik talle gemeentes 'eie' bundels tsv sinodale besluite dat slegs SOM en JSB2 naas die Psalm- en Gesangboek gebruik mag word. Die verskyning van die Proefsangbundel 1998 (IKSA) lei 'n nuwe fase van die kerklied in SA in as die Ned Herv Kerk ook begin om "nuwe" liedere op die proef te stel. Vos, Strydom, Huisamen, Konig, Kloppers, ea het in resente jare evaluerings oor die kerklied gedoen. Die "ou", die "nuwe" en die kontemporere kerklied (veral met verwysing na die NG Kerk) m6et almal plek kry in die musiekskat van die 21ste eeu. / The hymn and musical instruments play a cardinal role in the Bible. The Song of Moses (Ex 15) is used in Psalms and in Revelation 15:3. The question with regards to what is acceptable and unacceptable and whether it is at all imperative to take a defendant stance, is clarified from a Biblical point of view. It is based on the Reformation-principle: ecclesia reformata semper reformandum. The History of the 'Song' Hymn in the early church up to the Reformation is shortly mentioned. The "songs" (Hymns) of the believer were in the course of history transferred to the priests and were only in the Reformation once again bestowed on the believer by Luther. It would appear that Calvin, despite the slogans of the Reformation continued to postulate a Catholic point of view with regard to the Hymns and that the Reformation was restricted to the early church. Only socalled holy songs, direct from the Bible and songs without instruments/accompaniment could be usedo The collection of 'songs' (Hymns) of the Dutch Reformed Church is an inheritance from the Netherlands. It was Van Riebeeck who brought in the ''Datheense Psalter'' . Later, the 1805 - "Evangelishe Gezangen" were added to it. Owing to the cuius regio eius religio-principle, the Dutch Church Hymn was given preverance. Although heartily welcomed, the "1805-Evangelische Gezangen" lead to a split in the Church. The "Evangelische Gezangen" (Hymns), and the Psalmbook were used by the 'Trekkers' , the 'Kommando' s' , (Anglo Boer war) and in the Consentration and prisoners of war camps. In the camps was ample time for singing and composing new sacred songs. 'Non-approved' song books and the translation of the Bible in Afrikaans (1933) gave rise to the birth of various Hymn and Psalter books. Youth Praise and Worship books were also published. The Dutch Reformed Church opinion that certain songs in the formal Church inappropriate and should gatherings. struggles with the dualistic are suitable for worshipping service while other are only be used at informal / Theology / D.Th. (Theology)

Text in Afrikaans / Die lied en musiekinstrumente speel 'n baie belangrike rol in die Bybel. Die Moseslied (Eks 15) word in die Psalms aangehaal en kulmineer in die 11 nuwe 11 lied van Openbaring - die lied van die "nuwe" hemel en die 11 nuwe 11 aarde wat verlostes saam sal sing. Die brandende vraag wat "reg" of hoegenaamd standpunt ingeneem moet perspektief (die Woord van God) "verkeerd" is en of daar word, word uit 'n Bybelse beantwoord, gegrond op die beginsel van die Reformasie: ecclessia reformata semper reformandum. Die geskiedenis van die lied van die vroee kerk tot by die Ref ormasie word kursories behandel. Die lied wat in die geskiedenis uit die mond van die gelowige, die lidmaat gehaal is en aan die priesters oorgelaat is, word deur Luther weer teruggeplaas in die mond van die gelowige. Dit blyk dat Calvyn, tsv die Ref ormasie slagspreuk, in sommige aspekte van sy beskouing van die kerklied, steeds 'n Roomse standpunt bly handhaaf en net tot by die vroee kerk "gereformeer" het. Slegs sgn "heilige" liedere, direk uit die Bybel, musiek sender instrumentale begeleiding, kon gebruik word. Saam met ons voorsate, wat van oa Nederland gekom het, het ons liederebundels gekom. Van Riebeeck het met die Datheense Psalter (die amptelike Nederlandse kerklied) wat later deur die 1805- "Evangelische Gezangen" aangevul is, geland. Agv die "cuius regio eius religio"-beginsel het die Hollandse kerklied voorkeur bo Lutherse ea kerkliedere gekry. Die 1805-"Evangelische Gezangen", alhoewel dit hartlik verwelkom is, het gelei tot misnoee in Colesberg en later in Rustenburg, wat op sy beurt gelei het tot kerkskeuring. Die "Evangelische Gezangen" was ook, naas die Bybel en die Psalmboek die metgesel van die Trekkers, kommandolede (Anglo-Boereoorlog) en die krygsgevangenes in die konsentrasie- en krygsgevangenekampe. In die kampe was daar baie tyd vir die sing en skep van gewyde liedere. Nie-goedgekeurde bundels en die vertaling van die Bybel in Afrikaans (1933) het aanleiding gegee dat liederebundels hersien moes word. Die 1937 (Totius-beryming), die 1944 Gesangboek, die 76/78-Psalmboek en die 1978 Gesangboek was die resultaat. 'n Dualistiese standpunt, dat sekere liedere geskik is vir kerkgebruik en ander slegs vir buite-kerkgebruik (die 1984- Jeugsangbundel) het aanleiding gegee tot die publikasie van SOM en Jeugsangbundel 2, 1993. Huidig gebruik talle gemeentes 'eie' bundels tsv sinodale besluite dat slegs SOM en JSB2 naas die Psalm- en Gesangboek gebruik mag word. Die verskyning van die Proefsangbundel 1998 (IKSA) lei 'n nuwe fase van die kerklied in SA in as die Ned Herv Kerk ook begin om "nuwe" liedere op die proef te stel. Vos, Strydom, Huisamen, Konig, Kloppers, ea het in resente jare evaluerings oor die kerklied gedoen. Die "ou", die "nuwe" en die kontemporere kerklied (veral met verwysing na die NG Kerk) m6et almal plek kry in die musiekskat van die 21ste eeu. / The hymn and musical instruments play a cardinal role in the Bible. The Song of Moses (Ex 15) is used in Psalms and in Revelation 15:3. The question with regards to what is acceptable and unacceptable and whether it is at all imperative to take a defendant stance, is clarified from a Biblical point of view. It is based on the Reformation-principle: ecclesia reformata semper reformandum. The History of the 'Song' Hymn in the early church up to the Reformation is shortly mentioned. The "songs" (Hymns) of the believer were in the course of history transferred to the priests and were only in the Reformation once again bestowed on the believer by Luther. It would appear that Calvin, despite the slogans of the Reformation continued to postulate a Catholic point of view with regard to the Hymns and that the Reformation was restricted to the early church. Only socalled holy songs, direct from the Bible and songs without instruments/accompaniment could be usedo The collection of 'songs' (Hymns) of the Dutch Reformed Church is an inheritance from the Netherlands. It was Van Riebeeck who brought in the ''Datheense Psalter'' . Later, the 1805 - "Evangelishe Gezangen" were added to it. Owing to the cuius regio eius religio-principle, the Dutch Church Hymn was given preverance. Although heartily welcomed, the "1805-Evangelische Gezangen" lead to a split in the Church. The "Evangelische Gezangen" (Hymns), and the Psalmbook were used by the 'Trekkers' , the 'Kommando' s' , (Anglo Boer war) and in the Consentration and prisoners of war camps. In the camps was ample time for singing and composing new sacred songs. 'Non-approved' song books and the translation of the Bible in Afrikaans (1933) gave rise to the birth of various Hymn and Psalter books. Youth Praise and Worship books were also published. The Dutch Reformed Church opinion that certain songs in the formal Church inappropriate and should gatherings. struggles with the dualistic are suitable for worshipping service while other are only be used at informal / Theology / D.Th. (Theology)

This dissertation explores the theme of drugs in Spanish, Colombian and Mexican cultural production. A first part of this investigation consists of establishing the historical contexts of these cultural products within their respective country. In a second part, I theorize about the space that characterizes the drug narratives. A third part consists of analyzing the important recurrent characters in these narratives and, based on this analysis, developing a descriptive catalogue of archetypes.

This dissertation explores the theme of drugs in Spanish, Colombian and Mexican cultural production. A first part of this investigation consists of establishing the historical contexts of these cultural products within their respective country. In a second part, I theorize about the space that characterizes the drug narratives. A third part consists of analyzing the important recurrent characters in these narratives and, based on this analysis, developing a descriptive catalogue of archetypes.