This diploma thesis is composed of two parts. The practical part consists of complex 6 drawings A3 and 6 graphics A4 (drypoint) and preparatory sketches. Works are connected by theme of details of nature and show my own view and grasp of the topic. In the theoretical section discusses the importance of nature to man and the important role played by knowledge in its focus on detail. It compares the actual processing of selected Czech artists of the 20th century that dealt with the topic details or nature. It includes brief biographies and examples of works that served as a source of inspiration for this thesis. It also offers some suggestions on how to use the diploma thesis in educational practice, both the theme and selected techniques.

In my diploma thesis I deal with the perception of the modern zoological gardens by observing visitor behavior. The thesis captures the emergence of zoos in Europe in the late 18th and 19th century gardens and their role as a source of knowledge and as a representation of the relationship between man and animal. Based on the observations of visitors I present two European zoological gardens - Prague Zoo and Reykjavík Zoo & Family Park - as spaces reflecting a certain culture. Reykjavík as a place with a simple mission dedicated for the education of small children in several fields, not only in zoology, and Prague as a complex universe, a merge of several different places with different meanings, such as a place for education, relaxation, photographing, standing against the contemporary western critical theories of zoological gardens. Key words: Zoological gardens, visitors, animals, humans, culture, looking at animals, behavior of visitors, Reykjavík, Prague, Iceland

The present dissertation has the intention to establish how measured Sartre obtains to surpass the solipsism of the conscience, interpreting the registers that compose the phenomenological concept of Looking at, in The Being and the Nothing. After to define the concept of solipsism, will be in evidence the problem that it implies and that, according to Sartre, is originated from the notion of Cartesian Cogito. It is manifested the construction of conceptual-description of the notion of Looking at and the paper that this concept plays in the measure that offers a not cognitive evidence of the Other s existence. There are evaluated the contributions and obstacles of the concept s use of Looking at in the Sartrean attempt of overcoming the solipsism. Concluding, it is verified the reach of this Cogito extended , as Sartre calls to the experience of Looking at. From a phenomenological point of view, it results evident that the solipsism is a false problem and that the Other exists without no doubt. Ontologically, is more difficult to have this certainty, therefore Sartre does not resign to the starting point of Cogito. / O texto discute em que medida Sartre consegue superar o solipsismo da consciência, interpretando os registros que compõem o conceito fenomenológico de Olhar, em O Ser e o Nada. Após definir o conceito de solipsismo, ficará em evidência a problemática que este implica e que, segundo Sartre, origina-se da noção de Cogito cartesiano. Mostra-se a construção histórico-conceitual da noção de Olhar e o papel que este conceito joga na medida que oferece uma evidência não cognitiva da existência do Outro. Avaliam-se as contribuições e malogros do uso do conceito de Olhar na tentativa sartreana de superação do solipsismo. Em conclusão, indica-se o alcance desse Cogito ampliado , como Sartre chama à experiência do Olhar. Fenomenologicamente, a existência do Outro resulta evidente. Porém, não se dá a mesma certeza no nível ontológico. Isso exigiria sair do Cogito, como ponto de partida do filosofar, mas Sartre não abre mão dessa perspectiva.

This research delves into the complex themes of perception, art, and self in Oscar Wilde's novel "The Picture of Dorian Gray." Drawing from Wilde's philosophy of "Art for Art's Sake," the study explores the characterization of Dorian Gray through the perspectives of Lord Henry and Basil Hallward. The central question revolves around whether Henry's and Basil's individual understanding of Dorian accurately represents his true nature and how this perception influences the protagonist. To establish the philosophical foundation, Wilde's essays "The Decay of Lying" and "The Critic as Artist" are analyzed, highlighting the concepts of art, critique, and the artist. The symbolic significance of the portrait and mirror is examined, revealing their role in reflecting Dorian's duality and inner conflict but also working as an extention of Henry and Basil as Art Crtitics. By incorporating Ian Watt's theory of apprehension of reality, the paper explores the limitations of Henry and Basil in comprehending Dorian's true self. Dorian is viewed as a semi-art figure, both a work of art and a human being. The research aims to shed light on why Henry and Basil fail to truly see Dorian, ultimately enhancing our understanding of his characterization. Through a methodology encompassing close reading, analysis, and interpretation, this study contributes to existing scholarship by offering new insights into the intricate exploration of self-perception and the interplay between art and life in Wilde's only novel.