Texte remanié de: Doctoral thesis--John Hopkins University, 1985.

Thesis (M.A.)--University of Wisconsin--Madison, 1967. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Prague ring road is one of the most important constructions of Prague and Central Bohemia. When completed, it will become one of routes with the heaviest traffic in the Czech Republic. In my thesis I deal with the past, present and future of Prague ring road. I have mentioned its individual parts as well as its links to urban circuit. The main focus is on the most problematic part of the circuit, namely the northwestern segment.

The main aim of this thesis is to analyse restaurants in Prague which offer special dishes for people who suffer from celiac disease. Theoretical part consists of definition and history of celiac disease, symptoms of celiac disease etc. One of the aims of the practical part is to create a free city map with marked restaurants suitable for people who suffer from celiac disease. The author conducted a survey among tourists whether they would appreciate this kind of map.

The thesis deals with the impacts of the financial crisis in the region of Prague and with the analysis of the acting of partners. The first theoretical part depicts the emergence and the course of the world financial crisis, its economic, political and social impacts in the worlds and in the Czech Republic, marketing segmentation, division of clients into groups and description of real estate market in the region of Prague. The second, practical part analyses the impacts of the outcomes of the crisis on the real estate maket, change in the acting of partners on the real estate market in the region of Prague and proposal for improvement in the future.

This diploma thesis is oriented on cultural tourism. The main point of the paper is festival Mezi ploty. First chapter is focused on incoming and domestic tourism of the Czech Republic. It analyzes its potential and results. Second chapter deals with Prague 8, it describes a tourism facilities supply and the most important attractions. The festival itself is presented in the third chapter. There was a research carried out within the thesis and its results are shown in the fourth chapter. Based on the outcome, conclusions and recommendations are offered at the end of the paper.

anglicky The aim of the thesis will be the analysis of the General Land Centennial Exhibition in 1891 in the cultural-historical context. The basis of the work will be a comprehensive chapter devoted to the exhibition itself, its purpose, specifics, as well as individual tendencies, according to which the exhibits were presented. However, the prologue of this chapter will be an analysis of the time before the exhibition. In this part the author will analyze the political and economic situation of the last third of the 19th century and the main prerequisites necessary for organizing such an event. The last chapter will deal with the contribution of the jubilee exhibition, the second life of exhibits and the subsequent use of structures associated with the exhibition. The thesis will also be completed with information from previous foreign exhibitions (France, Great Britain), without which it is not possible to fully understand the issue of organizing exhibitions. In the end, the author will try to answer questions and problems that arise during the whole work.

The problem is to relate four parameters, thematic development, chord tension, tonality, and rhythm to musical Growth in Karel Husa's Music for Prague 1968. The analytical technique consists of determining a typology and relating that to Growth and is applied in small dimensions to the "Introduction" and in large dimensions to the whole composition. Movement in the composition is goal oriented, and each parameter contributes in different ways, one providing contrast, another continuity, and another variety. Shapes are delineated by cadences characterized by a decrease followed by an increase in Movement. Growth is characterized by Shapes in which Movement starts at a low level, moves to a climax three quarters through, and relaxes for the end of the Shape.

Cette recherche s’inscrit dans le contexte actuel où bon nombre de disciplines créatrices cherchent à redéfinir le contour de leur activité. La scénographie n’en fait pas exception. Dans une période très récente, des questions sur les limites de la scénographie et son rapport avec les autres arts se sont posées. Cette thèse prétend démontrer que les bouleversements à l’œuvre ces dernières années sont majeurs en affectant le rôle même du scénographe. Il nous a paru cohérent de concentrer la recherche sur la 12e édition de la Quadriennale de Prague en 2011. En effet, cette édition fut le premier événement qui effectua un changement terminologique, introduisant dans ce contexte le terme de Performance Design en le substituant le terme traditionnel de scénographie. L’accent mis sur ce concept prétendait inclure de nouvelles formes de créations émergeantes. Ce changement provoqua des échos importants et suscite depuis de nombreux débats dans le domaine des arts de la scène. Il semblait donc nécessaire de déterminer les nouveaux contours de la discipline. Quelles sont les fonctions actuelles du scénographe ? Quelles compétences doit-il avoir aujourd’hui pour répondre aux enjeux propres de la mise en scène ? Quels sont les domaines où le scénographe exerce sa pratique ? Quelles sont les limites de la scénographie ? Ou encore, quels sont les nouveaux espaces, au-delà des domaines traditionnels, qui s’ouvrent comme champs de pratique ? Interroger le statut actuel du scénographe exige inévitablement de revenir sur ses définitions historiques. Cette recherche ne prétend pas être une étude exhaustive de l’histoire de l’évolution du rôle du scénographe. Cela nous a cependant permis d’isoler trois fissures dans son évolution. Nous proposons de développer cette analyse à partir de trois catégories : fonction, domaine, et compétence. Afin de compléter un débat somme toute théorique, nous avons souhaité entendre les voix de scénographes de différents pays dans le monde. Cette diversité d’entretiens nous a permis d’avoir un exemple vivant de la réalité particulière de ceux qui exercent la discipline aujourd’hui. / This research fits into the current context in which many creative disciplines seek to redefine the outline of their activity. The scenography is no exception. In recent years, questions have arisen about the limits of scenography and its relationship with other arts. This thesis aims to show that the upheavals at work in the last years have profoundly affected the role of the scenographer. It has seemed coherent to us to focus the research on the 12th edition of the Prague Quadrennial in 2011. Indeed, this edition was the first event that made a terminological change, introducing in this context the term Performance Design substituting the traditional term of Scenography. The emphasis on this concept had the purpose of including new forms of emerging creations. This change provoked important echoes and has been the subject of many debates in the field of the performing arts. It therefore seemed necessary to determine the new contours of the discipline. What are the current functions of the scenographer? What skills must he have today to respond to the specific challenges of staging? What are the areas where the scenographer practices? What are the limits of the scenography? Or again, what are the new spaces, beyond traditional domains, that open up as fields of practice? To question the current status of the scenographer inevitably requires a reconsideration of his historical definitions. This research does not claim to be an exhaustive study of the evolution of the scenographer's role. Nonetheless it has allowed us to isolate three cracks in its evolution. We propose to develop this analysis by means of three categories: function, domain, and competence. In order to complete a theoretical debate, we wanted to hear the voices of scenographers from different countries around the world. This diversity of interviews has allowed us to have a living example of the particular reality of those who exercise the discipline today.

Texte remanié de: Thèse de doctorat--Histoire--Strasbourg 3, 2004. / Avant-titre : "Decor omnis in una" Bibliogr. p. 441-457. Notes bibliogr. Index.