No description available.

The master thesis titled Ideologization and fragmentation of Skinhead subculture deals with historical background of Skinhead subculture genesis and with cleavages, that determinated its ideologization and fragmentation. Simultaneously it pays close attention to analysis of various branches of the Skinhead subculture. The first chapter of the thesis builds theoretical foundations of the research. In this chapter the terms culture, subculture and counterculture are explained. Accentutation is placed on common denominators as well as on differences in the definition of these terms. The second chapter of the master thesis deals equally with historical background of Skinhead subculture genesis and with subcultures with a significant impact on the formation of the Skinhead subculture. In this chapter the attention is focused on historical facts of political development in Great Britain after The Second World War, on subcultures popular at that time and on foundation of the Skinhead subculture. The third chapter of this thesis analyzes infiltration of the political ideologies inside the subculture and the following fragmentation of Skinheads. Research in this chapter is focused on the spread of extreme right-wing elements, foundation of the racist branch of the subculture and sequentially on the reaction...

This study in Old Testament exegesis is focused on two interpretations of three central passages in the book of Job, by C.G. Jung in Answer to Job (1952) and Leo Perdue in Wisdom in Revolt – Metaphorical Theology in the Book of Job (1991). The study examines the questions addressed to the book of Job by Jung and Perdue respectively, and the expectations that are imbedded in their readings. The concepts of "horizon of expectation" and "gaps" from Reception theory are central to the interpretation.  More particularly, the study examines the interpretations by Jung and Perdue of two passages in the book of Job where there is a verbal confrontation between Job and God, and the very last sequence of the book, the epilogue. These scenes also represent what W. Iser calls "gaps" (Leerstellen) in the narration, ambiguous passages, designed to activate the reader’s participation in the interpretation of a text. In the study, the horizon of expectations of Jung and Perdue respectively, is outlined and compared. The results show that, while the theologian Perdue is interested in the psychological aspects of Job’s process in relation to God, Jung, the psychologist, paradoxically is focused on the theological question of God’s character and being.  The study’s point of outlook is that in each interpretation of a text, the reader’s horizon of expectation is embedded. When it comes to Bible commentary, layers of historical contexts and theological tradition shape the interpretative work. Nevertheless, each reader also confronts the text anew while reading, within the frames of his own experiences and expectations.

No description available.

City Library in Prerov, placed on square Přerov rebellion. The library is included in the terrain wave. Which allows a better climate for books but also expands the park which is located here before. The south often is located square in which the library opens the glass facade. Despite the passage of the library led to the city which is in a position which had been even before the actual construction.

This study of Shelley's intellectual development as it is reflected in these philosophical poems is offered in the hope that knowledge of Shelley's idealism may inspire faith in the beauty which life can possess and trust in the high ideals which alone can create such beauty.

In the year 2004 South Africa celebrated its first ten years of democracy, which reflected the success of the struggle for the liberation of this country. The year 1960 was considered as a year of strong resistance throughout South Africa. Political leaders like Nelson Mandela, Oliver Tambo, Robert Sobukwe, Raymond Mhlaba, Chief Albert Luthuli, Walter Sisulu, Ahmed Kathrada, Lionel Bernstein, Dennis Goldberg and others played a vital role in leading the black people to resist the plan of the current Prime Minister Hendrick Verwoerd, who deprived Africans of their citizenship by forcing the Bantustan system upon them. On the 6th June 1960 more than four thousand Pondos from eastern Pondoland (Bizana, Lusikisiki, Flagstaff and Ntabankulu) met at Ngquza Hill with the intention of discussing their problems. They demanded the withdrawal of the hated system of the Bantu Authorities Act, the representation of all South Africans in the Republic's Parliament, relief from increased taxes and the abolition of the pass system. Before these problems were tabled before the people, a military force had occupied Ngquza Hill. The peaceful meeting was turned into a massacre of innocent people, when police shot victims, tear-gassed them and beat them with batons. Eleven people were killed, many of them were shot in the backs of their heads; and more than 48 casualties were hospitalized and arrested. The Paramount Chief, Botha Sigcau, was blamed for the massacre because he was seen as supporting the government, and this led to the uprising in Pondoland from 1960 to 1963. This event happened three months after the Sharpeville shooting of the 21st March 1960. More than 200 casualties were reported and 69 unarmed protesters were shot dead outside the police station. The ANC and PAC, the liberation movements of the day, were banned and a state of emergency was declared. The Nationalist government suspected the African National Congress of being behind the revolt in Pondoland. The ringleaders of the Pondo Revolt were Mthethunzima Ganyile, Anderson Ganyile, Solomon Madikizela and Theophulus Ntshangela. They listed the Acts that were to be protested against as follows: The Bantu Authorities Act of 1951, the Bantu Education Act of 1953, the Pass Law System of 1952, as well as rehabilitation and betterment schemes. These Acts were imposed by the National Party through Paramount Chief Botha Sigcau. All were detrimental to the future of the Pondo people. Church leaders such as Beyers Naude, Ben Marais and Bartholomeus Keet of the Dutch Reformed Church (DRC), Archbishop Geoffrey Clayton and Archbishop Desmond Tutu of the Anglican Church, Rev Charles Villa-Vicencio of the Methodist Church of Southern Africa, Allan Boesak of the Dutch Reformed Mission Church (DRMC) and others played a major role in confronting and challenging the Nationalist government, which justified apartheid as grounded on Scripture. Not all church leaders opposed this policy: the Dutch Reformed Church was the bedrock of apartheid, along with other Afrikaans speaking churches. This dissertation will serve as a tool to determine the involvement of the church regarding the Pondo Revolt in South Africa from 1960 to 1963. / Christian Spirituality, Church History and Missiology / M.Th. (Church History)

In the year 2004 South Africa celebrated its first ten years of democracy, which reflected the success of the struggle for the liberation of this country. The year 1960 was considered as a year of strong resistance throughout South Africa. Political leaders like Nelson Mandela, Oliver Tambo, Robert Sobukwe, Raymond Mhlaba, Chief Albert Luthuli, Walter Sisulu, Ahmed Kathrada, Lionel Bernstein, Dennis Goldberg and others played a vital role in leading the black people to resist the plan of the current Prime Minister Hendrick Verwoerd, who deprived Africans of their citizenship by forcing the Bantustan system upon them. On the 6th June 1960 more than four thousand Pondos from eastern Pondoland (Bizana, Lusikisiki, Flagstaff and Ntabankulu) met at Ngquza Hill with the intention of discussing their problems. They demanded the withdrawal of the hated system of the Bantu Authorities Act, the representation of all South Africans in the Republic's Parliament, relief from increased taxes and the abolition of the pass system. Before these problems were tabled before the people, a military force had occupied Ngquza Hill. The peaceful meeting was turned into a massacre of innocent people, when police shot victims, tear-gassed them and beat them with batons. Eleven people were killed, many of them were shot in the backs of their heads; and more than 48 casualties were hospitalized and arrested. The Paramount Chief, Botha Sigcau, was blamed for the massacre because he was seen as supporting the government, and this led to the uprising in Pondoland from 1960 to 1963. This event happened three months after the Sharpeville shooting of the 21st March 1960. More than 200 casualties were reported and 69 unarmed protesters were shot dead outside the police station. The ANC and PAC, the liberation movements of the day, were banned and a state of emergency was declared. The Nationalist government suspected the African National Congress of being behind the revolt in Pondoland. The ringleaders of the Pondo Revolt were Mthethunzima Ganyile, Anderson Ganyile, Solomon Madikizela and Theophulus Ntshangela. They listed the Acts that were to be protested against as follows: The Bantu Authorities Act of 1951, the Bantu Education Act of 1953, the Pass Law System of 1952, as well as rehabilitation and betterment schemes. These Acts were imposed by the National Party through Paramount Chief Botha Sigcau. All were detrimental to the future of the Pondo people. Church leaders such as Beyers Naude, Ben Marais and Bartholomeus Keet of the Dutch Reformed Church (DRC), Archbishop Geoffrey Clayton and Archbishop Desmond Tutu of the Anglican Church, Rev Charles Villa-Vicencio of the Methodist Church of Southern Africa, Allan Boesak of the Dutch Reformed Mission Church (DRMC) and others played a major role in confronting and challenging the Nationalist government, which justified apartheid as grounded on Scripture. Not all church leaders opposed this policy: the Dutch Reformed Church was the bedrock of apartheid, along with other Afrikaans speaking churches. This dissertation will serve as a tool to determine the involvement of the church regarding the Pondo Revolt in South Africa from 1960 to 1963. / Christian Spirituality, Church History and Missiology / M.Th. (Church History)

La notion de l'absurde a pris dans la pensée et le langage courant un très grand nombre de significations, parfois très éloignées les unes par rapport aux autres. Il est arrivé à au moins deux reprises que le terme « absurde » soit entendu dans le sens d'un courant : dans la philosophie absurde théorisée par Albert Camus en 1942, et dans le Théâtre de l'absurde (Beckett, Ionesco, etc.), qui lui a connu son apogée dans les années cinquante. Ces deux mouvements pourraient être envisagés comme l'expression d'un seul et même courant, l'absurde, qui prend ses racines dans une Europe ébranlée par les horreurs de la guerre et l'affaissement de la religion chrétienne. Pour les contemporains, l'hostilité et le désordre de l'univers, de même que la solitude irrémédiable de l'individu apparaissent comme des vérités à la fois douloureuses et difficile à ignorer. Roman Polanski (1933-), cinéaste à la fois prolifique et éclectique, ouvre à l'absurde de nouveaux horizons, ceux du septième art. L'analyse de son oeuvre (et des éléments autobiographiques qui la sous-tendent parfois) met à jour d'indéniables parentés avec les figures-clés de l'absurde que sont Camus, Kafka, Nietzsche et les dramaturges européens de l'après-guerre. Ces parentés se repèrent tout autant dans les thématiques récurrentes de ses films que dans leurs obsessions formelles. / The idea of absurd has taken a huge amount of different meanings in thought and current speech. Some of these meanings may present important differences with others. There is at least two occurrences where the word “absurd” has been understood as a current: first, in the philosophie absurde, theorized by Albert Camus in 1942, and second, in the Theater of the Absurd (Beckett, Ionesco and others), who had his hours of glory during the 1950s. These two movements can be seen as two branches of a single current, the Absurd, who has its roots in Europe after World War II. The horrors of the conflict and the loss of faith in Christianity pushed the intellectuals and artists of this period to become very sensitive to ideas such as hostility (of men, of world...) and loneliness. Roman Polanski (1933-), film director well-known for the eclecticism of his work, showed very notable acquaintances with Absurd in many of his movies. The analysis of his art (and of the autobiographical elements that sometimes appear in it) proves a clear relation with important figures of the Absurd current, such as Camus, Kafka, Nietzsche, and European playwrights of the post-war era. This relation can be observed in themes as well as in the mise en scène of Polanski's films.

Cette thèse traite de la présence des textes religieux dans l'œuvre d'Albert Camus. Il s'agit de mettre en évidence l'intertextualité qui apparaît, sous différentes formes, dans les ouvrages romanesques et philosophiques de l'auteur. La thèse s'organise en deux axes parallèles et complémentaires, le premier est la mise en relief de la présence directe et effective de l'intertexte biblique dans les textes de Camus, qui s'effectue par l'emprunt directe au registre religieux ; le deuxième est la présence de l'intertexte religieux par le biais d'autres écrivains-philosophes, antérieurs ou contemporains de l'auteur (Saint Augustin, Pascale, Kierkegaard, Dostoïevski, Nietzsche, et Heidegger). Ainsi, l'intertextualité apparaît dans l'œuvre de Camus sous des formes explicites (déclarées) ou implicites (latentes ou suggérées.) La thèse se focalise, à chaque étape, sur les techniques intertextuelles utilisées, sur le rôle joué par l'intertexte dans l'analyse du texte camusien, et son action sur le lecteur sensibilisé à la perception de l'œuvre. En conclusion, l'implication systématique de l'œuvre de Camus dans un enjeu intertextuel progressif, depuis la forme simple du commentaire jusqu'aux formes plus élaborées d'une intertextualité devenue trame de l'œuvre. / This thesis deals with the occurrence of the religious texts in the works of Albert Camus. The point is to find out the different aspects of intertextuality embodied in the novels and the philosophical essays of the author. The thesis is organized around two axis. The first one has to do with the biblical intertext that is found in the texts of Camus. In fact, this process is done by the direct borrowing from the religious register. The second axis deals with the occurrence of the religious intertext linked to some previous and contemporary authors-philosophers : Saint Augustin, Pascal, Kierkegaard, Dostoïevski, Nietzsche or Heidegger. As a matter of fact, the intertextuality appears in the works of Camus in an explicit way or an implicit one. The thesis focuses, at each step, on the intertextual techniques that are used by Camus, on the role played by the intertext in the analysis of the camusian text, on the effect of the intertext on the reader and who is aware of the perception of the work. To conclude, this work shows the systematic implication of Camus’s masterpieces in a progressive intertextual process. It starts by the use of a simple form of commentary to a most complex form of intertextuality which becomes the framework of Albert Camus’s works.