The present diploma thesis "Claude Simon. Introduction and interpretation" is philosophical interpretation of the novels of the French writer Claude Simon, the Nobel prize winner for literature in 1985, whose work has been in the Czech academic field neglected theme. My interpretation is based on the philosophy of G. Deleuze and according to him I understand Simon's work like a rhizome, that is like decentralized heterogenous links, multiplicities and lines which are not subjects to any structural model. In my interpretation I start with novel Le Vent (The Wind) from 1957, because it's a text in which are being manifest fundamental themes of Simon's poetic such as are event nature of the fiction world or the lost of transcendence and its transformation into immanence of life affairs. The analysis of the novel Le Vent makes possible to pass continuosly and frequently to Simon's other novels (Histoire, Les Gèorgiques, Le Palace, L'Herbe, La Route des Flandres). The aim of the diploma thesis is to reach coherent interpretation of the Simon's work.

Det här examensarbetet utgår ifrån idén om kunskaper som icke-linjärt och geografisktorganiserade. För att ge idén en form målar texten upp fantasibilden fältet, som kopplassamman med en figuration av de posthumanistiska filosoferna Gilles Delueze och FélixGuattari: rhizomet. Genom att synliggöra hur konstnärligt bildskapande kan förstås somrhizomatiskt lärande ämnar studien kontextualisera posthumanistiska alternativ fördidaktiska tillvägagångssätt i bildundervisning. Studiens relevans för det bildpedagogiskafältet motiveras av att lärande i bildskapande redan tenderar att kännetecknas av oriktade,kreativa och flödande processer. De huvudsakliga forskningsfrågorna som studienengagerar sig i är hur rhizomatiskt lärande framträder i konstnärligt bildskapande och hurdetta synliggör och kontextualiserar posthumanistiska alternativ för didaktiskatillvägagångssätt i bildundervisning. Studien antar metodologiska praktiker inspireradeav autoetnografi, utvecklade genom postkvalitativt tänkande. För att framkalla empirikonstruerades ett meningsfullt kollaborativt måleriprojekt mellan mig själv och engymnasieelev från bild- och formprogrammet, vilken betraktas som medforskare istudien. I analysarbetet används en kartograferande analys, som syftar till att synliggörakomplexa sammankopplingar som uppstår inom ramen för bildskapande praktiker. Dettaarbete leder fram till att exempel på hur materiell agens, konfabulativa konversationeroch materiellt-diskursiva praktiker görs synliga inom bildskapande sammanhang, vilketskrivs fram i denna uppsats samt gestaltas i måleri, ontologiteoretisk textformgivningsamt haptisk-optisk, metodologisk lek. De posthumanistiska trådar som går att följagenom uppsatsen bär alla på erbjudanden om didaktiska tillvägagångssätt förundervisning i ämnet bild och därför avslutas uppsatsen med att ett första steg tas in i endiskussion om didaktik. Genom att ta tillvara oriktade kreativa processer, konfabulativakonversationer och konstnärliga möten mellan mänskliga och icke-mänskliga aktörerbidrar detta examensarbete till ett pågående samtal om posthumanistisk pedagogik.

In this essay I have read the novels Wide Sargasso Sea (Jean Rhys 1966), Desirada (Maryse Condé 1997) and Invisible Cities (Italo Calvino 1972) through Édouard Glissant’s notion of the primary scene in Philosophie de la relation. Poésie en étendue. I have examined how the primary scene can be seen as a political/an aesthetical strategy in the three novels. This was done in order to question the blunted tool of the notion of the identity, which is often considered in studies regarding ”postcolonial novels”. Invisible Cities is not belonging in this tradition, the method I used was ”The travelling theory” of Edward W. Saïd that proposes to let theories travel through different fields instead of trying to understand their ”original” meaning. I compared these novels in accordance to Glissants theory of questioning the notion of origins. The analysis compares how the novels depending on in wich tradition they have been read is being seen with different eyes. Novels interpreted as ”postcolonial novels” are usually read as a symptom of lack of origin. Whereas the protagonist tryes to understand the loss of identity. Glissants theory eases the analysis to reach other possible meanings of the novels, where they both meet and differs. My results indicate that The Wide Sargasso Sea and Desirada create a complex relation to time and space, where the primary scenes in these novels are steeped through different time levels. The two novels present a new way to understand time that rejects historicity, create new tools for thinking and evaluates new strategies to exist in the world, without origins in the classical meaning; Rhys through her imagery and Condé through her weave of times. The same goes for Invicible Cities, only though Venice the primal scene in the novel stays the center of interest, and even though borders of time and space are being questioned, the novel tends to make Venice the guzzling synthesis. / Édouard Glissant, Jean Rhys, Maryse Condé, Italo Calvino, Édward W. Saïd, Mary Lou Emery, Spivak.

This thesis is part of the project GA CR P504 / 11/1151 "The role of plants in the greenhouse gas balance Carex fens". The aim of this thesis is to evaluate the seasonal dynamics of Carex acuta belowground biomass in model grassland wetlands (the "wet meadows") near Třeboň. Belowground biomass of C. acuta L. was sampled using the destructive method. The samples were taken on four dates in 2014. On each date, three hummocks of C. acuta and three soil samples in their immediate vicinity were sampled on each date. Live roots had a greater dry weight than decaying roots on all sampling dates. Their total dry weight varied slightly, depending on season. The ratio of live roots to decaying roots did not differ much. The weight of live roots in hummock was almost always higher than that of the dead ones. The dry weight of living roots was always greater in the hummock than below it. Their total weight varied slightly during the year. Aquatic roots formed only a small part of the dry weight of live roots in hummocks. A greater total belowground dry weight found on 21st December 2014, in comparison with 5th August 2014, was associated with a greater amount of rhizomes of other plant species. The shoots increased their dry weight during the year. Maximum weight of tillers was recorded on 8th August 2014. There were no dead shoots on 25th March 2014. Dry weights of dead tillers were largely similar throughout the year. The volumetric soil water content (%) was usually higher in the upper soil layers. The bulk density of the soil was almost identical on all sampling sites, except for the top layer on site 1, where it was considerably lower.

Jan Suk The Poetics of Immanence: Performance Theatre of Forced Entertainment Abstract The present dissertation thesis examines the multi-faceted nature of the devised as well as durational works of the British experimental theatre Forced Entertainment via the thought of Gilles Deleuze and Félix Guattari. The aim of the thesis is to explore the transformation- potentiality of the territory between the actors and the spectators. The transformativity of this interspace, or the territory in-between, is decodable namely via Forced Entertainment's performances' structural patterns, sympathy fostering aesthetics, virtual audience integration and accentuated emphasis of the now. The application of Deleuze's philosophy, chiefly the phenomenon of immanence, results in the definition of the poetics of immanence, whose operation enables the transformativity of theatrical space to be terminologically embraced. After delineating crucial terms, such as performance and theatre, live art, or postdramatic theatre, the initial chapter contextualizes Forced Entertainment as the pivotal experimental theatre group; the chapter further conducts an analysis of relevant critical literature in performance and theatre theory discourse. Chapter two provides a deeper contextualising study of the most significant Deleuzoguattarian...

Annotation: The aim of the thesis is to verify the claim that movement and multiplicity in the works of Francis Bacon, as interpreted by Deleuze, become novel ontological features of the paintings; at the same time, Deleuze's critical reading of Bacon's thoughts and other texts foregrounds the relationships of representation and interpretation, thus making Deleuze's concepts applicable to the philosophical refexion of the theory of painting. The chief goals of the thesis are therefore to understand the rhizomatic thinking in the perception of the artwork and to emphasize the problem-riddled nature of the relationship of representation and interpretation in the works of Gill Deleuze. By way of comparison of two actual texts it will be demonstrated that the endeavour by Deleuze to use the rhizome concept to transcend represention is doomed when confined to the level of immanence. What is thus arrived at is a far more fundamental topic of the relationship of the levels of immanence and consistence.

The aim of this study is to provide a further insight into influence of environment on clonal plants. The study focuses particularly on effects of fertilization level and light availability on production and growth of clonal organs. Three experiments were carried out within the study, targeted to elicit influence of these environmental conditions or clonal interactions on six species of clonal plants. Interspecies dependencies on these conditions was compared, regarding habitat occurrence of these species. A comparison was made also between species producing rhizomes and stolons. The experiments revealed that five of six studied species show significant relationship among at least one environmental condition and parameters of clonal reproduction. Most of the species showed higher elongation and production of clonal organs in relation to fertilization level. On the contrary, only three species reacted significantly to the light availability level by alternation of at least one parameter of clonal reproduction and the light availability level affected each species differently. A strong influence on production and elongation of clonal organs had also a size of a plant. There was not found significant difference in influence of environmental conditions on clonal reproduction among plant families. It...

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Vi verkar i en musikindustri där de med makt får mer makt och de utan makt får ännu mindre makt. Musiker och producenter är vårdslösa i sitt medskapande av industrin genom att jaga kändisskap och uppmärksamhet vilket skapat kryphål för affärsverksamheter att ta etiska ställningar om de vill utnyttja det eller inte. Dessa socialkulturella normer och moralstrukturer kommer till ytan genom att ifrågasätta bland annat när en musiker “lyckats” och vad en musiker är och ställa sig frågan varför. På så sätt utforskar vi gråzoner i våra kulturella värdegrunder. Eftersom musikindustrin växer rhizomatiskt kommer jag kartlägga och synliggöra vad som utgör de maktstrukturer som existerar, därefter kommer jag med rhizomatik och experimenterande design som metod utforska flyktlinjer i form av en musikproduktion där vi rör oss mellan maktstrukturer i alla dess former. / We operate in a music industry where the ones with power get more power and those with  less power gets even less of it. Musicians and producers are reckless in their co-creation of the industry by hunting attention and fame which have created loopholes for businesses to make ethical decisions if they want to exploit it or not. These social-cultural norms and moral structures floats to the surface by questioning, among other things, when a musician have “succeded” and what we define as a musician. In that way we explore the grey areas in our cultural values. Since the music industry grows rhizomatically, I will map and highlight what constitutes the power structures that exist, therefore I will use rhizomatics and experimental design as methods by exploring lines of flight in the form of a music production where we move through power structures in all of its forms.

In this essay I examine scenography as a verb, to scenograph, and what it means to consider scenography as a process of development rather than an artifact placed on stage. Based on Deleuze and Guattari's ideas about rhizomatic structures and becomings, carnal aesthetics and phenomenology, I weave together tactile knowledge, the agency of the materials themselves and collective processes in a text about finding the inherent is of a scenography. / I den här essän undersöker jag scenografi som ett verb, att scenografa, och vad det innebär att betrakta scenografi som en process istället för en artefakt placerad på scen. Utifrån Deleuze och Guattaris idéer om rhizomatiska strukturer och blivande, carnal aesthetics och fenomenologi väver jag samman taktil kunskap, materials egen agens och kollektiva processer i en text om att hitta scenografins inneboende själv.