"Wine **** Hotel Hrůdek with Wine Salon" Velké Pavlovice The aim of the diploma thesis was to design the building of Hotel Hrůdek with Wine Salon with adjoining public spaces near the town of Velké Pavlovice, specifically in the locality called Hrůdek. Wine Hotel Hrůdek is the center of everything. It associates the customer with the products of domestic vines and orchards. The hotel offers good food and quality sleep after a guided tasting for all visitors throughout the year.

The diploma thesis deals with the design of **** Hotel Hrůdek with Salon of Wines in the locality Hrůdek near Velké Pavlovice. Hrůdek is located at Velké Pavlovice on the Velké Pavlovice - Bořetice bicycle route and it is very good location for tourism. The aim is to design Hotel Hrůdek with Salon of wines with adjoining public spaces near the town of Pavlovice, specifically in the locality Hrůdek. The Wine Hotel is the center of everything. It is associates the customer with vineyard and apricot products. The wine salon serves as a unique opportunity to individually taste any of the stored wines. During the tasting of the visitors, sommelier is available, which provides information on wine and individual wineries on request. The investor plan is to attract visitors to the local specialty called apricot wine. A beautiful, pure apricot aroma returns visitors back to July, until the time of collection of fresh Velvavlovice apricots. The freshness of this apricot wine is underlined by spicy acidity in harmony with a pleasant touch of residual sugar. Thatis why Hotel Hrůdek and Salon of Wines must provide support in the form of good food and quality sleep after a guided tasting for all visitors throughout all the year.

Quinze femmes artistes seront admises à l’Académie royale de peinture et de sculpture entre 1663 et 1793. Depuis laRenaissance, en Europe et en France, un petit nombre de femmes bénéficie d’une certaine renommée aussi biennationale qu’internationale, dans les arts, la littérature et les sciences, ouvrant ainsi la voie à de nouveaux talents. Cesfemmes sont notamment encouragées par les thèses philosophiques de François Poulain de la Barre (1647-1723) quivont leur permettre d’occuper une place de plus en plus privilégiée au sein d’une société qui se cristallise autour dessalons. Ce sont de petites réunions où savantes et artistes invitent chez elles hommes et femmes pour discuter delittérature, de philosophie, d’art mais aussi de politique. Ces lieux très courus connaissent un grand succès à la fin duXVIIe siècle et tout au long du XVIIIe siècle. La réception des premières femmes à l’Académie se fait dans ce climattout à fait favorable aux femmes tant sur le plan social et culturel, que politique.Mais cette admission n’en reste pas moins précaire. Effectivement après l’entrée de Catherine Perrot, le 31 janvier 1682,il faudra attendre près de quarante ans, soit le 26 octobre 1720, pour que soit à nouveau admise une peintre : RosalbaCarriera. Certes, elles ouvrent les portes de cette institution, mais elles ne restent pas moins exclues de nombreusesactivités et de plusieurs privilèges. Elles n’ont pas le droit d’assister aux cours d’après le modèle vivant – lequel pose nu– leçons pourtant fondamentales dans l’enseignement promu par l’Académie, ni de concourir aux grands prix, pourtantau coeur du système d’émulation, en fait les académiciennes n’auront jamais accès aux postes à responsabilité. Pourtantelles ont contribué à réinventer le paysage artistique français et plus particulièrement le genre du portrait. Prônant lenaturel, elles contribuèrent à renouveler le vestiaire féminin avec des tenues plus légères et vaporeuses. Mal perçues parla critique, ces nouvelles chemises appelées gaules, participèrent à la simplification des portraits officiels. En mêmetemps, la féminisation des portraitistes de cour offre de plus grandes possibilités aux femmes peintres. Poussant leslimites toujours plus loin, elles réussirent par le biais des portraits historiés à investir la peinture d’histoire, genre réservéaux peintres les plus aboutis et qui maîtrisent bien l’anatomie.Leurs contemporains à travers leurs écrits ou leurs oeuvres artistiques proposèrent une image idéalisée, truquée parfoistrompée de ces académiciennes. Femmes de talent, femmes ambitieuses, les académiciennes réussirent malgré tout àimposer une nouvelle vision de la femme peintre. / Fifteen women artists will be admitted to the Royal Academy of Painting and Sculpture between 1663 and 1793. Sincethe Renaissance, Europe and France, a small number of women enjoys a certain reputation both nationally andinternationally, in arts, literature and science, thus opening the way for new talent. These women are particularlyencouraged by the philosophical theses of Francois Poulain de la Barre (1647-1723) which will enable them to occupy amore privileged in a society that crystallizes around lounges. They are small and scholarly meetings where artists invitehome men and women to discuss literature, philosophy, art but also politics. These very popular places with greatsuccess in the late seventeenth century and throughout the eighteenth century. The reception of the first women to theAcademy is in this climate quite favorable to women both socially and culturally, and politically.But this admission only remains precarious. Indeed after the entry of Catherine Perrot, January 31, 1682, it will takealmost forty years, October 26, 1720, that is again admitted a painter Rosalba Carriera. Certainly, they open the doors ofthis institution, but they are nonetheless excluded from many activities and many privileges. They do not have the rightto attend classes of the living model - which poses naked - yet fundamental lessons in teaching promoted by theAcademy, nor to compete with great prices, yet in the heart of the system emulation in fact the academicians will neverhave access to positions of responsibility. Yet they have helped to reinvent the French artistic landscape and especiallythe portrait genre. Advocating natural, they helped to renew the female locker room with more light and gauzy outfits.Badly perceived by critics, these new shirts called saplings, took part in the simplification of official portraits. At thesame time, the feminization of court portraitists offer greater opportunities to women painters. Pushing the limits stillfurther, they succeeded through portraits to invest storied history painting, genre reserved for the most accomplishedpainters and good command of anatomy.Their contemporaries through their writings or artistic works proposed an idealized image, faked sometimes deceivedthese academicians. talented women, ambitious women, academicians still managed to impose a new vision of thewoman painter.

The subject of the diploma thesis is a proposal of a winery with a wine shop, wine salon and tasting rooms. Furthermore, a four-star hotel for sixty persons with a restaurant, a small wellness center, and all of course with sufficient technical background. This newly designed building is located in the undeveloped part of the town of Mikulov between the Turold and Růžový vrch nature parks. Růžový vrch has become an inspiration for this design. I design here terraces as an analogy to the cultivation of vines on the terraces, where the investor is also the owner of the vineyards grown here. The concept was based on the slope of the terrain and the orientation to the cardinal points. I also tried to make the most valuable views and suppress the view of the technical zone southwest of the parcel. An important element of expression of my proposal is front facade system made of ceramic „squaretubes“, which primarily serve as a sunbreaker.

The thesis will focus on period of the 5th Topič Gallery (Topičův salon) in the period 2008 - 2014, which was led by a big art enthusiast and philanthropist Mr. Pavel Vašíček. It will deal with broad historical context of the gallery, which was reopened in 2008. There has not been done any research into the topic yet. The thesis will be based on accessible archive documents, oral history, exhibition reviews and exhibitions catalogues. Keywords: Topič Gallery, 5th Topič Gallery, 2008-2014, Topičův salon Society, Mr. Pavel Vašíček, Topič, nonprofit gallery, Prague, exhibition

<p>The aim of this essay is to analyze the relationship between the title and the music in a selec-tion of piano pieces by Torsten Petre. Based on the work list, a categorization of the piano titles has been made and the categories have been named ”emotions, moods and minds”, ”na-ture”, ”mankind”, ”dances and similar titles”, ”supernatural beings, fairy creatures and popu-lar belief”, ”foreign countries and foreign culture”, ”nationalism and tradition”, ”artifacts”, and ”miscellaneous”. Two pieces from the category ”emotions, moods and minds” Skizzer för piano, third series Op. 38, 1905 have been chosen: no 2 Svikna drömmar and no 6 Mörka stunder. See appendix 1 for the work list and appendix 2 for the categorization.</p><p>As a background to the analysis, a biography about Torsten Petre as a musician and composer has been written. The background also consists of a description of the bourgeois salon, an environment in which his music was played, as well as of salon music as a genre.</p><p>As there is no established method for analyzing the relationship between title and music, I have based the analysis on Benestad´s thoughts about how we perceive music. I have carried out the analysis using the piano and playing the piano pieces repeatedly until I felt that I could describe the relationship. The analysis shows that using the title as a guideline there is a clear recognition between the title and music, which can be described thoroughly, almost like a story.</p>

The aim of this essay is to analyze the relationship between the title and the music in a selec-tion of piano pieces by Torsten Petre. Based on the work list, a categorization of the piano titles has been made and the categories have been named ”emotions, moods and minds”, ”na-ture”, ”mankind”, ”dances and similar titles”, ”supernatural beings, fairy creatures and popu-lar belief”, ”foreign countries and foreign culture”, ”nationalism and tradition”, ”artifacts”, and ”miscellaneous”. Two pieces from the category ”emotions, moods and minds” Skizzer för piano, third series Op. 38, 1905 have been chosen: no 2 Svikna drömmar and no 6 Mörka stunder. See appendix 1 for the work list and appendix 2 for the categorization. As a background to the analysis, a biography about Torsten Petre as a musician and composer has been written. The background also consists of a description of the bourgeois salon, an environment in which his music was played, as well as of salon music as a genre. As there is no established method for analyzing the relationship between title and music, I have based the analysis on Benestad´s thoughts about how we perceive music. I have carried out the analysis using the piano and playing the piano pieces repeatedly until I felt that I could describe the relationship. The analysis shows that using the title as a guideline there is a clear recognition between the title and music, which can be described thoroughly, almost like a story.

Darbe analizuojama salonų kultūros raiška tarpukario Kaune, bei šio kultūrinio proceso tęstinumas, laikotarpiu po Antrojo pasaulinio karo pasiekiant mūsų dienas. Tarpukario intelektualų gyvensenos ir kūrybos persipynimai lėmė, jog susiformavo gyvybinga ir intelektuali miesto atmosfera. Šioje kultūrinėje terpėje vykęs inteligentų bendravimas sąlygojo ir salonų kultūros reiškinio atsiradimą. Tyrime remiamasi nuostata, kad kultūra ir visuomenė sudaro vientisą sistemą. Kultūra yra tyrinėjama per išreikštas ir užfiksuotas asmenines patirtis, bendrines viešo elgesio normas, meninius procesus. Todėl tarpukario Kauno salonų kultūra yra laikoma tik esminius klasikinio salono bruožus išlaikiusia, tačiau jau XX amžiaus žmonių bendravimui būdinga tradicija. Salonų kultūra yra nusakoma, kaip savita visuomenės komunikavimo forma bei ideologinį brandumą liudijantis procesas. Salonų apraiškų tąsa atpažįstama ir pasibaigus lietuviškojo tarpukario epochai. Tiek tarpukariu, tiek praradus valstybingumą salonų kultūros apraiškos turtino Kauno miestą, formavo inteligentijos tradicijas ir tapo būtinu visuomeninio gyvenimo atributu. Tai tampa svarbus argumentas salonų kultūrą laikyti paveldėta nematerialiąja Kauno miesto istorijos dalimi. / The aim of these Master theses is to analyze the expression of Salon culture and continuity of this cultural process in interwar Kaunas. Interlaced lifestyle and creativity of interwar intellectuals determined the formation of lively and highbrowed atmosphere in the city. Communication of intellectuals in this cultural environment also determined the rise of Salon culture phenomenon. In this research culture and society compose one entire system and it is explored through expressed and fixed personal experiences, common public conventions, processes of arts. Therefore the culture of interwar Kaunas is considered not just as the one which kept essential classic Salon characteristics, but it is also a typical communication tradition of XX century’s society. The culture of Salons is defined as distinctive social communication form also as attesting process of ideological maturity. The continuance of Salons manifestation is recognized in later periods, after ending of Lithuanian interwar epoch. In interwar period as well as when statehood was lost, the manifestation of Salon culture enriched the city of Kaunas, formed traditions of intellectuals and became essential attribute of social life. This is a very important argument taking into consideration that culture of Salons is non – material part of Kaunas city history.

abstract: This critical qualitative research study explores the discursive processes and patterns by which humor is gendered in hair salons and barbershops, in support of or resistance to hegemony, through an in-depth analysis and feminist critique of the humorous exchanges of hair stylists and barbers. This study extends prior feminist organizational research from Ashcraft and Pacanowsky (1996) regarding the participation of marginalized populations (i.e., women) in hegemonic processes, and argues that, despite changing cultural/demographic organizational trends, marginalized (as well as dominant) populations are still participating in hegemonic processes 20 years later. A focus on gendered humor via participant narratives reveals how various styles of gendered humor function to reinforce gender stereotypes, marginalize/exclude the "other" (i.e., women), and thus privilege hegemonic patterns of workplace discourse. This study contributes to existing feminist organizational scholarship by offering the unique juxtaposition of humor and gender from a diverse and understudied population, hair industry professionals. / Dissertation/Thesis / Doctoral Dissertation Communication Studies 2015

This dissertation is the first study of François Campion’s (1686-1747) Avantures Pastorales Op.3 (1719), a collection of airs, interspersed within a connecting narrative. The story is a retelling of the myth of Damon and Philis, while the fifty-two interspersed airs are typical for the genre in the early-eighteenth century and provide emotional depth and commentary on the protagonists’ relationship. The dissertation features a critical analysis of the music, context and plot, alongside a critical edition. I will argue that although the Ballard firm held monopoly over the air publishing business, Campion found a market niche in the wealthy Parisian salons by publishing Avantures Pastorales in an innovative and creative format. He repackaged a very familiar product by adding a continuous, connecting narrative based on an ancient love myth to a collection of airs. In my guide for staging and performance, I argue that this collection would have had great appeal and most likely could have been performed at one of the Parisian salons, or in another intimate domestic context. The air had a central place during salon gatherings, as its performance allowed participants to express emotions of passionate love and courting that were socially prohibited in conversation. I also provide incipits and annotations that reveal the airs to be stylistically generic. Analyzing the expressed affects, however, showed that a rich representation of emotions complement and enhance the story, while also compensating for the overall quality of the music. I argue that the collection takes approximately three hours to perform and can be staged with a minimum of four singers, one narrator, and a harpsichord. In the Appendices, I provide a transcription, translation and a critical performing edition of Avantures Pastorales. This dissertation fills an important gap in the literature on François Campion and contributes to a complete picture of the history of the French air. / Graduate