The study delineates a picture of the woman writer, Růžena Svobodová, as an example of possible realization of a woman in the Czech society at the turn of 19th and 20th century. The woman writer, Růžena Svobodová, is introduced here in her many activities. Attention is paid to her works of fiction, in which she views the picture of contemporary woman and her position in society. The study reveals also the area of the woman writer's literary salon and summarizes its influence on the Prague society at the turn of 19th and 20th century. Included is also a portrait of Růžena Svobodová the woman journalist, which so far has been a neglected area. The study contains also a view of the woman writer's activities in the Czech Heart charitable organisation operating during World War I.

Le Salon caricatural est le compte rendu comique composé de charges d’œuvres d’art exposées au Salon. Les premiers Salons caricaturaux apparaissent au début des années 1840, et c’est sous le Second Empire que ce genre de revue parodique atteint son apogée, obtenant un succès dans la presse satirique illustrée. Sous prétexte de faire rire, cette critique en images met en œuvre un moyen efficace de juger l’art, qui fonctionne en contrepoint de la critique d’art écrite. Les enjeux critiques que propose cette imagerie comique s’inscrivent en fait comme découlant des discussions sur les rapports entre l’image et le texte, ainsi que le révèlent les trois modèles de 1846. Sensibles à l’actualité artistique, les dessinateurs du Salon caricatural jouent souvent un rôle multiple, tantôt celui du railleur inoffensif, tantôt celui du critique sérieux, tantôt encore celui de l’artiste exposant. Dans les revues parodiques se reflètent non seulement la réaction caractéristique du public bourgeois, mais parfois aussi le goût personnel et les jugements esthétiques des dessinateurs eux-mêmes vis-à-vis des œuvres d’art contemporaines. Face à un art en pleine transition durant le Second Empire, le Salon caricatural prend part d’une manière active à la réception de l’art par une formule sarcastique qui traduit à la fois le dégoût pour l’école classique en voie de déclin et le rejet des formes novatrices, notamment Courbet et son réalisme. Cette version drolatique et insolite de l’histoire de l’art fournit aussi une nouvelle perspective à l’histoire de la critique d’art. / The Salon caricatural was a comic review consisting of caricatures of art works exposed at the Salon. The first Salons caricaturaux appeared in the early 1840s, and it was under the Second Empire that this type of parodic review reached its height, obtaining success in the illustrated satirical press. Under the pretext of humor, this critique in images provided an efficient method of judging art, working in counterpoint to written art criticism. The critical issues proposed by this comical imagery were in fact the products of debates on the relationship between image and text, as the three 1846 models reveal. Conscious of contemporary artistic currents in art, Salon caricatural cartoonists often played multiple roles; at times inoffensive mocker, at times serious critic, and at times exposing artist. These parodic reviews reflected not only the characteristic reaction of the bourgeois public, but also on occasion the personal tastes and aesthetic judgments of the cartoonists themselves with respect to contemporary works of art. With art in a major period of transition during the Second Empire, the Salon caricatural actively participated in the reception of art through a sarcastic format that translated both the distaste for the declining classical school and the rejection of innovative forms, notably those of Courbet and his realism. This humorous and peculiar version of art history also provides a new perspective to the history of art criticism.

S’inscrivant dans la continuité des études menées sur le Nord-Pas-de-Calais, cette thèse vise à mettre en avant l’apparition et le développement du paysage septentrional dans la peinture française au XIXe siècle. Si des études de ce genre ont déjà été réalisées pour la Normandie et la Bretagne, il n’en est pas de même pour le Nord-Pas-de-Calais. Ce travail inédit, mis en relation avec un contexte historique -visant pour l’essentiel à étudier et cerner les déplacements des artistes au sein de la région-, culturel et artistique dense, permettra de comprendre dans quelles circonstances et de quelles manières se développent ces réalisations. L’étude vise également à cerner et définir les motifs emblématiques de la région tels les beffrois, les moulins, les espaces dunaires, les marais … L’étude reposera un corpus d’œuvres, formant un catalogue, représentatif du paysage septentrional au XIXe siècle. / In addition to the many studies of the Nord-Pas-de-Calais, this thesis aims to highlight the emergence and development of the northern landscape in French paintings of the nineteenth century. Even though there have already been some studies done regarding the Normandy and Brittany regions, it is not the case for the Nord-Pas-de-Calais. This never published before research combined with the historical context aims to study and identify the movement of artists within the region whose artistic culture is dense. This will help us understand when and how were developed these achievements. The study also aims to identify and define the emblematic patterns of the region such as belfries, mills, dune areas, marshes ... The study will use a collection of works, forming a catalogue representative of the northern landscape in the nineteenth century.

Abstract The subject of the thesis is architectural study of the Winery hotel Hrůdek with a salon of wines, with a wellness and with a congress centre. The locality of the local name of Hrůdek is situated north of the Velké Pavlovice municipality, at a small hill behind the Upper Fishpond, in place of a former henhouse. The building site, owing to its uphill position, provides admirable view of the Trkmanka stream valley. The object designed is separately standing and due to its emplacement it creates an outstanding view point of neighbourhood. The object is designed in such manner tat it would fit together with the surrounding landscape. There are applied natural materials as wood, stone. Mass of the building is divided into two objects, A and B, connected by means of a subbasement. The public outdoor areas are fixed between these buildings and are terraced. From the upper terrace there is situated entrance into the building A with the reception desk, restaurant, congress hall and wellness. We can get into the building through the connection corridor in the subbasement or from the upper terrace. In the B building B there is situated accommodation of the **** standard. Then leaseable wine-cellars and a wine bar accessible from the lower terrace. The object layout is interestingly solved. Such layout offers to the visitor countless interesting sights and views of the surrounding landscape. Keywords: Winery hotel, wine salon, wellness, congress centre, restaurant, wine-cellars, presentation of wines, tasting cellars

The Master´s thesis concerns with the creation of the business plan. The prospectus is aimed at the establishment and the launching of the new hairdressing salon. Simultaneously, the business plan analyzes a status of other hairdressing salons, including the direct competitors. Based on the research and analyses are chosen the suitable strategy and tools which should bring added value to the owners and the satisfaction of customer´s needs as well.

The purpose of this graduation theses is the proposal of building of a new massage salon in the particular locality. The final prospectus goes from the complete analysis of the market in term of potential customers and also of current competition. By the choice of the introduced project versions I take the investment return into account.

"Little Town Blues" is a novel about a woman burdened by a childhood accident and surviver's guilt. She sneaks into a vacation house on Friday nights to read a novel. Bored with her marriage and her work as a hairdresser, her behavior becomes increasingly riskier.

Orientador: Sergio Augusto Cunha / Banca: Lilian Teresa Bucken Gobbi / Banca: René Brenzikofer / Resumo: O futsal tem sido estudado sob o enfoque de diversos temas e olhares. Neste trabalho o futsal foi analisado através da perspectiva da Biomecânica. O objetivo do estudo foi descrever o chute executado com o membro dominante e com o membro não dominante realizado com a bola parada e em deslocamento no futsal. Participaram dez jogadores da equipe de futsal adulta da UNESP Campus Rio Claro, os quais realizaram dez chutes com a bola em deslocamento e dez chutes com a bola parada, sendo cinco chutes com cada membro para cada situação. Os chutes foram realizados com o dorso do pé, procurando empregar velocidade máxima a bola e objetivando acertá-la em um alvo de 1m2 colocado no centro do gol. Os movimentos foram filmados por sete câmeras posicionadas de modo que enfocassem os marcadores passivos colocados em ambos os membros inferiores dos participantes. As imagens destes chutes foram transferidas para o computador e trabalhadas no software DVIDEOW, sendo realizado os processos de desentrelaçamento, sincronização, medição e reconstrução 3D. Após isso, ocorreu a suavização das através função LOESS e através do método de Euler foram calculados os ângulos de rotação das articulações. Para isso, foi definida uma base ortonormal associada a cada segmento corporal através dos versores i, j e k. A velocidade angular foi calculada através da derivada dos ângulos em função do tempo para cada articulação. Para o desempenho foram avaliados os acertos e erros do alvo. Para a velocidade da bola e velocidade do pé do membro de chute foi realizada, em função do tempo, uma regressão linear de primeiro grau para os eixos X e Y e uma regressão linear do segundo grau para o eixo Z, sendo a xiii velocidade média da bola e do pé calculada a partir da distância percorrida dividida pelo tempo de percurso...(Resumo completo, clicar acesso eletrônico abaixo) / Abstract: The futsal has been studied under the focus of several themes. This work analyzed the futsal in the Biomechanics perspective. The aim of this study was to describe the kick with the dominant and non-dominant limb performed with the stationary and in displacement ball in futsal. Ten players participated of the UNESP - Campus Rio Claro futsal adult team. They performed ten kicks with the ball in displacement and ten kicks with the stationary ball (five kicks with each limb for each situation). The kicks performed were the maximal instep kicks and should hit a 1 x 1 m target positioned in the goal centre. The movements were recorded by six cameras with focus in the passive markers placed in the participants inferior limbs. The kicking images were transferred to the computer and worked in the DVIDEOW software. The extracted files of this software were smoothed through the LOESS function and joints rotation angles were calculated by the Euler method. For that, it was defined the ortonormal base associated to each corporal segment through i, j and k versores. The angular speed was calculated through angles derived for the time and for each joint. The kicks performance was analyzed through the observation of the success or failure of hitting in the target. For the ball and kick limb foot speed were carried through, in function of the time, a linear regression of first degree for X and Y axles and a linear regression of second degree for Z axle. Then, the average ball and foot speed was calculated from the covered distance divided for the time for the data parameterized in each kick. The results for the angular kinematic standard and angular speed showed significant differences among dominant and not dominant kick and support limb. For the kick type small differences was 126 detected mainly at the moment of contact with the ball...(Complete abstract click eletronic access below) / Mestre

La Bibliothèque historique de la ville de Paris conserve dans ses collections le manuscrit autographe inédit d'un journal privé qu'un Parisien a rédigé irrégulièrement au cours du règne de Louis XVI. Sans titre original, cet ouvrage est connu sous une dénomination qui lui fut attribuée a posteriori: il est intitulé Journal d'un Parisien anonyme, années 1777-1784 et 1787. Il réunit plus de dix ans de témoignages, de notes synthétiques, d'observations personnelles, qui laissent au lecteur, outre l'impression d'un projet d'écriture inachevé, une sensation de profonde intimité avec l'auteur. Le Journal livre essentiellement l'illustration de la sociabilité parisienne, des salons et des connaissances privées à travers lesquels notre auteur se met en scène, Parmi les axes ouverts par ce Journal, nous réfléchissons sur les stratégies mises en oeuvre par le diariste afin d'organiser sa vision du monde. Nous avons alors fait surgir les significations de la sociabilité de l'Anonyme. Nous nous sommes interroger sur les espaces privés et publics qu'il fréquente, mais aussi sur l'être social profondément marqué par l'altérité, par ses rencontres. ses sorties, visites, ses dîners, ses concerts, par ses participations aux diverses sociétés qui peuplent le Paris mondain de la fin du XVIIIe siècle. En somme, nous procédons à la présentation du Journal et à l'exposition des principaux enjeux qu'il soulève. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Écrits du for privé, Sociabilité, XVIIIe siècle, Salon, Comte d'Albaret.

The purpose of this thesis is to identify what motivational changes occur while a lifestyle entrepreneur moves through three different organizational stages. The focus will however be on stage one and three. The problem of an under-researched field is addressed and how the motivation of specific lifestyle entrepreneurs, in these cases hairdressing salon owners, has changed. This thesis has been conducted with an interpretivistic viewpoint, an inductive approach and with a qualitative research method. The authors have selected to analyze the data through pattern matching and dividing the interviewees into two different case studies, one for each of the two chosen organizational stages in focus. In conclusion the authors found that intrinsic and extrinsic motivations have had different effects within all stages in the organizational life cycle. The authors have discovered that during stage one the intrinsic motivations play a large role. During stage one where the organization is small and young the lifestyle entrepreneurs are motivated by factors such as independence and self-efficacy. Stage two is a more extrinsic dominated phase with the factors integrated regulations and identified regulation as motivators. The third stage is a return to the intrinsic motivations with factors such as locus of control and egoistic passion. This is further explained within the chapter with help of the analysis and empirical findings. A figure has been presented to show the different phases and their motivational change.