Jouzová, T.: Connection between film and visual art in the 1st half of the 20th century, [Master thesis], Prague 2017-Charles University, Faculty of Education, Department od Art Education, , 150p. (Attachments: art work of pupls and my own work on DVD) Master thesis is focused on connection between visual art and film in the1st half of the 20th century from the perspective of art history and film history and theory of filmu. It deals with significant art and cinematic styles, trends and lines which connects the sphere of film and visual art. I enrich the historical context through etymological point of view on the modern art and I use subjective associations to this etymological contexts. The mutual content, stylistic and artistic bases are substantiated by the examples of visual artists interested in making movies. In the theoretical text are indicated some didactic subtopics related to the subscribed topics out of artistic view. Some of these inserts can be used separately, some of these are connected to the didactical part of the work. There are the projects linking art and film production in a historical context. Knowledge and experience I've gained of the preceding parts of the text are reflected in my own multimedial instalation. KEYWORDS film avantgarde, modern art, expressionism,...

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Toyen and sexuality is a frequent topic of art history texts written about the artist in the last twenty years. Toyen provoked with her erotic drawings and illustrations, her appearance and mysteriousness shrouded around her. Where did the roots of her desire, depicted in her work, came from? What was the role played by contemporary context? How her contemporaries wrote about sexuality? Were there any interpretations of the artist's work based on the known information about her person or personality? What was the Toyen's position as a woman? The empirical part of my thesis is based on research, where I try to seek for answers to the questions found in the texts published in Czechoslovakia. The research is bounded by years 1922-1947. Years when Toyen entered respectively left the Czech art scene. Her work has therefore been interpreted by persons who lived in the same cultural context, some of them were actually her personal acquaintances. I will also try to answer the question whether the contemporary texts differ from the texts written after 1989, eventually how. Within the examining the reflection of sexuality in the work of Toyen I will also ask myself whether the perspectives of view are different in the eyes of men and women. The question put in this way accompanies, depending on the answer,...

Die surrealistische Idee hatte einen starken Einfluss auf die Begründer der Négritude-Bewegung Aimé Césaire, Léopold Sédar Senghor und Léon-Gontran Damas. Diese Beziehung ist vielfach untersucht worden. Weitgehend unberücksichtigt ist bisher die jüngere Generation afrikanischer Schiftsteller geblieben. In dieser Studie wird daher besonders exemplarisch Dambudzo Marechera behandelt, dessen Werk noch nicht unter surrealistischen Aspekten untersucht wurde. Es geht darum, die Formen der literarischen Avantgarde in Afrika südlich der Sahara in ihren surrealistischen Prägungen anhand der Poetik und Lyrik des postkolonialen simbabwischen Schriftstellers Marechera zu analysieren. Es wird das Verhältnis zwischen dem europäischen Surrealismus und den afrikanischen Literaten, insbesondere der späteren Generation untersucht und die Art der Rezeption analysiert. Der Surrealismus ist eine bedeutende Tendenz in der afrikanischen Literatur, die sich unmittelbar auf die postkolonialen Realitäten bezieht und verdient es daher, in weit stärkerem Maße als bisher, beachtet zu werden. / The surrealistic idea has surely had a great influence on the founders of the Négritude-Movement. We are able to find it in the works and poetics of Césaire, Senghor and Damas, and especially in the surrealistically orientated review Tropiques as well as in the critical reception of the African literature. The first alliance of the representatives of the first generation of African poets with Surrealism is due to some of their shared objectives such as the questioning of the colonial system, the critic of colonialism and the recovery and revalorization of the African cultural heritage. The first African poets like Senghor, Césaire and Damas tried to incorporate and apply the surrealistic program to their proper context in order to achieve their own targets, such as: poetically, like Rimbaud declared, to change life and politically, like Marx stated, to change the world. The relationship between Surrealism and African literature presents the main subject of this paper. The dissertation treats particularly authors, who have not yet been examined from a surrealistic point of view. Concerning this thesis, Dambudzo Marechera is regarded above all as an exemplary representative for new literary avant-garde writing from Africa. The area of research for this study is limited most notably on forms of literary Avant-gardes in Africa south of the Sahara and most of all on surrealistic forms. This will be examined by the means of artistic conceptions and philosophy as well as poetic extracts of the postcolonial Zimbabwean writer, which will demonstrate the tendencies of a new trend of writing. The dissertation examines the relationship between European Surrealism and African poetry stemmed from the first and later generations of African writers through Césaire and Marechera. Additionally, it presents a pleadge for pushing the boundaries of research in the field of Surrealisms of African literature and awakening the interest for more research concerning the topic of this paper.

Hannes Beckmann (1909-1977). Dessau - Prague - New York This PhD thesis is dedicated to an exceptional, though still forgotten personality, an artist of German descent, Hannes Beckmann |1909-1977|. A graduate of Germany's Bauhaus, he was one of the refugees fleeing Nazism to Czechoslovakia, and among many other achievements, he later became the director of the photography department of the Guggenheim Museum in New York. Through his work, he fulfilled avant-garde ideas on the synthesis of artistic fields: he was a painter, stage designer, art theorist and pedagogue, but also a creator of abstract objects moving along the boundaries of minimalistic and kinetic constructions. His fate in life and created body of work began gaining a clearer form in the framework of research on visual artists, who found sanctuary in interwar Czechoslovakia from demagogic political systems. Until that time, Hannes Beckmann had been utterly unknown to Czech art history and elsewhere. This is seen in the absence of his name in Czech technical literature, but also because he was never mentioned even in publications published by the Bauhaus with which he had been involved for some time. There was only sketchy information on his pedagogical and artistic work in the area of Op-Art (optical art) from the 1960s to 1970s in the United...

Abstract "Nocturnal Butterfly" is short animation film which is directed by Raoul Servais. This animation is Servais's homage to Belgian surrealist Paul Delvaux. This paper concerns comparative analysis between the images of Nocturnal Butterfly about male and female, butterfly, mirror, railway station, automaton, last freeze-frame, and motifs of Delvaux's painting. At first, my research at overall characteristic of surrealism would show that Delvaux's painting shares such characteristic. André Breton who is a key man in surrealism believed that automatism is driving force for artistic creation, so he thought we must look into the unconscious and world of dream to create new aesthetic reality and to comprehend reality just as it is without prejudice caused by reason and rationality. Especially he tried for liberation of the consciousness through automatic drawing, collage and depaysement in surrealistic painting. Delvaux with Magritte used depaysement to give psychological shock to appreciator, so he used mythology as motifs to draw inner landscape unfamiliarly and mysteriously. And though idealized images of women he expressed own desire. After, I would review other works of Raoul Servais. He has expressed own view in various ways by using new approach for each work. Through criticism at human civilization and mythicism of desire he has utopian attitude even though he has criticized absurdity of actuality circumstance. Nocturnal Butterfly has atmosphere fascinating and mysterious but unfamiliar than clear messages. It seems that the atmosphere of the work considerably results from images taken from Delvaux's painting. And Nocturnal Butterfly shows ambiguous and unfamiliar feeling of surrealism using shooting mode of live action films and photographic images. Next, I would review images in Nocturnal Butterfly. Delvaux expressed idealized images of male and female as his central figure motives, but Raoul Servais expressed images of male and female as earthly images in Nocturnal Butterfly. Woman with movement in Nocturnal Butterfly is waiting someone and reacting to eyes from man rather than she is idealized being. But She is also mysterious being. She is dancing with another self appeared from mirror as her double, in fantastic and fascinating time. But when train in reality arrives and a man appears, the time is over. The man wearing a hat in Nocturnal Butterfly is like Delvaux?s self-image mixed with scientist and gentleman. The man watches the object of desire, and possesses the object. Delvaux?s painting as last scene in Nocturnal Butterfly seems to be index of photograph image displayed from both surrealism and movie. So it informs that this animation is not over but continues to a piece of reality. The result of analysis of the images in Nocturnal Butterfly shows that Nocturnal Butterfly is the most fascinating and mysterious new animation with weakened completion of narration unlike other works of Raoul Servais.

The thesis focuses on the poetry of Ludvík Kundera. It introduces his work in chronological order and within the contemporary literary-historical framework. The analysis and the interpretation of his early poems often refer to the war period. Language and its potentiality are a main concern in Kundera's other work. His poetry is defined in the context of avant-garde modern art: surrealism, dadaism and expressionism. The thesis researches the impact of Brecht's poetics on Kundera, too. It also introduces the persona of the artist, who significantly contributed to forming the Czech literary field during the second half of the 20th century. Kundera's poetry relates to Czech and foreign artists and their works. The poems rise from ordinary occasions, as well as showing the poet's intertextual approach. Experimentation, wordplay, lyrical humour and irony are an inherent part of Ludvík Kundera's work.

This dissertation is focused on phenomenon of madness in French surrealism and genre called "écrits bruts". The main theme is confrontation of surrealism aesthetics madness with written production of psychotic and mostly schizophrenic patients. The primary outcome is presented by analysis and interpretation of two chosen literary works, which are collection of experimental poetry by André Breton and Paul Éluard called L'Immaculée conception (Immaculate Conception, 1930) and diary entries, known as Premier Cahier: de l'ordre des messages, mai 1935, written by one of the most significant French women representatives Jeanne Tripier,. The aim of this analysis is on one hand to identify and characterize forms through which simulated and "real" madness in texts presented are, and on the other hand to describe its poetic function. The methodology part is based on structural and genre analysis of both aforementioned movements and moreover is formed on outcomes of the phenomenologically oriented psychiatry and psychoanalysis.

The aim of this Diploma Thesis is to bring attention to the resemblance between the work of one of the most important Hispanic American authors of 20th century, the Mexican Juan Rulfo, and his less well-known Chilean colleague, María Luisa Bombal. Even though the work of these writers has often been associated with the beginnings of the so-called Magical Realism, so far literary critics have not studied the parallelism in their poetics in detail. This work observes the deviation of these authors from the type of literature dominant in their time, and their effort to renovate it. Furthermore, it concerns the similarity in the approach to death in their work; it pays attention to the influence of the Nordic literature on their literary production. Another part of this work is dedicated to the parallels between the character of Susana San Juan from Rulfoˈs Pedro Páramo and Bombalˈs female characters. In addition to that, the work reflects the personal relationship between the authors in question.

The thesis focuses on two plays and one poetry collection by Federico García Lorca; El público, Así que pasen cinco an͂ os and Poeta en Nueva York, which together form the New York cycle and represent a new and unique phase in his compositions both from the point of view of content and form. The thesis concentrates on several distinctive motifs and themes related to the problem of human identity; ie the motifs and themes which discuss how to understand the individual or the human existence. This topic is reflected in the cultural context of Lorca's age, demonstrating that the atmosphere of the era corresponded with the author's personal perspective. The interpretation of human existence is strongly determined by the moment of death, therefore, the representation of death in the works and the related motifs are discussed in the thesis. At the same time, the similarity of Lorca's perspective with the philosophical ideas of the era is taken into consideration, with the emphasis on the philosophy of Martin Heidegger. In this context, we also focus on the author's relation to Christianity and the use of the Christian motifs in his plays and poems. In the following chapters, the motifs of mask and form are analysed. The thesis concentrates on the problem of the social mask, but also on the question of...