The thesis topic is the cooperation between the Czech and German far-right. The author focuses on the cooperation of Czech and German extreme-right parties from 1989 to 2019. The thesis aims not only to describe the contacts of the respective parties but also to explore the logic of the relations between the Czech and German extreme right. Adopting the theoretical framework of the Discursive theory of Essex school, the author proceeds to a detailed analysis of the discourses of Czech extreme-right parties about Germans and Germany; she traces back the transformations of the original anti-German discourses and the origins of these changes. Against the background of these processes, she explores the transformations of the "conditions of possibility" that make Czech-German cooperation "conceivable" for both Czech and German extreme-right parties. The author explores the changes in the discursive conditions that allow Czech-German friendship to be "rationalised" and justified despite the contradictory positions on the issues of the Czech-German past. The author analyses the anti-German discourse of the SPR-RSČ in the 1990s and examines the circumstances of the SPR-RSČ's alleged contacts with the German Die Republikaner. Further parts of the thesis are devoted to the relations between Dělnická strana...

This dissertation is a study of a remarkable change that came about in the kind of drawings that architects used to present their work between the decades of 1960 and 1990. Drawings in this period, visually rich and compositionally complex, seemed to mark an entirely new sensibility towards their function; their goal seemed to be not so much to clearly depict the forms of a proposed building, but to instead focus on its conceptual aspects. In fact, in several cases, drawings seemed to be treated as graphic projects in their own right, over and above the work they presented. This trend was accompanied by two other developments. Around the same time, there was a sudden increase in theoretical interest in drawings within the architectural community leading to a flurry of published articles, essays and books on the topic. And all this happened to coincide with the time that the Postmodern movement came to dominate architecture. The study aims to understand the relationship between these trends, and to develop a better understanding of the reasons for these changes to have occurred. It does so by, first, developing a theoretical framework to help understand the nature and impact of the changes in drawings. Next, it presents a detailed historical account of these changes. This is followed by an in-depth study of a single architect, James Stirling, to show how the new types of drawings were not simply a means to present ideas, but played a formative role in design as well. Apart from developing a contextualized historical account of an important development in contemporary architectural history, the study also finds that the change in the drawing practice and the theoretical interests were not simply an outcome of Postmodern cultural theory of the period, but were instigated by concerns that arose from within architecture itself. It thus offers a useful case-study on how changes in disciplinary practice are brought about.