The thesis is based on Heidegger's conception of truth that was forming in his thinking from the beginning of the thirties of 20th Century. We follow the change of the conception of truth in history from Heidegger's perspective, namely on Anaximandros, Parmenides and Plato. We look upon this subject through chosen Heidegger's texts concerning presocratics and truth, along with Plato's dialog Parmenides and an anonymous commentary to it from an unknown author from the late antiquity. For Heidegger the way of Being of a man is changing in history, based on the transformation of mans relation to Being. The relation is linked with a transformation of the conception of truth. The way how we uncover the beings in the world and what does the being mean to us is connected to that too. That is why we can say that in the way how we understand the truth is equally shown how we understand ourselves and the world. We are therefore looking on the conception of truth through Heidegger's concept of history, which is according to him rooted in the transformation of one's relation to Being itself. That affects not only how and from what a man understands himself in the world (and therefore affects the transformation of the conception of truth throughout history), but also whether and how a man asks about the Being...

The present thesis examines Homer's description of the Shield of Achilleus and Minoan miniature frescoes, particularly the Sacred Grove and Dance Fresco and Grandstand Fresco. It uses them as examples to explore the transmission of ideas between cultures - the intensely visual Minoan civilisation of the Bronze Age centred on Crete and the earliest cultural strata of ancient Greece - that preferred different means of representation, painting, and poetry. Because Minoan fresco painting was essentially non-narrative and not accompanied by readable written records, so that "deciphering" its iconography is not an option, the thesis argues that we can learn about general cultural perceptions from interpreting and analysing how techniques of representation in painting and poetry treat the representation of time and space. From the relationship that these techniques establish with the beholders of the representation, we can infer their self-understanding. If the world appears to us as an intricate complex of cultural representations, the way we interact with them reflects our sense of our human place in the world. The non-narrative techniques of Minoan frescoes - particularly the use of vertical perspective, the absence of a fixed point of view, suppressed focalisation, and map-like composition - are shown...