For the 70 years since Independence, India has been facing a two-fold problem: on the one hand, there is a strong need of a just society on the basis of cultural and religious diversity. On the other hand, however, there is a strong urge to find an overarching unifying idea which could keep the polity together without any risk of further fragmentation. Taking the communitarian philosophy of Charles Taylor and his distinction between the politics of equal dignity and politics of difference as the basic conceptual framework, the thesis pursues three different objectives. First, to prove that affirmative approach towards recognition of minorities does not provide stability in the Indian case. Second, to rehabilitate the Nehruvian secularism as a viable state ideology of independent India. And third, to interpret the Indian political discourse on the level of political practice as a struggle for hegemony between the elites and bourgeoisie in the Gramscian sense. The rise of identity politics and Hindu nationalism is thus perceived not as an outcome of the failure of the Indian secularism as such, but rather of its ineffective application and subsequent crisis of legitimacy. Keywords: India; multiculturalism; politics of difference; secularism; anti-modernism; Hindu nationalism; hegemony; passive revolution

The thesis deals with fine arts in the Protectorate of Bohemia and Moravia. It analyzes Czech fine art during the Nazi occupation of World War Two, concentrating on its official component that has not yet been deeply researched. The author surveyed archives, press and literature of the period. The aim was to identify key themes in the public discussion about artistic issues and to trace developments in the legal status of Czech fine art under the occupation. First, a brief portrait of the historical context of 1938 to 1945, accompanied by identifying several pathological phenomena that occupation and the war brought to Czech society. Those that crept into the fine arts are interpreted from a psychoanalytic point of view. Next the author focuses on the official cultural policy of the Protectorate of Bohemia and Moravia. He notes the short and long-term objectives of Nazi policies and their impact on the workings of cultural life in Czech society. He speaks about radical conservative critiques of modern art, which accused the avant-garde of mercantilism, of politicizing art, of being foreign, and arbitrary. So-called "degenerate" art (Entartete Kunst) is also briefly mentioned. A term that was used to defame and denounce modern art. For the first time, an unknown list of Czech "degenerate" painters...