The Thesis is focused on the interconnection of Arts and Environmental Education as a possible way for teaching elementary school children both the sensitive relation to nature and the conscious environmental behaviour. Junk-art, a phenomenon of environmental arts, is introduced in the theoretical part of the Thesis. In this part of the Thesis, there are also theoretical basis of Arts and Environmental Education, as they are embodied in the Framing Program of Education and the analysis of possible areas for utilisation of scrap materials within intermediate and experimental activities in Arts at elementary schools. In the conclusion of the theoretical part of the Thesis, there is a list of books available in the Czech market which deal with possibilities of waste media utilisation for the development of creative activities of pupils. In the practical part of the Thesis, there are some results and reflexions of the implementation of my own set of Arts lessons with utilisation of scrap materials which I gave in the third, fourth and fifth grades at a traditional rural school in Stará Říše.

The purpose of this study has been to investigate visual art teachers’ experiences of using pre-exercises in art class, and to what extent they promote the students’ creativity and interest for creating. In order to limit the study, focus was directed at the introduction of new art assignments, and how the teacher presents the task. The study aims to contribute with knowledge and guidance for art teachers who seek to encourage students to work creatively, and to invoke greater interest for creating. The study has its foundation in the socio-cultural perspective on teaching and development, including its communicative processes. The method was qualitative in character. Eleven art teachers were interviewed, in order to get empirical knowledge of their experience of introduction and pre-exercise in art projects.The results showed that the teachers’ experience of working with pre-exercises had several aims and goals. One of those goals were that the exercise would provide students with tools for getting started with the creative process, and promote their creativity. A challenge mentioned was lack of time, and the teachers experienced that pre-exercises were frequently skipped because of it.

This Diploma Thesis deals with an innovative view of the world contemporary graphics and its roles in the environment of czech schools. It examines printing method of various types of educational institutions - it means didactic, pedagogical, social and psychological characteristics. The knowledge gained in the author verifies the "Garden and everything that belongs to it ". Details: Kejhová, T.: Collaborative print making /Diploma Thesis/ Prague 2012 - Charles University in Prague, Faculty of Education, Department of Art Education, 123 pages. Key words: Graphic Language, Graphic Art, Cooperative Teaching, Collaborative Print Making, Fine Art Cycle, Fine Art Project.

KOPICOVÁ, Jiřina. Contemporary Printmaking and Art Education. Prague, 2011. 115 p. Master Thesis. Charles University in Prague - Faculty of Educati- on. Head of the Master Thesis Mgr. Linda Arbanová, PhD. This is a theoretical study investigating the present-day free graphic arts (designs). It describes the main trends, materials and techniques used. The text contains an an- notated selection of several Czech and foreign authors, which illustrates the different mainstreams of contemporary graphic arts. The didactic part of this study contains a research on the topic entitled Relation of Ba- sic-School Students to the Graphic Arts and a suggestion of a didactic approach to Art teaching based on the results of the research. The creative part of the study shows my own works-based on the topic: Time of Natu- re-made with the combined technique of digital print and linocut.

The following diploma thesis paper deals with the theme of everydayness and stereotypes within fine arts and art education. The theoretical part firstly focuses on monitoring the phenomenon of everydayness and stereotypes across various scientific disciplines, such as philosophy, sociology, psychology, anthropology or history. Subsequently the concept of depicting everydayness and stereotypes in fine arts is developed, which also includes authors whose work deal with the theme of everydayness and stereotypes and whose work fall into the period from the second half of the 20th century till the present day. We created three approaches to the given concept and each approach differs in their approach in depicting the reality of everyday life. In the didactic segment we deal with the issue of high school art education tasks and we follow it up with our own thematic tasks for high school students. Our thematic tasks include five related art tasks, which are aimed at the students to reflect on their own everydayness on several levels. The practical segment is a set of two posters, in which the author work reflects on her own everydayness and her changes depending on the environment. The poster named "Routine" follows everyday life and typical situations, however it also brings poetic moments. The poster...

Depuis longtemps déjà, les arts visuels se démarquent par leurs rapports proches quoique créatifs avec les développements technologiques des sociétés modernes. Pour les musées, Internet constitue une opportunité de rejoindre des publics qui s’avèrent de prime abord moins accessibles. Ce nouvel acteur dans le monde de l'art occupe une place croissante dans la présentation des oeuvres tout en jouant un rôle déterminant dans la diffusion et donc dans le retentissement qu'elles ont auprès de publics aux attentes changeantes. Alors que le musée diffusait autrefois ses collections et connaissances par les expositions et les catalogues, le cyberespace est aujourd’hui un nouveau lieu public qu’il lui convient d’investir. L’internaute est souvent isolé dans sa quête d’une « trouvaille » parmi la diversité de l’offre technologique. Nous proposons l’image alternative du flâneur comme métaphore opérationnelle afin d’analyser la relation entre l’internaute et l’exposition. Les oeuvres sont transposées dans le virtuel par le médium numérique, le même langage qui sous-tend l’exposition dans son ensemble, un transfert dont les implications sont nombreuses. La reproduction, par sa nature désacralisée, autorise la manipulation virtuelle. C’est une nouvelle forme de participation qui est exigée des spectateurs, non pas en termes d’acquisition rationnelle de connaissances, mais de manière ludoéducative, par cette même manipulation de l’image. Dans le but de souligner l’authenticité de l’oeuvre originale par la présentation de son équivalent numérique, l’exposition virtuelle est souvent médiatrice et documentaire avant tout, privilégiant l’observation technologique didactique. / Art and technology have long developed close relationships allowing both to be inspired by the other. Today, the Internet constitutes an opportunity for art museums to reach to publics previously unattainable. It is determining ways in which works of art or their numerical representation thereof are presented, transmitted, and perceived. Since their founding, museums have broadcasted their collections and knowledge in the public sphere by means of exhibitions and catalogues, but the Internet is now a space they have to inaugurate. In the perspective of cyberspace being both vast and varied, the internet user is often isolated in his search of a “find” or “discovery” amongst the array of virtual exhibitions available. It is necessary to offer an alternative to the often unique image of the internet user as “searcher” to propose the image of the flâneur as an operational metaphor for the analysis of the relationship between user and exhibition in cyberspace. The representation – by means of the digital language underlying both exhibition and image – allows virtual manipulation of the work of art. This entails new forms of participation on the part of exhibition viewers who are now also internet users. Often undertaking to highlight the authentic nature of the original work of art by displaying its digital representation, the virtual exhibition is often presented as a didactic counterpart to a “real” exhibition, thus avoiding the delicate question of the work of art experience in favor of a technological observation aimed at acquiring knowledge.

Depuis longtemps déjà, les arts visuels se démarquent par leurs rapports proches quoique créatifs avec les développements technologiques des sociétés modernes. Pour les musées, Internet constitue une opportunité de rejoindre des publics qui s’avèrent de prime abord moins accessibles. Ce nouvel acteur dans le monde de l'art occupe une place croissante dans la présentation des oeuvres tout en jouant un rôle déterminant dans la diffusion et donc dans le retentissement qu'elles ont auprès de publics aux attentes changeantes. Alors que le musée diffusait autrefois ses collections et connaissances par les expositions et les catalogues, le cyberespace est aujourd’hui un nouveau lieu public qu’il lui convient d’investir. L’internaute est souvent isolé dans sa quête d’une « trouvaille » parmi la diversité de l’offre technologique. Nous proposons l’image alternative du flâneur comme métaphore opérationnelle afin d’analyser la relation entre l’internaute et l’exposition. Les oeuvres sont transposées dans le virtuel par le médium numérique, le même langage qui sous-tend l’exposition dans son ensemble, un transfert dont les implications sont nombreuses. La reproduction, par sa nature désacralisée, autorise la manipulation virtuelle. C’est une nouvelle forme de participation qui est exigée des spectateurs, non pas en termes d’acquisition rationnelle de connaissances, mais de manière ludoéducative, par cette même manipulation de l’image. Dans le but de souligner l’authenticité de l’oeuvre originale par la présentation de son équivalent numérique, l’exposition virtuelle est souvent médiatrice et documentaire avant tout, privilégiant l’observation technologique didactique. / Art and technology have long developed close relationships allowing both to be inspired by the other. Today, the Internet constitutes an opportunity for art museums to reach to publics previously unattainable. It is determining ways in which works of art or their numerical representation thereof are presented, transmitted, and perceived. Since their founding, museums have broadcasted their collections and knowledge in the public sphere by means of exhibitions and catalogues, but the Internet is now a space they have to inaugurate. In the perspective of cyberspace being both vast and varied, the internet user is often isolated in his search of a “find” or “discovery” amongst the array of virtual exhibitions available. It is necessary to offer an alternative to the often unique image of the internet user as “searcher” to propose the image of the flâneur as an operational metaphor for the analysis of the relationship between user and exhibition in cyberspace. The representation – by means of the digital language underlying both exhibition and image – allows virtual manipulation of the work of art. This entails new forms of participation on the part of exhibition viewers who are now also internet users. Often undertaking to highlight the authentic nature of the original work of art by displaying its digital representation, the virtual exhibition is often presented as a didactic counterpart to a “real” exhibition, thus avoiding the delicate question of the work of art experience in favor of a technological observation aimed at acquiring knowledge.

This thesis consists of two parts theoretical and practical. In the theoretical one, definition of creativity, terms connected with creativity such as intelligence, imagination, age, barriers and methods of developing creativity are mentioned. Every creative process has its stages and it is also possible to enumerate qualities of a creative personality that a good creative teacher should have. Art lessons represent one of many options how to develop creativity and an art project is a very good tool for that. Students accommodated in a student's hall of residence that comes under schools OA,SOŠ and SOU in Třeboň are participants of this project. These students are about 16-18 years old. The art project called "Člověk napříč časem" represents the second part of this thesis. At the beginning of this part, I mention inspiration for this project and I explain its structure. The aim of this project is to make the participants think about values, relationships, communication among us and also to make them think about themselves while emphasising environmental education. One of the sub-goals of this project is naturally also the development of creativity and to find out whether it is possible with this group.

The thesis is devoted to theoretical introduction of shade as a distinctive theme and an expressive element in the history of fine arts extending to the dramatic arts, film and photography, as well as specifications of shadow play as an expressive medium. The work also concentrates on the description of shade in terms of optics and visual perception, answers the question what a shadow is. In this thesis the analysis of both traditional and modern symbolism related to the phenomenon of shadow is not forgotten. A large part is dedicated to didactic analysis and brief characteristics of artproject methods and art series in art education, with regard to practical implications of work. The constituent part of the thesis was the preparation, realization and documentation of particular art series (set of art lessons) on topic "Shade and shadow play" in secondary schools.

The presented qualifying thesis with the title ?Literature for Children and for Young People as an Inspirational Source on Art Lessons? deals with interdisciplinary relations of two branches of humanities: art and Czech language. Its theoretical part focuses on the characteristic of the middle school pupil from the point of view of psychology as well as from the point of view of reading and artistic skills. Practical part of the thesis includes empirical research examining reading activities and leisure time of present-day young people. The results of the research probe were taken into account in the art project (thematic array) which is partly put into practice in the middle school.