<p>What do Buddhist monks really know about Buddhism? How do they imagine their religion, and more importantly, how does their understanding of their tradition differ from the one found in our typical introduction to Buddhism textbooks? In order to address these fundamental questions, this dissertation concentrates on the educational programs and curricular canons of Korean Buddhism. It aims to find out which part of their enormous canonical and non-canonical literature do Korean Buddhist professionals choose to focus on as the required curriculum in their training (and what do they leave out), why is it chosen and by whom, and how does this specific education shape their understanding of their own religion and their roles within it. It tracks down the 20th-century invention of the so-called `traditional' Korean monastic curriculum and delineates the current 21st-century curricular reforms and the heated debates surrounding them. Ultimately, it illustrates how instead of Buddhist academics learning from the Buddhists about Buddhism, it is actually often the Buddhists in their monasteries who end up simulating the educational agendas of Buddhist studies.</p><p> Research for this work involved diverse methodologies. Multiple-sited ethnographic fieldwork in monasteries was supplemented by archival digging in the Chogye Order's headquarters in Seoul and textual analysis of historical records, Buddhist media reports, and online blogs. I have visited the current official 17 monastic seminaries in Korea, as well as many of the new specialized monastic graduate institutes and lay schools, interviewed teachers and students on site, and inspected classrooms and schedules. During winter 2013-4 I have conducted a full-scale participant observation attending the Buddhist lay school of Hwagyesa, during which I engaged some of my classmates with in-depth interviews, and distributed a written attitude survey among the class.</p> / Dissertation

L’enjeu du comment montrer et du comment voir n’a jamais été plus fascinant ni plus insolvable qu’à l’ère du totalitarisme visuel. L’image vidéo, issue de cette veine vorace et versatile, est devenue un vecteur privilégié pour réfléchir au sort du visible dans les arts actuels. La réhabilitation de cette image passe par la blessure de sa surface lissante qui en restaure la profondeur. Dans l’art vidéo, ce rôle peut être accordé au dispositif technique assurant la transmission des images. Nous verrons comment cet agencement matériel peut devenir un nouveau cadre pour l’image vidéo : un dispositif réflexif et critique pour accompagner l’expérience esthétique de l’œuvre. Il s’agit, au fil d’une incursion parmi les images multiples de l’installation vidéo contemporaine, de chercher à saisir les modalités et les enjeux qui forgent ce lien déterminant entre le regard et l’image : une exploration de la part d’ombre de l’œuvre qui rend effectif le voyage des images lumineuses. / At the age of visual totalitarianism, how to show and how to see are more than ever fascinating and insolvent questions. Voracious and unpredictable video image is a very special vehicle to analyse the condition of visibity in actual arts. The restoration of visibility always requires hurting the smooth surface of the image. In video art, this function may be attribuated to its technical system as new frame for video artworks : this material agencement becomes a reflexive and critical system for aesthetics experience. In the middle of contemporary video installation’s images, we’ll try to understand the terms and issues which invent this decisive link between the eye and the image : an exploration of the darkness which sets going the luminous images’ travel.

The topic of this thesis is Genocide in Rwanda which occurred in 1994 and its reflection in Czech press during that time. The aim is to find out in what way the chosen press reported about the genocide itself, the violence in 1994 that preceded it and events that ensued. The findings are compared mutually. Specifically, it's about Mladá fronta Dnes and Lidové noviny that were chosen to represent right sided press. Rudé právo, a newspaper closer to left side of political spectrum, and weekly prints named Respekt and Reflex all representing non-daily print. The thesis is ment as a probe closely investigating Czech media and painting general picture of how the media reported about the conflict in Rwanda. The thesis is divided into two parts, the theoretical and investigative part, the former describing the general characteristics of the country and the historical causes of the tension between the two ethnic groups, events that preceded the genocide and last but not least the course of events that unfolded afterwards during the same year while the latter analyzes the selected Czech prints.

The topic of this thesis is the reflection of XXII Olympic Winter Games in the Czech contemporary press. The aim is to find out in what way the selected press reported about it, more precisely to what extent it informed about the problematic and controversial aspects of its preparation in the period before and during the games. The analyzed period was set to be September 2013 - March 2014 and the chosen daily press includes Mladá fronta DNES and Lidové noviny as representants of rather right wing press, and Právo as a representant closer to the left side of the political spectrum. Weekly press in the analysis includes Týden and Respekt. The thesis is divided into two parts. The first one describes the background of the preparations of the olympic games in Sochi and its context, the second one contains the analysis itself. Powered by TCPDF (www.tcpdf.org)

This thesis assesses the relation between equality and justice by exploring and identifying the relation between equality and justice in Rawls's theory of justice, Sandel's communitarian account of Justice and Sen's capability approach. And these accounts of justice are evaluated from an egalitarian point of view. The main argument defended in the thesis is that justice requires equality. Accordingly, these three accounts of justice are evaluated by taking their understanding of equality into consideration. Egalitarian evaluation of these accounts of justice reveals that all three of them fall short in accordance with the relation between equality and justice in their understanding of justice. Keywords: Capabilities, distributive justice, egalitarianism, equality, fairness, inequality, justice, social justice, virtues

This thesis was written to highlight the role of women in the Revolutionary Trade Union Movement after the Second World War. It described existence and the activity of a relatively autonomous group of women which was established as a part of the Central Trade Union Council. Especially after the monopolization of a communist government in February 1948, the trade unions, as representatives of all workers, had become an important political agent in the state organisation. One of their major tasks was to mobilize workforce which was essential in order to boost the post-war economy. This activity was supported by ideology, promising to create new and better socialistic society. Appropriate attention was paid particularly to housewives who represented the greatest reserves of workforce. The intention was to integrate as many women as possible into the work process, organise them in trade unions and help them with household chores and family problems. Therefore, boards of women were established along with the trade unions' body and existed under the aforementioned Women's Committee of the Central Trade Union Council. The author described the origins of the Women's Committee, changes in its organisation, its specific activities and partly international contacts and mutual cooperation with a superordinate...

SUMMARY: This thesis deals with the phenomenon of German migrant literature in the context of contemporary Austrian literature. The theoretical part is about general questions of the migrant literature in German-speaking countries - from the search of a suitable term to the dispute about its justification - and further there is a description of the specific situation in Austria. The second and the third part are dedicated to the presentation of two exponents of this sort of literature, the Pole Radek Knapp and the Bulgarian Dimitré Dinev. Based on the analysis of their two most important novels, Herrn Kukas Empfehlungen and Engelszungen, the presence of themes and motifs referring to their origin or migrant experience was confirmed. Nevertheless, as the comparison with their complete works shows, these themes and motifs are definitely not the exclusive ones.

Cette recherche repose sur l’interrogation suivante : qu’est-ce qui fait être amateur d’art contemporain ? Les amateurs d’art contemporain constituent un public envers lequel les études, même si elles sont porteuses d’indications utiles, sont peu nombreuses. On constate que la plupart des études présentent un profil qui rend compte du caractère solitaire, assidu, souvent diplômé du visiteur amateur d’art contemporain et de son comportement peu interactif. Nous savons ainsi très peu de choses sur ce rapport qui pourtant est souvent à la source de débat important sur l’art contemporain et notamment sur la question de l’accessibilité. Partant de la définition pragmatique, selon laquelle l’amateur est celui qui entretient un rapport suivi quels qu’en soient les médiums ou les modalités, notre recherche consiste à se démarquer d’une méthode quantitative qui se délimiterait à une pratique, à un type de public et à un seul lieu. Cette recherche repose sur une méthode qualitative dont l’objectif est de reconsidérer l’amateurisme en art à travers l’analyse d’entretiens. La position communicationnelle permet d’analyser ce rapport sous un rapport pluriel à l’objet. L’amateurisme est ainsi étudié, en dépassant d’une part le rapport sujet/objet, décrit et analysé par la philosophie esthétique, mais aussi la relation objet /système sur laquelle reposent de nombreuses études sociologiques, centrées sur le système des mondes de l’art. Dans cette optique nous avons cherché à observer cette pratique en mettant en lumière son caractère construit. En témoigne notamment les activités formelles, mais aussi celles issues des expériences anecdotiques et circonstancielles, liées à des processus d’appréhension qui révèlent la spécificité de cet attachement pour l’objet d’art et d’un goût toujours en exercice / This research rests on the principal interrogation: what makes contemporary art lover ? There is not a lot of studies on the practices of the art contemporary lovers. The art contemporary lovers constitute a public towards which the studies are very few but carrying useful indications. Most of the studies present a profile which presents the art contemporary lovers as a solitary character, assiduous, often graduate and not having a very interactive behaviour. On the basis of the pragmatic definition, according to which the amateur is someone who maintains, whatever are the mediums, a followed relation, our research consists in being dissociated from a quantitative method which would delimited too much a practice, a type of public and a place. In this purpose practices and specific posture in contemporary art are considerate differently. The discipline of communication makes able to analyse this practice by according a plural relation. The object of this research is too analyse different practices through a passion for contemporary art and to reconsider an experiment, not only according to a relation as subject/object, study by the aesthetic, but not also to a relation place/object, like in the sociologies research which analyse the worlds of art Accordingly, the purpose is to revaluate the taste like a construct movement. The lover’s formal and non formal practices demonstrate the presence of procedures revealing the specificity of this attachment and of a taste which is always in exercise

This thesis comprises historical and critical introduction to contemporary women's poetry in Ireland and close reading of three poets of its two latest generations, Eavan Boland, Medbh McGuckian and Vona Groarke. It focuses on her perception of nature and attitude to the relationship between the human self and natural processes and objects. The contextual background to my reading emphasizes the feminist critique of the traditional false images of the woman's self in Irish poetry and politics, and suggests new opportunities of the most recent female poetic voices. The culturally rooted simplifying or even harmful connection between femininity and the fertile land or Catholic ideals of virginity has provoked a lot of indignation among contemporary women poets, and caused abundant literary attempts of its re-negotiation. The authentic poetic representation of the woman's sexual and spiritual connection to the land and nature along with women's subjective use of nature imagery belongs to crucial points of this re-negotiation. It is pursued extensively in all of the poetesses discussed in this paper. My close reading considers the political objectives of the poems and notices different modes of their artistic response to the relevant cultural questions. Nevertheless, it emphasizes also the independence...

This dissertation in its introduction deals with theoretical view at poetics of literary character and its evolution in 19th and 20th century. These theories are applied at female characters in novels of contemporary Bulgarian writer Teodora Dimova. Subject of research is central female characters in her novels Mothers and Adriana. The last above mentioned novel continues a novel found in heritage of her father - classical writer of Bulgarian literature Dimtăr Dimov. Teodora Dimova is often attacked in Bulgaria that she only profits from her father's fame and that she uses his writing method. This dissertation points out independence of her literary discourse and argue against above mentioned opinions. Key words Dimovova, poetics of female character, contemporary Bulgarian novel