Tato práce bude zkoumat rozmanitost filmové postavy zvané "femme fatale", od jejího vzniku na počátku filmu noir přes její vývoj v současné kinematografii. Budu sledovat její vyhled napříč časového horizontu osmdesáti let, odhalím rozmanitost jejích fyzických projevů, jakož i různých taktik používaných ve svém nepřetržitém boji proti mužům. Udělám to na základě analýzy jednoho prototypu femme fatale a následně dalších šest ženských postav, z nichž všichni byli kritiky nazváni "femme fatale", nebo "ďáblovy ženy" v rámci různých filmových žánrů. Tyto postavy jsou LOLA-LOLA z roku 1930 z německého filmu Blue Angel jako typická femme fatale; BABY DOLL z roku 1956 z americké černé komedie stejného jména; VARLA z roku 1965 z amerického filmu Faster, Pussycat! Kill! Kill!; ANNIE WILKES z roku 1990 v americkém thrilleru / hororu Misery; LOLITA z roku 1997 z francouzsko-amerického melodramatu stejného jména; VERA z roku 2007 z ruského dramatu Banishment a LISBETH SALANDE-

This thesis is concerned with the progression of animated movies in United Stares of America from it`s begining to the 40`s of the 20 th century. The main examination is developed around changes of animated movies before and after censorship in 1934. There`re also emphasized essential moments in creation of animated movie in the wider perspective of history, art theory and society.

This thesis will deal with the creation of important representatives jekatěrinburgského study of animated films Oxana Čerkasovové, Valentina Karajeva, Alexandra Petrova, Andrei Petkevič, Sergei Ainutdinova and others.

BBS was a unique production company focusing on poetic, dokumentary and experimental films with a special production system. Most important directors were: Huszárik, Toth, Szirtes,Gazdas,Bódy,Erdély,Szabó

This diploma thesis deals with the theme of Mozart's opera The Marriage of Figaro, focusing on the role of the Countess and her contextualisation into the work of W. A. Mozart. The fundamental objective of this thesis is to analyze Mozart's work in the broader context of the composer's life story, the plot of the opera and interpretative concept of the role of Countess by three selected protagonists. A secondary aim of the thesis highlights the importance of Mozart's operas in music history. The introductory part covers the life of Mozart, followed by an overview and analysis of the formation of his operas. The main part is the analysis of The Marriage of Figaro and the Countess role in various concepts. Conclusion of the thesis confirms the hypothesis of Mozart importance for the neo-classical opera.

The history of European music in Japan: how people have changed their perception, understanding and interpretation of it over the past 150 years. During the reign of the Tokugawa Shogunate, Japan was closed off from the rest of world. It was only with the arrival of US warships in 1853, that one year later the country was forced to terminate its isolation. More than 150 years have passed since Japanese people began to listen to and appreciate western music, and it has been 136 years (1879) since Western music was first introduced into the Japanese school education system. 150 years is not a long enough time-span. So how has the Japanese approach to Western music developed in these years? In this work, I consider the adoption and development of Western music in Japan not only against a musical background but also from a historical perspective; I take into account factors such as the development of Japanese culture and industry not to mention the unique character and attitudes of the Japanese people.

This master thesis entitled "Development of coloraturas arias " is divided into several parts, which branch out into individual sections. The first part deals with an explanation of basic terms of coloratura and aria, as they are described in encyclopedic dictionaries and encyclopedias. This part is followed by brief formal development of aria throughout ages. I continue with the historical development of coloratura from the chapter Middle Age through the following era of renaissance and polyphony to the baroque, where I am describing the origins of opera as a dramatic genre. This part is divided into two parts , in which I describe the formation of coloratura aria and recitative and also the birth of other genres in which are coloratura arias widely used. The next chapter is devoted to the phenomenon of the eunuchs, who contributed to the expansion of coloratura arias around the world. The chapters Alessandro Scarlatti, Georg Friedrich Handel and Johann Sebastian Bach, mention their compositional techniques and also examples of work with coloratura and their contribution to the future generations. The following Classicism brings compositional techniques of Wolfgang Amadeus Mozart and his work. The next chapter, the romantic period, is dedicated to "Belcanto composers" Rossini, Bellini and Donizetti, who had contributed to the trend of coloratura techniques. Giuseppe Verdi was the last representative of belcanto era. In the penultimate chapter I write about selected roles that might be suitable for coloratura soprano and in the end I describe my relationship with the soprano voice in coloratura field.

The main goal of this thesis is to clarify the situation of the Czech contemporary dance platform in the nineteen-nineties and its transformation, on the basis of four case studies of concrete personalities and their dance works: Eva Černá a Karel Vaněk (Little blue nothing), Lenka Flory (..and where is Mary?), Jan Kodet (Jade) and Petr Tyc (The Fall of The House of Usher). The emphasis is put on catching the different qualities of movement, searching for the origins of their source of inspiration. In order to understand the deeper context of this period it was necessary to briefly describe the development of "scénický" ("scenic") dance before 1989. This matter is put into the larger context of the change in aesthetics of the corporeality since the nineteen-sixties and the formation of the concept of contemporary dance with delimitation of its content.

This master thesis is focused on analyzing the development of cello concerts written by Russian composer, respected cellist and teacher Karl Julievich Davydov. In the first place, the analysis is about the upward development of the genre – from virtuosic type of concerts to virtuosic-symphonic type of cello concerts. This thesis is divided into three main chapters. The first chapter in the three subsections is focused on typing and characterization of string concerts. The second chapter in the six subsections devoted to the context of Western European traditions and peculiarities of the development of cello art in Russia. The third chapter in two separate sections and four smaller subsections focus on the personality of Karl Julievich Davydov, periodization of his work and analysis of his cello concerts.

Definition of the conservation processes, which are appropriate and inappropriate for the conservation of secession albums in the reflection of photographic techniques, which are an integral part of the album. Another aim is to define an imaginary boundaries recommending to conservator of photos, what should be able done by himself, which intervations should have been consulting with a specialist of the issue and the intervations that should be done by a specialist of the issue. The work also contains descriptions of used materiál, their usual damage and especially the conservation techniques.