We can find many records concerning the Godwine family in primary sources of the period in between the reign of Knut the Great (1066) and William the Conqueror's famous conquest of British Isles (1066). Even though autors of the primal sources mention this noble house in conection with key political and war events of 11th. century, significance of Godwinson's is usualy suppressed at the expense of contemporary "pro-norman" theories, which are defending William the Concueror's rights to anglo-saxon throne. Main purpose of submited diploma thesis is to introduce reader to complex and truthfull image of how and why did Godwinson's bacame as powerfull as they were, and to show their influence and importance in history of "pre- norman" England.

Why the term 'Anglo-Scottish Struggle' between 1337 and 1346? Why 'The Perspective of English Official Documents'? What influence did the so-called 'Hundred Year's War' have on the Anglo-Scottish relations in the first years of the war? What impact did the 'Scottish issue' have on the policy of the English king during the Anglo-French conflict? How did the perspective of English official documents differ from that of English chronicles or Scottish/French primary sources? What role did the rhetoric of these source play? How was it portrayed? The following thesis will try to analyse some of the aforementioned issues and will strive to prove that the Scottish kingdom had a profound impact on the English policy in multiple respects from the outset of the Hundred Years' War until the battle of Neville's Cross almost ten years later.

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Ce travail propose une théorie générale de l'interface entre deux dimensions du fait musical : sa dimension sémantique (les significations que la musique peut contenir) et sa dimension pragmatique (ses usages en contexte). Cette théorie se situe dans une perspective naturaliste, au carrefour de trois disciplines : la philosophie de l'esprit, la psychologie cognitive et la musicologie historique. Elle part du postulat que la sémantique et la pragmatique de la musique sont des cas particuliers de certaines normes universelles (par exemple la norme de vérité) et certaines dispositions cognitives et sociales de l'être humain, pour l'essentiel non spécifiques à ce qu'on appelle la musique, l'art et l'esthétique. La première partie trace les grandes lignes de la théorie. Elle se fonde sur les travaux du linguiste et philosophe Philippe Schlenker. On y défend deux thèses principales : une thèse sémantique et une thèse pragmatique. La thèse sémantique soutient que toute signification musicale est indexicale, c'est-à-dire que toute signification musicale consiste dans le fait d'attribuer à une unité formellement cohérente de sons musicaux un ensemble de causes probables. Ces causes probables des sons musicaux peuvent être des entités réelles et/ou fictives, des entités objectives et/ou subjectives, des entités productrices de son ou non. Dans tous les cas, ces entités sont situées dans le contexte d'écoute de la musique, et la musique les « indique » à l'auditeur (d'où le terme « indexical »). Ces entités sont alors tenues pour être les contenus indexicaux vrais ou faux de la musique. La thèse pragmatique soutient que toute communication en musique consiste à organiser intentionnellement (y compris à distance, via des dispositifs de médiation adéquats, tels que des programmes, des techniques et lieux d'écoute, des rituels et autres conventions) la relation entre la musique composée/interprétée d'une part, et le contexte effectif ou supposé où cette musique sera perçue d'autre part, de sorte à maximiser la pertinence des significations indexicales, vraies ou fausses, inférées de l'écoute musicale dans ce contexte. La seconde partie du travail approfondit ces thèses en étudiant en détail trois phénomènes sémantico-pragmatiques suffisamment riches et complexes : la fiction, la narration et l'évocation. Cette seconde partie est bâtie sur l'analyse de trois poèmes symphoniques de Franz Liszt (Hamlet, Tasso et Mazeppa). Elle est ancrée dans le contexte de la querelle entre la musique à programme et la musique pure, qui a agité les milieux musicaux au XIXe siècle autour des mêmes problématiques que celles de ce travail. / This PhD aims to build a general theory of the interface between two dimensions of music : its semantic dimension (i.e. the meaningful nature of music) and its pragmatic dimension (i.e. the uses of music in context). The theory is grounded in a naturalistic perspective, at the intersection of three disciplines :philosophy of mind, cognitive psychology and historical musicology. The basic premise is that semantics and pragmatics of music are just particular cases of certain universal norms (i.e. the norm of truth) and certain social-cognitive dispositions of the human being, essentially non specific to what is usually called music, art or æsthetics. The first part outlines the main aspects of the theory, building on the work of linguist and philosopher Philippe Schlenker. We defend two claims :a semantic one and a pragmatic one. The semantic claim is that every musical meaning is indexical. In other words, a musical meaning is the set of possible causes attributed to a formally coherent unit of musical sounds, be they real and/or fictional causes, objective and/or subjective causes, sound producing or not sound producing causes. In any case, these possible causes are entities that are located within the listening context and are “indicated” by the music to the listener (hence the use of the word “indexical”). The entities that have possibly caused the musical sounds are, then, considered to be the true or false indexical content of the music. The pragmatic claim is that communication in music consists in organizing intentionally (including indirectly, at a distance, by means of relevant devices, such as programs, listening technologies, performance places, rites and other conventions, etc.) the relation between the composed and/or performed music and the supposed or effective context where the music would be listened, in order to enhance as much as possible the relevance of the true or false indexical meanings, inferred from the musical listening in this context. In the second part, the two hypotheses are further investigated by focusing on more complex semantico-pragmatic issues. We propose an in-depth analysis of three phenomena : fiction, narration and evocation. This three-part study is based on a detailed analysis of three symphonic poems by Franz Liszt (Hamlet, Tasso and Mazeppa). It is also grounded in the context of a central episode of 19th Century musical life :the quarrel between program music and pure music about the same semantic and pragmatic issues. / Doctorat en Langues, lettres et traductologie / info:eu-repo/semantics/nonPublished

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Тема этой диссертации — это рассмотрение соотношении Биографии и Литературы в творчестве Эдуарда Лимонова через категорию «Творческого поведения». Говоря о творческом поведение данного писателя, автор говорит о «единой концепции» личности Лимонова и выделяет у него наличие двух ролевых моделей : интеллектуала vs маскулинного бунтаря. В основе этих состояний лежат различные манеры поведения и мироощущения, явленые как в жизни, так и в литературе. В основе поведения интеллектуала лежат робость, физическое и половое бессилие, мажорный тон, созерцательный настрой. С точки зрения эстетики – гипомания и гипербола как основной художественный прием. Для состояния бунтаря с точки зрения поведения характерно восприятие физической близости как способа утверждения собственной силы, противопоставление себя обществу девиантным поведением. С точки зрения эстетики – порноэстетика как способ противопоставления себя обществу, культ оружия, «театрализация» в политике (политика как способ творчества), культ молодости и презрение к старости. / The theme of this dissertation is the consideration of the relationship between Biography and Literature in the work of Eduard Limonov through the category of "Creative Behavior". Speaking about the creative behavior of this writer, the author speaks of a "single concept" of Limonov's personality and highlights the presence of two role models in him: an intellectual vs a masculine rebel. These states are based on various manners of behavior and attitudes, which are revealed both in life and in literature. The behavior of an intellectual is based on timidity, physical and sexual impotence, a major tone, and a contemplative mood. From the point of view of aesthetics - hypomania and hyperbole as the main artistic device. From the point of view of behavior, the state of a rebel is characterized by the perception of physical proximity as a way of asserting one's own strength, opposing oneself to society with deviant behavior. From the point of view of aesthetics - porno-aesthetics as a way of opposing oneself to society, the cult of weapons, "theatricalization" in politics (politics as a way of creativity), the cult of youth and contempt for old age.

German text / This dissertation is a selective literary investigation (25 items) by a qualitative social research. It aims on the pastoral training and pastoral care of the Swiss theologian Eduard Thurneysen (1888-1974). His conception of pastoral care was directive within the 20th century in the German speaking Protestant church. In front of this background the pneumatological and spiritual elements are investigated that shape the pastoral approach of Thurneysen, both in theory and in practice. The research design for doing this is an adapted document analysis. For data collection, processing and analysis four different protocols are developed and for each item collected (attachement). In pneumatological and spiritual regard the main results are that Christoph Friedrich Blumhardt shaped and influenced Thurneysen fundamentally. He has been his lifelong example. Thurneysens pastoral approach is analogically characterized by continous prayer and longing for Holy Spirit. In the conclusions of the research results there are fourteen reflections on e. g. sustainability, finality or the ongoing discussion with the social sciences concerning a biblically oriented pastoral care. / Practical Theology / M. Th. (Practical Theology)

German text / This dissertation is a selective literary investigation (25 items) by a qualitative social research. It aims on the pastoral training and pastoral care of the Swiss theologian Eduard Thurneysen (1888-1974). His conception of pastoral care was directive within the 20th century in the German speaking Protestant church. In front of this background the pneumatological and spiritual elements are investigated that shape the pastoral approach of Thurneysen, both in theory and in practice. The research design for doing this is an adapted document analysis. For data collection, processing and analysis four different protocols are developed and for each item collected (attachement). In pneumatological and spiritual regard the main results are that Christoph Friedrich Blumhardt shaped and influenced Thurneysen fundamentally. He has been his lifelong example. Thurneysens pastoral approach is analogically characterized by continous prayer and longing for Holy Spirit. In the conclusions of the research results there are fourteen reflections on e. g. sustainability, finality or the ongoing discussion with the social sciences concerning a biblically oriented pastoral care. / Philosophy, Practical and Systematic Theology / M. Th. (Practical Theology)

The Prague based Haase printing and publishing company played an important role in the development of polygraphy, typography, significantly contributed to the Czech national revival and during its existence collaborated with many artists in some cases of world importance. This PhD thesis tries to bring knowledge to the applied graphic art in the Czech lands in general, but also describes the most important historical events of the Haase company, especially these with influence on its art production. The PhD thesis examines the process of graphic work creation and tries to place selected works in the context of work of individual authors and the fine art in the Central European area in general. It is also focused on the nationality issue and the role it played in the selection of artists with whom the Haase company collaborated.

In this thesis the author analyses the changes in the view of the British Royal Family in general public during the 20th century. Given the extensiveness of the topic, the author focuses on two crisis situations - so called "Simpson Affair" - the abdication of King Edward VIII in 1936 and his relationship with divorced American Wallis Simpson, and so called "Annus Horribilis" - the divorce of the successor to the throne prince Charles and princess Diana Spencer. The author analyses changes in perception of the role of British Royal Family in life of British nation and its role within British general public. Author works with unpublished sources (mainly from the archive materials gathered from the sources of the Archive of the Ministry of Foreign Affairs of the Czech Republic and the National Archives in London - Kew, with published sources and extensive specialized literature mostly from British provenience. Keywords Great Britain, Monarchy, Royal Family, Edward VIII, Wallis Simpson, Elizabeth II, Prince Charles, Diana Spencer, General Public