My graduation theses refers to the utilization of the grant-in-aid from the Europen Social Fund in order to create „the protected workroom“ to help and support the employment of the handicapped people. According to the entrepreneurial activity and analyses of employment of handicapped people macroeconomical factors present the situation on the labour market as well as the perspective profitability through some specific solutions.

This doctoral thesis focuses on Energy security of European Union with and accent on use of renewable energy sources as an energy security instrument. Main goal of this thesis was to identify, verify and then postulate options that could enhance current state of energy security of European Union. Main instrument of this activity is a theoretical model which introduces three specific options. First option is about off-grid and partially on-grid system used for home and autonomy energy production. Second option is a synergic link of infrastructure for off-shore wind farms with a marine energy. Third option is a maximization of energy efficiency, energy savings and energy storage concepts. Energy efficiency was identified as hierarchical condition mandatory for every single introduced options. All introduced options were verified against European energy law, against principles of energy security and against economical and security criteria. Final and most important criteria for plausibility of such options is embodied in European energy policy and current energy and climate strategies.

The main goal of this essay is to map out the availability of the European structural funds for the common types of basic schools as well as the difficulty of putting in to practice of the projects under the Operational programme Education for Competitiveness. My essay will increase an awareness of the European structural funds in historical and theoretical consequences as well as in the specific case study of the project request of the basic school.Thanks to my essay the reader can also focus on gaining money from this operational programme in the Czech Republic as well as in Pardubice region, where the basic school from my case study is located.

This thesis deals with the consumption taxes changes in the Member States of EU in relation with the harmonization process. Its goal is to find out via chosen indicators, whether the influence of the harmonization processes in an area of value added taxes and excise duty, brings Member States of EU closer in an area of consumption taxation. As the main method of data processing is used the cluster analysis for which three indicators of tax burden are selected. Via analysis the cluster processes are used in selected years 2000 and 2017. All Member States are included with the exception of Croatia and that is because absence of the data. The data that are used in the cluster analysis are extracted from the Eurostat and from the database of European Commission. The states are divided according to the similarity of taxation into particular clusters. The results are presented in a form of graphical outputs the so called dendrograms. The conclusion is comparison of researched years according to the harmonization process. According to the cluster analysis results gained via selected consumption tax indicators, there is no converge occurring in 2000 to 2017 between original EU-15 states and the new Member States which have joined EU in 2004 or later.

This work processes and systematically describes the latest knowledge in the field of setting up fictitious companies in the Czech Republic, characterizes their current status and future trends. The main objective of this work is the analysis of the current level and the comparison between setting up fictitious and real company in terms of general business and legal requirements, simplicity and delays and in terms of comparison of individual legal forms and types of business representation. The theoretical part of the work deals with the procedure of starting a real company in time-sequential steps. In the practical part of the work, except for explaining the procedure setting up a fictitious company, is the attention focused on the comparison of the two procedures. There are described the individual differences in detail, which in many respects results from formal dissimilarities of the participated subjects. For this purpose was done a survey conducted among teachers of the school subject the Fictitious Company. The main aim of this work is to provide teachers, teaching the subject, with a didactical and teaching aid that, apart from the information on setting up fictitious companies, provides a comparison with the setting up of a real company. Defining the differences between setting up fictitious and real companies is an important tool for understanding the nature and the meaning of fictitious companies and help to improve the quality of teaching.

Diploma thesis explains history of the origin of the most important European funds, their transformation in the purpose of achieving complex support for decrease of the regional disparities and current functioning of those funds. Cohesion policy utilizes tourism for the development of the regions. Thesis is focused on the role of tourism in Czech Republic and Slovakian Republic, primarily on the options and system of the gaining financial subvention from the collective European budget. Development of tourism is also important for the advancement of the cross-border territories, which share common history, traditions and specifics of given areas. Last part of the thesis is therefore oriented on the cross-border cooperation between Czech Republic and Slovakia since the entering the European Union and on the possibilities of gaining financial funds in these transboundary locations.

Dans la dernière dizaine années du 19ème siècle, les créations de Lugné-Poe et d’Antoine expérimentent de nouvelles esthétiques de représentation et voient dans la mise en scène l’essence de la création théâtrale. Le metteur en scène devient lui-même auteur, au point de jouer parfois un rôle prédominant. Tout au long du 20ème siècle, cette évolution de la mise en scène, en s’accélérant parfois brutalement, a pu atteindre une certaine anarchie. C’est pourquoi l’esthétique de la tradition scénique orientale, qui passe par des formes artistiques reproductibles, voire stéréotypées, a pu fournir des repères et des garde-fous. Paul Claudel est le premier à en avoir une réelle connaissance grâce à ses longs séjours en Asie. Il intègre les traditions, les cultures et les philosophies orientales dans son écriture théâtrale, et propose une nouvelle forme épique et lyrique de la dramaturgie, comme dans Le Soulier de satin et Christophe Colomb. Dans une proposition de théâtre symboliste, il met en scène de véritables poèmes reflétant sa cosmologie et sa vision poétique, en réalisant pratiquement le « théâtre total » dont rêve Jean-Louis Barrault. Au début du 20ème siècle, plusieurs expositions coloniales introduisent l'Orient en Occident. Elles donnent aux Occidentaux l'occasion d'un contact direct avec les traditions scéniques orientales. Les jeux formalistes, sacrés et esthétiques, de la poésie symbolique, séduisent les intellectuels et les artistes. En particulier, les représentations de Sada Yacco et Mei Lan-Fang déclenchent l’enthousiasme. Les théoriciens-metteurs en scène sont passionnés par les jeux expressifs et métaphoriques de leurs corps robustes, agiles et bien proportionnés, par leurs attitudes modérées et discrètes, tous façonnés selon la tradition séculaire orientale. Bien qu'il y ait des nuances entre les divers théâtres asiatiques, on les regroupe sous la dénomination usuelle de « théâtre oriental ». C'est la raison pour laquelle nous avons analysé à la fois les chocs provoqués par les trois grands événements qu’ont été, en Europe, successivement la visite de la troupe de Sada Yacco en 1901, l’Exposition Coloniale en 1931, et l’arrivée de Mei Lan-Fang en 1935, sur le théâtre occidental, mais aussi les origines et les caractères communs des théâtres asiatiques .Dès lors que les artistes innovants découvrent le théâtre oriental, ils sont subjugués par l’authenticité de sa théâtralité et l’opposent au théâtre occidental, dont ils dénoncent les défauts de la convention théâtrale. Les traditions scéniques orientales leur présentent des esthétiques paradoxales : des embellissements dépouillés mais enrichissants sur le plan métaphorique, des jeux artificiels stylisés mais révélant les détails réalistes, des créations contraintes par la tradition mais libérées par le talent des artistes, des représentations courtes mais requérant un long temps d’apprentissage, un seul art théâtral intégrant divers arts. Se référant à ces formes caractéristiques orientales, Craig cherche à trouver une « forme définie », Meyerhold tend à établir une nouvelle convention de théâtralité, Brecht approfondit sa théorie et son écriture visant à l'effet de la « distanciation » et Artaud désire « en finir avec les chefs-d’œuvre » et faire parler le propre langage scénique. Après ces innovateurs qui ont découvert la source de l’Orient, les metteurs en scène suivants, tels Grotowski, Barba, Brook et Ariane Mnouchkine, orientent leur recherche spirituelle et introspective vers l'Orient, en engendrant leur propre esthétique réalisée par la pratique. De la sorte, cette dernière ne relève plus d’une unique tradition orientale ou de la convention occidentale, mais d’une fécondation née de leur appropriation de l’Orient mêlée à leur propre personnalité, leur « tribu » et leurs préférences culturelles. / In the last decade of the 19th century, works of Lugné-Poe and Antoine experiment a new aesthetic representation and search the essence of the theatrical invention in the mise en scène. The director (metteur en scène) becomes the author; toa certain extent, sometimes, s/he takes the predominant role. Throughout the 20th century, the evolution of the directing (mise en scène) accelerates abruptly and it is so violent and sometimes it reaches to a state of anarchy. This is why the aesthetics of oriental scenic tradition, which goes through reproducible art forms, even stereotypical, could provide beacon and safeguards.Paul Claudel is the first person who acquires knowledge about the Orient due to his long stays in Asia. He incorporates the oriental traditions, cultures and philosophies in his playwriting, and proposes new epic and lyric forms in theater, likeone sees in The shoe of satin and Christophe Columbus. Proposing a symbolist theater, he had staged real poems which reflect his cosmology and his poetic vision. Claudel had achieved what Jean-Louis Barrault dreamed of -the "total theater."In the early 20th century, several colonial exhibitions introduced the East to the West. They gave Westerners an opportunity of directly absorbing the oriental scenic tradition. The formalists acting— sacred and aesthetics— in symbolic poetry attractsintellectuals and artists. Particularily, the representations of Sada Yacco and Mei Lan-fang were most enthusiastically received. The theoretical directors were passionate about the expressive and metaphorical acting of their robust,well-proportioned yet flexible bodies, about their moderate and discreet attitude, which were shaped by the ancient Eastern traditions. Although there were slight differences among various Asian theaters, they were grouped under the common name of "Oriental Theatre". In this sense, I would like to analyze the impacts caused by three major events of the western theater history in Europe: the successive visitings of troupe Sada Yacco in 1901, the Colonial Exhibition in 1931, and the arrival of Mei Lan-Fang in 1935. At the same time, we should trace the origins and common characteristics of Asian theaters.When the innovative artists discovered the eastern theater, they were overcame by the authenticity of its theatricality and they mirror the Western theater in opposition to the Eastern theater, in which they denounce the shortcomings of Westerntheatrical convention. The oriental scenic tradition shows them the paradoxical aesthetic: (1) unornamented decoration yet enriching in the metaphorical layout; (2) stylized artificial acting but realistic-details revealing; (3) short performance butrequiring long-term training; (4) creations constrained by tradition but set free by the talent of artist; (5) one theatrical art integrating various arts.Referring to these oriental characteristic forms, Craig seeks to find a "definite form", Meyerhold tends to establish a new convention of theatricality. As for Brecht, he goes further into developing theory, and his writing aims to produce the effect of"alienation." Artaud, on the other hand, wants to "terminate the masterpieces" and allow real stage language to speak for itself.After these pioneers who discovered sources from the Orient, directors who follow these doctrines such as Grotowski, Barba, Brook, and Ariane Mnouchkine turn their spiritual search and introspective towards the Orient, in hopes of generating their own aesthetics which could be realized in practice. Therefore, their creations reflect not merely Eastern traditions nor do they apply only Western conventions, but they are fertilized and born out of their appropriation to the Orient, mingled with these directors’ own personality, their "tribe" and their cultural preferences

The master´s thesis deals with taxation of Europen Union residents in the Czech Republic. The main aim of this thesis is to create a methodology for the taxation of European Union residents incomes from employment in the Czech Republic. Attention is also moving to a model case of European Union residents, who receives incomes from employment in the Czech Republic during the tax year 2016.

La reconstruction post-conflit de l’Etat est un enjeu majeur et actuel des relations internationales. L’Union européenne, sous les auspices des Nations Unies contribue à restaurer ou instaurer un ordre étatique qui doit donner sa chance à une paix durable fondée sur des valeurs respectueuses des droits de l’homme. Toutefois, l’Union européenne reste maitre de ses interventions. Il n’existe pas véritablement pour les Etats post-conflits un droit à la reconstruction. Un complexe d’acteurs institutionnels européens décide et organise la réponse européenne à la déliquescence des Etats au sortir des conflits. Cette réponse n’est pas isolée, elle s’inscrit dans un ensemble de partenariats.L’organisation régionale déploie un ensemble de mécanismes juridiques ou opérationnels, militaires ou civils de gestion du relèvement des Etats en sortie de conflit. L’engagement européen peut prendre des formes très intrusives, et s’apparente parfois à une tutelle européenne sur des Etats victimes de conflits. Au final, l’Union européenne participe à la définition et à la réalisation d’un droit international de la reconstruction de l’Etat. Elle consacre des normes et des standards internationaux. Elle inaugure des normes et des standards européens adaptées au relèvement des Etats. De ce point de vue, l’offre européenne en matière de reconstruction post conflit de l’Etat est globale. C'est-à-dire que l’Europe propose de reconstruire l’Etat sous ses trois composantes traditionnelles : la population, le territoire et l’appareil d’Etat. / In the framework of International Relations, Post Conflict Reconstruction of the State is a major and actual stake. European Union under the auspices of United Nations, supports all initiatives to restore or build a state order which give a chance for a stable peace based on human values. Nevertheless, European Union defines his interventions in function of his own interests. Post-conflicts States don’t have a right to reconstruction. A mix of european institutional actors decide and design the european response dedicated to failed Post-conflict States. This response is not isolated, she is included in a network of parternship.After a conflict, the regional organization set up a mix of legal or operational mechanisms, and military or civilian capacities. The european activism in this domain can be very strong. Sometimes, it seems as a trusteeship of EU on Post conflicts States. Consequently, European Union contributes to design and implement the international law of the State reconstruction. EU promotes norms and international standards. It initiates european norms and standards dedicated to the recovery of states. Consequently, European Union possess global capacities in the matter of post-conflict reconstruction. That is to say that Europe is proposing to rebuild the state in its three traditional components: population, territory and state apparatus.

The main aim of this thesis was to analyze the cooperation between Local Action Groups in the Czech Republic. From the time perspective to determine, whether LAG is trying to cooperate more among themselves and thus gain even more financial resources to ongoing Cooperation projects. The other objectives of the second part is devoted to the thesis, which is specifically focused on the cooperation project called ?Rural Market II?, which was implemented under the cooperation of six participating LAGs. The mentioned project was based on the cooperation of six Local Action Groups and the main goal is to encourage local entrepreneurs in the territorial specific LAG. As an interim target was set an objective assessment of gaps in data collection in the catalog business, which was implemented under the Rural Market II.