Ce mémoire de maîtrise porte principalement sur la question de la réappropriation historique et musicale des Tziganes dans le docu-fiction Latcho Drom (1993) de Tony Gatlif. Dans un premier chapitre, il s’agit de comparer l’histoire écrite sur les Tziganes avec leur mise en image afin de déterminer comment le cinéaste apporte dans le langage audiovisuel de Latcho Drom un total renouveau dans le discours dominant. Dans cette perspective, l’appareil cinématographique se révèle être un médium de revendication et de réappropriation de l’être tzigane et de son histoire. Dans un deuxième chapitre, il est question de démontrer avec des études basées sur l’ethnomusicologie comment les musiques tziganes, sont rapidement assimilées au patrimoine culturel des sociétés européennes. Latcho Drom qui traduit avec justesse des expressions musicales très encrées de la vie de ces communautés, s’inscrit en contradiction avec la conception territorialiste de musicologues et ethnomusicologues qui refusent d’accorder à la musique tzigane légitimité et autonomie. Dans un troisième chapitre, il s’agit de déterminer comment le cinéaste cherche à faire entrer son spectateur dans un rapport de proximité avec les communautés de Latcho Drom afin de susciter en lui reconnaissance et empathie. / The main focus of this Masters thesis is the historical and musical re-appropriation of gypsies in the docudrama, Latcho Drom (1993) by Tony Gatlif. In the first chapter, the literary history of gypsies will be compared to their representation in Latcho Drom, in order to demonstrate how Gatlif challenges the dominant discourse with a totally new perspective through his unique use of audio-visual language. In this way, the camera is rendered a medium of empowerment for the gypsy community through a re-appropriation of their people and history. In the second chapter, a series of studies in ethnomusicology will be used to demonstrate how gypsy music (mainly because it is nomadic and not transcribed) is rapidly assimilated into the cultural heritage of European societies. Latcho Drom accurately reflects the musical expression inherent in the life of these communities while being at odds with certain methods of preserving oral music traditions (the “urgency of ethnomusicology”) and the territorial notion espoused by musicologists, who refuse to recognize gypsy music as legitimate and autonomous. The third chapter will discuss how the filmmaker invites the spectator into intimate rapport with the musical communities of Latcho Drom, arousing in him/her a sentiment of gratitude and empathy.

Introduction The beggars are one the most vulnerable and stigmatized groups in the European society and are determined to live in substandard conditions, characterized by lack of sanitation and overcrowdings, and bare the harsh weather conditions to earn their living. Often, they have limited access to healthcare and their lifestyle has a great impact upon their health. However, little is known about their own perceptions of their health and their strategies to keep it. Aim The aim was to explore the Romanian beggars’ perceptions of their health prior to and during begging, the perceived consequences of begging on their health, and their coping strategies to maintain health while begging in Uppsala, Sweden. Method Data was collected from 8 semi-structured interviews in Uppsala, Sweden during March 2015. The collected data was then analysed using manifest qualitative content analysis. Findings The Romanian beggars in Uppsala perceived their health status to be affected through their activity. Physical consequences involved developing new illnesses and conditions, but also aggravating previous health conditions, and mental consequences included degrading and marginalizing effects of begging, but also harassment from passersby. Access to healthcare in Sweden was limited and determined the beggars to develop alternative strategies for health management or to return to Romania for treatment.     Conclusion The health status was found to be both negatively and positively affected through complex interactions between the individual and the surrounding levels: social network, community, institutions and society. More attention should be given to this group from all levels to improve their health status.

Representations of the Gypsies and their lifestyle were widespread in British culture in the late-eighteenth and nineteenth centuries. This thesis analyzes the varying literary and artistic responses to the Gypsy figure in the period circa 1780-1870. Addressing not only well-known works by William Wordsworth, Jane Austen, Walter Scott, John Clare, Robert Browning, Matthew Arnold and George Eliot, but also lesser-known or neglected works by Gilbert White, Hannah More, George Crabbe and Samuel Rogers, unpublished archival material from Princess Victoria's journals, and a range of articles from the periodical press, this thesis examines how the figure of the Gypsy was used to explore differing conceptions of the landscape, identity and freedom, as well as the authoritative discourses of law, religion and science. The influence of William Cowper's Gypsy episode in Book One of The Task is shown to be profound, and its effect on ensuing literary representations of the Gypsy is an example of my interpretation of Wim Willem's term ‘paper Gypsies': the idea that literary Gypsies are often textual (re)constructions of other writers' work, creating a shared literary, cultural and artistic heritage. A focus on the picturesque and the Gypsies' role within that genre is a strong theme throughout this thesis. The ambiguity of picturesque Gypsy representations challenges the authority of the leisured viewer, provoking complex responses that either seek to contain the Gypsy's disruptive potential or demonstrate the figure's refusal to be controlled. An examination of texts alongside contemporary paintings and sketches of Gypsies by Princess Victoria, George Morland, Thomas Gainsborough, J. M. W. Turner, John Constable and John Everett Millais, elucidates the significance of the Gypsies as ambiguous ciphers in both literature and art.

In Romanian, the word lăutari refers to highly skilled professional Romani (Gypsy) musicians. By interacting with Romanian culture and tradition, the lăutari settled down in the country and developed a unique musical tradition. Their music is characterized by intricate, elaborate, and refined ornamentation; its execution requires a highly level of technique. George Enescu, regarded as Romania's most influential musician, was affected by lăutari music. He created a unique musical language that recreates Romanian character by using lăutari elements. This dissertation examines how to approach Enescu's Violin Sonata No. 3 and perform it by understanding the characteristics of lăutari music as well as the work's use of such lăutari violin techniques as diverse expressive slides, vibrato, double stops, various ornaments, artificial harmonics, imitation of folk instruments, and a variety of bow strokes. Enescu's Violin Sonata No. 3 is regarded as a challenging work in the violin literature requiring a high level of violin technique. Although the standard violin repertoire is enormous, many violinists are looking to rediscover new and challenging repertoire, distinguish themselves from others, and promote themselves as professional performers. Therefore, this study should help violinists to approach the idiomatic violin writing of Enescu's sonata, especially its lăutari techniques and style.

Master thesis discusses about the work on the department for girls required systematic intensive individual care in an educational institute in Jindrichuv Hradec. Main goal is to examine what are the problems that girls come to this Institute, which is the family support of these girls and what are the relations of parents and girls. The work is divided into two parts. Theoretical and practical. The first part describes the two departments, which are for girls required systematic intensive individual care, focusing on the theoretical approach of behavioral disorders, individual personality in etopedy care and drug problems, theoretical part concludes with a chapter dedicated to the functions of the family, dysfunctional family a Gypsy family. In the practical part contains the results of research. The research used a combination of a questionnaire survey and data analysis. The research is divided into three thematic units that correspond to established hypotheses. First, are the results of investigations that focus on educational problems, particularly aggression and drug use. The second part of the survey results, which dealt with the family of girls, and of the length of stay in the institution and age of first placement. The last section presents the results of the survey focused on girls' contacts with...

This dissertation considers Henri Rousseau (1844-1910) as a painter and as a figure of discourse. It addresses the longstanding concern of Rousseau’s resistance to interpretation and proposes that this derives from Rousseau’s incomplete fulfillment of the professional obligations of the artist, specifically, from his failure to motivate his work through the pursuit of what modern art critics commonly called “a problem.” Rousseau did not practice painting as artists of his day did, and because of this difference—first articulated by Guillaume Apollinaire in 1908 as an absence of artistic inquiétude—he entered the discourse of art with unprecedented susceptibility to reinvention. The Rousseau we know today, the Rousseau who was a miraculous modernist in the interwar period, and the Rousseau who emerged in the context of the avant-garde in the earliest years of the twentieth century share little besides a name, and this frustrates any effort to write a coherent history of the painter and his pictures. Rather than propose once again Rousseau’s recuperation into a traditional art-historical narrative, this dissertation tells the history of a maker who produced admirable images but fulfilled few other author-functions, and it tells the history of writers who, compensating for Rousseau’s authorial deficits, produced a new artist, a new body of work, and widespread puzzlement about the place of each in the history of modern art. / text

On December 22, 1926, an opening ceremony of the so-called Gypsy school was held in Uzhhorod, the capital of the Czechoslovak administration in Carpathian Ruthenia. Czech officials who gave talks pointed out pedagogical significance of the established institution which they described as unique and exceptional "experiment". The creation of a special school for children of those inhabitants who were labelled as "Gypsies" on the territory which was annexed by Czechoslovakia only later after the First World War and which in the contemporary imagination represented specific, "backward" region of the newly established state, served to consolidate the legitimacy of the First Republic as a democratic, progressive, modern, liberal state which belonged to the developed and civilized West. More than a half year later, on July 14, 1927, representatives in the Czechoslovak Parliament in Prague passed the Act No. 117/1927 on Wandering Gypsies. The development of this law was related to an immense interest of the contemporary media in "Gypsies" which was encouraged by the arrest of approximately twenty "Gypsies" from a village located in East Slovakia. They were charged of numerous robberies and murders. In contrast to the situation shortly after the First World War when the central Czechoslovak authorities...

This diploma thesis follows history of camp in Hodonín Nera Kunštát during its existence since late 1930's until nowadays. The work describes changes in use of the camp in context of political regime's changes during the reviewed period. Examination will be subjected not only to the repressive role of the facility, but also to its post-war recreational function and, last but not least, to the current educational mission. The work will be compiled in chronological order using the method of comparison of individual stages of camp use. In certain aspects the issue of camp use will be analysed through perspective of its diverse subjects, in addition to its various stages. The work will be divided into trhee parts, namely the use of the camp as a tool of the state policy punishing, the recreational function and the so-called second life of the camp, that is to say, the period following the recreational educational function of the camp. In this part of the thesis, medial and political messages will be analyzed as a necessary evidence illustrating the complex path of transformation of the Hodonín grounds from the camp to the center of collective memory.

This diploma thesis deals with the ethical issues that arise during work with Roma families. In the first chapters of the text, the work deals with the Roma, their culture, family, traditions, historical origin. The following text presents organizations that work with the Roma in the territory of the city České Budějovice, their value foundation, principles, requirements for social workers etc. These were the Sociálně aktivizační služby pro rodiny s dětmi Sasanka, Oddělení sociálně - právní ochrany dětí and Jihočeská rozvojová o.p.s. Ethical issues have resulted freely from a critical reflection of the three compared facilities working with Roma families. In the following text there are presented two ethical theories by which the selected ethical questions are further processed, deontology and ethics of care. In the last part of this work, ethical questions are further elaborated using both ethical theories.

The objective of this thesis is to do a comparative analysis of four Romany life-stories in prose from different parts of the world and identify features which may justly be called characteristic of Romany writing. The comparison of Victor Vishnevsky's Memories of a Gypsy, Mikey Walsh's Gypsy Boy and Gypsy Boy on the Run, Andrej Giňa's Paťiv. Ještě víme, co je úcta and Irena Eliášová's Naše osada yields valuable insights into how Romany writers construct their identity and to what extent their current work relates to the existing literary genres. Because of Romany studies' multidisciplinary nature, the extensive introduction lays the theoretical foundations for the analysis. I proceed from the characteristics of Romany studies in general in part 1.2 to the way it was practised during my undergraduate years in Prague as opposed to the Western tradition (part 1.3). Using a case study of the schism Romany studies are currently facing in the Czech Republic, in part 1.4 I attempt to illustrate the more general epistemological challenges the field has been grappling with between essentialist/primordialist and radical constructivist views. As there is a definite scarcity of theoretical literature conceptualising Romany writing, in part 1.5 of the introduction the existing body of work is assessed and found...