Zugl.: Köln, Univ., Diss., 2008/2009

New wilderness is a term denoting a particular kind of environment which is considerably modified by human activity and then abandoned. These places are left to their own development defined mostly by natural processes. This work describes the phenomenon of new wilderness both in Czech and international context. It attempts to capture not only the general nature of new wilderness but also to point out various features which are provoked by its character. Subsequently it discusses the theory of Umwelt by Jakob von Uexküll describing the relation of individual to the world and treating the space as perceived individually. Second part of this work is dedicated to concrete example of new wilderness - Rohan island in Prague. It summarizes its history and natural conditions. The concepts of Umwelt and heterotopia are then applied to this locality. The two theories in question, conceiving space in a specific way, develop further the complexity and richness of the phenomenon of new wilderness.

1 Abstract The thesis analyzes three novels with utopian features written by African American authors: Sutton E. Griggs's Imperium in Imperio (1899), George S. Schuyler's Black Empire (1936-1937) and Toni Morrison's Paradise (1997). The novels and their description of alternative all-black spaces are analyzed on the background of Michel Foucault's theory of heterotopias. In the first part of the thesis, I provide the introduction to the genre of utopia and its brief history, and I state a definition of utopia for the purposes of the thesis. Next I discuss the specificity of American context and introduce the concept of heterotopias as opposed to traditional utopias. The crucial features are simultaneity, juxtaposition, mutual relationships and mirroring. In the latter part of the thesis, I proceed to the analysis of the novels themselves, stressing mainly their treatment of race and racism. In Griggs's Imperium in Imperio, I describe the parallels between the white and black world in their use of rhetoric and in the Imperium's inspiration by the American War of Independence. I also examine the role of Du Boisian double-consciousness and its working in the concept of heterotopia. In the analysis of Schuyler's Black Empire, I focus on the fascist rhetoric resembling that of Italy in Italo-Ethiopian War,...

Die Leitidee der vorliegenden Untersuchung besteht darin, das Phänomen der von Literatur und Kunst bis auf Populärkultur und Tourismus reichenden Inselfaszination mit Blick auf maßgebliche Denkfiguren und Codes des modernen Wissens zu analysieren. Anschließend an eine phänomenologische und strukturelle Ansicht inselhafter Räume wird im ersten Teil der Arbeit deren mythische, literarische und ikonographische Aneignung von der Antike bis in die Neuzeit schematisiert. Über topische Inhalte hinaus wird der Blick dabei auf eine Reihe formaler Eigenschaften gerichtet, die den Deutungsspielraum von Inselvorstellungen definieren. Der zweite Teil der Arbeit ist der Funktion imaginärer und symbolischer Inselbezüge im Zwischenraum der Entdeckung Tahitis und der romantischen Natur- und Kunstphilosophie gewidmet. Er zielt darauf, die Konstruktion eines modernen Wunschraums nachzuzeichnen, der die Insel als "symbolische Landschaft" an den Horizont eines äußersten Wissens und Genießens setzt. Über die Implementierung eines fiktionalen Inselglücks in Konzeptionen von Landschaft, Erleben, globaler Topographie und Geschichte hinaus geht es dabei um Auswirkungen auf ein modernes Verständnis von Natur, Kunst, Verlangen, Schöpfung und Autorschaft. Deren Beobachtung schlägt der Untersuchung schließlich die Brücke zu Rückkopplungen von Modernität, Primitivismus und Inselphantasien in Konzepten der Avantgarde. Der abschließende dritte Teil der Arbeit unternimmt es zu zeigen, daß die um 1900 vehemente Renaissance einer literarischen und künstlerischen Inselfaszination sowie die gleichzeitigen Artikulationen eines unbewußten oder unsagbaren "Anderen" einander als analoge Denkbewegungen korrespondieren. / The leading idea of this study lies in the analysis of the phenomenon of "Island Fascination", which reaches from literature over fine art to popular culture and tourism. This is done by looking at some of the essential concepts and codes of modern knowledge. A phenomenological and structural view of insular spaces is followed by an outline of their mythic, literary and iconographic interpretation from antiquity to modern times in the first part of the work. The look is directed beyond specific topic contents to a series of formal characteristics, which define the latitude of island interpretations. The second part of the work is concerned with the function of imaginary and symbolic island references between the discovery of Tahiti and the Romantic natural and art philosophy. It sketches the conctruction of a modern space of desire, which presents the island as a "symbolic landscape" at the horizon of a sphere of utmost knowledge and enjoyment. The work tackles the implementation of a fictional insular happiness in concepts of landscape, experience, global topography and history; and it deals with the effects of this topic on modern ideas of nature, art, desire, creation and authority. The analysis of such ideas leads to a closer examination of retroactions of modernity, primitivism and insular imaginations in concepts of the avant-garde. The final third part of the work intends to show that the vehement revival of literary and artistic insular fascination about 1900 corresponds to simultaneous articulations of an unconscious or unspeakable "other".

A travers l’analyse de huit pièces de théâtre se déroulant dans des no man’s lands urbains et que nous réunissons sous ce que Jean-Pierre Sarrazac appelle « la dramaturgie du no man’s land », nous tentons de montrer comment le drame moderne et contemporain continue à se réinventer par l’adoption d’autres modèles dramaturgiques. Notre recherche s’applique surtout à l’un de ses modèles, celui de la performance. Comme le dit Jacques Derrida à propos de la déconstruction, pour les auteurs de ces pièces, il s’agit aussi par la représentation du no man’s land urbain de «penser à partir de ce passage, à la limite, à un ailleurs-ici »1. Ce non-lieu hétérotopique leur permet à la fois de penser la violence du monde tout en continuant à expérimenter de nouvelles formes du drame.En se situant sur cette ligne, sur cette frontière, « dans un ailleurs de certitudes »2, ces auteurs donnent cours à un drame qui, succédant à la catastrophe de la deuxième guerre mondiale, à la chute des utopies de gauche et à l’accroissement affolé du capital, ne cherche pas à donner de réponses à la manière du théâtre brechtien, mais à soulever des questions. Par cette déconstruction et par l’adoption des éléments performatifs dans le traitement du temps, de l’espace et de la présence de l’auteur et du personnage, ces auteurs, Harold Pinter, Botho Strauss, Bernard-Marie Koltès, Edward Bond, Rodrigo Garcia, Tim Etchells, Victor Viviescas et Carolina Vivas, mettent le spectateur en relation directe avec la scène de cette cruauté annoncée par Artaud qui ne se limite pas à une imitation mais est aussi une expérience au présent : celle du vide. / By analyzing eight plays taking place in urban no-man’s-lands, which we have grouped under the heading of what Jean-Pierre Sarrazac calls “no-man’s-land dramaturgy,” we attempt to show how modern and contemporary drama continues to reinvent itself through the adoption of other dramaturgic models. Our research is applied especially to one of these models – performance art. As Jacques Derrida says in regards to deconstruction, the authors of these plays, too, «think about this passage onward, about a limit, about an elsewhere-here-and-now»3 by the representation of an urban no-man’s-land. This heterotopian non-place allows them to reflect on the violence of the world even as they experiment with new forms of drama.By going out on that edge, that border, out to «an elsewhere of certitudes»4 these authors set in motion a drama which, coming as it does after the catastrophe of the second world war, after the fall of leftist utopias, on the heels of madly spiraling capital, seeks to pose questions rather than provide answers in a Brechtian sense. Through this deconstruction and by the now adoption of performative elements in the treatment of time, space and presence of the author and of the character, authors Harold Pinter, Botho Strauss, Bernard-Marie Koltès, Edward Bond, Rodrigo Garcia, Tim Etchells, Victor Viviescas and Carolina Vivas put the audience directly in touch with the cruelty foretold by Artaud, which isn’t limited to imitation but is also an experience of the present – that of the void.

Diploma thesis is a case study of forest school. Thesis draw from school ethnography approach and examine in what ways this school constitute education different from dominant educational discourse. It applies the concept of heterotopia on the basis of which it reveals other ideological, discursive and also organisational practices on which is this school build on. Educational discourses are inseparable. For understanding of its otherness there is used the reference framework of disciplinary mechanisms of normative education; specifically the space layout, surveillance and the process of examination. Thesis also seeks to reflect contemporary shifts in educational paradigm and it shows some inovative and newly emerged forms of education. It mirrors neoliberal tendencies which permeates through the educational system. It works with imperatives of freedom, responsibility and the autonomy of children. Key words: forest school, alternative education, case study, hoterotopia, discourse, discipline

Background Pancreatic heterotopia (PH) is defined as ectopic pancreatic tissue outside the normal pancreas and its vasculature and duct system. Most frequently, PH is detected incidentally by histopathological examination. The aim of the present study was to analyze a large single-center series of duodenal PH with respect to the clinical presentation. Methods A prospective pancreatic database was retrospectively analyzed for cases of PH of the duodenum. All pancreatic and duodenal resections performed between January 2000 and October 2015 were included and screened for histopathologically proven duodenal PH. PH was classified according to Heinrich’s classification (Type I acini, ducts, and islet cells; Type II acini and ducts; Type III only ducts). Results A total of 1274 pancreatic and duodenal resections were performed within the study period, and 67 cases of PH (5.3%) were identified. The respective patients were predominantly male (72%) and either underwent pancreatoduodenectomy (n = 60); a limited pancreas resection with partial duodenal resection (n = 4); distal pancreatectomy with partial duodenal resection (n = 1); total pancreatectomy (n = 1); or enucleation (n = 1). Whereas 65 patients (83.5%) were asymptomatic, 11 patients (18.4%) presented with symptoms related to PH (most frequently with abdominal pain [72%] and duodenal obstruction [55%]). Of those, seven patients (63.6%) had chronic pancreatitis in the heterotopic pancreas. The risk of malignant transformation into adenocarcinoma was 2.9%. Conclusions PH is found in approximately 5% of pancreatic or duodenal resections and is generally asymptomatic. Chronic pancreatitis is not uncommon in heterotopic pancreatic tissue, and even there is a risk of malignant transformation. PH should be considered for the differential diagnosis of duodenal lesions and surgery should be considered, especially in symptomatic cases.

Background Pancreatic heterotopia (PH) is defined as ectopic pancreatic tissue outside the normal pancreas and its vasculature and duct system. Most frequently, PH is detected incidentally by histopathological examination. The aim of the present study was to analyze a large single-center series of duodenal PH with respect to the clinical presentation. Methods A prospective pancreatic database was retrospectively analyzed for cases of PH of the duodenum. All pancreatic and duodenal resections performed between January 2000 and October 2015 were included and screened for histopathologically proven duodenal PH. PH was classified according to Heinrich’s classification (Type I acini, ducts, and islet cells; Type II acini and ducts; Type III only ducts). Results A total of 1274 pancreatic and duodenal resections were performed within the study period, and 67 cases of PH (5.3%) were identified. The respective patients were predominantly male (72%) and either underwent pancreatoduodenectomy (n = 60); a limited pancreas resection with partial duodenal resection (n = 4); distal pancreatectomy with partial duodenal resection (n = 1); total pancreatectomy (n = 1); or enucleation (n = 1). Whereas 65 patients (83.5%) were asymptomatic, 11 patients (18.4%) presented with symptoms related to PH (most frequently with abdominal pain [72%] and duodenal obstruction [55%]). Of those, seven patients (63.6%) had chronic pancreatitis in the heterotopic pancreas. The risk of malignant transformation into adenocarcinoma was 2.9%. Conclusions PH is found in approximately 5% of pancreatic or duodenal resections and is generally asymptomatic. Chronic pancreatitis is not uncommon in heterotopic pancreatic tissue, and even there is a risk of malignant transformation. PH should be considered for the differential diagnosis of duodenal lesions and surgery should be considered, especially in symptomatic cases.

The goal of this thesis The thematization of the issue of surveillance and power in cinematography is to introduce Michael Focault's theory of power, and add to it with other theories of surveillance with regard to the electronic age (Surveillance studies). Subsequently these theories and hypothesis are applied to qualitative analysis of chosen films with the theme of surveillance. Findings should show the cinematographic reflection of the issue of surveillance and power, de facto depiction of theory and practice of surveillance studies (emphasising the use of power in institutions like prison, hospital, school or working environment, which are heterotopic "other spaces") in live-action movies. The thesis shows development within the past 30 years which took place also due to the existence of internet, which is a kind of institution too. Hypothesis: it is obvious in films with surveillance theme that the concept of the use of power is evolving from "body as a machine" (M. Foucault) to "disappearing bodies" (D. Lyon). The choice of films is analysed only with regard to their depiction of surveillance, is mainly based on the list of movies with surveillance theme constructed by a German theorist D. Kammerer. The goal is also to broaden this list with examples of other films since it should emphasise...