The Beginnings of Premonstratensian Order in Bohemia. This thesis deals with the beginnings of Premonstratensian Order and their coming to Bohemia. At first, attention is devoted to the history which is briefly characterized by political, economic, and religious conditions in Bohemia in the first half of the twelfth century. The next chapter will take us through the life of St. Norbert, his conversion to Christianity, as well as the foundation and circumstances of the Premonstratensian Order. In this chapter, the Order's form of organisation, characteristics, and daily habits are also discussed. The subject of the fourth chapter is the establishment of the Premonstratensian Order in Bohemia. There are also discussed the persons who had the main credit for coming the Premonstratensian Order to Bohemia. It was their greatest admirer Jindrich Zdik, as well as the bishop Daniel and the provost of Steinfeld named Eberwin. The next section is dedicated to the description of the consequential creation of the first male and female monasteries in Bohemia such as Strahov, Doksany, Litomysl, Zeliv and Lounovice. There are also mentioned the first abbots and priors of these monasteries. In conclusion, there is a brief summary and evaluation of the contribution of the Premonstratensian Order.

The thesis' subject is the celebrated poet Jindřich Hořejší (1886-1941) in his lesser-known vocation as a theatre translator whose bulk of work consists of translation of contemporary French drama (eg. Giraudoux, Claudel, Cocteau, Salacrou, Neveux, Passeur, Achard or Pagnol). First, it follows traces of theatre in the poet's life, before discussing various aspects of his role as a translator in the reality of theatre at the time (fnancial conditions of theatre translation, the work of theatre agencies, communication with theatres etc.) and offering a list of his translations of French drama, compiled to be as complete as possible. The next chapter contains analyses of Hořejší's own articles detailing his views on the theoretical aspects of translation (which are also reprinted in the Appendix), putting them into the context of contemporary translation theory and practice. The fnal two chapters analyse selected translations. The frst deals with verse drama translations, Arnoux' Huon of Bordeaux and Racine's Phaedra; the latter with an extensive commentary on the history of Czech stage alexandrine. The next chapter follows Hořejší's work with colloquial language in Pagnol's Fanny and compares his approach to translation of Giraudoux' Intermezzo with that of Karel Kraus.