One of the most fundamental changes of the European opera production of the so-called long 19th century - apart from the change of the music structure itself, opera dramaturgy (or poetics) and forming of stable repertoire among other things - was its internalization: it was no more Italian opera as the only international operatic idiom but various traditions were influencing each other, the most important being the French, German and Italian operatic traditions (apart from the Russian one). The core thesis of this work, as it is seen in its title, could be formulated as follows: Prague in the mid-19th century could be regarded as a crossroad of European opera, in other words a place where these operatic traditions were in play. It means two things: First, Prague opera repertoire became international (many French, German and Italian operas were performed here). Second, dramaturgy of poetics of these various genres was projected into works of home composers. Dramaturgical analysis of four chosen operas - three of them by Johann Friedrich Kittl (Bianca und Giuseppe oder Die Franzosen vor Nizza, Die Waldblume and Die Bilderstürmer) and one by Josef Dessauer (Lidwinna) - aims to document this second statement. To which extent a composer is led and determined by a given libretto could be seen at the case of...

This master's thesis focuses on Josef Hiršal's work in its entirety. The core will be a literary-historical material research, based on which there will be a complete annotated bibliography (which still does not exist) prepared. The bibliography will consist of Hiršal's original work (poetic and prosaic) and also his translations. It will be stuctured in a chronological order and it will map out period critiques and other responses to Hiršal's works. The bibliography will be preceded by a short summary charasteristics of Hiršal's life and his work throughout the years and there will also be a nominal and an objective index.

This thesis deals with literary work of Josef Čapek in relation to the concept of visual contrast. First, the historical background is set up, with highlights of then exposed interest in Baroque era on one hand, and increasing threat of World War II on the other. Both of these moments were relevant in connection with one of the most crucial cultural events in First Czechoslovak Republic: the exhibition of Pražské baroko 1600-1800. The essential hypothesis suggests that based on what has been indicated, some elements of the Baroque aesthetics appeared to be relevant for Josef Čapek's unique artisic expression as well, since they became subject of integration to his aesthetic frame. In this respect, the common ground between Čapek's modern artistic approach and Baroque aesthetics is believed to be shaped by the notion of visuality. Finally, these ideas are applicated on Čapek most prominently Baroque-influenced works, Kulhavý poutník and Psáno do mraků. Keywords: Josef Čapek, Baroque, exhibition, Pražské baroko 1600-1800, visuality, contrast, chiaroscuro, Kulhavý poutník, Psáno do mraků

Made available in DSpace on 2016-08-03T16:15:50Z (GMT). No. of bitstreams: 1 Enio Starosky.pdf: 1295811 bytes, checksum: bcf48883268a61f35fbaf0b43527d6d4 (MD5) Previous issue date: 2015-03-25 / Josef Pieper and C. S. Lewis are two of the main philosophers of the 20th century. This research aims to analyse their thoughts on love and their implications to education. Pieper and Lewis are important scholars who have gained enormous respect in the academic world for their original and profound works as christian thinkers. Their studies on love each author from his own point of view are a must for everyone who is concerned with education. Lewis and Pieper share a language-centered methodology that leads to clarify the common essence of loves (Pieper) and the four loves: affection, friendship, eros and charity (Lewis). And both thinkers are focused on ordinary language. The more love is a misunderstood word the more such a philosophical analysis is required. Education for love, according to Lewis and Pieper, is centered in philosophical anthropology, and this dissertation presents the connection between their conception of love and man and the education that follows. / Josef Pieper e C. S. Lewis são dois dos principais filósofos do nosso tempo. A presente pesquisa visa analisar as doutrinas desses pensadores sobre o amor e extrair as consequências para a educação. Pieper e Lewis são importantes intelectuais, respeitados por todo o mundo acadêmico, por conta de suas obras, originais e profundas, como pensadores cristãos. Seus estudos sobre o amor cada autor com seu próprio ponto de vista são incontornáveis para todos que se ocupam da educação. Lewis e Pieper compartilham uma metodologia centrada na linguagem, o que leva à compreensão da essência comum aos amores (Pieper) e dos quatro amores: afeto, amizade, eros e caridade (Lewis). E ambos voltam-se para a linguagem comum. Quanto mais a palavra amor é distorcida e deturpada hoje em dia, tanto mais é necessária uma análise filosófica como a de Pieper e Lewis. De acordo com os autores, a educação para o amor remete à Antropologia Filosófica e esta dissertação apresenta a conexão entre a concepção de amor e a de homem, e a educação que a elas se segue.

Cette thèse porte sur les livres auto-illustrés réalisés par l'Autrichien Alfred Kubin (1877-1959), le Tchèque Josef Váchal (1884-1969) et le Polonais Bruno Schulz (1892-1942). En rapprochant les œuvres de ces auteurs et illustrateurs relativement méconnus et considérés comme marginaux selon les canons culturels de leur époque, ce travail souhaite démontrer qu'un paradigme se fait jour dans la pratique de l'auto-illustration et l'imaginaire du livre qui lui est associé. En tenant compte du contexte de la culture centre-européenne dans l'entre-deux-guerres et de la dimension technique de l'histoire du livre, dont les enjeux coïncident avec les réflexions contemporaines sur l'originalité et la reproductibilité mécanisée, la thèse définit la démarche d'auto-illustration comme la quête d'un « livre total de pacotille ». Mais il s'agit aussi de lui donner un cadre théorique en se focalisant sur l'analyse des rapports entre le texte et l'image afin de révéler certains traits récurrents qui défient le processus d'illustration classique : l'antériorité ou la simultanéité de l'image, qui permet l'information mutuelle des codes iconique et linguistique sur la page ou la favorise dans le texte, inverse aussi le principe de « transposition » inhérent à l'illustration, voire l'excède pour lui substituer un « dialogisme » intersémiotique. Ces phénomènes confirment l'importance du geste réflexif présidant à l'auto-illustration, qui suppose une hyperconscience du dispositif illustré mais prend aussi en compte l'omniprésence transgressive du créateur, qui envahit les seuils de l’œuvre, se figure en texte et en images, et en auteur, illustrateur, narrateur et personnage(s). / This dissertation deals with self-illustrated books by the Austrian Alfred Kubin (1877-1959), the Czech Josef Váchal (1884-1969) and the Pole Bruno Schulz (1892-1942). Comparing the works of these writers and illustrators, who are not quite famous and were considered to be on the margins of the cultural models of their time, the dissertation shows that a creative paradigm is to be found through self-illustration and the book imagery that goes with it. Taking into account the context of central-european culture during the interwar period, and the technical aspects of book history, which are linked to contemporaneous debates about originality and technical reproductibility, this study defines the production of these writers-ilustrators as a search for a « cheap total bookwork ». It is based on a theoretical framework which focuses on the relations between text and image in order to reveal recurring features which challenge the classical illustrating process : images being produced prior to or at the same time as the text provide for the mutual exchange of properties between words and pictures on the page and in the text itself. This practice also reverses the principle of « transposition » inherent to illustration, or even replaces it with an intersemiotic « dialogism ». These phenomena confirm the importance of the reflexive nature of self-illustration : not only does it require a high level of awareness of the illustrated apparatus but it also explains the transgressive omnipresence of the creator who invades the « paratext » and represents himself in texts and images as writer, illustrator, narrator and character(s).

Quand nous admirons une œuvre d’art nous ne pensons pas forcément au parcours personnel de l’artiste ni à tous les moyens matériels dont il a eu besoin pour la production de son œuvre. Cependant une création artistique est toujours le résultat de l’association de ces deux éléments : de ce que l’artiste est comme personne et de tous les réseaux de production et de distribution de son travail. A travers l’exemple de Josef Nadj, cette thèse cherche à expliquer un chemin de création artistique. Comment Josef Nadj s’est construit et quel était le contexte historique qui a marqué le pays dans lequel il est né et conditionné son œuvre. Quelle est son esthétique et de quelle manière il organise son processus créatif. Finalement, quelles sont les circonstances de son arrivée en France et de son implantation dans les réseaux culturels français qui soutiennent le financement et la distribution de son œuvre. Son histoire est d’autant plus intéressante qu’elle englobe le parcours d’un artiste immigrant qui a obtenu la reconnaissance professionnelle d’abord dans son pays d’adoption, la France. / When we admire an artwork we do not necessarily consider the personal background of the artist and the material means that were required for the production of the artwork. However, every artistic creation is a result of fusion of these two conditions: who the artist is as a person and all the different networks of production and distribution of his work. This thesis is trying to explain, using the example of Josef Nadj’s career, how one’s artistic path can look. What was the historical context of the Josef Nadj’s native country during his life—and even before his birth— and how these circumstances influenced his growing up and later his artistic choices. What do his aesthetics look like and how does he create his pieces. Finally, which circumstances brought him to France and how did he join French cultural networks which later financed and distributed his work. The story of his background and professional career is even more interesting because it sheds light on an artist-immigrant who obtained his professional recognition in his adopted country—France.

Title: The Letters of Jakub Deml to Josef Florian Author: Igor Pejchal <igor.pejchal@seznam.cz> Department: Institute of Czech Literature and Literary Theory Thesis Supervisor: Mgr. Daniela Iwashita, Ph.D. <daniela.iwashita@gmail.com> Key Words: correspondence, Jakub Deml, Josef Florian, Josef Ševčík, Otokar Březina, František Bílek, Pavla Kytlicová, Curia of Brno, Studium edition Abstract: The diploma thesis named The Letters of Jakub Deml to Josef Florian includes the edition of all the letters of the writer Jakub Deml (1878-1961). The correspondence from 1903 to 1935 includes 346 units and exploits 6 sources: the copies of letters done by Jaroslav Staněk, handwritten letters archived in Moravian Museum in Brno and LA PNP, Prague, letters addressed to Josef Florian as edited by Jiří Olič and hand-written originals possessed by two private owners. The edition of the collected letters is accompanied by a list of letters, an editorial note and translations of excerpts which are not in Czech. An accompanying study deals with the editorial history of these collected letters, the relationship of Jakup Deml and Josef Florian in the time of their collaboration and provides an outline of the future research tasks regarding this edition. The letters of Jakub Deml to Josef Florian are published in print in...

The subject of the master's thesis is the royal box at the National Theater in Prague. The diplomat elaborates in detail its construction history from the initial construction, later reconstructions and repairs. She will put the box in the context of type development and will be interpreted in terms of the meanings projected therein. Of course, there will also be analyzed in terms of functioning. The interpretation of the architectural site is supplemented by the analysis and interpretation of the iconography of painting decoration. An integral part of the work will be detailed picture documentation. Keywords National Theatre, The Royal / Presidential box, Vojtěch Hynais, Václav Brožík, Julius Mařák, Josef Zítek, Josef Schulz, Neo Renaissance

Das Verständnis vom Wohnen in seiner baulichen, lebensweltlichen und existentialen Bedeutung als Grundlage für das Entwerfen von Wohnarchitektur am Beispiel des Werkes von Josef Frank. - (Die Dissertation ist veröffentlicht im Shaker Verlag GmbH, Postfach 101818, 52018 Aachen, Deutschland, http://www.shaker.de, ISBN: 978-3-8322-7938-7)

Thesis Abstract This diploma thesis analyses theatre music in three productions of Naši furianti and one film - the production by Josef Šmaha at the National Theatre in 1887, the production of opera Naši furianti at the State Opera Ostrava in 1949, the production by Vítězslav Vejražka in 1970 at the National Theatre and film Naši furianti by Vladislav Vančura a Václav Kubásek at the year 1937. This thesis correlates with my Semestral work which deal with an analysis of Miroslav Macháček's production of Naši furianti in 1979 at the National theatre and bachelor's thesis which deal with an analysis of the production by Petr Lébl at the theatre Na Zábradlí in 1994, the production by Jan Antotnín Pitinský in 2004 in the National Theatre and the production by Jan Born in 2011 at Divadlo v Dlouhé. This thesis is aiming to describe transformation od Czech theatre music in history and to analyse various functions of tgeatre music. Key words: Naši furianti, theatre music, Josef Šmaha, Vítězslav Vejražka, Vladislav Vančura, opera Naši furianti