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

Submitted Thesis consists of two parts theoretical and practical. The theoretical part aims at the chronological mapping and analyzing of all available Czech editions of Karel Čapek's play R.U.R. from 1920 until 1989. It also deals with design-transformations of Čapek's Robot on the examples of selected theatre plays in Czech lands as well as in foreign countries performances. The Thesis pays attention to stage executions on the basis of period photographs, drawings and reviews. It is created a united survey of this Čapek's play in the Czech lands in the given time period from its origins until its theatre realizations and book publications. The practical part of the Thesis will then extend the historical play book covers given in the theoretical part by creating an original author book based on Čapek's play, which will be the visual interpretation of the text. By that will be produced a continuity between the theoretical and the practical part of the Thesis.

Josef Čapek belonged among those Czech artists who dealt with problems of form and function of a modern art work in the beginning of 20th century. Both theoretical reflections on art and his early fiction represent Čapek's specific approach to the debate about modern and avant-garde currents in the times of stylistically inconsistent situation. This thesis analyses the confrontation of aesthetic principles of these art movements. Its focus is to show to what extent was Josef Čapek influenced by the principles of the individual movements and to describe the way in which he acquired and modified them. The goal is to outline Čapek's path from a survey of modern forms to his own independent viewpoint. Key words Josef Čapek, Modern Art, Manifest Česká moderna, Neoclassicism, Cubism, Expressionism

Diploma thesis called Josef Čapek (monographic study)focuses on Josef Čapek's literary discourse. On the one hand it deals with the meanings of topics and motives, which were crucial for Čapek's writing in the relation with the whole author's work, on the other one it concentrates on formal characteristics of Čapek's literary language. Thesis also attempts to answer the question whether Josef Čapek followed contemporary literary tendencies or whether his works differed and if they did, then how. The relationship between Čapek's writing and paintings is also important, therefore the thesis examines whether his painting activity somehow reflected in or even directly influenced his literary works. The whole thesis is divided into eight chapters, by which we suggest to structure also whole Josef Čapek's literary work itself into eight periods and areas. Bibliography, mapping published first editions of his texts, reception and reflection of his literary works, paintings and his own personality, is also important part of the thesis.

This thesis focuses on the work of the Čapeks Brothers and monitors their premonition of a coming destruction, the World War II. It consists of two parts theoretical and practical. The practical part presents poster set freely interpreting a Hugo Haas film The White Disease.