Between 1. 8. 2011 and 14. 8. 2011, from the center of Prague to the South, following the Moldau river, the Journey/Performance took place. The journey without specified destination. The participants were two artists Veronika Slámová, who initiated the trip, and Darina Alster. They took with them hand made pushcart, designed by Jan Jaroslav Sterec, in which they had hand made costumes, basic food and camping necessities. The aim of the Journey/Performance was to break free from everyday life and stereotypes, to find new experience, to travel without plans, mobiles, money, time and other modern utilities. Veronika Slámová and Darina Alster tried to find out if people are willing to help unknown artist/pilgrims. During the Journey/Performance the spontaneous performances took place based on the location, participants and situation. People were enthusiastic and serious about their parts in these performances. If artists needed help with or without asking people offered it to them, sometimes they had to refuse these offers. The journey was documented by using the photographs, video and text. Part of the journey was broadcasted live in internet radio Applaus.

China is a cultural and economic giant in today’s world, but has been somehow misunderstood in the past decades . With more and more educational and economic communication between China and the western world, more non-Chinese people find a need to know China. This project has created a board game based on Journey to the West, a 2000-page novel which is one of the four great classical novels in China. The project seeks to transmit some of the cultural aspects of China, stimulate people’s interest in China through simple gameplay. The ultimate goal of this project was to develop a game which was fun for friends and families to play together, as well as to offer a relaxing and pleasant play space for people to experience a different culture without extensive reading. The paper explains the research that has been done to realize the project, Journey to the West: the Board Game, and the production expectation. A study has been done behind the project explored the game’s mechanics, appeal and effectiveness. The paper also details the results of this study to determine if players of this board game learn about Chinese culture more than readers of the book.

In the essay “William Kennedy’s Ironweed: Francis Phelan’s Purgatorial Journey Back Home” I intend to show that William Kennedy has borrowed his narrative structure and symbolic language in the novel Ironweed from The Divine Comedy. I will also try to show how William Kennedy has used these allusions to enhance the imagery of Ironweed and the protagonist Francis Phelan’s wandering through the novel, and his return home. To accomplish this I will present a detailed comparative analysis of William Kennedy’s Ironweed and Dante Alighieri’s The Divine Comedy. I will begin by showing that Kennedy establishes the protagonist Francis Phelan as a Dante-like figure and a sinner who needs to go through purgatory to redeem himself. Moreover, Kennedy uses Dante Alighieri’s Divine Comedy’s landscape to enhance the imagery of a journey back home, and by showing that each chapter represents a different level on Mount Purgatory Kennedy makes Albany a symbol of the mountain itself. Details such as the mentioning of the seven deadly sins are also there to make the reader think of Dante and thereby reinforcing the image of The Divine Comedy’s landscape in Francis Phelan’s New York, Albany. I also demonstrate that Kennedy borrows his symbolic structure from Dante Alighieri’s Divine Comedy. For example, the intricate ending of Ironweed where several parallels can be drawn to Purgatory and Paradise reinforces the impression of Francis Phelan’s happiness, that is, a reader who is familiar with The Divine Comedy will appreciate and understand Francis Phelan’s happiness and the journey he has accomplished even more.

In today’s society, more of the population is finding itself with multiple points of reference to what they consider as home. Anyone who finds they have more than one place that they feel tied to for one reason or another, considers the impact of these places on their identity. The scale of experience with the places where we live, visit and grow up influences the scale of impact upon our identity. Even a vacation or a visit to a certain place influences us, and thus also changes the place because we interact with it. I am showing, through sculptural and creative media, the layering effect of locational identity and the journeys we make to physically and conceptually link those identities.

This essay is around C.S Lewis’s classic children’s novel The Lion, the Witch and the Wardrobe and it focuses on the metaphorical meaning of the door and what insights it provides each time it is opened. It argues that the journey into Narnia is also a psychological journey, representing spiritual awakening. It draws conclusion that through this psychological journey in Narnia, the protagonists has undergone spiritual rebirth and their psyche has been raised to new heights.

Magister Educationis - MEd / This research explores the learning journey that was traveled by the two administrators who joined a non-governmental organisation as novices over ten years ago almost fresh from school and are now regarded as experts in their respective positions. The research attempts to describe the nature of their learning and analyse how they became the knowledgeable in their respective posts.The research is a qualitative study that analyses data obtained through interviewing the key subjects (the administrators) and the chief executive officer (CEO) of the organisation as well as the self narrative as compiled by the administrators.This research questions formalised learning as the only form of acquiring knowledge and accordingly adopted workplace learning as a theoretical framework for the study. Workplace learning stresses that knowledge is not limited to formalised settings such as schools, colleges and universities. Rather, knowledge is also constructed in informal and non-formal settings such as work-places and in families.The study found that the administrators drew on many learning strategies to acquire their knowledge and skills related to administration which includes learning through:·The teachings and support of their supervisors and peers;·Collaboration with peers and working as a team;·Seeking advice from their mentors, coaches and peers; ·Modeling ·Workplace affordances.The study concluded that indeed formalised learning has not been the only form of acquiring knowledge for the subjects but workplace learning has played a vital role in their career development.

Après la conquête de Constantinople en 1453, la nécessité de recueillir des informations mises à jour sur la ville et ses nouveaux dirigeants est devenue une nécessité. Non seulement la documentation disponible sur les Turcs était obsolète, les Ottomans eux-mêmes étaient différents de la dynastie Seldjouqide rencontrée pendant les Croisades. Européens et asiatiques, musulmans et chrétiens, turcs et grecs, cerner la société ottomane était une tâche ardue qui demandait un fin observateur. Les Ottomans étaient impliqués dans presque toutes les affaires européennes et méditerranéennes, soit par la formation d'alliances, des déclarations de guerre, la création d’états vassaux ou l'établissement de routes commerciales. Le Saint Empire, la France et les villes italiennes furent parmi les premiers à envoyer des émissaires à Constantinople. Les récits des voyageurs offrent une variété de témoignages de première main sur la manière dont la capitale de l'Empire ottoman était régie des activités de la vie quotidienne jusqu’à la vision politique du sultan. L'identité du voyageur joue un rôle important dans la détermination du contenu de son rapport. Un ambassadeur, un espion, voit les choses différemment d'un marchand ou d'un moine. La perception de la réalité ottomane elle-même évolue du début à la fin du séjour. La représentation du Turc moyen, du sultan, des Grecs et d'autres minorités à Constantinople donne un aperçu de la représentation sociale et politique de soi et de l’autre en Europe pendant la Renaissance. Les comparaisons fréquentes avec l'Empire romain montrent que, étonnement, les Ottomans héritent de certaines caractéristiques qui expliquent leur âge d'or avec Mehmet le Conquérant et Suleyman le Magnifique. Le résultat du croisement des récits conduit à la conclusion inattendue que non seulement Constantinople devenait Istanbul, mais elle renouait avec ses racines romaines. / After Constantinople’s conquest in 1453, the need to gather updated information on the city under its new rulers became a necessity. Not only the available documentation on the Turks was obsolete, the Ottomans themselves were different from the Seljuk dynasty encountered during the Crusades. Both Asian and European, Muslim and Christian, Turks and Greeks, defining the Ottoman society was a hard task that needed a journey and a shrewd observer. The Ottomans were involved in almost all the European and Mediterranean affairs whether through forming alliances, waging wars, creating puppet states or establishing trade routes. The Holy Roman Empire, France and the Italian city states were among the first to send emissaries to Constantinople. The reports gathered by the travelers offer a variety of first-hand eye witnesses of how the capital of the Ottoman Empire is ruled from daily life activities to the political vision of the sultan. The identity of the traveler plays a great role in determining the content of his report. An ambassador, a spy see things differently from a merchant or a monk. The perception of the Ottoman reality itself evolves from the beginning of the journey to its end. The representation of the average Turk, the sultan, the Greeks and other minorities in Constantinople gives a great insight about the social and political representation of self and others in Europe during the Renaissance. The frequent comparisons with the Roman Empire shows that, surprisingly, the Ottomans are inheriting some characteristics that explain their golden age with Mehmed the Conqueror and Suleiman the Magnificent. The result of crossing the traveler’s accounts leads to the unexpected conclusion that not only Constantinople is becoming Istanbul, it is reclaiming its Roman roots.

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My thesis tries to speculate a building in a scenario where there is a four-dimensional world behind the world we currently inhabit, inspired by the provocative 19th-century romance Flatland. After studying the characters of higher dimensionality, the thesis generalizes a way of perceiving the fourth dimension in three-dimensional building, which has two aspects of space and time. First, expanding the space allow us to perceive each 3D slice of a 4D space. Those slices should be "seen" at the same time if we have four-dimensional senses. This brings up the second aspect, folding time. We travel from one slice to another, spending time that would be no time if we truly experience four dimensionally. The site is a small traffic island in Rosslyn, Virginia, across from Washington DC. Taking the space within the site as a slicer, and applying the method from studying the 4th dimension, we have got series of scenes (represented in box) in different sizes. These scenes are the 3-dimensional sections of the 4-dimensional world that are unseen to all of us, and are only to be "seen" by going into this building on the site. But the nature of going through the 4D in this 3 dimensional way is very personal. And the different sequences create different representations of what the building would be. Thus, I take a journey of our character J as an example to show what a similar building experience would be if we were going into it. The number of 3D sections from 4D is infinite, thus our building is a particular combination of the scenes which are forming one's journey. In our world, visiting this building one enters by arriving at its end (top in this case), and going back down to exit. It is the same in the narrative of J's journey in this building's world. So, reality and imagination merge. Let's find out what it feels like. / Master of Architecture / Architecture is about designing buildings. But studying architecture, sometimes we want to know the things behind the appearance of the building. What happens "inside". Designing a building needs to deal with space. What is inside the space? By going straight in and out of the solidness, we enter the next dimension, the 4th dimension. This is inside and outside the appearance of the building we see every day. Also trying to figure out the meaning of it, the thesis generalizes a way of perceiving the fourth dimension in three-dimensional building, which has two aspects of space and time. First, expanding the 3D space allows us to perceive each 3D slice of a 4D space. Those slices should be "seen" at the same time if we have four-dimensional senses. This brings up the second aspect, folding time. We travel from one slice to another, spending time that would be no time if we truly experience four dimensionally. In the story of our helper J, we found a way, both a solution and a circulation, to visit this "building". Our sequence represents one of the appearances of what the building would be. In our world, visiting this building one enters by arriving at its end (top in this case), going back down and exit. It is the same in the narrative of J's journey in this building's world. So, reality and imagination merge. Let's find out what it feels like.

This initiative will seek to transform the suffering experienced by Catholic women when a marriage covenant ends through a research-based project to reimagine the Roman Catholic annulment process. This project is intended to increase awareness of the annulment process to foster healing and restoration. The Roman Catholic annulment process, dating back to A.D. 110, historically focused on a more transactional approach to breaking the covenantal bond established in a Catholic marriage. This process will help women view and experience the annulment process as a journey toward healing and restoration leading to new relationships with self, others, and God. Finding joy in a new beginning brings hope. Yet finding a new beginning in the annulment process is an experience of faith. The study examines Catholicism as a way of life in the broader context of sacramental theology. The sacramental life centers on seven interrelated sacraments. The sacrament of marriage creates a covenantal relationship and life-long marital bond. This bond cannot be dissolved. There is no Catholic divorce. Therefore, when a civil divorce occurs, a complex cycle of grief follows. While marriage remains a significant part of the fabric of our society, approximately 50% of all U.S. marriages end in divorce. Despite controversy regarding the annulment process, it can be a life-giving journey that transforms suffering. Church documents provide vision, clarity, and the opportunity for Catholics to understand teachings on marriage, divorce, and annulments. The project will include a group of 8-10 Catholic women, who were married in the Church and experienced a civil divorce. These women will build trust, develop authentic relationships, and support each other as they journey together. The group will be structured using the Bridges Transition Model which highlights three stages of transition: endings, neutral zone, and new beginnings. This one-year project will be evaluated using information gathered during individual and group sessions. A structured outline has been established for the project and aligns with the steps in the annulment process.