Ve své diplomové práci se jsem se pokusil popsat politickou situaci v Itálii v první třetině 14. století se zaměřením na působení významných osobností Lucemburského rodu v této oblasti. Pro zpracování jsem zvolil léta 1308-1313, 1330-1333 a rok 1337. Zaměřil jsem se hlavně na osobu Jindřicha IV. Lucemburského, jeho nástup k moci, volbu říšským králem a následnou cestu za císařskou korunou. V práci rozebírám reformy, které Jindřich použil při správě Italských měst během cesty na Řím. Dále se zaměřuji na odezvu, kterou jeho působení vyvolávalo u příslušníků dvou hlavních politických směrů v Itálii, tedy u guelfů a ghibelinů, i u francouzského krále Filipa IV. a u papeže Klimenta V. pobývajícího tou dobou v Avignonu. Dále se zaobírám pokusem českého krále Jana Lucemburského a jeho syna Karla o založení Lucemburské signorie na území Lombardie, Toskánska a Emilia Romagna a jejich neúspěšné snahy o udržení tohoto území pod Lucemburskou nadvládou. A Karlovo krátkodobým pokusem o získání území v severní Itálii v roce 1337. Opět se věnuji vlivu jejich působení na politiku měst zmíněných oblastí. Také se okrajově zaměřuji na vliv Jindřicha Lucemburského na spisovatele Danta Alighieriho a jeho dílo "De Monarchia" s Jindřichovo tažením do Říma jako předlohou pro vznik tohoto díla.

(in English): This thesis aims to provide a comprehensive picture of the famous Czech aristocrat, official and philanthropist Charles Chotek in his roles of life. Karel Chotek successively held the authority of the provincial chief of Trieste, Innsbruck and Prague. The period of his administration in the Czech countries is characterized by great development of economy and social institutions. The thesis is divided into two major parts, the first is represented by the study and the second are supplements with the editions of used archives - diary, memorabilia and autobiography. The chapters are divided thematically-chronologically according to a roles, which Count Chotek in his life held - a nobleman, son, brother, student, husband, father, officer, philanthropist, traveller, observer of the revolutionary year of 1848, a businessman, builder, landowner and social being. The exception is chapter two, which gives a theoretical introduction to the topic of research of diaries, memoirs and autobiographies. In conclusion, I think about the personality, character and temperament of Count Chotek.

The thesis "The Second Roman Ride of the Charles the Fourth" tries to cover the whole campaign of the Emperor Charles IV. between years 1368 and 1369. Also, thesis follows the basic questions related to the issues of the royal court during the journey. The first of those questions is about accompaniment of the Emperor Charles IV. on his journey across the Italian territory and how the court was transformed during the ride to Rome and back. The second question points out the effort to build the court of the Elizabeth of Pomerania, who was crucial person of the second Roman ride where she did not travel alongside the emperor. The last question attempts to describe the undergirding of the court during the campaign in italian cities - how the emperor and his court was accepted and welcomed, accommodated, supllied and gifted.

This dissertation is a comparative study of the Russian and Czech avant-gardes and their responses to the crises of representation and artistic language in the first decades of the 20th century. In particular, it examines the theoretical and creative output of two artists who worked at the intersection of the word and image: the poet Vladimir Mayakovsky and the visual artist Karel Teige. Both artists were central figures in the founding and theoretical articulation of Russian Futurism and Czech Poetism, respectively. The chapters trace these artists’ artistic evolutions, from their earliest conceptions of a crisis in art to the development of solutions for overcoming this crisis. The theoretical and creative output of these figures is examined both within the artists’ individual oeuvres, as well as in light of their respective artistic movements and the broader tendencies of the international avant-garde. Chapter 1 traces Mayakovsky’s response to the crisis from his initial impulse toward abstraction, characteristic of the Russian Cubo-Futurist movement in the verbal and visual arts more broadly, to the introduction of a political agenda into his art. On the basis of Mayakovsky’s participation in collective Futurist publications, his individually authored theoretical essays, and narrative poems, this chapter argues that the poet’s solution to the crisis of language coalesced around the possibility of realizing democratic representation in art. The chapter shows that in poems written between 1914 and 1921, Mayakovsky was concerned with the question of how to accommodate others’ voices in lyric poetry, how to allow them to speak in and through his works. His vision of a more democratic form of representation necessitated the poet’s metaphorical self-sacrifice, which he repeatedly performed in his poems on the level of plot. This sacrifice enabled him to realize his vision of democratic representation in the idea of collective authorship performed in his narrative poem 150,000,000. Chapter 2 highlights Karel Teige’s response to the crisis of artistic language and representation in his theoretical essays and artworks. By contrast to Mayakovsky’s politicized response, Teige prioritized formal innovation. More specifically, this chapter argues that Teige viewed the fusion of the word and image in a multimedia art form as a solution to the parallel crises that afflicted the visual and the verbal arts. This desired fusion remained a constant of Teige’s artistic solutions throughout the 1920s. His first attempts to overcome the crisis are contained in the Poetist conception of “image poetry,” which incorporated words, painted images, photographs, and other materials. The photograph, understood as a direct imprint of reality, introduced the element of the real into image poetry and thereby transfigured the word and image. After image poetry, Teige went on to replay his formal solution to the crisis of representation in another fused form—the typophoto, which was integrated into the experimental multimedia book ABCs (1926). The introduction and conclusion frame these case studies in terms of the broader trends that inform the artistic experiments of these figures. More specifically, the introductory chapter grapples with questions of how the crisis of language and representation at the turn of the 20th century can be conceptualized. Arguing that the artistic experimentation of the 1910s and the 1920s represents a continuity of what Foucault calls the modern episteme, the introduction at the same time seeks to address the fissures and breaks represented by abstraction in art and the proto-structuralist understanding of the sign in linguistics. The conclusion addresses the role of figurative language in the articulation of the crisis and maintains that while the language of crisis was productive for artistic experiment, it confined the avant-garde to perpetual renewal of forms and artistic language.

Orientador: Celso Kraemer. / Dissertação (mestrado) - Universidade Regional de Blumenau, Centro de Ciências da Educação, Programa de Pós-Graduação em Educação.

Thesis (Doctoral) -- İzmir Institute of Technology, İzmir, 2006. / Keywords: natural sciences, instrumentalisation, inter war period. Includes bibliographical references (p. 162-172).

In the countries of the former Yugoslavia , the works of Karel Čapek (1800-1938) are considered "complex but eternal" This is evidenced by the large number of articles about him and his work in newspapers and othe publications. Although better known today for his children´s books, even now, more than seventy years afte his death, Čapek continues to be read and enjoyed in general because of his artistry, his vision, and the originality of ideas. Čapek´s works became available very early, in 1921, in the countries of the former Yugoslavia . He was best known as a playwright at first and his six plays were repeatedly staged at all Yugoslav theatres

This master thesis presents an analysis of two personalities Tomáš Garrigue Masaryk and Karel Kramář before the First World War. The main theme of this paper is to description their complicated relationship. Next part of this paper describes their political and social activities, their opinions and life attitudes at this time. This thesis is based on examination of their mutual correspondence. The purpose of this paper is to present comparison, analysis and interpretation of the relationship of T. G. Masaryk and K. Kramář in the Austro-Hungarian Empire.

The thesis deals with the issue of linking visual representation of a literary work of art, especially with the connection of Karel Teige typographical book envelopes to the poetry collections of Czech authors of the first half of the twentieth century. It focuses on the period of Czech avant-garde and new possibilities and limits of genre, artistic and semiotic definition. Attention is also devoted to contemporary anthology, professional journals and articles, especially by Karel Teig's production, in which he illustrates his concept of modern art. It also includes the marketing and aesthetic-educational character of visual imagery in literature for children and youth.

This thesis deals with the life and work of Karel Dostal. The first chapter provides biographical data and tries to map his personality. The following chapters are devoted to his creative work in theatre and in film industry. The work is divided according to professional fields ? Karel Dostál as an actor and Karel Dostál as a director. Primary it is focusing on his scope in National Theatre, where Karel Dostál spent the longest part of his career. It describes several productions which he directed. Specifically selected productions are divided into several creative periods of his life, which carries significant changes in director´s handwriting. Most productions are supported by visual material and contemporary criticism. Another part of this thesis is an analysis of some of his roles in theatre and films. These descriptions of actor?s performance should serve as refutation of knowledge of Karel Dostál as an actor of small and inconsequential roles. Simultaneously, this thesis is pointing at whole range of raw material about fundamental personality of Czech theatre scene.