This diploma thesis deals with the novella The end of the nylon age written by Josef Škvorecký in 1950. It explores the text from a literary historical, literary theoretical and literary "practical", editorial point of view. After the introduction of author's work in necessary period and factual context the thesis focuses on the iterpretation of the novella, its narrative situation and the resulting structure of the text. The thesis then deals with dialogues and dialogic characteristics of the novella. The closing part pays attention to the textological issues - creating of an annotation system to the book. The novella is being related to other artist's work within each theme throughout the entire thesis.

The objective of this Thesis is to outline the role of social work and social worker when accompanying a man in dying. The Thesis focuses on defining the social work and, at the same time, it points to the enormous diversity of the social work. The Thesis thus deals with the unclear definition of the field of social work as a particular helping profession, with the competency of social workers and with the current discussion about the need for a law on social workers. The Thesis also treats the phenomena of death and dying and how these issues are viewed from the perspective of social work. In the Thesis, these questions are highlighted in the context of the impact of the postmodern society. A large part of the Thesis is dedicated to finding the role of social work and social worker in hospice environment. Interest in dying clients and their loved ones represents an integral part of the Thesis, which also points out their needs, wishes and troubles. The Thesis outlines the issue of advisory for bereaved persons as well. Furthermore, it analyzes the ethical dimension of death and dying, especially with regard to human dignity. Critique of professional literature is confronted with author's own practical experience and with the output from an interview with a social worker.

My disertation theses explores the intricate relationship between art, science and photography in the framework of the contemporary culture. Clearly outlined research areas open up the subject to a broader theoretical examination to underpin the artistic strategies that can be employed in the practial research. The resulting artwork interprets the domain of particle physics in a series of artworks. First area of the research delves into the domain of images and seeks to understand the relationship between the images of art and science in a broader sense. Second area investigates ambiguous medium of photography as both tool of science and art. Third area is an overview of the history of representation of the subatomic world and issues related to representing what is in fact unrepresentable. Fourth seeks to find epistemic and conceptual connection between art and science and their interdisciplinary dialogue as Sci-Art. The fifth part introduces artworks that reflect the critical egangement with the theoretical research and the scientific method by building the instrument for the observation of the cosmic rays. Sources for the theoretical framework are largely drawn from the academic literature written in the UK and USA where the topics explored in the theses have been studied in depth. The time scope considered in the theses encompasses 1990's of the 20. century up utill the present day.

The existing world is becoming more disrupted and is falling apart. For its resurrection and restoration, a new way of thinking is necessary. This new type of thinking is needed to be able to open up its mind and to think about the process of thinking itself; it must understand what is happening in other systems, where processes seem to be taking place by themselves without any other visible interference. First Chaos is the title for an intermedia installation which contains 90 black and white photographs, both digital and analogue, all of which were taken between the years 2008 and 2012. Together, the photographs create one coherent piece – a kind of sculpture. They can evoke a "still film" with a non-linear, cyclical storyline, whilst the images can simultaneously function individually, without any connection to other photographs.