This study centres on the biblical and theological work behind Dorothy L. Sayers' 12-part play-cycle, The Man Born to be King, aired on the BBC between 1941-42. Investigation begins by testing various unsubstantiated statements by biographers and scholars through a line-by-line analysis of the scripts, the results of which can be found in two large tables of information about how Sayers used each pericope in the Gospels (Appendix A) and a list of every known biblical reference within the play-cycle (Appendix C). Sayers' reported privileging of the Gospel of John gives way to evidence that Synoptic content outweighs Johannine by sheer bulk of material while preference is clearly given to stories that appear in both John and the Synoptics. Sayers' reported avoidance of the Authorized Version gives way to limited but consistent use of the AV for the narrator, for Old Testament quotations, and a special use of the Coverdale Psalms from the Book of Common Prayer. A study of Sayers' six secondary sources shows significant influence upon historic details and characterisation. By covering new ground through in-depth script and source analysis, these studies reveal, expand upon, and often contradict previous assumptions regarding Sayers' sources and working process. In the area of theological studies, investigation begins with Sayers' own claim that she had no original theology—that she merely re-stated the Church's teaching. First, Sayers' identity as an Anglo-Catholic is explored to understand what she means by ‘Catholic' and ‘the Church'. Having thus located Sayers within a particular tradition, Sayers' Christology (building upon her emphasis on the Creed) and Eschatology (building upon her chosen theme of the Kingship of Christ) within the plays are considered within their broader context of early twentieth-century Anglo-Catholic and wider theology. Sayers' theological originality is then proposed in relation to how she brought theology to life in dramatic form.

Every life tells a story. Film has proven to be a worthwhile medium in which individual lives can be told and thereby will be remembered. In recent years biographical documentaries telling significant life-stories, such as Amy (Asif Kapadia 2015), Kurt Cobain: Montage of Heck (Brett Morgen, 2015) and Senna (Asif Kapadia, 2010) have taken over our screens. While their narrative style often alludes to common compositions of the fictional biopic, their foundation on indexical sound and imagery makes them differ radically. In this thesis theoretical implications on how to approach and understand biographical documentary within the lager scope of biographical filmmaking are discussed. Subsequently the term biodoc is suggested. It implies a close relation to the biopic without compromising documentary film's autonomy compared to fiction film. Furthermore, this thesis sets out to move toward a theory of the biodoc. By putting together a catalog of key aspects and elements common for the biodoc and discussing them in close relation to contemporary examples of the genre, this thesis provides a first theorization of a diverse and growing phenomenon in contemporary film culture.

This diploma thesis consists of a project of a sports relaxation centre in Lipno. The object is designed to be suitable for accommodation, catering and sports purposes. The building has atypical floor plan with a flat roof above the accommodation and catering sections. Above the part for sports purposes there is a sloping roof. In the basement, a corridor for running, a technical room and wellness facilities such as whirlpool, sauna and massages, could be found. On the first floor, there is catering section, in the southern part of the first floor there is accommodation section and in the northern part sports hall, gym and squash courts with appropriate facilities. The second floor copies the first floor with its similar purposes besides the fact that there is no catering section.

This thesis deals with the project documentation of the accommodation facility. Specifically, it is a guest house situated at the outskirts of Blansko – Ceskovice. Guest house kapacity is 22 beds and 50 seated restaurant. The object is designed as a three-floor with a partial basement. Basement floor will consist of storage, utility room and squash court. In the first floor is located main entrance, reception desk and restaurant with facilities. In the second floor are rooms for guests. The building is walled with saddle roof.

Die Broschüre enthält alle Informationen rund um die Orchesterakademie der Dresdner Philharmonie, die seit Beginn der Spielzeit 2017/2018 jungen, begabten Nachwuchs-Musikerinnen und -Musikern aus dem In- und Ausland die Möglichkeit bietet, sich innerhalb eines traditionsreichen Spitzenorchesters auf ihren späteren Beruf vorzubereiten und die besondere Spielkultur und das Klangideal der Dresdner Philharmonie kennenzulernen.

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