This diploma thesis deals with a prosaic text from Czech writer and philosopher Ladislav Klíma The Suffering of Prince Sternenhoch from the narratogical point of view. Firstly, it introduces its metodology. Thereafter, the thesis will try to bring nearer The Suffering of Prince Sternenhoch and to quote the informations about the genesis of the text, about its former reception and its latter adaptations. The main part of this thesis is a narratological analysis with the main focus on characters, narrator, focalization, time and space. The thesis concludes, that the focalization is the most important in the narrative of The Suffering of Prince Sternenhoch. This focalizations is also the reason why the text shows some similarities with the modern texts.

This thesis speaks about Czech violist Ladislav Černý and the Prague quartet which was founded by him. It is divided into five chapters. The first chapter is dedicated to Ladislav Černý´s childhood, studies and the beginnings of his artistic career. The second chapter is the main focus of this thesis. It summarizes forty six years of activity of the Prague quartet. It describes important concerts and recordings of the quartet and also the style of interpretation. The next chapter deals with the solo career of Ladislav Černý. The fourth chapter is focused on his teaching activities and the last chapter provides a small description of his personality. In the attachment we can find photograps and programs from concerts.

Ladislav Fuks' works are under-recognized in English-speaking academic discourse. He is a valuable contributor not only to the Holocaust Literature genre, but also to film and literature in general. His two English-translated works, Mr. Theodore Mundstock and The Cremator, as well as the film adaptation of The Cremator, examine the role imagination can play in art that addresses atrocity, allowing for a heightened subjective impact on the audience. I critically and comparatively examine Fuks' work to establish his value to literature and Holocaust art. In the first chapter, I frame my argument with questions of art's abilities to represent atrocity and provide relevant background information relating to Fuks' and his experience in wartime Prague. In Chapter Two, I closely read Mr. Theodore Mundstock, concentrating specifically on Fuks' use of metaphor, presentation of incredulity, and commentary on the imagination's capabilities in confronting terror. Chapter Three compares Mr. Theodore Mundstock to the "Momik" section of David Grossman's See Under: Love, focusing on similarities between the title characters. Chapter Four examines Fuks' use of the grotesque in The Cremator and its film adaptation. Chapter Five compares Fuks' works to Aharon Appelfeld's novel Badenheim 1939, emphasizing each author's reliance on the audience's retrospective prescience, which provides a significant psychological impact and avoids contributing to the over-saturation of Holocaust information on the public. I conclude that Fuks should be more highly regarded and widely recognized both academically and in popular culture, as he exhibits similar features as other, more celebrated Holocaust writers, and his innovative contributions defend the value of literature in representing atrocity. / Master of Arts

Zugl.: Berlin, Techn. Univ., Diss.

In my thesis I would like to describe the relationship between the two of the most cardinal professions that take part on the creation of a theatre production. A director is the person who creates and influences the most the idea, thoughts and genre of the production; and an actor is the one who embodies all of this on stage. I want to try to clearly demonstrate difficulties or, in the other hand, inspirational sources, which the actor is dealing with during creation of a role, depending and changing in relation with the director. As a basis of this work I chose my personal experience with two directors, whose stance during the work and relation to the actor is strongly different. First of them is Ladislav Smoček, director and playwright of Cinoherni klub. Then I would like to mention principles of cooperation with director Pavel Khek. In the first part of my thesis I want to make brief insight into history of direction and try to describe basic evolution of actor-director relationship. My goal is not to present comprehensive survey of direction history. My goal is to refer to different approaches and changes in actor-director cooperation.

The final work monitors reception of Ohlas písní ruských and Ohlas písní českých in the 19th century. The materials are drawn from contemporary magazines, newspapers, biographies, dictionaries and correspondence. Critics examined in the context of thinking 19th century - National Revival and historical trends (classicism, romanticism and realism). In the last chapter are critics separate according to specific opinions.

This thesis is a literary analysis that discusses gender archetypes within two extensive literary works of Ladislav Klíma which he adapted into final pieces: Sufferings of Prince Sternenhoch and Glorious Nemesis. The methodological and theoretical part of the work examines the question of literary canon, defends feminist criticism as a legitimate approach to text analysis, looks back at the relatively short history of the use of gender as an analytical category, and represents a method of resistant reading. It also reflects the inspirational source of Klíma's authorship, the philosophy of Friedrich Nietzsche with an emphasis on gender aspects. Using classical feminist texts, works of literary theory, and the works that are central (not exclusively to feminist) analysis of (not only literary) archetypes identifies (mostly) female literary characters with some of the traditional (but also less common) archetypes - mother, witch, goddess of justice and fate, collaborator, and others. Except for archetypes, the thesis also discusses other gender (literary) aspects, for example the issue of stereotypical display of femininity and masculinity, the conceptualization of women as a capital, and women's connection with nature or female sexuality which is still often analyzed on the basis of the...

The thesis called "Extended musical teaching in primary school" addresses the ini­tial idea of the author, professor Ladislav Daniel, since itś creation till its development in the last 45 elapsed years of its continuation in the Czech Republic. Based on this method this experimental research has taken place. This research will focus specifically on The 2nd primary school in Jindřichův Hradec where extended musical teaching has been in progress. The purpose of this activity is to find out how this school has dealt with extended teaching (the reason for its foundation, difficult situations during teaching, where is the musical education leading) and if this way of educating is comparable to professor Danielś method.

anglicky: Title of the thesis: Louis Leger, mediator of the Czech-French cultural relationships. Key words: Louis Leger, Slavic studies, Collège de France, correspondence, policy, Frantisek Palacky, Frantisek Ladislav Rieger, Ernest Denis, Hanus Jelinek, Karolina Svetla, Sobeslav Pinkas, Jan Neruda. Abstract: Louis Leger, french Slavophile, Slavicist and promoter of Czech issues in France in the second half of the 19th century, led correspondence with leading figures of the French nation as well as with the personalities of the Slavic word. Leger's correspondence with the Czech national elite is evidence of his interest in the Czech issue. Correspondence written in Czech and French is stored in the Literary Archive of the Museum of Czech Literature in Prague. The aim of this thesis is to discuss the Leger's written correspondence and present its contents to readers with regard to the historical context.

This thesis examines the prosaic works of Ladislav Dvo ák (1920-1983), specifically the collection of short stories entitled Šavle me e. It analyses the construction of Dvo ák's texts with regard to two significant aspects. First it deals with the connection between reality and the world depicted in the narrative. With the help of the concept of objectivity', adapted for literary interpretation, it explores the role of facts, description and narrator in the text. The second part treats the function of comedy in the stories, especially the difference between comical and humorous characters and the role of the verbal and situational humor. The analysis is based on the theories of P emysl Blaží ek and Milan Jankovi , who treat the specifics of creating meaning in literature.