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The thesis compares the creation process of film and theatrical liturgical costume with regard to local historiography. In the theoretical part, terms as film, theater and photography are defined; further the circumstances of shaping a dramatic figure are described. Adriena Šimotová, Ester Krumbachová and Ivan Pinkava are mentioned as my inspiration sources. In the practical part I describe implementation procedures of the following projects: Costume as Memory of a Space, Body as its Imprint, Maria stock, Skoky - Layers, I, Olga Hepnarová and the factors which affected and shaped my work.

The diploma thesis The Subsidiary Churches of Roman Catholic Parish Říčany u Prahy deals with churches, which currently belongs to the Říčany`s parish, and freely continues in the bachelor thesis The Church of St Peter and St Paul in Říčany. At the beginning, history of the parish is briefly introduced. The thesis is divided into chapters according to individual churches. The development of architecture, chronological description of the interior painting and sculptural decoration and liturgical applied arts, which are located in particular churches, follow after a historical introduction. The churches' most significant treasures include the original rotunda in Kostelec u Křížků, gothic frescoes in Olešky and Kostelec, the painting of Archangel Raphael with young Tobias by Karel Škréta in Kostelec, baroque altar in Tehov a classical tombstone of archbishop Salm-Salm in Kamenice. The biggest contribution of this thesis is the detailed summary, finding of analogies (particularly similarity of gothic presbyteries in Otice and Kunice, baroque reconstruction of churches in Tehov and Kolovraty and baroque altars in Kostelec u Křížků and Kamenice), dating of baroque frescoes in the presbytery of church in Kostelec, finding of provenance of altar in Tehov and elaborating of history of smaller villages (especially of...

The work deals with active participation of religious people while celebrating li-turgy renewed by II. Vatican council, The whole work is divided into 5 major parts. The history of liturgy is described in the first part of the work. Emphasis is put on the age of Liturgical Movement and following outfall into general reform of liturgy ? the constitution of Sacrosanctum Concilium. The second part deals with the importance of music and language which are necessary condition for active participation. I would like to highlight the transition from latin to local languages after the II. Vatican council. The Church wants the religious people to be active in liturgy and which leads to another part of the work which is dedicated to the services for children and young people. It also considers the beauty and richness of the breviary. A very important term is animation of liturgy which is mentioned in the fourth part of the work. I dedicated the last part of my work is to familirize the readers with efforts in Týn nad Vltavou?s parish to engage the people in liturgy.

The thesis maps the occurrence of christological motifs in the Czech painting and graphics after 1900 and compares approaches of artists of different generations to their depiction. Selected christological art works are analysed from three main aspects: 1. iconography, 2. style and form, 3. philosophical and psychological resources. A particular chapter deals with christological motifs in modern liturgical art. The conclusion of the work evaluates the significance of the christological theme in context of the modern Czech art development.

A Dissertation Abstract to Phonology of Masoretic Hebrew II Accents As Prosody Jiří Hedánek řjh (2017) PMH II - Abstract Charles University, Faculty of Arts, Prague 1 Abstract The dissertation Phonology of Masoretic Hebrew: Accents as Prosody (2017) interprets Tiberian 'accents' as speech prosody marking. Traditionally, they are explained as signs for accenting, singing or syntax. But only some were placed on accents. They do not map well to music which has been shaped by local traditions more than the mark-up. Syntactic interpretation is based on dividing marks but many diverse marks link, no links lead outside of verses, some words have two different marks and simple verses often miss stronger dividers. Interpreting them as prosody explains why they gravitated to accent positions; why different musical renditions developed; why they often agree with syntax and sometimes they do not. First a general concept of prosody units is put forward. This is applied to Masoretic Hebrew and the focus turns to intonation. The previous dissertation Phonology of Masoretic Hebrew (2011) analyzed siluq, atnach, segolta, zaqeph, revia (also mugrash, and establishing garsha as a unit), geresh, gershayim, tevir, mercha (also kphula), tiphcha, tarcha and dechi. The 2017 dissertation analyzed (from printed editions, manuscripts...