Made available in DSpace on 2014-06-11T19:26:36Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-08-31Bitstream added on 2014-06-13T19:13:43Z : No. of bitstreams: 1 held_hm_me_assis_parcial.pdf: 39017 bytes, checksum: ff5b80c13f3ddfea42f14d43dfc39c80 (MD5) Bitstreams deleted on 2015-06-25T13:00:49Z: held_hm_me_assis_parcial.pdf,. Added 1 bitstream(s) on 2015-06-25T13:03:14Z : No. of bitstreams: 1 000706576_20163108.pdf: 38758 bytes, checksum: f46fddb2fd9f930f336fb37b304dbec5 (MD5) Bitstreams deleted on 2017-01-02T15:03:36Z: 000706576_20163108.pdf,. Added 1 bitstream(s) on 2017-01-02T15:05:03Z : No. of bitstreams: 1 000706576.pdf: 571028 bytes, checksum: 30f8af76a5c8ae0ed9e55a1c9e3ee379 (MD5) / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / O presente trabalho dissertativo tem como objetivo apresentar o Oriente criado por Malba Tahan ao longo de sua carreira literária e intelectual. Partindo da análise de parte de sua extensa bibliografia o texto parte da premissa que o conjunto de sua criação foi elemento facilitador da aceitação da cultura árabe/oriental em terras brasileiras. Criado por Júlio César de Mello e Souza o pseudônimo Malba Tahan, diferente de outros autores nacionais que inseriram ou trataram da cultura arábica em suas obras, não apenas buscou a inserção de personagens orientais na realidade nacional, mas, apresentou e fez o leitor aproximar-se daquela realidade. A alteridade construída pelo pseudônimo baseou-se na criação de cenários mágicos, longínquos e com aspectos religiosos e sociais que diferenciavam-se da realidade vivida pelo leitor, mas que eram misturados com características conhecidas pelos mesmos. Esta mistura de realidades fez com que sua obra fosse consumida nas mais variadas faixas etárias e em diferentes suportes, como páginas de jornais e livros a partir da segunda década do século passado até os dias atuais / The presented dissertational work has the aim to introduce the East created by Malba Tahan throughout his literary and intelectual carreer. Based on the analysis of part of its intensive bibliography. The text assumes that the set of its creation was a facilitator element of acceptance of the Arab culture/Eastern of Brazil soil. Created by Julio Cesar de Mello the pseudonym Malba Tahan, different from other authors who have inserted or treated the Arabic culture in their works, not only searched for the inclusion of oriental characters on the national reality, but presented and made the reader closer to that reality. The alterity built by the pseudonym was based on the creation of magical scenery, distant religious and social aspects that differed from the reality experienced by the reader, but were mixed with known characteristics by the same. This mix of realities caused his work to be consumed in various age groups and in different media as newspapers and books from the second decade of the last century to present days

The thesis consists of theoretical and practical parts. The practical part represents a series of paintings in which the author is engaged in transcription of personal experiences and impressions of the world marked by a human phenomenon. The theoretical part discusses the quest for the ultimate artistic output and initiatives, which led the author to comment on this topic. In the context of finding appropriate means of expression for the final artistic output, the author reflects on the diversity of artistic approaches and methods used in the presentation of issues of civilization in the world of art.

Abstract {\clqq}Images of Friends`` Contemporary portrait paintings in the works of European women artists Collection of works inspired by relationships and people The graduation thesis is divided into two main parts. The first one deals with the contemporary portrait paintings of European women artists; the second one concerns the ideological and technical aspect of their work. In the theoretical part of the thesis I am concerned with the diverse conceptions of portrait painting of the European women artists from the 2nd half of the 19th century until now. I have highlighted the factors which define the changes in topicality and character of the portrait painting of the artists. Within this context I have traced the influence of emancipation of the artists on their work, the influence of the visual media on the portrait genre itself, the diverse conceptions of portrait painting arising from respect to traditions of the genre or diversion from the traditions. The text also contains self-reflective parts connected to the work itself and supplementary material concerning the technical side of the work. The practical part of my thesis comprises documentation of a collection of twelve portraits.

The aim of this diploma thesis is to create paintings with a technical approach close to the traditional Japanese painting. The topics of the paintings are freely inspired by the themes of short stories of Japanese writer Ibuse Masuji. The diploma thesis consists of written part and practical part. The major part of the written part focuses on the brief summary of topic of the Japanese painting and related subjects from the Japanese culture. The main topic of the practical part is the painting on the folding screens.

In my diploma thesis I do not deal with anything, I do not touch anything, and in the end I do not want to do anything. I work without a theme, without motivation.

This diploma thesis deals with portraits of František Antonín Count Špork. The paper presents graphic and painted portraits (all of them - except one miniature - are found in collections in the Czech Republic), that were made mainly for the purpose of the Count's presentation. A part of the thesis is devoted to the life of Count, his hobbies and legal disputes, that are reflected in individual works of art ( heraldic motto "True and Justice", hunting order of Saint Hubert, spa and hospital Kuks, etc). The main emphasis is put on presentation of surviving portraits of Count Špork as well as newly found and yet unpublished paintings and graphics, their authorship, dating and iconographic analysis. This lets us meet different authors with their Fine Quality. Thus a diverse, but complex collection of Count Špork portraits is formed for the first time. A catalogue, an important part of the thesis, comes at the end to summarize all the previous data in a transparent way and to add some more information, concerning especially oil-paintings. Keywords Baroque-Graphics-Paintings-Portrait-Špork Počet znaků (včetně mezer): 237606 Počet znaků (bez mezer): 201697

Diploma work consists of 4 oil paintings on canvas and 10 paintings on paper. Abstract character of these paintings defines their dreamy atmosphere, which was created in Intermedia department and captures autor’s approach towards painting. This diploma work has ambitions to belong to contemporary art scene, especially in the context of contemporary painting. Author reflects that art scene and is aware of its tendences and trends. There might be few questions; what are these trends? what is their meaning and how can they be reflected by curators and critics? Will these trends persist and will they become classified? Simultaneously author perceives the autonomy of Intermedia department and its liberty. Collection entitled „ARE“ was created with awareness of the fact, that everyone can see their beings in their own eyes. Author created them by her own eyes and by that she claims they „are“.

As my diploma thesis I created a series of expresive figurative paintings. The series tells fragments of stories from romantic fantazy sceneries combined with contemporary subcultural and life style motives. My inspiration comes from a strong game play experience and a deep emotional bond with the central european landscape. The story is situated somewhere between a fairy talish past and a dystopic future.

This diploma is devided into two major parts. Theoretical and practical. In the theoretical part I consider the meaning of touch which is ambiguouse. Fist of all it should express, by the form of art, our desire and necessity to establish into relationship with another human-being, get in touch and get to know each other. By the time of working at this cycle my form is beginning to change. Touch doesn´t only express relationship but they´re also recording my touching, getting to know myself. The practical part of my thesis focus on production figures. It consists of a cycle of paintings, fiberboard of various sizes made by acrylic technique. These paintings capture directly human bodies in positions of touching, proximity, delay. They capture the joy in positions of direct touch againts deprivation when a person is deprived of contact with another person. The starting point of this thesis is personality and emocionality.

(in English) This thesis called Grave, Tombstone, Graveyard. The Range of Motifs of the Czech Painting of the 19th Century is based on the analysis of paintings, drawings and graphics made by Czech authors throughout the 19th century. Artists worked with funeral motifs in different ways and these will be presented in different case studies. Some painters were fascinated by these subjects and they turned their attention to them systematically and repeatedly throughout their career. Other artists worked with funeral motifs rarely, although significantly. Artists integrated motifs of graves, monuments and cemeteries to their pieces of art for different purposes; this was connected with the interest of Romanticism in aesthetic anomalies and mystery, with their personal experience and feelings. Artists were also interested in genre scenes that were situated in cemeteries. Funeral motifs can be found in illustrated journals as well. Their aim was to document the specific place and as to symbolically express the finality of the life. The pieces of art will be presented in the context of the burial rites and literature of the 19th century. This phenomenon was also reflected by foreign artists, some of them will be also mentioned in the thesis as an analogy to the Czech works.