Esta dissertação apresenta um estudo sobre a construção de histórias em quadrinhos (HQs), inspiradas em contos do livro O Homem que Calculava, de Malba Tahan, e a exploração de conceitos matemáticos na leitura desses contos e na produção dessas histórias por alunos do Ensino Fundamental. Ela oferece uma contextualização das HQs desde sua origem, ressaltando seu surgimento e seu desenvolvimento no Brasil, além de sua presença na educação matemática escolar. Além disso, enfoca um grande autor e professor de Matemática brasileiro, apresentando sua trajetória e utilizando uma de suas obras como provocação à produção escrita discente. O estudo foi realizado na Escola Municipal de Ensino Fundamental Almirante Raphael Brusque, em Pelotas, RS, ao longo de 20 encontros semanais e envolveu uma turma de oitava série do Ensino Fundamental, cujos discentes residem na Colônia de Pescadores Z3. Em seu planejamento, definimos algumas etapas que reuniram atividades ligadas às áreas de Literatura, Matemática e Artes. Para a aplicação dessas atividades, desenvolvidas em sala de aula por três grupos, totalizando 13 alunos, consideramos a leitura de alguns contos narrados pelo personagem Beremiz, a interpretação dos correspondentes problemas matemáticos, e a criação de novas histórias e sua transformação em HQs, inspiradas nesses contos, que incluíram algumas características socioculturais da Colônia de Pescadores Z3. Durante o desenvolvimento das atividades, observamos o empenho e o progresso dos alunos na execução das diferentes tarefas que deram suporte a este estudo, que resultou na produção escrita discente de três livros de HQs. / This dissertation presents a study on the making of comic books inspired in some of the short stories of MalbaTahan’s The Man Who Counted and the exploration of mathematical concepts in the reading and production of these stories by elementary school students. It offers a contextualization of comic books from their origin, emphasizing their emergence and development in Brazil, besides their presence in school mathematics education. The dissertation also focuses on an important Brazilian author, writer and mathematics teacher, presenting his trajectory and using one of his works to instigate the written production of students. The study took place in the Almirante Raphael Brusque Elementary Education Municipal School, located in the city of Pelotas, RS, Brazil, during 20 weekly meetings and involved a class of eight graders who live in the Z3 fisher Colony. In its planning we defined some phases which brought together activities related to the fields of literature, mathematics and arts. Regarding the application of these activities in the classroom, which were developed by three groups adding up to 13 students, we considered the reading of some short stories narrated by the character Beremiz, the interpretation of their corresponding mathematical problems, and the creation of new stories, including their transformation to comic book format. The new stories were inspired in those stories and included some sociocultural characteristics of the Z3 fisher Colony. During the development of the activities we observed the commitment and the progress of the students while engaged in the several tasks that provided support for this study, which resulted in the written production of three comic books.

Práce zpracovává renesanční fasádní nástěnné malby a sgrafita v Prachaticích. Časově je práce vymezena 16. stoletím, kdy město vlastnili Rožmberkové. Největší rozkvět města je spojen s vládou Viléma z Rožmberka v 2. polovině 16. století, kdy ve městě také vnikly všechny výpravnější figurální výzdoby domů. Výzdoba jednotlivých domů odráží postupný majetkový vzestup prachatických měšťanů. Realizace z 50. a 60. let 16. století jsou spíše výtvarně a také technologicky skromnější. Největší vzepětí jak majetkové tak také umělecké lze sledovat od začátku 70. let. Hrdost měšťanů a jejich estetické nároky nejlépe dokládá výzdoba Staré radnice. Nesmírně zajímavá a kvalitní výzdoba prachatických domů otvírá jako celek řadu otázek. Vedle dílenských a uměleckých souvislostí s ostatními jihočeskými městy, je to problém autenticity památky. Na některých fasádách, které byly pokládány za renesanční, se již s renesanční malbou ve skutečnosti nesetkáme. Jedná se o barokní novotvary, které motivickými částmi navázaly na původní výzdobu. Výrazné jsou odkazy na Rožmberky, které připomíná téměř každá fasáda. To nelze vysvětlit jinak, než jako výraz subordinace majiteli panství a tamnímu panovníkovi. Rožmberky na počátku 17. století v této roli vystřídal český král a říšský císař. KLÍČOVÁ SLOVA - Prachatice - renesance -...

The subject of this study is to chronicle and elaborate on the existing mural paintings in our territory depicting Passion of Christ in the first half of the 14th century in particular, from the iconographic perspective. The cycles from the first half of the 14th century in this thesis are follows: (i) The Passion Cycle in St. Wenceslas church in Bubovice; (ii) The Passion Cycle in St. George church in Čebín; (iii) The Passion Cycle in St. Peter and St. Paul church in Dalešice; (iv) The Passion Cycle in St. Martin church in Dolní Město; (v) The Passion Cycle in castle Houska chapel; (vi) The Passion Cycle in St. John the Baptist church in Jindřichův Hradec; (vii) The Passion Cycle in St. James the Greater church in Křeč; (viii) The Passion Cycle in Church of the birth of the Virgin Mary in Starý Plzenec; (ix) The Passion Cycle in the Former Johanit Commandery and the Church of St. Prokop at Strakonice. Keywords: mural painting, 14th century, The Passion of Christ, iconography

In my diploma thesis I want to deal with another topic which is very interesting and important for me and that is organ and organ music in general and everything that belongs to them. From history, production, maintenance to play itself. In most of my previous works, not only at college but also earlier, fragments of this instrument appear in my paintings (mainly whistles, which are actually the most visible and their size determines the size of whole organs and is their precept) even though I have devoted myself on another topic, these fragments I had some need to plant there.  Organs are referred to as the royal instrument, they are the largest and mechanically the most complicated musical instrument. That is the complexity I would like to express in my pictures, I do not mean the complexity of the organ for the technical, construction, but especially the complexity of playing. The need for the right combinations of different registers with differently colored tones and tools. Swap pedal handbooks, etc. This is all about fascination for me.  In this diploma thesis I want to use the themes that appeared on the surface often as secondary or I did not put such emphasis or were the main topic for example only one semester, but in fact I continued to work with them subconsciously in the same way, Layers, Recycling, Reaction to Substrates, etc. It could be said that such organ compositions are such layers as Bach's or any fugues that are gradually being added, layers of new and new tones often result in the the full extent that the organ is able to administer.  The layer I used to work with before, and actually always appears in my works, has actually become an integral part of my paintings. I want to express the complexity of the organ compositions in my paintings, as I do. Not only by layering, but also by using different techniques, not just acrylic. I also used this in my previous work, and examined how they work with each other. I have responded to differently produced backgrounds.  Organ music can be considered complicated because all we hear is produced by one person. Who must play and cater everything else that is associated with it, except perhaps the bells pedaling.  This series of images will not, in the end, express myself visually, at first sight nothing concrete, over time I have come to a pretty abstract image. I do not mean to say that organ music is abstract, especially if I talk about Baroque or Classicism. Maybe in romanticism, for example, F. Liszt and his organ compositions are so complex and terribly crazy that I might consider them quite abstract. But just the organ music of Liszt, which I admire most, I think it is not possible to express it in abstract form. It's a mad, complicated tangle of different, tones, colors, games with registers, blinds, and so on, and I want to express it all on the canvas.

The collection of paintings entitled SURROUNDINGS is based on my long-term interest in observing the everyday world. In the diploma work, I return to my family, to my home village. I look at my surroundings with gratitude and nostalgia. With gratitude for such a carefree, loving childhood, for the diligence that our parents taught us from an early age. I look nostalgically at what remains the same around the village so far, and regret at everything that changes. During the creative process, I explore maps, recording the shapes of ponds, houses and roads. However, I narrow the resulting set of paintings to the local forests, their transformations and work in them. Paintings with repeating patterns look at first glance with an emptied aesthetic impression, like a purely thematic prank. In fact, I bring personal experience into this decorative repetition, repetitive family stories that have happened, are happening and that I want to capture with this stylized form.

The diploma thesis named Reflections of Space aims to change the approach at material anodizing and to move this purely technological process to the artistic level. The first part of the thesis summarises concisely a process of anodising and seeks for its demonstrations in the field of culture. The second part of the thesis describes the intention itself and the results of the research in the framework of technological proofs which are presented in the figurative part of the thesis.

Ten figurativ paintings from kitchen. Technology - acrylic on canvas.

I paint parks- places for trips, the terrains and spaces. I depict its structure, which is composed from various elements. I am interested in humane touch and movement and especially in their look. I am interested in the by human kind build environment or moved places. Moreover hove it influence humane being. Parks are places created for touch, for extraordinary feelings, for fulfill perceptions. Nevertheless I try to describe that sort of places and recreate them in my paintings.

This dissertation entitled Crystals Collector is concerned with the phenomenon of collecting, and more specifically with crystals as objectes in an imaginary collection. The objects are selected based on a personal fascination of the author. However, the collection always has, similarly as a crystal, a predetermined internal structure. The meaning of individual parts only become apparent when they are viewed as a whole. The main artefacts of the collection are paintings on canvas - with the painting becoming a similar 'fetish' as a collected crystal. Mineral it the key artefact and as such it is subjected to deeper examination (experiments with growth of crystals, studies of crystals, artefacts having a close relationship to crystals...).

This work deals with overlapping paintings in other media, while maintaining an emphasis on "the essence of painting" (Painting) approach. It remains crucial for the whole session, overlaps paintings will be investigated as a function of the new language of discourse, supplementing traditional painting as a medium.