The central question of this diploma thesis is, whether sexisms is a commonplace phenomenon of our society, how does this phenomenon appears in our public discourse of present-day society and how can we identify it. The diploma thesis searches the answers for this question mainly in theories of radical feminism, which are part of the second feministic wave, in present theories concerning sexism and patriarchy, in present theories about mens` lifestyle magazines and in an empirical research. Radical feminism` theories specify the manifestations of sexism. The current theories unfold the strategies through which is sexism ventilated. The empirical research then includes an analysis of Czech lifestyle magazine for men Maxim, specifically the analysis of 23 articles selected from one complete volume of this magazine, specifically 2012. The method of coding according to Strauss and Corbin was chosen as the key method. Based on the scope of this method (the selective coding part) the central category was identified and named as Women as an opponent. Its characterization and dimensional scales (in form of variable strategies) were defined as well. Key words Sexism, gender, gender order, discourse, patriarchy, mens` lifestyle magazines, Maxim, irony, axial and selective coding.

This master’s thesis is concerned with the portrayal of motherhood and mother-daughter relationships on stage. By conducting performance analyses of three separate contemporary performances, all focused on mother-daughter relationships, the thesis investigates the creation of mother and daughter on stage. Through the lens of Hans-Thies Lehmann’s theory on postdramatic theatre, the thesis dissects aspects of the performances moving beyond the dramatic action to gain further insight into the portrayal of mother and daughter on stage. The thesis aims to investigate the aspects contributing to the creation of mother and daughter on stage, as well as analyse the conveyed meaning of the relationship between them. Combined with a feminist approach, the role of mother and daughter on stage is placed in a larger context, analysing motherhood as an institution and concept, both on and off stage. By understanding the intimate and complex mother-daughter relationship as a product of patriarchal structure, it becomes necessary and relevant to investigate this relationship further. Since the performances portray private relationships in a public space, the analysis is also concerned with the interrelation between the stage and the outside world. The analysed performances are Und dann kam Mirna at the Maxim Gorki Theatre in Berlin, Kung Mor at Teater Galeasen in Stockholm and Mommy Issues at Kulturhuset Stadsteatern in Stockholm. The material for the thesis mainly consists of my experiences of the performances in the role of spectator and the theatre texts. By using Lehmann’s theory as a starting point, the analyses are centred around moving beyond the narrative to investigate other aspects on stage, such as objects, physicality, levels of reality, intertextuality, intermediality and the use of text on stage. The thesis dissects how these aspects contribute to the creation of mother and daughter on stage, as well as analyses the portrayed generational differences and their impact on the mother-daughter relationship in the performances. The analyses place the portrayed mothers and daughters into a larger context, by including concepts such as performativity and the male gaze. The thesis shows how the portrayal of motherhood and mother-daughter relationships on stage can be created by reaching beyond a narrative or a desired understandability. Together, the three performance analyses contribute with concluding insights into the internal logic and structures of the performances.

The aim of this Master Thesis is to present an annotated literary translation of two chapters of the novella Vstrecha from Maxim Osipov's book, Grech zhalovatsya. The first part of this Master Thesis contains a translation of selected chapters from the novella Vstrecha. The second part, a commentary on the translation, includes information about the author and his work, style classification, the role of translation, vocabulary, intertextuality, characterization of translation methods, strategy of solving translation problems and typology of translation shifts.

This paper is focus on flowers recognition in an image and class classification. Theoretical part is focus on problematics of deep convolutional neural networks. The practical part if focuse on created flowers database, with which it is further worked on. The database conteins it total 13000 plant pictures of 26 spicies as cornflower, violet, gerbera, cha- momile, cornflower, liverwort, hawkweed, clover, carnation, lily of the valley, marguerite daisy, pansy, poppy, marigold, daffodil, dandelion, teasel, forget-me-not, rose, anemone, daisy, sunflower, snowdrop, ragwort, tulip and celandine. Next is in the paper described used neural network model Inception v3 for class classification. The resulting accuracy has been achieved 92%.

In this thesis we deal with pragmatic aspects of language, specifically studying the classification of speech acts and conversational implicature. The theoretical part is concerned with the work of J. L. Austin, J. R. Searle and M. Grepl with an emphasis on differences in the classification of illocutionary acts. Then we deal with the maxim of politeness and pleasantries types according to P. Brown and S. C. Lewinson. In the practical part using analysis of advertising headlines and slogans we are trying to demonstrate the functionality of the classification of speech acts by individual authors. We try to also confirm the performative nature of these statements also implicitly expressed performative verbs. We are interested in the presence of the maxims of politeness in these texts and the consequent shift between different types of courtesy. The aim is to highlight the issue of classification of illocutionary acts and try to outline improvements to this shift. The assumption is that, although the classification struggling with inaccuracies, we thereunder able to distinguish different types of repetitive speeches. To complement these findings, we want to prove performative character of advertising texts, even assuming that there will be implicitly expressed performative verb and the presence of...

This PhD dissertation is about legal fictions in private law. A legal fiction, broadly, is a false assumption knowingly relied upon by the courts. The main aim of the dissertation is to formulate a test for which fictions should be accepted and which rejected. Subsidiary aims include a better understanding of the fiction as a device and of certain individual fictions, past and present. This research is undertaken, primarily, to establish a rigorous system for the treatment of fictions in English law - which is lacking. Secondarily, it is intended to settle some intractable disputes, which have plagued the scholarship. These theoretical debates have hindered progress on the practical matters which affect litigants in the real world. The dissertation is divided into four chapters. The first chapter is a historical study of common-law fictions. The conclusions drawn thereform are the foundation of the acceptance test for fictions. The second chapter deals with the theoretical problems surrounding the fiction. Chiefly, it seeks precisely to define 'legal fiction', a recurrent problem in the literature. A solution, in the form of a two-pronged definition, is proposed, adding an important element to the acceptance test. The third chapter analyses modern-day fictions and recommends retention or abolition for each fiction. In the fourth chapter, the findings hitherto are synthesised into a general acceptance test for fictions. This test, which is the thesis of this work, is presented as a flowchart. It is the author's hope that this project will raise awareness as to the merits and demerits of legal fictions, de-mystify the debate and bring about reform.

This thesis deals with the development of embedded system for ultra light airplanes and helicopters. The aim is to design a system which would allow to measure and record the length of individual flights. It is therefore an onboard electronic diary which should facilitate and streamline the administration associated with sport aircraft operation. The base of the system is created on microcontroller of the MSP430 family by Texas Instruments. A reader will be offered the used hardware, the system design, the way of function and the possibility of using of the suggested system.

In der Nachwendezeit nach 1990 wurde viel über die Kultur-Vergangenheit der DDR diskutiert. Was war DDR-Kultur und welche Rolle spielte sie in den fast 45 Jahren SBZ- und DDR-Geschichte? War sie nur ein ideologisches Machtinstrument des herrschenden Systems? Oder war sie Selbstzweck, weil sich vielleicht einzelne Elemente zeitweise „verselbständigt“ hatten? Oder war es nicht einfach das Bedürfnis der meisten Menschen, einfach Freude am Erleben und Genießen von Kunst und Kultur oder sogar beim eigenen aktiven kulturellen Schaffen zu haben, egal ob mit Gleichgesinnten oder allein, und dabei eine tiefe Freude zu empfinden? Viele Fragen, die Antworten möge jeder für sich selbst finden. Unstrittig ist aber, dass unser Leben in dieser Zeit ohne diese Vielfalt an kulturellen Möglichkeiten und Erlebnissen, die auch zu künstlerischen Berufsentwicklungen führte und gefördert wurde, um vieles ärmer gewesen wäre und dass diese Möglichkeiten in der DDR für jeden Interessierten vom Staat kostenlos und mit sehr guter fachlicher Anleitung geboten worden sind.

Obwohl der Maler Rosso H. Majores kein gebürtiger Radeberger war, darf sein Name unter den geehrten und bekannten Persönlichkeiten der Stadt Radeberg nicht fehlen. Mit seinem fast 40-jährigen Wirken als künstlerischer Leiter des Mal- und Zeichenzirkels Radeberg ist er auch auf das Engste mit unserer Stadt verbunden. Er war Künstler und Pädagoge, der es verstand, Laienkünstler für Malerei und Grafik zu begeistern, mit einem ihm eigenen Feingefühl Talente zu fördern, ohne ihre Eigenheiten zu zerbrechen. Anerkannte Berufskünstler, wie Rolf Werstler, Thomas Scheibitz, Dieter O. Berschinsky, Peter Muschter gingen aus dem Zirkel hervor, die auch international bekannt wurden. Majores wurde am 7. April 1911 in Eisfeld/Thüringen als Hugo Majores geboren. Den Vornamen Rosso gab er sich später als Künstlernamen selbst, seines roten Haarschopfes wegen. Seine Eltern unterhielten einen kleinen Handwerksbetrieb in einer Mühle von Eisfeld, wo er aufwuchs. Der Großvater, ein Glasmaler, erkannte das außergewöhnliche Zeichentalent des Enkels und förderte ihn. Nach der Volksschule besuchte Majores von 1926–1928 die Kunstgewerbeschule Eisfeld. 1929 schloss sich ein Studium an der Weimarer Kunsthochschule des Bauhauses an. In der Studienrichtung Malerei und Grafik studierte er bis 1933 bei Professor Felix Meseck und war Meisterschüler bei Walther Klemm. Nach Schließung des Bauhauses 1933 lebte der 23-jährige Majores freischaffend in Weimar, unternahm Studienreisen durch die Schweiz und Galizien, bevor er 1935 in die Kunststadt Dresden übersiedelte. Im gleichen Jahr heiratete er die Bildhauerin Gertrud (Tud) geb. Walmann (*1908), eine ehemalige Kommilitonin. Aus der Ehe ging Tochter Christa hervor. Das Künstlerehepaar nahm von 1938–1945 seinen Wohnsitz in Langebrück. 1940 wurde Majores zum Kriegsdienst eingezogen. Nach Verwundung und Lazarettaufenthalt kam er nach Kriegsende 1945 zu seiner Familie zurück, arbeitete freischaffend und verlagerte den Wohnort mit seiner Familie nach Dresden-Klotzsche. 1946 zerbrach die Ehe. Ein Jahr später verheiratete er sich mit Helene, geb. Blecha. In Dresden-Klotzsche begann er neben seinem freischaffenden Beruf eines Malers und Grafikers zusätzlich als Zeichenlehrer an der Grundschule zu arbeiten. 1952 übernahm er die Leitung des Mal- und Zeichenzirkels im Sachsenwerk Radeberg (später VEB Rafena-Werke und VEB Robotron-Elektronik Radeberg). Drei weitere Mal- und Zeichenzirkel folgten: Flugzeugwerft Dresden, Rat des Kreises Bischofswerda und TU-Dresden. Diese Zirkeltätigkeit wurde staatlich finanziert und gefördert. Den Radeberger Zirkel leitete Majores bis 1989 in hoher Qualität. Der Zirkel erhielt hohe Auszeichnungen, wie den FDGB-Kunstpreis und die staatliche Medaille „Sozialistisches Volkskunstkollektiv“. Rosso H. Majores wurde 1970 der Nationalpreis für Kunst und Literatur verliehen. Erst in hohem Alter gab er diese zusätzliche, mit seiner eigenen künstlerischen Arbeit parallel verbundene Zirkeltätigkeit, auf. Sein Leben endete in Dresden Klotzsche am 13. Mai 1996 im Alter von 85 Jahren. Der jährlich ausgelobte Rosso-Majores-Förderpreis der Stadt Radeberg trägt zu seiner Ehrung bei.