Diss.--Göttingen--Universität.

No description available.

Thesis (M. Div.)--Gordon-Conwell Theological Seminary, South Hamilton, MA 2001. / Abstract and vita. Includes bibliographical references (leaves 136-139).

In this paper, I am suggesting that instead of using a traditional definition of cosmopolitanism, such as “thinking and feeling beyond the nation” (Cheah and Robbins) or “pluralism” plus “fallibilism” (Appiah), we consider instead Yale theologian Miroslav Volf’s term “embrace” as the framework for expanding our understanding of cosmopolitanism. This term is linked to standard interpretations of cosmopolitanism through its emphasis on hybridity and openness, but it differs in its undeniably religious implications. By applying Volf’s theoretical framework to concrete literary examples – namely, Lev Tolstoy’s The Death of Ivan Il’ich and Flannery O’Connor’s “Greenleaf” – it becomes clear that Ivan Il'ich’s and Mrs. May’s identity-shaping (religious) encounters with the “Other” are an opening up – or hybridizing – of their identities. This paper concludes that in Volf’s view, and Tolstoy’s and O’Connor’s as well, religious affinity is an impetus and not a hindrance to cosmopolitanism. / text

This thesis ``Miroslav Raichl {--} his work for children{\crq}s choirs{\crqq} consists of five parts. The first one is devoted to composer{\crq}s life, work and awards. The second part and the third part cover a list and an ordination of his compositions, the second one is focused on vocal works and the third one on instrumental works. The fourth part contains the analysis of the song cycle called ``Merry Theory`` and the last part describes the result of a small research of awareness of Miroslav Raichl and his compositions among conductors of children{\crq}s choirs at primary schools and artistic schools in Náchod region, his native land. The aim of the thesis is in drawing attention to the remarkable Czech composer Miroslav Raichl, to his contribution for children{\crq}s choirs.

Building has four floor and has cellar. There is a core with social maintance and flats. Like vertical communication there is two stairs and two lifts

This thesis seeks to develop an enlarged understanding of justice which reduces future conflict rather than feeding it and which seeks to ground human practices and notions of justice more firmly in divine justice. At the heart of this project is Miroslav Volf’s theology of embrace. The thesis attempts to question what this theology offers to the present day context of Croatia and Bosnia from which it emerged in the 1990s. Firstly, I draw on field work and NGO work to suggest that justice is a pressing issue in post-conflict Bosnia and Croatia, and that current approaches to justice are problematic. I draw on Volf’s work to assess the key problems and suggest that turning to his eschatological vision of justice may provide fruitful answers as to how justice should be pursued for the future. Secondly, I suggest that identity needs to be reconfigured in order that justice might be pursued. I suggest that this should occur along the lines of Volf’s understanding of identity as embrace. Identities can be reconfigured through enlarged thinking. Seeking to shape the other and for the other to shape the self is key to pursuing justice collaboratively. Thirdly, I address the theological roots of Volf’s work in examining the Trinity. I suggest that Volf’s work can offer an understanding of the Trinity which has significant implications for the pursuit of justice. I read Volf’s work as allowing for a sense of justice residing within the Trinity. I seek to draw out the ways in which human life can image the triune life of justice and the parameters of this mirroring. Finally, I propose that the type of justice I have suggested, in collaboration with Volf, means that the pursuit of justice should be centred on restoring right relationships, going beyond what is due and is a continuous process rather than discrete actions.

The dissertation Význam myšlenek Miroslava Tyrše pro výchovu a vzdělání (Miroslav Tyrš and the meaning of his ideas for upbringing and education) describes his life and the influence he had on the culture development, pedagogy and art in the Czech environment. The aim of this thesis is to analyze the sources of thoughts that inspired Miroslav Tyrš to his activities within the Czech national social life and his efforts to create the feeling of unity and reciprocity on the basis of physical abilities. The thesis is not only supposed to see Miroslav Tyrš as a patriotic trainer but especially as a scientist - philosopher, aesthete and art critic. His educational ideas were formed under the strong influence of positivistic and irrationalistic approach of the 19th century philosophy which was affected by the natural science breakthrough discoveries of that era

Esta dissertação visa investigar a agência da câmera na criação fotográfica e a emergência de uma estética da precariedade nos dias atuais, tendo como estudo de caso o trabalho do fotógrafo checo Miroslav Tichý (1926-2011). A partir da descrição e classificação das câmeras de baixa fidelidade, buscou-se compreender como elas teriam contribuído para a subversão dos cânones da fotografia tradicional e para a consolidação de uma estética permeada por falhas denominada como estética da precariedade. As fotografias de Tichý, com seu aspecto ruidoso e deteriorado, decorrente de seu processo fotográfico peculiar, mostraram-se particularmente propícias para evidenciar, de forma concreta, a agência de elementos humanos e não-humanos na configuração dessa estética da precariedade. Além disso, será investigado como a obra de Miroslav Tichý e a estética da precariedade passaram pelo processo de artificação e foram alçados ao estatuto de arte por diversas instâncias de legitimação, como curadores e historiadores da arte. A pesquisa reflete, ainda, sobre a a apropriação, pasteurização e mercantilização da estética da precariedade por parte da indústria da fotografia digital, por meio de aplicativos e softwares voltados para a edição de imagens. Por fim, cabe ressaltar a intenção de abordar esses fenômenos a partir de um viés crítico, buscando identificar suas contradições e seus desdobramentos no campo da cultura contemporânea. / This dissertation aims to investigate the agency of the camera in the photographic creation and the emergence of an aesthetics of precariousness. The Czech photographer Miroslav Tichý (1926-2011) will be used as a case study. Beginning with the description and classification of \"low fidelity\" cameras, we sought to understand how they contributed to the subversion of the canons of traditional photography and to the consolidation of an aesthetic permeated by failures called the \"aesthetics of precariousness\". The photographs by Tichý, with their noisy and deteriorated appearance due to his peculiar photographic process, were particularly propitious to concretely evidence the agency of human and nonhuman elements in the configuration of this aesthetic of precariousness. In addition, it will be investigated how the work of Miroslav Tichý and the aesthetics of precariousness went through the process of artification and were elevated to the status of art by various instances of legitimation, as curators and art historians. This research also reflects about the appropriation, pasteurization and mercantilization of the aesthetics of precariousness by the digital photography industry, through image editing applications and software. Finally, it is worth emphasizing the intention to approach these phenomena from a critical point of view, seeking to identify their contradictions and their development in the field of contemporary culture.

Esta dissertação visa investigar a agência da câmera na criação fotográfica e a emergência de uma estética da precariedade nos dias atuais, tendo como estudo de caso o trabalho do fotógrafo checo Miroslav Tichý (1926-2011). A partir da descrição e classificação das câmeras de baixa fidelidade, buscou-se compreender como elas teriam contribuído para a subversão dos cânones da fotografia tradicional e para a consolidação de uma estética permeada por falhas denominada como estética da precariedade. As fotografias de Tichý, com seu aspecto ruidoso e deteriorado, decorrente de seu processo fotográfico peculiar, mostraram-se particularmente propícias para evidenciar, de forma concreta, a agência de elementos humanos e não-humanos na configuração dessa estética da precariedade. Além disso, será investigado como a obra de Miroslav Tichý e a estética da precariedade passaram pelo processo de artificação e foram alçados ao estatuto de arte por diversas instâncias de legitimação, como curadores e historiadores da arte. A pesquisa reflete, ainda, sobre a a apropriação, pasteurização e mercantilização da estética da precariedade por parte da indústria da fotografia digital, por meio de aplicativos e softwares voltados para a edição de imagens. Por fim, cabe ressaltar a intenção de abordar esses fenômenos a partir de um viés crítico, buscando identificar suas contradições e seus desdobramentos no campo da cultura contemporânea. / This dissertation aims to investigate the agency of the camera in the photographic creation and the emergence of an aesthetics of precariousness. The Czech photographer Miroslav Tichý (1926-2011) will be used as a case study. Beginning with the description and classification of \"low fidelity\" cameras, we sought to understand how they contributed to the subversion of the canons of traditional photography and to the consolidation of an aesthetic permeated by failures called the \"aesthetics of precariousness\". The photographs by Tichý, with their noisy and deteriorated appearance due to his peculiar photographic process, were particularly propitious to concretely evidence the agency of human and nonhuman elements in the configuration of this aesthetic of precariousness. In addition, it will be investigated how the work of Miroslav Tichý and the aesthetics of precariousness went through the process of artification and were elevated to the status of art by various instances of legitimation, as curators and art historians. This research also reflects about the appropriation, pasteurization and mercantilization of the aesthetics of precariousness by the digital photography industry, through image editing applications and software. Finally, it is worth emphasizing the intention to approach these phenomena from a critical point of view, seeking to identify their contradictions and their development in the field of contemporary culture.