1 Abstract This Master's thesis presents the first look into the music of Scottish-Czech composer Geraldine Mucha (1917-2012) which has never been subject to academic study before. I characterize her compositional style and musical language, as well as their development over time, by analyzing four orchestral compositions written between the 1940s and 1980s - Overture to Tempest, Piano Concerto, Suite from the ballet Macbeth and John Webster Songs. In the thesis, I am also introducing the - in Czech musicological context entirely unknown - discourse on the issue of musical analysis of pieces written by women composers and I critically explore its different strands of thought. When possible, I examine the selected pieces by using Ellie M. Hisama's theoretical model which claims that in women's music, evidence may be found that provides information about their specific female experience in the patriarchal world.

@font-face { font-family: "Cambria"; }p.MsoNormal, li.MsoNormal, div.MsoNormal { margin: 0in 0in 0.0001pt; text-indent: 0.5in; line-height: 200%; font-size: 11pt; font-family: "Times New Roman"; }span.addmd { }div.Section1 { page: Section1; } Alphonse Mucha is primarily known for his early career producing Parisian Art Nouveau posters. However in 1910, Mucha left Paris to return to his home in the Czech lands where he concentrated on creating works for his country. Unfortunately, the later part of his career receives little to no attention in most art history books. His collection, The Slav Epic, represents ideas of Pan-Slavism, patriotism, and national identity. A leading scholar of national identity was Johann Gottfried Herder, a Czech sympathizer who influenced writers such as Jan Kollár and the historian František Palacký. Mucha’s works provided a visual representation of national identity and collective history specifically called for by these scholars. This thesis seeks to shed light on the late works of this artist, tracing the ever-present Slavonic influences, and also to place them in context within Czech Nationalism and Pan-Slavism in order to establish their historical significance.

The work at hand deals in a broader way with the placement of the Slavic Epic from an architectural point of view. The author first focuses on the role of historical monumental canvases in relation to the formation of the national identity and looks in this respect at some Czech monumental canvases before the Slavic Epic was painted. Another chapter deals primarily with the Slavic Epic. It presents a detailed view on a difficult process of finding a tailor-made exhibition space for the monumental canvas from the point Alfons Mucha started with its painting until the present time. It also shows specific demands on a building in which the Slavic Epic should have been placed. The next chapter presents all projects that have been made so far to build a new exhibition space for the Slavic Epic. Based on the analysis of this work the final chapter describes author's own ideal proposal of a complex architectural solution of the exhibition space which also encompasses exhibition management and marketing.

The aim of this study is to examine how psychedelic posters from the 1960’s relate to postersfrom the late 19th century Art Nouveau, and how their similarities and differences are expressed in imagery and experience. The method applied is Peter Gillgrens theory about performativity, which is how we interpret art based on its experience, and Margaretha Rossholm Lagerlöf's theory about how to interpret imagery. This applies to a selected number of posters from the 1960’s and from the Art Nouveau period that bears great similarity, after having gone through the historic background of the different eras and what connects them.The results show that there is a difference between Art Nouveau and 1960's poster art, despite their similarity, that is expressed through the imagery and experience. The posters from the 1960’s shows independence from Art Nouveau by expressing an original type of art thatcaptures the counter culture of the 1960’s, and therefore uses Art Nouveau as a way of appropriation.

This thesis deals with Czechoslovakian pavilion architecture at the world exhibitions in the first half of the 20th century. The thesis is divided into three sections. The first section deals with a participation of Czech artists at the world exhibitions before the creation of independent Czechoslovakia. Next two sections focus on Czechoslovakian representation at the world exhibitions in the twenties and thirties of the 20th century. The thesis deals closer with preparations, looking for a basic solutions, choosing of architects and requirements which have been imposed on them. In the conclusion there is outlined development of our participation at the world exhibitions in a given period and its way to the famous EXPO 58.