The present thesis, Paul's Apostolic Existence. How to understand apostle Paul when he writes about apostle Paul, investigates the issue of why Paul writes so frequently in his epistles about himself and his life. The search starts in 2 Cor 12:1-10 where Paul mentions Christ's answer to his prayer for recovery from sickness: "My grace is sufficient for you, for power is made perfect in weak- ness." This statement becomes the central point of the investigations. Their core part is exegesis of the relevant passages, mostly from Paul's letters to Corinth. The context is broadened by selected texts from the letters to the Philippians and to the Romans. In these texts, the apostle explains to the read- ers his own existence mainly by pointing out his weakness and suffering. The present thesis argues that Paul's motives for writing these texts should be looked for in his theology. He considers his recurring experience of God's power in weakness as instrumental in his mission to preach the gospel. The argument is supported by possibly precise description of the relation between Paul's apostolic existence and his preaching. This will show what benefit these texts can and should bring to their readers.

Winsor McCay drew delightful drawings about the dreams of a Welsh rarebit fiend, 'rare bits' inspired by an overindulgence in cheese. Dreams of the Rarebit Fiend was a Saturday cartoon that appeared in the New York Evening Telegram from 1904 to 1911, psychic twin to Little Nemo in Slumberland that appeared concurrently in the Sunday Funnies of the New York Herald from 1905-1911. 'Slumberland' was a Neo-classical fantasy that closely resembled the idealized White City of the Chicago World's Fair (1893), that inspired the architecture of Coney Island's Dreamland (1905-1911), which beckoned to McCay as he drew from his house just across Sheepshead Bay in Brooklyn. The capricious side of this Architecture emerged in McCay's cartoons. A self-taught illustrator, McCay began his career in Detroit working in dime museums, worlds of wonder—filled with monsters—dioramas and sideshow performers whose livelihood depended on their ability to amaze an audience. Just this sort of rare and gifted fellow, McCay parlayed his entertaining lampoonery of Slumberland into some of the world's first animations on vaudeville. As with the Rarebit Fiend, Little Nemo's dreams were brought on by overindulgence, in his case of too many donuts or Huckleberry Pie. But, this was merely a pretense for McCay's fantastical 'dream' mode of thinking, a potentially useful body of knowledge that was simultaneously explored by Sigmund Freud, Henri Bergson and Marcel Proust, who linked the mechanisms employed by the unconscious in dreaming to those at play in wit. Architectural drawing—seen through McCay's cartoons and early animations—has a kind of 'gastronomical' alchemy that inadvertently became a treatise on the architectural imagination. Fiend and Little Nemo affected the psychic mood of early modern Architecture—its 'childhood' in the milieu of White Cities—that was both added to and commented on by Winsor McCay's pen. His cartoons portray the hidden 'flavors' of the buildings springing up a century ago. This 'other'—surreal—aspect of the White Cities, seasoned with whirling iron Ferris wheels and Flip-Flop rides, newly invented elevators and electric lights—and even fun house mirrors that made buildings suddenly seem very tall—were the ingredients that caused the fiend and Nemo to wake up, which ultimately became the culinary school of modern Architecture. McCay's 'fiendish' depictions show us that the right blend of humor and awe is a recipe for happiness. / Doctor of Philosophy / Winsor McCay made cartoons of the 'nightmares' of a Rarebit Fiend with a witty, unflinching eye for detail. Those illustrations became a psychic twin to the architectural fantasies of a little boy in the 'funnies' section of the New York newspapers from 1905-1911. Dreams of the Rarebit Fiend and Little Nemo in Slumberland continue to entertain and edify us, while inadvertently acting as a guide to how the imagination works. McCay's celebrity as a cartoonist also led him to become one of the world's first animators, amazing vaudeville audiences with depictions of Little Nemo that were suddenly larger than life, illuminated, and mobile. Dreams were rediscovered in the early twentieth century as useful bodies of knowledge for understanding the self, seen through the writings of Sigmund Freud, Henri Bergson and Marcel Proust, who linked the mechanisms employed by the unconscious 'dreamer' to those at play in wit. That thinking was surrounded by the atmosphere in McCay's comedic sequential images, which in turn inspired the iconic dreamlike silent movies of Buster Keaton. A look at the birth of these art forms a hundred years ago provides insight into the psychic mood of early modern Architecture, but also to the imagining of today's world (both material and virtual) using the digital tools that are just being invented. Although McCay's cartoons are fiendish, they sustain the balance between dreaming and humor that is essential to imagining a happy modern life.

The subject of this diploma thesis is the novel Der Zauberberg by the German writer Thomas Mann and its existing Czech translations and reeditions of translations from 1930, 1935/1936, 1958, 1975 and 2016. The work is based on the following translatological bases: contemporary norms and conventions, paratexes and metatexts, and translation of the title of the work. The following part is devoted to the personality of the author and his work, the novel Der Zauberberg presents itself in the cultural and historical context of the time of creation and does not neglect the reception in the German environment. The benefit of this diploma thesis is to describe the reception of this novel in the Czech environment, where we will focus on the macrotexual (paratexty) and microtextual analysis of selected parts of the original and all Czech translations. The main methodological tool for microtextual analysis of selected passages of Mann's novel represents the typology of expression changes and shifts in the translation of Anton Popovič (1975, 1983).

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This diploma thesis deals with the decade of the Municipal theatre Most's existence in the years 1985 -1995. The first part of my thesis concentrates on the evolution of the theater making in Most region from the very beginning till the 80ties of the 20th century. The second part is dedicated to the construction and the final appearance of the theatre building by the architect Ivo Klimeš, then it describes The Workers' theatre in Most at the time of the director Zbyněk Srba's arrival accompanied by DAMU students and introduces some crucial plays on Most's stage in the years 1985-1995. Special chapter focuses on the Velvet Revolution and its influence on the Theatre Most.

Pope John Paul II who led the Roman Catholic Church in the period of 1978-2005 is seen as one of the most influential top officials of this religious institution. His activity in the area of media communication was very conspicuous and has been considered to be revolutionary in many respects until today. Among other things, John Paul II directly encouraged the faithful to actively join the process of media communication, broadening media awareness, the rise of Church media channels as well as their active cooperation with public service or commercial media. Personally, he was very popular among the journalists. This master thesis under the title "Kamarádi na cestách": mediální image papeže Jana Pavla II. a jeho poselství hromadným sdělovacím prostředkům ("Friends in the Travels": The Media Image of the Pope John Paul II and His Message to the Mass Media)" attempts to track the approach of the Holy Father to mass media; his active use of mass media; observations addressed to media content creators as well as their target audience; as well as to analyse factors leading to the Pope's success in the field of media communication and his positively perceived media image. The central part of the text consists of an analysis of the Pope's messages on the occasions of World Communications Days. Their...

L’intérêt porté aux filmographies de cinéastes russes aussi différents qu’Andreï Tarkovski, Andreï Zviaguintsev et Kira Mouratova aboutit à la découverte d’une quête esthétique commune propre aux trois réalisateurs : l’élaboration d’une image cinématographique modelée par le temps autant dans sa matérialité filmique que dans sa puissance métaphorique. Cette approche artistique semble cristallisée dans le terme "kinoobraz" théorisé par Andreï Tarkovski qui s’impose dès lors comme un médium entre la recherche théorique et le champ d’expérimentation analytique de ce travail. Le terme russe "kinoobraz" traduit en français par « image cinématographique » recèle autant de problèmes que de potentiel théorique et analytique. La nature de cette recherche consiste donc en une appropriation, une réinvention et une mise à l’épreuve d’une notion ("kinoobraz"), trois opérations menées simultanément dans un parcours multiple. D’abord, une étude à la fois historique et théorique des conceptions russo-soviétiques de l’"obraz" (théologie des icônes orthodoxes à travers les textes de Pavel Florensky, l’"obraz" selon Sergueï Eisenstein, le "kinoobraz" de Tarkovski) révèle toute une série de résonances conceptuelles avec les théories françaises du figural (à partir du texte "Discours, figure" (1971) de Jean-François Lyotard). Cette confrontation entre la généalogie russe du "kinoobraz" et les propriétés esthétiques du figural, alimentée par la pratique de l’analyse filmique comparée, permet la redéfinition du "kinoobraz" comme un outil opératoire d’analyse. Ainsi, la mise à l’épreuve du "kinoobraz" dans le champ d’expérimentations analytiques sur le corpus de référence composé des films d’Andreï Tarkovski, Andreï Zviaguinstev et Kira Mouratova explore la spécificité temporelle de la matière filmique et du dispositif cinématographique. / Focusing on the cinema of three Russian different filmmakers such as Andreï Tarkovski, Andreï Zviaguintsev and Kira Mouratova, we discover a common aesthetic thread: the development of a film image molded by time both in film's materiality and in its metaphorical power. This artistic approach is crystallized by the term kinoobraz theorized by Andreï Tarkovski, whose ideas and films serve as a link between the theoretical research and the analytic experimentation of the present work. The Russian word "kinoobraz" is usually translated into English as “film image” but this translation does not reveal its full theoretical and analytic potentials. Our research aims at giving this notion its proper place, its reinvention and its use as a tool, all three conducted simultaneously on parallel tracks. Our exploration of this notion includes both historical and theoretical study of the Russian and Soviet conceptions of "obraz" through the theology of orthodox icons found in Pavel Florensky’s texts, its definition by Sergueï Eisenstein, and Tarkovski’s refinement as "kinoobraz". This study reveals a series of conceptual resonances with the French theories of figural (starting with Jean-François Lyotard’s work "Discours, figure" (1971)). The juxtaposition of the Russian genealogy of "kinoobraz" and the aesthetic traits of figural, nurtured by comparative film analysis, allows us to redefine kinoobraz as an analytic tool. Using this tool in the analytic experimentation based on the reference corpus of the films of Andreï Tarkovski, Andreï Zviaguintsev and Kira Mouratova leads us to a deeper understanding of the time specificity of the film matter and the cinematic "dispositif".

The Thesis Based on the Example of the Hluboká nad Vltavou Manor, Adam Franz of Schwarzenberg´s Residential Strategy at the Beginning of the 18th Century deals with research of usage ways of the Hluboká nad Vltavou manor in the era of Adam Franz of Schwarzenberg. The core of the debate is the commentary on the three mansions demonstrably used by the aristocracy ? the Hluboká nad Vltavou castle, Ohrada hunting mansion, and Libníč spa complex. The study, built up on the analysis of correspodence, prime-source plan and accounting documents, has proved that the Hluboká nad Vltavou manor was the main Czech property of the family before inheriting Eggenberg´s property in 1719. Its importance, given among others by the geographical position, was emphasized by building of the Ohrada hunting mansion. This served, among others, as a storage of hunting tools that were demonstrably used in other South Bohemian manors as well. I consider extensive adjustments of the castle area as further evidence of the prominent status of the Hluboká nad Vltavou Castle; especially building of the votive chapel in the expanded Libníč spa that served to the inhabitants of all the concerned manors. After gaining Eggenber property, the centre of Schwarzenberg´s stays in South Bohemia moved to Český Krumlov; and the Hluboká mansion lost its priviliged status after Adam František of Schwarzenberg´s death.

The thesis is concerned with theoretical work of the Russian legal philosopher P. I. Novgorodtsev, focusing on the concepts of natural law, social ideal, individualism, liberalism, rule of law and democracy. Novgorodtsev's interpretation of these concepts is embedded into broader contexts of both Russian and Western political philosophy and philosophy of law. Novgorodtsev's work is analysed with regards to Russian liberal doctrine transformations from classical liberalism towards liberal socialism. The thesis discloses progressive moments in the author's thought demonstrating ways as to develop them. Problems in question are inquired into through the prism of A. Honneth's critical theory of society which enables to approach the subject matter in its historical variability and conditionality and, at the same time, maintaining normativity. The aim of the thesis is not only to assess Novgorodtsev's work topicality and contribution but also critically research into relevant problems in terms of the chosen topic, primarily metaphysical roots of liberalism and its limits as to the notion of man, state and law. The thesis shows that the Russian philosopher offered reformulations of old concepts not being able, however, to go beyond the liberal paradigm. Hence his texts cannot be utilized for overcoming...

The MA thesis briefly describes the history of the Vatican Council II and analyses the reaction of Czechoslovakian press to the Vatican Council II. The theoretical part aims at outlining the history, the course, the results and the importance of the Vatican Council II for the Catholic Church and also for the whole world. The theoretical opening is then reflected in the practical part of the MA thesis. It helps the reader to understand the issue. The theoretical opening pays attention to some important life moments of Pope John XXIII., ``the Council Maker{\crqq}. It focuses on the council idea, the definition of the council goals and setup time work before the council. It follows clarification of some organization issues during the council. It mentions its rule of procedure description. Another part of the theoretical part contains the development of all the council meetings and their results. There is also a list of council documents and evaluation of the Vatican Council II´s importance at the end of the theoretical part. The practical part of the MA thesis contains analysis of newspaper articles, namely from the Rudé právo and the Lidová demokracie dailies, covering the Vatican Council II. The monitored issues were: the space dedicated by the above dailies to the Council, the richness, content variety and balance of the coverage. The aim of the practical part and the MA thesis as a whole was the content analysis of the two 1960s daily newspapers and their reaction to the development and the result of the Council. It also contains content analysis comparison of these two newspapers and also identification of the extent of difference in objectivity and the ideological pressure on the news.