The dissertation is about Rudolf Slánský, an important figure in the history of the Communist Party of Czechoslovakia. The first part of the text is based on a reconstruction of Slánský's political activities. It looks at his leaning towards left-wing ideas when he became interested in social democracy at the beginning of the 1920s and subsequently became a member of the Czechoslovak Communist Party where he was involved in the internal struggles of that time. An important part of the text consists of Slánský's activities as regional secretary in Moravská Ostrava. Two basic camps clashed in the Ostrava region (although the disputes were more of a personal nature than ideological) and in Slánský's subsequent rise (he became regional secretary) the efforts of the Prague Communist Party leadership to calm the situation and to put a "compromise" candidate in charge (or one that was not personally involved in either of the camps) can partly be seen. By transferring him, the aim of the Prague leadership was to "calm down/bring into line" the young radical, but also eventually to give him the opportunity (in an important region) to show his abilities (especially his organisational abilities). Upon his return from Ostrava, Rudolf Slánský began to get involved in the power struggles within the Communist...

Le présent mémoire a comme sujet l'analyse et la caractérisation de la pensée de Paul sur la parousie (la deuxième venue du Seigneur) et l'étude de l'interprétation de cette pensée dans la théologie contemporaine,telle que représentée par Rudolf Bultmann, tenant de la démythologisation, et les théologiens de la libération Ignacio Ellacuria et Jon Sobrino. Les éléments clés de la parousie sont décrits principalement en Matthieu 25,31-46, 1 Cor 15,20-28, 1 Thess 4,13-18, 2 Thess 2,1-12. D'après Paul, « Le Seigneur, au signal donné, à la voix de l'archange et au son de la trompette de Dieu, descendra du ciel ». La principale question du mémoire porte sur cette vision paulinienne: Est-ce que la deuxième venue du Seigneur d'après la description paulinienne est encore crédible pour l'homme contemporain ou est-ce qu'il s'agit d'un élément mythologique non essentiel à la foi chrétienne? Bultmann considère que la parousie est un mythe : à ce jour, la parousie ne s'est pas produite, et elle ne se produira jamais. Le kérygme est le seul élément que Bultmann considère comme valide. « The kerygma is the proclamation of the decisive act of God in Christ ». Par contraste, Ellacuria est d'avis que l'élément eschatologique est essentiel pour comprendre l'histoire, car cette dernière est orientèe vers la fin. De manière analogue, Sobrino présente le Royaume de Dieu comme étant un élément clé de l'eschatologie. La théologie de la libération présente également la parousie comme un élément à venir qui représente l'implantation intégrale du Royaume de Dieu et qui devrait se comprendre comme une perspective eschatologique au-delà de l'imagerie de la parousie. / The subject of this thesis is the analysis and the characterization of Paul's doctrine on the parousia (the second coming) of Jesus, and the study of the interpretation of the parousia by the contemporary theologians, such as Rudolf Bultmann, the representative of the demythologization and the theologians of the liberation, Ignacio Ellacuria and Jon Sobrino. The key elements of the New Testament's doctrine of the parousia are described in Matthew 25,31-46, 1 Cor 15,20-28,1 Thess 4, 13-18 and 2 Thess 2,1-12. According to Paul, « There will be the shout of command, the archangel's voice, the sound of God's trumpet, and the Lord himself will come down from heaven ».The key question is: What do the contemporary men and women think of this doctrine? Is the second coming of Jesus according to Paul's description still believable to contemporary persons or is it rather a mythical element non essential to the Christian faith? Bultmann sees the parousia as a mythical issue. The parousia has not happened until now, and it will never occur. The only element that Bultmann proposes as valid is the kerygma. « The kerygma is the proclamation of the decisive act of God in Christ ». Ellacuria on the contrary, believes that the eschatological element is essential to understand history, which itself is oriented towards the end of time. Sobrino in a similar way, proposes the Kingdom of God as a key element of the eschatology. The theology of liberation presents as well the parousia like a future event, representing the integral implementation of the Kingdom of God, which should be understood as an eschatological perspective going further than the imagery of the parousia.

This M.A. thesis deals with the office of the Czech translator at the local government in Prague, which was established in 1749 as a part of the Repräsentation und Kammer. The first aim of our work is to describe and explain the agenda of this department, assess its activities within the contemporary context and justify its establishment. In doing so, we contribute to the historical research by describing the situation of the officials at the time of Maria Theresa and Joseph II, and furthermore we contribute also to the linguistical research by studying the role of Czech in the administration in 18th century. The introduction describes the situation of Czech language in the 18. century and analyzes the state of research. The further text is divided into three chapters. The first one shows the development of Bohemian local government in Prague where Czech translators were working. The most important part of the work is the second chapter, which expounds the history of the translator's office and provides biographies of individual translators. The third chapter presents the Apology of Czech written by the first known translator Matěj Rudolf Blažej which is interesting for us as an example of texts produced by the office in the 18th century and as a contribution to the Czech National Revival.

L’opéra occupe une place essentielle dans la pensée de Luigi Dallapiccola (1904-1975). Ses deux premiers opéras, Volo di notte et Il Prigioniero, sont influencés par Antoine de Saint Exupéry (1900-1944) et Auguste de Villiers de l’Isle-Adam (1838-1889). Ces deux auteurs, fondamentaux pour l’ensemble du corpus musico-théâtral du compositeur, s’avèrent décisifs dans sa conception de l’Univers, du Parcours et de la Figure du Héros : ils annoncent une esthétique du Sacré et de l’Initiatique. En écrivant lui-même ses livrets, Dallapiccola retravaille ses sources, qu’il questionne et qu’il associe à une littérature riche. Le héros traverse un cheminement méandreux, entre ombre et lumière, rêve et cauchemar, liberté et prison. Exaltation sereine et effroi se conjuguent, mythe et religion sont investis : ils génèrent un espace sacré du héros. Les lectures, littéraire, musicale, mais aussi philosophique et anthropologique, découvrent un parcours semé d’épreuves, voyage initiatique teinté de solitude, d’angoisse et de souffrance. Le héros évolue au sein d’une triple structure, sacrée, initiatique et expressionniste. Luigi Dallapiccola construit une pensée de l’opéra transdisciplinaire, humaniste et visionnaire, qui interroge la thymie de l’Homme. / Opera is the core of Luigi Dallapiccola’s thought (1904-1975). His first two operas, Volo di notte and Il Prigioniero are influenced by Antoine de Saint Exupéry (1900-1944) and Auguste de Villiers de l’Isle-Adam (1838-1889). These two authors, essential to the composer’s whole musical and dramatic corpus, are in fact at the root of the World, of the Journey and of the Figure of the Hero: they foretell an aesthetic of the Holy and of the Initiatory. When writing his libretti himself, Dallapiccola works on his sources, questioning them and associating them to a rich literature. The hero follows a tortuous path, amid light and shadow, dream and nightmare, freedom and jail. Serene Elation and dread mingle, myth and religion are treated: they create a sacred place for the hero. The readings, literary, musical but also philosophical and anthropological, reveal a treacherous course, an initiatory journey imbued with loneliness, fear and suffering. The hero evolves in a tripartite structure, sacred, initiatory and expressionist. Luigi Dallapiccola builds up a multi-disciplinary conception of opera, humanist, visionary, which questions Man’s mood.

O presente trabalho teve por objetivo pesquisar sobre o fenômeno religioso e a fé como dimensão da alteridade, assim como pesquisar possíveis relações com a Gestaltterapia do diálogo e cura. A pesquisa foi de natureza bibliográfica numa perspectiva fenomenológica e existencial que teve como fundamento as obras de Martin Buber da Filosofia do Diálogo e seu existencialismo religioso da eterna relação entre Eu-Tu, o Eu-Isso e o Tu eterno. Somado a este, também se problematizou a visão de Rudolf Otto do numinoso e outros autores como Mircea Eliade, teóricos da Gestaltterapia, Heidegger, Viktor Frankl, entre outros. Nossos resultados e discussões foram apresentados a partir de três dimensões. A primeira foi focalizar o fenômeno religioso em íntima relação com a noção da experiência de alteridade. O segundo passo consistiu em pesquisar sobre uma possível aproximação entre o pensamento da Gestaltterapia e a experiência religiosa. Por fim, se pretendeu compreender a Gestaltterapia e a espiritualidade como espaço de encontro do diálogo e cura.

The aim of this thesis is to describe in detail three military campaigns of Emperor Charles IV. (1316 - 1378) within the territory of the Holy Roman Empire. It uses diplomatic and narrative historical sources to map the political circumstances, proces, and military aspects of the three given campaigns. The first campaign is Charles IV's struggle for power over the Holy Roman Empire in the years 1347 - 1349. The second is the military expedition against counts of Württemberg in 1360. The third conflict is Emperor's conquest of Mark Brandenburg, connected with the pursuit of a second electoral vote for the house of Luxembourgs, which took place in the years 1371 - 1373. The thesis tries to be beneficial to the question of the role, that the use of military power might have had in the politics of Charles IV. By comparing the process and circumstances of the three given conflicts, the thesis aims to confirm or deny the existence any kind of specific military-strategic doctrine of Charles IV. One of the discussed problems is also the structure of the armyies that Charles IV had at his disposal during the studied campaigns. It seeks to answer, whether the core of Emperor's forces was made rather by noblemen of the Lands of the Bohemian Crown, or for example mercenaries hired in various locations of the...

Made available in DSpace on 2017-06-01T18:08:53Z (GMT). No. of bitstreams: 1 otaviano_bezerra_santana_filho.pdf: 1062308 bytes, checksum: cdd12d5b5acef7774e9d55ae6378a36e (MD5) Previous issue date: 2014-06-11 / The present study aimed to research the religious phenomenon and faith as a dimension of otherness , as well as investigate possible relations with Gestalt therapy dialogue and healing. The research was a phenomenological nature of literature and existential perspective that was founded the works of Martin Buber 's Philosophy of Dialogue and its religious existentialism of the eternal relationship between " I-Thou , I - It and the eternal Thou ." Added to this , also problematized the vision of Rudolf Otto 's numinous and other authors such as Mircea Eliade , Gestalt therapy theorists , Heidegger , Viktor Frankl , among others . Our results and discussions were presented from three dimensions . The first was to focus on the religious phenomenon intimately related to the notion of the experience of otherness . The second step was to search for a possible rapprochement between the thought of Gestalt Therapy and religious experience . Finally , we sought to understand Gestalt Therapy and Spirituality as a space for dialogue and healing. / O presente trabalho teve por objetivo pesquisar sobre o fenômeno religioso e a fé como dimensão da alteridade, assim como pesquisar possíveis relações com a Gestaltterapia do diálogo e cura. A pesquisa foi de natureza bibliográfica numa perspectiva fenomenológica e existencial que teve como fundamento as obras de Martin Buber da Filosofia do Diálogo e seu existencialismo religioso da eterna relação entre Eu-Tu, o Eu-Isso e o Tu eterno . Somado a este, também se problematizou a visão de Rudolf Otto do numinoso e outros autores como Mircea Eliade, teóricos da Gestaltterapia, Heidegger, Viktor Frankl, entre outros. Nossos resultados e discussões foram apresentados a partir de três dimensões. A primeira foi focalizar o fenômeno religioso em íntima relação com a noção da experiência de alteridade. O segundo passo consistiu em pesquisar sobre uma possível aproximação entre o pensamento da Gestaltterapia e a experiência religiosa. Por fim, se pretendeu compreender a Gestaltterapia e a espiritualidade como espaço de encontro do diálogo e cura.

This thesis contributes to our knowledge of the early (modern) Bohemian musical culture by tracing the musical production and activities at the Jesuit Clementinum college in Prague from its foundation in 1556 to the establishment of the autonomous Bohemian Province in 1623. This analysis draws on original Jesuit archival documents (diaria / diaries, memorial books, catalogi personarum / personnel catalogues, litterae annuae / annual letters, historiographical works of the period) and wider primary sources, which the author interprets within broader socio-cultural and historical realms. Authentic testimonies written in Latin that document musical activities in the Clementinum and the relationship of Prague Jesuits with music are included in the footnotes or in appendices. Individual chapters seek to illustrate (illustrare) and assess (recensere) the materials investigated from the following points of view: 1) institutional (Order, College, associated sodalities); 2) environmental acoustics (broader sound production within the spaces of the College and the rest of the city); 3) prosopographical (music prefects of the College and of the Marian Congregation); 4) surviving musical sources; 5) ceremonies with musical components (liturgical and paraliturgical ceremonies, graduations, congregational...

The goal of this study is to describe the way Austria-Hungary followed to create and develop a modern navy in 1897-1914, and to determine, which factors were decisive in creating the final composition of the fleet. As the base for the research, a number of works related to the subject were studied, but far more important was detailed research of primary sources located in Austrian State Archives. The main line of the research as well as of this study follows negotiations on navy's budgets because of the assumption that the very base for building ships and developing the navy are financial resources. Among the more important subtopics are the way the navy had to award producers form both state, Austria and Hungary, with adequate portion of contracts, the Austro-Italian naval arms race, and the structure of the Austro- Hungarian fleet. The research revealed, that the ideal fleet as imagined by the commanders of the navy was a product of theories concerning a decisive battle and naval supremacy then widely widespread, and of the rivalry with Italy. However, the extent to which the ideal could have been followed, depended on the economic situation of both states; in the process of discussing and voting navy's budgets, the decisive word belonged to governments, not to delegations. The way the navy had...

IN ENGLISH The primary concern of this thesis is to explore the instances of incorporation of media-specific elements extracted and translated from radio and cinema into Samuel Beckett's late prose. The analysis of the texts forming Beckett's Nohow On trilogy is based on the investigation of the two modes of perception - the aural and the visual - and is realised through the close reading of Company, Ill Seen Ill Said, and Wostward Ho in the context of media and film theory and practice. The chief premise is that the formal translations among the print and non-print media in Beckett's work are conditioned by the author's interest in, and theoretical and practical familiarity with, radio, television, and cinematography. The discussion is thus supported by biographical and bibliographical framework, and Beckett's familiarity with the specificities of broadcast media and cinema is considered in their direct relation to the progressive 'technologisation' of his fiction of the 1980s. The thesis outlines the origins and transformations of the motif of voice as one of Beckett's chief fictional concerns, and explores the texts' practical and notional borrowings from the field of cinematography to elucidate the way in which they are designed to simulate perceptual experiences. In doing so, the individual...