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Architectural design of building for the Slovene National Theater with two experimental halls for 500 and 100 spectators.

Topic of the thesis are selected short stories from the book Guerrillas (Gverilci, 2004) by the Slovene writer Polona Glavan. The first part introduces the writer and her work. It focuses on the literary historic classification of her works as well. It explains the movement of minimalism in art and its appearance in the literature. The last topic of this part is the Slovene generation of minimalists. The second part of the thesis contains the main theme - commented translation of the selected short stories. It means the text analysis of stories and analysis of the selected problems connected with the process of translation. There are presented steps which have been used as well. The thesis is mainly focused on the appearance of minimalism in texts by Polona Glavan and the suitable translation of them to the Czech language.

The goal of this diploma thesis is to create an annotated Czech translation of a literary text. Specifically, the selected three short stories from the collection Ideoluzije (2015) by a Slovenian writer Jasmin B. Frelih. The stories chosen for translation are De Nachtwacht, Vrabci and Pritisk konca. The first part of the thesis briefly introduces the author and his work. The main focus of the work is the translation of selected short stories and creating a professional commentary. The theoretical-practical part deals with individual phenomena that may be problematic in translation, such as neologisms, vulgarisms, interjections, etc. The theoretical interpretation is supported by examples from the short stories. This thesis aims to clarify translation procedures and methods as well as to present solutions to the problems mentioned.

This thesis explores the mental representation of subject-verb agreement, and the factors that can affect the determination of agreement in language production. It reports nine experiments that used a task in which participants produced sentence completions for visually presented complex subjects such as “The greyhound which two lively rabbits were tempting”. Such completions typically agree with the head noun (greyhound) as in “A greyhound which two lively rabbits were tempting is jumping” but sometimes agree with the local noun (rabbits) as in “A greyhound which two lively rabbits were tempting are jumping”. The first experiments examined the value of the concept of markedness in subject verb number agreement to see whether it has explanatory power for languages like Slovene with more than two number values. Results from two experiments employing complex sentence preambles including a head noun post modified by a prepositional phrase or a relative clause (e.g., “The nudist(s) near the sand dune(s)”) show that Slovene number agreement differs from number agreement in languages with no dual, but that it is not possible to simply state that the singular is the least marked and the dual the most. I argue that using languages with more complex number systems allows greater insight into the processes of correct and erroneous subject-verb agreement, and shows that it is necessary to dissociate susceptibility to agreement from error-causing status. To conclude, the concept of markedness seems unable to explain my results. Semantic effects in agreement are then examined using two comparison experiments in English. Experiment 3 shows that although English has only a two value system, speakers are sensitive to semantic differences in number. Experiment 4 explores the possible influence of speakers’ native language three-value number system on their two-value second language system. It shows that native speakers of English are more sensitive to semantic number differences in English than Slovene speakers of English. Experiment 5 explores gender agreement in Slovene (which has three genders) and shows that there is a complex pattern of agreement. As with number, there is not just one number value which is problematic: neuter and masculine are most confusable, but masculine errors are also common when feminine agreement would be expected, thus suggesting that speakers revert to two different defaults, masculine and neuter. Finally, the results of four experiments examining number and gender agreement in coordinated phrases are presented. Agreement in such phrases may be resolved (i.e. the verb agrees with the whole subject) but may instead agree with one conjunct. Agreement with one conjunct is affected byword order (agreement with the nearest conjunct is most common), coordinator (e.g., single-conjunct agreement is more common after “or” than “and”) and the gender or number of the conjuncts (e.g., dual number is associated with single-conjunct agreement). Taken together, my results suggest that agreement is affected by a complex interplay of semantic and syntactic factors, and that the effects of a three-valued system are quite distinct from those of a two-valued system.

The national development of the ethnic groups of the Habsburg Monarchy were influenced by the policies undertaken toward them by their rulers, the Austrian Germans and, after 1867, the Magyars of Hungary. Contrasts can be identified between those groups living in the Austrian part of the Monarchy and those living in the Kingdom of Hungary, a trend that can be identified in the Monarchy's South Slav populations (Serbs, Croats, and Slovenes), as this population inhabited territories on both sides of the dualist border. The present study examines the differences in the nationality policies toward the South Slavs on the part of the governments of Cisleithanian Austria and the Kingdom of Hungary during the decades prior to the First World War. The concluding section examines how these nationality policies influenced the post-1914 development of the South Slav groups.

The design of the new stage of the Slovene National Theatre in Ljubljana adheres to, among other things, the motto of the “TACE” (Theatre Architecture in Central Europe) project, i.e. a search of forms and types of buildings for the "New Theatre for the 21st Century". Therefore, I confront three topics: 1/ the conventional binocular conception for the drama chorus of the National Theatre, 2/ the unconventional solution of the "TACE" and 3/ the urban conception of the location, the so-called "Southern Square", designed by Josip Plečnik. Ad1/ The serious and classical feeling of the conventional form of the theatre hall is required, for this is the National Theatre. Slovenia, as a relatively young state, strives to build and strengthen its historical and national existence; therefore, the classical conception should be preferred because most plays dealing with the national identity are written for this type of theatre. Unlike the unconventional type of “performance” theatres that tend to present international rather than national art. Ad 2/ The search for spatial forms of unconventional and interactive staging of traditional types, such as ballet, opera, musical or drama as well as new forms such as “performance” resulted in a clear conclusion - “black box”. The ideal theatre of the future is infinitely multifunctional neutral space equipped with technologies that enable using the area for virtually any purpose. The principle comes very close to that of film studios, yet equipped with theatrical and other technologies. Ad 3/ A controversial location in the centre of Ljubljana, which has been waiting for an urban conception since the 1930s. It is situated at the end of Plečnik’s “Ljubljana diameter”, with the obelisk in the French Revolution Square as the opposite pole. The unfinished axis obelisk-square-theatre is quite apparent. The location features a clearance and an inner block with a poor urban development; yet it also features the so-called Knafijev prehod, a socially well functional part. The building is divided into 2 functional units - the theatre with its halls, lounge, gallery and cafe, and a commercial passage with the theatre’s administration. The facade of the theatre is a composite of several elements: From left, a decoration consisting of a ruptured pillar with a statue of an actor with a background of the fly, as we move to the right, a “curtain” going down in a curve from a glass “heaven” of the theatre’s hall towering over the passage, out of which rises the solid pylon of the gallery made of half-transparent material LitraConTM. This composition shifts the axis of the lounge beyond the axis of the park to the axis of the diameter and makes thus room for service access. The theatre’s area with the passage beneath is linked by a number of newels which can spin and thus close and in this way enable changing the mode of the passage from a lounge to a public area. The conception of the theatre's area combines sections 1/ and 2/ mentioned above. It consists of the classical stage with a trap cellar, portal and fly, which can be used a classical opera-glasses theatre for as many as 800 persons in the audience and/or, if the iron curtain is closed, as a small scene with approximately 100 seats. The remaining area functions as experimental and consists of a revolving auditorium and 4 stages whose back walls feature panorama windows.

Slovene national theatre in the centre of Ljubljana as a part of existing city block. The composition of buildings creates new urban areas as a continuation of the urban axis of Josip Plečnik. The basic principle was to resolve the issues of entry into building, the definition and organization of space inner block, the creation and cultivation of new and existing urban areas. Unifying element of the whole composition is solution to the facade, which paraphrases the high order, typical for the surrounding buildings and significant not only for cultural buildings. As a contrast to massive and heavy mass of facade stand glass facade which makes lighter impression. White facade adds significance to the composition.