With special attention being paid to the development in the city of Brno, the dissertation focuses on the issue of applying artworks in Czechoslovak architecture after World War II. The main research questions – Why were in Czechoslovakia after 1945 artworks again integrated in architecture and what strategies were applied in the case of the newly built housing estates in the city of Brno? – are answered in two successive sections. First, the institutional background for application of art in architecture in the light of the events in Brno (1945–1993) is examined; the closing part is devoted to three case studies that illustrate local development in the period of socialist realism, creative release of the1960s and political normalization. The aim is to highlight the complexity of the examined subject and refute a popularly handed down conviction that integration of artworks into architecture in the period of socialism was motivated exclusively by the communist propaganda, and to show that the attempts to create a synthesis of art and architecture were also based both on earlier theoretical considerations about the educational function of art and its effect on humans and the need to improve poor economic situation of artists after World War II.

The thesis is aimed at the subject of classicism in a broader sense of this term and is based on the classicism period architecture in the Czech Republic. The introductory chapter intends to briefly and independently define and clarify the terms classical, classicism and neoclassicism, deal with the shaping of the classical canon in Europe and outline the evolution of classical features in the history of the Czech architecture in the European context. In separate chapters the thesis systematically follows the matters of classicism in the first half of the 19th century, in the periods of pure and late historicism and early and paramount modernism. Special attention has been paid to the matters of classicism in the Czech thoughts on art in the interwar period and during the German occupation. Having analysed the classicism-style tendencies in the socialist realism architecture the thesis identifies basic classicism-style aspirations in the 2nd half of the 20th century and in the beginning of the 21st century. The final chapter is dedicated to the identification of the main overall specifics of classicism in the Czech architecture based on a list of examples.

Názov práce: Art Spectator and his/her Reflection in Theory and Artistic practice in Czechoslovakia in 1950s and 1960s PhD Candidate: Eliška Mazalanová Department of Arthistory Supervisor: doc. PhDr. Marie Rakušanová, PhD. 2019 The dissertation thesis aims to analyze the issue of the viewer or the audience of Czechoslovak visual arts of the 1950s and 1960s. It focuses on the period when a directive method of political and social engagement of art in the form of socialist realism has been applied and on the subsequnet period when the Czechoslovak art scene has been re- establishing its previous developments. The thesis focuses primarily on the latter period, in which new trends in the visual arts were adopted and authentically developed. Their specificity lies in the increased interest in the art spectator, also characterized by a changed relationship of art and its audience, which I also call as a turn to the spectator. The thesis is interested in the historical frameworks and characteristics of the social function of art, in the various forms of art's social commitment, its political or ideological function. The artist's approach to the recipient of his or her works was also significantly determined by the official cultural policy; these new trends were also defined or somehow related to them. Therefore,...

The aim of the diploma thesis is to present artistic objects conceived within the architecture of cultural houses since the onset of the communist regime in 1948. The theoretical part of the thesis introduces the development of architectural tendencies of the first and second half of the 20th century, the process of construction of cultural houses and, in context, the mood of the society at that time. The practical part presents a selection of five houses of culture built between 1948 - 1989, which are located in the geographical area of Prague and Central Bohemia. Data collection was carried out using field research methodology, through a critical evaluation of available historical sources and secondary literature. The supporting element of the research is the photographic documentation of the artworks and architecture of the cultural houses, which is accessible within the appendices of the thesis. Keywords Cultural Houses, Art in Architecture, Czech Architecture after 1948, Socialist Realism, Typification, Communism, Prague, Central Bohemia

Объектом данного исследования является сталинская культура. Целью работы было выявление специфики влияния макросоциального процесса модернизации на становление сталинской культуры Основная гипотеза заключается в том, что, по нашему мнению, советская культура 30-50-х и все, что с ней связано, является результатом сталинской модернизации и не могла существовать вне этого макросоциального процесса. Благодаря тому, что этот процесс был неполноценным относительно европейской модернизации (и ее продуктов), весомую роль в ней играло искусство (соцреализм), которое одновременно являлось таким же средством модернизации, как и индустриализация. Искусство оказалось средством формирования системы представления о мире, являлось способом трансляции ценностей, что говорит о нем как способе воспроизводства сталинской культуры. В ходе работы удалось выяснить, что сталинская модернизация как макросоциальный процесс обладает признаками западной модернизации, но ее инструментарий наследует много из того, что было в отечественной истории. Советская модернизация обладала своим собственным преобразовательным пафосом в отношении переустройства человеческой жизни. Проект модернизации был направлен на достижение определенной социальной утопии, где большую роль играл бы труд как воспитательный механизм. Само существование человека в этой системе несло онтологический характер, труд – воспитательный. Соответственно реальность, в т.ч. трудовая, подменялась синтетическим образом желаемой действительности, которая примирялась с окружающим миром за счет дерализации. Искусство в такой ситуации становится реальным рычагом модернизации и способом построения определенной картины мира, который дополняет прочие рычаги: политический и экономический. / The object of this study is the Stalinist culture. The aim of the work was to determine the specificity of the effect of macro-modernization process on the development of Stalinist culture The main hypothesis is that, in our opinion, the Soviet culture 30-50th and everything connected with it, is the result of Stalin's modernization and could not exist outside of this macro-process. Due to the fact that the process was defective with respect to the modernization of the European (and its products), a significant role in it played an art (the Socialist Realism) that is both the same means of modernization, as well as industrialization. Art was a means of forming a system of beliefs about the world, it is a method of translation of values, which speaks of it as a method of reproduction of the Stalinist culture. During the work we found out that Stalin's modernization as the macro-process has signs of Western modernization, but it inherits many of the tools that have been in the country's history. Soviet modernization has its own transformative fervor against reorganization of human life. The modernization project was aimed at achieving a particular social utopia, where he played a major role to work as an educational mechanism. The very existence of man in this system carried ontological character, work - educational. Accordingly reality, including labor, supplanted by synthetic way the desired effect, which is at peace with the world around them by deralization. The art in this situation becoming a real lever of modernization and a certain way to build a picture of the world that complements the other levers: political and economic.

1 online resource (181 leaves) / This study relies on ecocriticism as the discipline benefitting the analysis of the imagery of nature in Konstantin Paustovsky’s prose. The objective of this approach is to demonstrate that Paustovsky’s prose goes beyond of what was expected from a Soviet writer by the socialist realist dogma. This thesis attempts to prove that an ecocritical approach validates his prose as being universal in its message and thus relevant to contemporary readers. Scholars of ecocriticism ask the following questions when analysing a nature-orientated prose: what values are expressed in nature-orientated literature, does the portrayal of nature reflects the cultural values of a nation as well as the way in which a person’s interaction with his natural environment enhances or hampers his spiritual development. The timeframe, within which Paustovsky wrote his prose, should be taken into account, because it coincides with the Lenin and Stalin regimes, when any criticism of the government including its nature conservation policies was impossible. The analysis of attitudes of the Russian people towards nature in Paustovksy’prose demonstrates that it evolved from the acceptance of the official stand to the one of criticism. This research resulted in the following conclusions: Firstly Paustovsky’s view with regard to ecological problems and his solutions to these problems are on par with those of modern ecologists. The writer, for example, proposes a holistic way to undertake nature conservation, such as replacing ruined forests by the same type of trees, not interfering in the cycles of nature and stresses the importance of scientific information on how to care of the natural environment. Secondly, it is through his presentation of nature that the author familiarises the reader with the essence of the Russian culture, which is totally intertwined with the manifestations of Russian nature, such as folklore, superstitions, cultural traditions and values attached to certain animals and trees Thirdly, it has been established that the ‘external’ natural landscape of a person namely his environment, undoubtedly influences his ‘internal landscape’, his psyche. This implies that the natural environment of a person will have an influence on his psychological make-up. It is assumed that this study, in particular the use of ecocriticism as a tool to analyse literature where nature plays a role, will shed new light on the role of nature in Russian prose. This is especially the case with regard to the way in which ecological issues such as nature conservation are treated. / Classics & World Languages / D. Litt. et Phil. (Russian)

This diploma thesis mainly deals with the relationships between the poetic manifestations of socialist realism and so called total realism in the early fifties. The first part focuses on general issues; within it I try to describe characteristic features of both poetics, for total realism it is done mostly in the background of comparison with like-minded concepts (Hrabal's poems from the fifties, the works of former members of Group 42). In other chapters of the text I am thinking about a total realism from two aspects: first, as an alternative form of realism, which defines itself against the official art, as well as a program that is dependent on the official art to some extent by paraphrasing or using some of its means and resources.

This diploma thesis deals with the theatricality of Milada Horáková and company trial and its theatrical reflections. In this thesis, the political trial is regarded as an ideological fiction on the grounds of the ritual and theatrical character. The dramas, which are inspired with this trial, are interpreted in the following chapters. First of them, it deals with Pařeniště by E. F. Burian in the context of the socialist realism, which was put on the stage in a short time after this trial. It paid attention to re-putting on the stage in 2008 as well. The last part of this thesis deals with contemporary productions, which are inspired with this trial (Horáková, Gottwald by Karel Steigerwald and opera Tomorrow will... by Aleš Březina and Jiří Nekvasil), which depict absurdity and bizzare atmosphere of this trial.

Cette thèse analyse les échanges artistiques entre la France et l’URSS durant l’entre-deux-guerres, leurs rouages et les avantages mutuels qu’ils présentent. Cette période connaît quatre phases successives, ce qui permet de découper la recherche en autant de parties. La première étudie la période d’avant la reconnaissance de l’URSS par la France et la mise en place des relations diplomatiques (avant 1924) ; la deuxième se penche sur les premiers liens officiels qui suivent ladite reconnaissance (1925-1928) ; la troisième s’intéresse aux années 1928-1934, période du « Grand Tournant » dans l’économie soviétique, et enfin la quatrième englobe les années qui suivent l’instauration du réalisme socialiste en 1934 et se termine avec la guerre. Notre projet tente d’évaluer la pertinence de l’approche stéréotypée portant sur le lien entre art et idéologie, de voir si la peinture soviétique, telle que présentée lors des expositions en France, était similaire à celle exposée en URSS et constituait un outil de propagande à part entière. Sous quelle forme l’art soviétique est-il présenté en France et quel est le rôle des instances dans la mise en place de ces manifestations ? Il s’agit d’étudier le rôle des acteurs de ces échanges : instances étatiques, associations, galeries, spécialistes d’art, intellectuels, collectionneurs ou enfin les artistes eux-mêmes. Nous nous intéressons également aux expositions d’artistes français et à l’organisation de leurs voyages en URSS. Ce travail montre que les maillons de la chaîne « politique-idéologie-finances » sont intimement liés entre eux et que l’argent a souvent un rôle décisif pour les instances soviétiques. / This dissertation focuses on artistic exchange between France and the USSR in the interwar period, its mechanisms and the benefits it presented. This period can be divided into four successive phases, accounting for the four parts this research falls into. The first part studies the years leading up to the recognition of the USSR by France and the setting up of diplomatic relations (prior to 1924); the second part deals with the first official links following the recognition (1925-1928); the third part focuses on the years 1928-1934, a period of economic change also known as « the Great Turn » in Soviet economy and the fourth and final part spans the years after socialist realism was established from 1934 on up to the outbreak of the war. This research questions the stereotypical approach to the link between art and ideology and asks whether Soviet painting, as shown during exhibitions in France, was similar to that shown in the USSR and whether it was, or not, a sheer tool for propaganda. Under what form was Soviet art presented in France and what role did authorities play in organizing artistic events? The role played by the actors of this exchange is studied: state authorities, associations, art galleries, art specialists, intellectuals, collectors, intellectuals, and last but not least the artists themselves. Also studied are the exhibitions of French artists and how their trips to the USSR were organized. This research shows that politics, ideology and money are tightly linked together and that money played a decisive role for Soviet authorities.

1 online resource (181 leaves) / This study relies on ecocriticism as the discipline benefitting the analysis of the imagery of nature in Konstantin Paustovsky’s prose. The objective of this approach is to demonstrate that Paustovsky’s prose goes beyond of what was expected from a Soviet writer by the socialist realist dogma. This thesis attempts to prove that an ecocritical approach validates his prose as being universal in its message and thus relevant to contemporary readers. Scholars of ecocriticism ask the following questions when analysing a nature-orientated prose: what values are expressed in nature-orientated literature, does the portrayal of nature reflects the cultural values of a nation as well as the way in which a person’s interaction with his natural environment enhances or hampers his spiritual development. The timeframe, within which Paustovsky wrote his prose, should be taken into account, because it coincides with the Lenin and Stalin regimes, when any criticism of the government including its nature conservation policies was impossible. The analysis of attitudes of the Russian people towards nature in Paustovksy’prose demonstrates that it evolved from the acceptance of the official stand to the one of criticism. This research resulted in the following conclusions: Firstly Paustovsky’s view with regard to ecological problems and his solutions to these problems are on par with those of modern ecologists. The writer, for example, proposes a holistic way to undertake nature conservation, such as replacing ruined forests by the same type of trees, not interfering in the cycles of nature and stresses the importance of scientific information on how to care of the natural environment. Secondly, it is through his presentation of nature that the author familiarises the reader with the essence of the Russian culture, which is totally intertwined with the manifestations of Russian nature, such as folklore, superstitions, cultural traditions and values attached to certain animals and trees Thirdly, it has been established that the ‘external’ natural landscape of a person namely his environment, undoubtedly influences his ‘internal landscape’, his psyche. This implies that the natural environment of a person will have an influence on his psychological make-up. It is assumed that this study, in particular the use of ecocriticism as a tool to analyse literature where nature plays a role, will shed new light on the role of nature in Russian prose. This is especially the case with regard to the way in which ecological issues such as nature conservation are treated. / Classics and World Languages / D. Litt. et Phil. (Russian)