Forman, D .: Curious World. Possibilities of applicatiom of the theme in pedagogic practise. [Diploma thesis] Prague 2015 - Charles University, Faculty of Education, Department of Fine Arts, 79 p. (Attachments 7 artistic realizations - oil paintings small and medium size) The thesis is based on a comprehensive comparsion of major interpretation avant-garde art and the modernist thinking, which determined crucially interpretation of the most important events in the art history of 20th century. This work brings together three major confrontations looks at the intentions of selected representatives of avant-garde art and focuses on problematic moment of "interruption" the progression of the avant-garde by socialist realism. Three positions are views of art theorists Clement Greenberg, Theodor Adorno and Boris Groys. Didactic part of this thesis is realized by art education series, which is inspidated by this topic. It focuses on understanding the most basic principles of geometric abstraction, constructivism and abstract expressionism by students. The artwork is also inspired by this topic, it contains the collection of oil paintings. Keywords: avant-garde, kitsch, socialist realism, interpretation of art, art discourse, comparsion, Greenberg, Groys, Adorno

The topic of the thesis deals with everyday life in Podblanicko Region during the socialist era. This is a local research that tries to show the memories of rural people on the period of normalization, defined by the 70s and 80s of the 20th century, in terms of food, clothing and housing. The research deals with the strategies, tactics and improvisations of the inhabitants of this region in the period of socialism, among other things focused on the lack of required goods in shops, poor supply, searching for not very high-quality construction materials and fashionable clothes. Apart from individual expressions, it deals with community style that inherently belongs to the rural population. The era of socialism is strongly ingrained in the mind of the people who lived at that time. It is clear from many sources that before the year 1989 people in the countryside did not live just meaningless lives, remarked and emptied by a totalitarian regime. In many cases, they tried to ignore the regime or they just were not interested in it. In their everyday life they created values, which were more important to them. However, they were able to realize the values mostly only partially. In order to achieve the things they considered important, their ingenuity, strategy and tactics were essential. A life in the...

My thesis is devoted to the influence of food retail units with an exclusive assortment on the territory of Prague 1 at the time of normalization, specifically in the 80s of the 20th century. All facilities which are mentioned in the thesis have been incorporated into the enterprise Potraviny Prague 1, and were somehow exceptional in its own way, whether it was a privilege in supplying compared to standard establishments, or the customers' demand for local delicacies. As the enterprise Potraviny Prague 1 was a direct superior of the member establishments and their important part, this thesis deals with its origin and history. Its inseparable part consists also in the mention of organized competitions, shows, and last but not least, I mention the awards, which ware granted to this enterprise. The fourth chapter focuses on the availability of the specialized range of products, their quality and the level of provided services, which is connected to overseeing the establishments by its parent organization. The methodology of this thesis uses both the scientific literature, the press of that time, and the interviews conducted using the method of oral history.

This thesis is a contribution to the study of the Czechoslovak and Yugoslav film culture during the socialist dictatorship of the 1960s and 1970s as told by an oral source who experienced this culture in both socialist countries. The main aim is to comparatively approach this topic and find answers that can only be provided through oral history. My attempt is to depict similarities and differences between the two nations' film cultures, discover a Czechoslovak-Yugoslav bond that either held or detached the nations together, and provide a subjective approach to the socio-cultural circumstances that created the basics for the film culture's rise and fall under the socialist dictatorship. Therefore, a special attention is given to historical subjectivity and its relation to memory and culture. Keywords: Socialist Film, New Wave, Yugoslavia, Czechoslovakia, FAMU, Oral History, Historical Subjectivity

This thesis focuses on the topic of photography in the work of Television studio Ostrava, a part of Czechoslovak television, during a period of the communist regime, called normalisation, and the reflection of this period after the year 1989. It may be presumed that communist propaganda and other efforts of normalisation will be apparent in the documentaries and other products concentrating on photography. The region of Ostrava also has its own cultural specificity due to its mainly industrial nature; the region is characterised by coal mining and metallurgy. Thus it may be presumed that communism will be planted in the minds of the people more firmly. The thesis also contains a theoretical framework, describing socialist realism in photography and normalisation in photography as well as in the television studio in question. In order to verify these hypotheses and to discover other important facts of the topic in question, a content analysis of data available in the archive of Television studio Ostrava was carried out. The archive suffered grave losses during major flooding of Moravia and Silesia in 1997, some films and actual photographs were however still available for analysis. The findings relevant to each document are stated in their respective parts and are summarised as a whole in the...

! The thesis is exploring art and architecture in Denmark and Czechoslovakia in the period 1947-1957. The main interest was to see how the interwar avant-garde movements such as Functionalism and Surrealism, as well as the legacy of Bauhaus, developed after the WWII. Yet, Functionalism and Surrealism can also be seen not only as mere artistic styles but as two different attitudes towards life, Rational and Romantic respectively. The latter, which is a passionate protest against the status quo, can especially in its revolutionary or utopian dimension serve as a form of engagement free of the simplifying Cold War binaries.

This work focuses on foreign college students in former Czechoslovakia, coming from so-called developing countries. It portrays the students' daily life, their relationships and conflicts, as well as their coexistence alongside the Czechoslovak population. Firstly, it will be necessary for us to pinpoint the subjects the foreigners studied, and then identify university archives used as research sources (tentatively, sources are available from Charles University and the Universita 17. listopadu university in Prague). Besides their studies, this work focuses on the students' life at the dormitories, their conflicts, and their cultural and social life. The research will, naturally, have to be put into context of Czechoslovakia's strategies and ambitions in the international politics, especially in relation to the so- called developing countries. Powered by TCPDF (www.tcpdf.org)

This thesis focuses on photography in the work of Television studio Ostrava, a part of Czechoslovak television, during a period of 1969-1989, called normalisation, the reflection of this period after the year 1989 and mainly the photography archive of said institution. It may be presumed that communist propaganda and other efforts of normalisation will be apparent in the documentaries and other products concentrating on photography. The region of Ostrava also has its own cultural specificity due to its mainly industrial nature; the region is characterised by coal mining and metallurgy. Thus it may be presumed that communism will be planted in the minds of the people more firmly. The thesis also contains a theoretical framework, describing socialist realism in photography and normalisation in photography as well as in the television studio in question. In order to verify these hypotheses and to discover other important facts of the topic in question, a content analysis of data available in the archive of Television studio Ostrava was carried out. The archive suffered grave losses during major flooding of Moravia and Silesia in 1997. However, some films and many actual photographs were still available for analysis. The findings relevant to each document are stated in their respective parts and are...

The dissertation is dedicated to the under-researched subject of the official sculpture in the DDR and ČSR in the time-frame 1948-1968. By evaluating the material on a broad background of the art historical, historical, cultural and ideological determinants, the dissertation endeavour to provide an accurate insight into the internal processes of the cultural machinery of the Socialist states with regard to sculpture and sculptors. The comparative character of the dissertation contributes to the understanding of the critical questions of art historical research of the period - such as the (in)authenticity of the local varieties of Socialist Realism and relatedness to the SSSR Socrealism, dates of the Socrealism existence, engagement of modernist sculptors, principles of the state/artist relationship or the second life of the Socrealist sculpture.

The work of Antonin Tenzer involves his activities in the period of six decades in the turbulent era of development of Czechoslovak history of architecture. The architect is known as one of the representatives of the avant-garde and High functionalism, author of Faculty Hospital in Prague-Motol and other medical buildings or the Jalta hotel, a building associated with socialist realism. In my dissertation, I tried to map the main typological fields that Antonín Tenzer used in his work. My goal was to widen the portfolio of famous buildings, and on the basis I defined the architect's major themes and current issues, which were responded in his effort. I based primarily on historic materials - published projects, plan documentation and writings of public and private archives, as well as personal heritage, made available to me by the architect's family. In particular thematic areas I focused on Tenzer's vital and successful implementation of competition projects, which he later followed and extended. In addition to impulses from his collaborators, debates and majors works of those days I was looking for elements and methods of Tenzer that influenced the architecture environment. I observed the influence of historical events and the socio-political situation in his work, for example, housing issues in...