Thesis called "The reception of poetry poetics of the year 1950 as an attempt of fulfilling Štoll`s ideologically-aesthetical conception" aims, baring in mind a wider cultural-political context, to trace back the extent of indentification of stalin literal critique with Štoll`s ideologically-aesthetical conception soon after its presentation on the business conference of the Czechoslovak Writers` Union in January 1950. Working with selected poetry poetics of that year it is trying to render the specifics of their reception after this speech had been accepted as a final methodological and value indicator of all contemporary literal-crtitic cretive activity. As an initial document for this thesis is therefore Ladislav Štoll`s book {\clqq}Thirty Years of Fight for the Czech Socialist Poetry`` (1950), the extended printed version of Štoll`s report which even contains parts of Jiří Taufer`s speech from the same conference. In three autonomous parts, for all that linked in a way, the thesis tries concretely bring into effect these requested intentions by focusing on books of poetry {\clqq}Zpěv míru`` by Vítězslav Nezval, {\clqq}Píseň o Viktorce`` by Jaroslav Seifert and {\clqq}Máj země`` by Ivan Skála. Being aware of the necessity of taking into account even the non-literal influences it looks into not only their contemporary reception itself but also aboriginal cultural-political circumstances and the poets` status in the hierarchical mosaic of cultural politics of that time. In the overall framework effort of creating complex view of the questions introduced, the thesis` subchapters offer attempts of own literal analysis of discussed poetry works.

This work deals with the first phase of the GDR literature, the so-called Aufbauliteratur. It shows how the GDR dealt during the years 1949 to 1956 with the fascist past and how the newly formed socialist state was built. The contemporary literature of the GDR reflects the efforts to reeducate people in the sense of the socialist ideas and to portray the daily life of the new socialist republic. In the meantime this literature should boost the working people to increase the production and to build a socialist economy. The aim of my work is to show the reflection of the former reality in the literature. As a basis for this analysis there are five selected works from Eduard Claudius Mensch an unserer Seite, Hans Marchwitza Roheisen, Elfriede Brüning Regine Haberkorn, Jan Koplowitz Unser Kumpel Max, der Riese und Harry Thürk Die Herren des Salzes. Keywords: GDR, Aufbauliteratur, socialist state, working people, production, re-education, Eduard Claudius, Hans Machwitza, Jan Koplowitz, Harry Thürk, Elfriede Brüning

In this diploma thesis I deal with the concept of a new socialist man in Czechoslovakia between 1948 and 1956 on the example of Emil Zátopek. The aim was to analyze the form of the new socialist man on the example of selected fiction, newspaper articles, visual, audio and archival material, taking into account the person of Emil Zátopek. The research was conducted using methods of discursive analysis. I approached the concept of the new socialist man as a social construct. Research has shown that the image of the new socialist man was dynamic and was misused by communist ideologues to create images of ideal citizens and emphasize the negative qualities of external and internal enemies. Exceptional personalities, such as Emil Zátopek, were shown by period propaganda as ideal citizens who were a harbinger of a new world. Zátopek's period image consists of two forms that intertwined with each other. Their combination enabled the communist propagandists to present Zátopek as a new socialist man, yet an ordinary citizen. The diploma thesis is divided into three chapters, which refer to each other. The chapters were conceived according to the image of Zátopek in contemporary propaganda.

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.

Diploma thesis "The elimination of the Private Enterprises, Small and Medium Sized Entrepreneurs, in Czechoslovakia between 1948-1953" is focused on the period after the February 1948, which dates the power takeover by Communistic party of Czechoslovakia, and deals with one feature of change of the Czechoslovak economy, especially the elimination of the private sector, and arising of the socialistic sector as the only segment of the national economy. The thesis reveals the change in communistic attitude toward the private entrepreneurship in 1945-1949, and steps which it took against the private entrepreneurs. Moreover, the thesis describes acting of state authorities and other institutions which played important role in the whole process. It also detects the way which was used for joining the private small and medium sized enterprises into the socialistic sector or the way how they were eliminated in 1948-1953. The whole process is embedded into a broader historical background. The research includes three levels. The first one is legislative level, the second includes state authorities and institutions taking part in the process of elimination following the instructions given by the Communistic party of Czechoslovakia, and finally the third level which refers to entrepreneurs themselves and their...

The diploma thesis aims to capture and explain the changes in the milieu of nonconformist rock music in relation to the policy of Perestroika in Czechoslovakia during the years 1986- 89. The primary methodological framework is created by an interpretive trichotomy where each perspective includes various historiographical approaches (sociology of Ivo Možný, postmodern deconstruction of authoritarian discourse, so-called totality from below, etc.). The chapter dealing with the repression of rock music analyses the working methods of secret police (StB) in the 1980s while revealing the background of several typical cases (Pražský výběr, Visací zámek, Michael's Uncle). Next chapter explains the differing approaches of nonconformist rockers towards the cultural relief represented by the official festival "Rockfest". The last analytical chapter deals with perception of contemporary authorities. In conclusion it turns out that the relationship to the authoritarian horizons underwent the most fundamental transformation. The disintegration of those authoritarian horizons led to transformations inside the social field and contributed to the decline of the regime of state socialism.

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

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.