The thesis focuses on observation of resemblance, exploration of the identical and the different. At first, it considers analogy and comparation in a complex approach focusing on philosophy, logic, mathematics and linguistics. At the same time, resemblance is perceived in close connection to representation and image, semiotics, iconology, iconography, photography and processes ? as well as related concepts, such as mimesis, reference, representation, transformation, simulation, virtuality and hyperreality. The final part is concerned with resemblance and its effect on typology, original and copy ? identity, perceiving of authenticity and the function of memory. The key concepts are: non-causality of resemblance, analogy of proportionality in contrast to analogy of proportion, visual thinking and functionality of memory, resemblance as the basic power of image, and transformation as the principal form of representation.

Interdisciplinary theory of media and human emotion in collective semiosis

This thesis will examine film as a phenomenal aspect of reality. We will look at the idea of a ?film? as a cinematic apparition: as an object that both creates and reflects knowledge of the world and knowledge in the world. We will analyze cinema as a practical mechanism for constructing an understanding of our world: how we perceive it, how we interact with it, and how we reflect it. Finally, we will explore cinema as both a product and purveyor of consciousness.

The main aim of my Master diploma work will be an?? effort to describe the Art Market and especially the position of photography into it. When photography began to be part of the Art Market and why? Is the entry of photography in the Art Market a reason for a change of the photographic discourse and further more is that a fact by itself which can affect the aesthetics of photography. How photography has been affected visually, thematically and even the way of the installation of the photographic image? Is it true the hypothesis which says that as bigger the size of the photograph as much bigger art it is? "Art is about life, the art market is about money." Damien Hirst said. Is that so? Or maybe nowadays art is only about money. Has art market and art become one? The above questions are some of the elements which are going to constitute the research of my diploma work.

The thesis consists of two parts: summary of the history of the czech music theory from the epoch of Charles IV. till the beginning of the 20th century and topics of the original research. The latter one contains three studies published during the doctoral programme. The first serve as a draft of an editorial note for the future reedition of the major theoretical work by Jakub Jan Ryba (Rudimentary and general basics to all the art of music). The second one deals with the rediscovery of one of the oldest harmony textbooks in czech. The third describes the beginnings of czech music acoustics in 19th century.

The aim of my thesis on colour theories of the Enlightenment and their influence on avant-garde art, was to show the different approaches of modernist artists to the tradition of colour research at the turn of the 18th and 19th centuries. The starting point of the text is the critical analysis of Newton's colour theory, which was conducted by Goethe. The emphasis on empirical experience, which laid the basis of this new science, had a big influence on the work of painter and friend Philipp Otto Runge. The synesthetic theory of George Field also shows an interesting connection to the work of the fin de siècle. The symbolist colour theories are discussed because of their importance to the artists who opened the path to abstract painting, for example Frantisek Kupka, Pieter Mondrian and Vasilij Kandinskij. A chapter was also dedicated to Robert Delaunay, who developed a very sophisticated explanation of how to represent movement in colour contrasts. The American synchronists, who were very proud of their specific artistic movement, were also inspired by Orphism. An important part of the thesis is the focus on Bauhaus artists. Some of them were influenced by the painter Adolf Hölzel, a native of Olmütz in Moravia, who was very interested in Goethe's Farbenlehre. Johannes Itten, a student of Goethe's, was the...

Práce se zabývá problematikou komunikace ve firemním prostředí, zejména se zaměřením na informační a komunikační technologie. K analýze využívá přístupu známého jako teorie omezení. Pomocí nástrojů, které poskytuje teorie omezení odhaluje slabá místa ve firemních komunikačních kanálech a navrhuje způsoby řešení.

My dissertation is based differentiating individually experienced, musical time, and shared, astronomical time. I combine the knowledge gained in cognitive science experiments with music-theoretical approach following the path from sound received to the hierarchized representation of the temporal component of music. My focus are those possible mechanisms that allow deviation of musical time from the astronomical one and the factors influencing them. As concerns music theory, I chose the analytical tools provided by the General Theory of Segmentation and the Recontextualization Theory by D. A. Hanninen. The inner sharing of pulse by the listener or performer with the pulse of sounding music I consider to be the decisive moment for/in the deviation of musical time. I link the pulse boundary with prospective and retrospective strategies of the perceiving person. My considerations unfold on an axis between two poles of pulse and gesture, i.e. between full kinaesthetic synchronization with the outer, shared time and the maximum deviation dependent on the individual manner the gesture is internally represented. I convey the hypothesis that the deviation of musical time is possible only with retrospective strategies of processing of musical events. My theoretical considerations and suitability of the chosen analytical tools/means are verified in the second part, in analyses of compositions by G. Grisey, O. Messiaen, P. Kotík, P. Graham and A. Breier. Enclosed are also some theoretical reflections of these composers concertning their work with time.

The aim of this work is to provide a satisfactory additional material for advanced bassoon students. There is not enough time left during the practical lessons to tell interesting information that might be even helpful for the student. The name of the theses is The Introduction to the History, Theory and Issues of Bassoon Performance. The subject matter of this paper focuses on the theoretical findings; it also covers information beneficial for the practice. First of all, the basic facts about the bassoon and related instruments are mentioned. The other chapters deal with the historical development of double reed woodwind instruments, the manufacturing process of a bassoon and contrabassoon, and there is a summary of important terms. Furthermore, information about proper breathing and more practical advice and tips are included. A part of this paper is also dedicated to remarkable authors and interpreters of bassoon music.

This work is about works of art which imitate chaos in terms of their structure. The focus of this work is POETICS OF CHAOS, in other words: specific techniques used to construct artificial chaos. The poetics of chaos is also explored through narration, the grotesque anti-myth about Eris, the Goddess of Chaos, and Paris, the prince of Troy, and his horrifying masturbation phantasy. The main field of this work is literature and film, but music and painting are also explored. The analysis of SPAS (a novel by Ivan Matousek) and ASTHENIC SYNDROME (a film by Kira Muratova) are included, because the structure of these masterpieces is brilliantly chaotic.