My master thesis is capturing the reflection Czech translations from Scandinavian literatures in fifties and sixties 20th century in Czechoslovakia. Part of the thesis is going to be research, which creates the base for bibliographycal list of books translated to Czech language from various Scandinavian languages. Thesis also focuses on period reception of these books in the form of reviews or prefaces and afterwords. Last part is going to present three chosen titles.

Entre 1950 et 1971, Matheson publie 89 nouvelles dont plusieurs ont constitué des jalons de la culture populaire, par exemple «Born of Man and Woman», «Nightmare at 20,000 Feet», «Steel» ou encore «Duel».Très versatile, il s'imprègne des attentes des magazines de science-fiction et de fantastique américains qui sont en plein bouleversement dans les années 1950. Cette thèse se propose d'étudier les caractéristiques génériques des nouvelles, qui se comprennent également au prisme de la société américaine d'après-guerre : traumatisme de l'utilisation de la bombe sur Hiroshima et Nagasaki, peurs liées à la menace nucléaire, rhétorique paranoïaque du Maccarthysme, développement des banlieues et de leur espace conformiste et attentes de la société vis-à-vis des hommes blancs de la classe moyenne. Les structures et thématiques de la littérature de l'imaginaire, l'aliénation, l'altérité (les monstres, les extraterrestres, les robots), la mécanisation et la robotisation du travail, les objets hantés, la possession, permettent de mettre en évidence les tendances de l'imaginaire mathesonien. Écrivain de la solitude, Matheson excelle à faire partager le point de vue du paranoïaque, du monstre, du robot, et plus largement du marginal qui ne parvient pas à donner un sens au monde qui l'entoure, et dont les interrogations ontologiques et métaphysiques représentent autant de mise-enabyme de récits de création du monde. Le solitaire trouve son paroxysme dans la figure du survivant, qui devient le paradigme de l'imaginaire de Matheson. / Between 1950 and 1971, Matheson published 89 short stories, among which several proved essential in popular culture, such as "Born of Man and Woman", "Nightmare at 20,000 Feet", "Steel", or "Duel". As a very versatile author, Matheson was also a pragmatic and he understood what the science fiction and fantasy magazines expected, especially in the 1950s when such magazines were undergoing deep changes. This study is an attempt to analyze the generic characteristics of Matheson's short fiction, also to be understood from a cultural point of view and through the main features of American society after the second world war: traumas after the bombings of Hiroshima and Nagasaki, fears of nuclear annihilation, paranoid style in politics and Maccarthyism, development of the suburbs and conformism, as well as social expectations for middleclass white males.Structures such as alienation, alterity (monsters, aliens, robots), mechanization of work, haunted objects, possession, that all highlight Matheson's recurrent themes.Matheson specialized in the writing of loneliness, excelling in making the reader share the character's point of view, that of the paranoid, the monster, the robot or more generally speaking, of the marginal who cannot make sense of their environment. Their metaphysical and ontological questioning create mise-en-abyme of narratives of world building and creation. The solitary character culminate into the character of the survivor, paradigmatic of Matheson's fiction.

The diploma thesis "The Poet Sings Poorly. The Media Response to The Song about Viktorka by Jaroslav Seifert in The Fifties of 20th Century" deals with the campaign set against the poet Jaroslav Seifert and his piece "The Song about Viktorka". The affair was raised by the communist weekly magazine "Tvorba". There is a critical historical analysis applied in the diploma thesis. The event is outlined from the wide perspective and also the medial, cultural-political, aesthetical and personality sights are viewed and combined there. It attends to the cultural, political and medial conditions in the turn of the 40s and 50s and it also analyses Seifert's position in this period. It investigates the acceptance of Seifert's poetic skills after the year 1948 and also it describes poet's political profile and his relationship to the communist party. It follows in details by broad circumstances which the critics of Seifert's poem "The Song about Viktorka" provoked and which were extended until the inter-war period. It analyses the reviews of the mentioned Seifert's piece of work, its impact on poet's future life and the cultural area of the beginning of the fifties. The aim of the diploma thesis is to set a comprehensive view of the affair Seifert had to face up with. It can also be used as an example of...

The subject of this work is an art group of four painters that was founded in 1959 and named Experiment. Artists of this group - František Dvořák, Radoslav Kutra, Jaroslav Uiberlay and Miloslav Jemelka - were born in the late twenties of the twentieth century. They belonged to the generation of painters, who had the opportunity to study after the second world war. They also played a crucial role in the forming of artistic expression in the sixties in Czechoslovakia. The main effort of these painters was to overcome the uniformity of socialist realism. They intended to return to and evaluate the visual art produced between wars in Czechoslovakia and in Europe. The feeling of vulgarity of descriptive realism prompted many artists to establish art groups in which their ideas and thoughts were formed due to the mutual confrontation. At the turn of the fifties and sixties was established a large number of "creative groups", whose development was possible due to the Union of Czechoslovak visual artists. Although the Union still served as a strict supervisor, it also allowed many young artists to exhibit their work for the first time in public. Creative groups, along with the Experiment, which was rather small, but compact formation, had merit in the overall release of the intricate situation in the Union. The...

This diploma thesis is dealing with problems of Judaism during the Second World War in Czech literature, prosaic writings at the turn of the fifties and so called golden sixties of the twentieth century in particular. The thesis provides an analysis of literary output of five Czech writers: the collection of short stories Psí život by Ludvík Aškenazy, novella Bez krásy, bez límce by Hana Bělohradská, novel Krutá léta by František Kafka, the collection of short stories Mí černovlasí bratři by Ladislav Fuks and the collection of short stories Démanty noci by Arnošt Lustig. Theoretical part of this thesis specifies Judaism phenomenon during the Second World War, in the second half of fifties and in the sixties. Practical part pays attention to the subject matter of the Second World War in literature and school education and at the same time brings the analysis of chosen writings. The thesis also provides an analysis of The Framework Education Programme and worksheets as a teaching aid to help teachers and students as well to understand the problems and to achieve their goals given in FEP or didactic principles of interpretation.

<p>I början av 1950-talet utvecklades en idé att flottan skulle bli lättare. Detta berodde delvis på ekonomiska faktorer samt att flottans större system såsom pansarskepp började bli föråldrade. Den tekniska utvecklingen bidrog även till att system som radarn gjorde intrång. Sjömålsroboten och den trådstyrda torpeden kunde skjutas från mindre plattformar vilket gjorde det möjligt med en lättare flotta. Hotet vid denna tid sågs som Sovjetunionen. Ytstridskrafterna skulle i händelse av krig vara beredda att möta en starkare motståndares landstigningsoperationer. Denna uppsats undersöker vissa områden av den taktiska utvecklingen som skedde under denna period. Detta görs genom en textanalys av litteratur på ämnet. Analysen behandlar områden som hotbild, teknik samt egna sjöstridskrafter, organisation samt uppgifter. Slutsatser som dragits är bl.a. tekniken utvecklades i snabb takt och spelade stor roll. Hotbilden var viktig vid utformandet av egen doktrin och strategi vilket ledde till förändringar inom taktiken. Egna sjöstridskrafters utveckling hämmades av ekonomiska styrningar vilket ledde till att kompromisser fick göras som påverkade kvaliteten på enheterna.</p> / <p>In the early fifties the Swedish Navy wanted to get lighter. This development took place mostly because of economical factors and the fact that bigger ships in the navy was getting old. Important systems such as radar were implemented in the Swedish Navy. The ship to ship missile and the wire guided torpedo could be fired from smaller vessels and this contributed to the development. The Soviet union was regarded as the main threat and the Swedish surface warfare units would in warface a stronger opponent and try to prevent him from landing on Swedish shores. This study tries to examine certain areas within the subject tactical development during this period. This is made by analyzing literature in the subject. The analyze is conducted in three predefined areas. The areas are: Threats, technological advances and own surface warfare units and their organisation and tasks. Some of the main conclusions are that the technology advanced in a rapid pace and was vital to the development of tactics. The threat of the Soviet union made differences in the naval doctrine and strategy which made changes in tactics. Economical factors forced the Swedish Navy to compromise when building new ships which affected the quality of the units.</p>

I början av 1950-talet utvecklades en idé att flottan skulle bli lättare. Detta berodde delvis på ekonomiska faktorer samt att flottans större system såsom pansarskepp började bli föråldrade. Den tekniska utvecklingen bidrog även till att system som radarn gjorde intrång. Sjömålsroboten och den trådstyrda torpeden kunde skjutas från mindre plattformar vilket gjorde det möjligt med en lättare flotta. Hotet vid denna tid sågs som Sovjetunionen. Ytstridskrafterna skulle i händelse av krig vara beredda att möta en starkare motståndares landstigningsoperationer. Denna uppsats undersöker vissa områden av den taktiska utvecklingen som skedde under denna period. Detta görs genom en textanalys av litteratur på ämnet. Analysen behandlar områden som hotbild, teknik samt egna sjöstridskrafter, organisation samt uppgifter. Slutsatser som dragits är bl.a. tekniken utvecklades i snabb takt och spelade stor roll. Hotbilden var viktig vid utformandet av egen doktrin och strategi vilket ledde till förändringar inom taktiken. Egna sjöstridskrafters utveckling hämmades av ekonomiska styrningar vilket ledde till att kompromisser fick göras som påverkade kvaliteten på enheterna. / In the early fifties the Swedish Navy wanted to get lighter. This development took place mostly because of economical factors and the fact that bigger ships in the navy was getting old. Important systems such as radar were implemented in the Swedish Navy. The ship to ship missile and the wire guided torpedo could be fired from smaller vessels and this contributed to the development. The Soviet union was regarded as the main threat and the Swedish surface warfare units would in warface a stronger opponent and try to prevent him from landing on Swedish shores. This study tries to examine certain areas within the subject tactical development during this period. This is made by analyzing literature in the subject. The analyze is conducted in three predefined areas. The areas are: Threats, technological advances and own surface warfare units and their organisation and tasks. Some of the main conclusions are that the technology advanced in a rapid pace and was vital to the development of tactics. The threat of the Soviet union made differences in the naval doctrine and strategy which made changes in tactics. Economical factors forced the Swedish Navy to compromise when building new ships which affected the quality of the units.

Thesis (M.A.)--Miami University, Dept. of History, 2008. / Title from first page of PDF document. Includes bibliographical references (p. 26-31).

This diploma thesis deals with the beginnings of the release of culture in the period of political- cultural melting in Czechoslovakia in the late 1950s and early 1960s. Cultural loosening has been evident since the second half of the 1950s and will be demonstrated on the example of Czechoslovak film, in which the dynamics of changes in Czechoslovak culture were very obvious. The main focus of my thesis will be the depiction of the young generation and the way their image is transformed and developed on screen, and I will not forget to mention the social critique and satire in the film, which also plays an irreplaceable role in the process of cultural melting. The aim of the thesis is to show that the power of the young generation has become a driver of cultural change and youth itself became a symbol of cultural melting, which I will demonstrate on selected film examples, which will reach the 1960s. The sixties became a symbol of the rebellion of the young generation and its heyday in the arms of Czechoslovak culture. Keywords The cultural melting, fifties, sixties, the young generation, czechoslovak film, view of youngs, Czechoslovakia

Considérant qu'un bâtiment « clos et couvert » ne représente encore qu'un « potentiel d'habitation », en quoi la qualification de l'intérieur a-t-elle affaire à l'architecture ? Appartient-elle ou non, in fine, au projet architectural ? Il s'agit, pour commencer, de fonder une histoire qui n'existe pas, au croisement de l'architecture, de la décoration et du design, de définir les termes en jeu dans l'« habiter», ses métiers, la notion d' « architecture intérieure », une typologie de relations entre l'architecture et ses espaces intérieurs. L'intégration de l'habiter au projet architectural, considérée comme légitime et revendiquée par la majorité des architectes contemporains, est en réalité le fruit d'un lent processus historique, qui s'étend de l'invention de l'architecture comme art libéral à partir du XVe siècle jusqu'à la « synthèse des arts » Moderne, qui, après les premières Gesamtkunstwerk de la fin du XIXe, en représente l'aboutissement idéologique au début du XXe. La période 1949-1972 correspond à un retournement de cette situation, processus inverse de « décrochement des murs », rupture historique en même temps que retour cyclique aux origines d'une architecture-abri dont l'habitabilité est fondée par l'objet. Au milieu du XXe siècle, l'autonomie originelle de l'intérieur, n'allant plus de soi, doit être redécouverte et, désormais, conceptuellement fondée. La thèse met en évidence les mécanismes qui aboutissent finalement, à la fin des années 1960, à réinventer théoriquement cette indépendance de l'intérieur vis-à-vis du bâti. / Considering that an “enclosed and covered" building represents only the ''potential of inhabiting," what does the concept of the interior have to do with architecture? Does it or does it not belong, in the end, to the architectural project? It is a matter, to start, to construct an historical narrative that doesn't exist, one that is at the crossroads of architecture, decoration and design, to define the terms at play in the word "inhabit": its arts and trades, the notion of "interior architecture," a typology of relationships between architecture and its interior spaces. The integration of inhabited space into the architectural project, considered legitimate and acknowledged by most contemporary architects, is in reality the fruit of a slow historical process that stretches from the invention of architecture as a liberal art in the 15th century up to the Modern "synthesis of the arts" that, following the first Gesamtkunstwerks of the late 19th century, represents that process's ideological completion in the early 20th. The period from 1949 to 1972 corresponds to a reversal of this synthesis, an inverse process of dissociating from walls. It is an historic rupture at the same time as a cyclic return to the origins of a shelter-architecture for which habitability is based on the object. In the mid-20th century, the original autonomy of the interior, no longer self-evident, must be rediscovered and, henceforth, established conceptually. The thesis reveals the mechanisms that culminate, in the late 1960s, in the theoretical reinvention of the independence of the interior relative to the structure.