(in English): The thesis is devoted to the study of the main characteristics of lyrics and epos in the works of Sergei Yesenin, translated into Czech. Typical features of Yesenin's poetics are examined in the theoretical part of the thesis. The practical part is devoted to the analysis of translations of poems from the "Moskwa Kabatskaya" (Moscow of the Taverns) cycle and the reception of poet's works in the Czech society at various historical stages. The main translators of Yesenin's poems were Josef Hora, Bohumil Mathesius, Frantisek Kubka, Maria Marchanova, Jiri Vishka, Jiri Taufer, Vaclav Danek, Jan Zabrana, Emanuel Frynta, Ladislav Fikar, Zdenka Bergrova, Ludek Kubishta, Karel Milota, Miroslav Stanek and others. The attachment contains a list of publications of Yesenin's poems translated into Czech in the periodicals 1924 - 1927.

The following translation is the first full length rendering of Malwida von Meysenbug's two-volume autobiography Memoiren einer Idealistin/Eine Reise nach Ostende into English. Meysenbug, who boasts ties to Nietzsche, Wagner, Herzen, and Saffi, was forerunner to a long line of female social democrats. She was an eyewitness to the tumultuous political events surrounding the German Revolution of 1848, and is remembered as a pioneer in education and gender issues. Meysenbug's memoirs depict nineteenth-century Europe in a dynamic state of transformation. This is a time of opposition and contradiction, when emerging philosophies and political movements vie for power with existing structures. European governments are forced to implement social reforms in an effort to avert insurrections and political catastrophe. In Germany, the influence of organized religion begins to wane, giving way to a generation of free thinkers who combine elements of the German classical and romantic periods with Marxist and other materialist world views.

Since the late 1990s there has been an increasing interest in the representation of Balkan culture in the literary works of authors writing in English. Scholars (Bakić-Hayden 1995, Todorova 1997, Goldsworthy 1998, Norris 1999, Hammond 2010) have shown how literary representations of the Balkans have reflected and reinforced its stereotypical construction as Europe’s “dark and untamed Other. However, the contribution of translated literature in the representation of these images has rarely been considered, and in particular that of children’s literature has been seriously neglected. Thus, this study of images of the Western Balkans in translated children’s literature published in the period of 1990 2013, adds a hitherto uncharted literary terrain to the Balkanist discourses and helps shed a new and more complete light on the literary representations of the Balkans, and the Western Balkans more precisely. Children’s literature has been selected for the scope of this study due to its potential to transform and change deeply rooted stereotypes. The study approaches translations as framing and representation sites that contest or promote stereotypes in the global literary market. English has been selected as a target language due to its global position as а mediating language for the promotion of international literature, and with that also carrying stereotypes and transmitting them efficiently. This study looks at the images embedded in the texts, both source and target, and their representation in translation, including the translator’s interventions, but even more at the level of paratexts, and especially in the use of illustrations. It also examines adaptations accompanying the presentation of the translated book into the target society, such as documentaries, music scores and theatre performances. The discussion also considers how a book is selected for translation, and how different production participants contribute in the whole process of translation, including their motivations and goals, as well as their location. Using the methodology of imagology (Leerssen, 2007), and multimodal visual analysis (Kress and van Leeuwen, 1996, 2006), five case studies are elaborated, covering books from five different countries in the Western Balkans (Bosnia and Herzegovina, Croatia, Serbia, Macedonia, and Montenegro) and from five different types within children’s literature (non-fiction, anthology, novel, picturebook, and an e-book). The five case studies confirm the complexity of the topic at hand. Although there are no firm patterns in the production of English translations of contemporary children’s literature from the Western Balkans we can point out several observations. While the translations of the text, in most cases, closely follow the source text, with only slight interventions by some of the translators, the translated books differ quite significantly in their paratexts, especially illustrations and adaptations accompanying the book for the target culture. In terms of the representation of violence, as one of the predominant stereotypical characteristics of the Western Balkans, images vary from direct representation of violence to full erasure of violent acts. The discussion on presenting violence is analysed from two distinct points of view, the two traits of auto- and hetero- images as identifies in the case studies. In cases of self-representation, the case studies show a network of production participants in which the source author can be seen as the driving force in the process, usually recruiting friends and supporters to perform other tasks in the process translators, illustrators, publishers, etc. The auto-images take the form of ‘nesting’ Balkanisms, balancing (non)violent masculinities, or centring on love and humaneness. On the other hand, networks led by translators/editors located in the target culture will more often be motivated by commercial factors, along with representation of the source culture, thus either emphasizing the preconceived stereotypes of dominant violence in the Western Balkans, or turning towards globalizing the images of violence.

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The Go-Tsuchimikado Shinkan-bon ~ Izumi Shikibu Shū is a 15th century manuscript of 150 poems by the 10th/11th century poet, Izumi Shikibu. This thesis includes translations for all 150 poems with detailed translation notes and an examination of the arrangement of the poems. It seems likely that the Shinkan-bon would have been organized in a sequence that links poems together in such a way as to create a larger poetical work for the collection as a whole. Sequences are developed through a natural progression of temporal and spatial elements in the poems, as well as connections through mood, theme, imagery, associations, and the repetition of words. This method of anthology arrangement had been common in Japanese literature for hundreds of years prior to the assumed date of creation for the Shinkan-bon in the early 13th century. Three sections of the Shinkan-bon were examined in this thesis to determine if there was continuity between the poems. The first section is made up of the first twenty-five seasonal poems, running from spring to winter. This section does show continuity between some of the poems but does not contain an over-all sequence. The second section is made up of fifteen poems in the middle of the collection and the third section is made up of the final ten poems in the Shinkan-bon. There is no sequencing in the second and third sections, and thus it can be determined that the Shinkan-bon collection has no sequential significance to its order, and that the poems are organized by another method.

Drawing as a notation is a method for architecture which investigates the notation and mark making of classical music as an input and explores how these notations can inform unexpected architectural outcomes through a translation process of the notations. The purpose of this study is to look into drawing as a notation as a method and a tool and to discover new architectural formations. By interpreting and translating the marks, new suggestions for architecture can be found which express the formal language of music. I am interested in the dynamics of music - the repetition, the movement, and the rhythm - and what music can do for architecture. This is not a solution to anything or doesn’t try to solve anything, but rather a search or a struggle to find opportunities with the help of notation making in early stages of an architecture project and to propose what architecture can be.

This study deals with the surprising commissioning of a new translation into Hebrew of the New Testament only months after the prestigious translation by the celebrated German Hebraist Prof. Franz Delitzsch had been published, in 1877. An alternative to the professor’s version was to be molded by Isaac Salkinson, a renowned Hebrew translator of world classics, like Shakespeare’s Othello. Salkinson, who despite his controversial status as a convert to Christianity, and even as a Presbyterian missionary, was still ‘high in demand’ by high-profile Haskalah proponents, due to his exceptional knowledge of Hebrew idioms. As an all-Jewish enterprise, Salkinson’s Hebrew NT, edited by the acclaimed Jewish scholar, Christian D. Ginsburg, aroused a storm of criticism among Protestant Hebraists after its publication in 1885. Foremost among the critics was the Oxford professor Samuel R. Driver, co- author of the BDB lexicon, the standard reference for Biblical Hebrew. Driver publicly declared Salkinson’s knowledge of Hebrew to be inadequate. At the same time, Salkinson’s language was pronounced a source of delight by a Jewish audience ready to reclaim Hebrew as their national tongue. Even today Salkinson’s rich Hebrew is admired by Israeli authors. The present linguistic study of Salkinson’s NT translation has been undertaken to provide insights into these very divergent evaluations of his opus.

The purpose of this study was to determine the reliability of the Arabic version of the revised Job Descriptive Index. In addition, job satisfaction among managers at Saudi ARAMCO was measured and analyzed in relation to age, education, experience, national origin and management rank.