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Light Into The Flesh / Flesh Into The Light
Babuščák, Ladislav ; Pospiszyl, Tomáš (advisor) ; Bregant, Michal (referee) ; Šimlová, Štěpánka (referee)
LIGHT INTO THE FLESH / FLESH INTO THE LIGHT explores symbols of evil, sin and redemption in the tv series and the movie Twin Peaks. It is not a critical assessment of David Lynch's body of work. Characters and their actions as well as plots are used as symbols which are then explained based on Genesis, the first book of the Old Testimony. Martin Buber's philosophical insight is also used to shed light on the subject.
It is not the aim of this analysis to introduce David Lynch's work from a critical standpoint or from a standpoint of film theory. The aim is to introduce director's key theme, which is one's fight for his soul (essence) whilst facing fear, hesitation, failure but also love, faith and hope.
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European lace of renaissance and baroque
Svobodová, Veronika ; Jarošová, Helena (referee) ; Kybalová, Jana (advisor)
Lace is a decorative ajour textile. Real laces can be divided into needle laces and bobbin laces. There are two types of bobbin laces: straight and part-lace. These both techniques were developed in the epoch of renaissance, in the first half of the 16th century. The needle lace was developed from a cutwork. The immediate precursors of the needle lace were "point coupe" and "reticella" techniques. The bobbin lace was developed from a passementerie. The bobbin laces as well as the needle laces appeared probably at once in Italy and Flanders. The first laces have a geometric decor. Linear or plant decors were used in the first half of the 17th century. Fine and light laces with a flower motif rise in the 18th century. In the end of the 18th century, the motifs are very small and the most of the laces fill mesh ground. In the epoch of the renaissance and the baroque, good conditions for complex figurative scenes were allowed. A grateful space for (riche -great) religion scenes was given. The lay scenes, almost genre, symbolic and hunting scenes can be seen on the lace, too. All the 16th century and in the first half of the 17th century appeared a lot of Pattern Books first for needle laces and then for bobbin laces in Germany and Italy. It is a proof (evidence) of a great vogue of the lace.
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Transformations of "Bildungsroman": La tía Julia y el escribidor a La Habana para un infante difunto
Kučerová, Markéta ; Fousek, Michal (referee) ; Vydrová, Hedvika (advisor)
The objective of this thesis was to analyse and compare two novels that were published in the late seventies-La tía Julia y el escribidor (1977, Aunt Julia and the Scriptwriter) by Peruvian Mario Vargas Llosa and La Habana para un Infante difunto (1979, Infante's Inferno) by Cuban Guillermo Cabrera Infante-and to search for the influences of the novel of formation. We have seen autobiographical elements in both books, analysed different levels of formation of the protagonists and mentioned the (parodic) inclination to the novel of initiation in Infante's Inferno. In the second part of the thesis we focused on other elements developed in both novels, for example the interference of trashy and extraliterary genres and the topic of literature and the occupation of the writer. We have concluded that both novels, although different, share the same platform.
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