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Ansar Allah: Ideology of the Houthi movement in Yemen
Hauser, Jakub ; Bielický, Viktor (advisor) ; Rumpl, Jakub (referee)
The aim of this bachelor's thesis is to describe the political-religious ideology of the Ḥūṯī movement (officially ʾAnṣār Allāh), which has its origin in the region of southern Yemen. The work is divided into two parts. The aim of the introduction is to discuss the Houthi movement (the origin of the movement, the position of the Houthis in the tribal organization of the Republic of Yemen and their role in the current conflict), while the main attention will be paid to their political and religious ideology. The second, analytical part, which represents the original research contribution of the work, will be based on the analysis of the propaganda pamphlet: "The true essence of aggression against the wise and pious Yemen" (Ṭabīʿat al- ʿudwān ʿalā Jaman al-ḥikma wa-l-ʾīmān). It's a selection of statements of the current spiritual and political leader of the mouvement ʿAbdalmalik Badr al-Dīn al-Ḥūṯī. The analysis focuses primarily on the core concepts of the political-religious ideology of the movement. Key words: Ansar Allah, Houthis, Shia Islam, Zaidism, political Islam, contemporary Yemen
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Eurasianism and the "Skify" group 1930-1933
Hauser, Jakub ; Lahoda, Vojtěch (advisor) ; Jančárková, Julie (referee)
Eurasianism was a strong intellectual movement among the interwar community of émigrés from Russia and it was reflected in a number of fields in the arts and sciences, including history, linguistics, literature and the fine arts. Transplanting this theory into the fine arts signified a departure from the Western artistic tradition and an attempt to create a new visual code that would express the idea of the wild and anti-European roots of Russian culture. In the large émigré community in Prague this concept was reflected most powerfully in the work of a group called the Scythians (Skify), which was founded at the end of the 1920's by the painter and professor of Ukrainian fine arts studies in Prague, Sergei Mako. The group's programme was formulated by its chair, the art historian Jaromír Pečírka, and the writer and journalist František Kubka, both of whom were linked to the editorial office of the German-language daily Prager Presse. The group had three exhibitions between 1931 and 1933 at Denis's French Institute in Prague and its membership base comprised Nikolai Rodionov and Alexandr Orlov, both of whom were students of Mako, and the painter Grigori Musatov, the sculptors Evgeni Brzezinski and Alexandr Golovin, and the Paris-based painters Boris Grigoriev and Mykola Hlushchenko. Czech artists exhibited...
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BETWEEN PICTURE AND WORD - THE LIFE AND WORK OF VIKTOR PIVOVAROV
Černá Pivovarová, Maria ; Rakušanová, Marie (advisor) ; Hauser, Jakub (referee) ; Glanc, Tomáš (referee)
The thesis Between Picture and Word,The Life and Work of Viktor Pivovarov explores the life and art of one of the leading personalities of Russian unofficial art. Viktor Pivovarov is considered one of the founders of The Moscow Conceptual School. He has been living and working in Prague, Czech Republic since 1982. His works are represented in major world collections, e.g. in The Tate Gallery in London, Centre Georges Pompidou in Paris, in The Tretyakov State Gallery in Moscow, The Russian Museum in Saint Petersburg and The National Gallery in Prague. The thesis is divided into three parts: 1) Life, time, contexts, 2) Work and 3) Timeline. The first part covers the artist's biography, the period context and the so-called unofficial Russian art of the 1950s- 70s. It also deals with his influence on the Czech cultural scene. The second part analyzes selected works by Pivovarov and tries to present an overall characterization of his art. It also attempts to place his work in the Russian, Czech and the West art contexts. The third part, the timeline, focuses on the important dates in Pivovarov's life and work and on crucial political and cultural events.
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"Sans retour". Russian Émigré Artists in Interwar Prague
Hauser, Jakub ; Winter, Tomáš (advisor) ; Jančárková, Julie (referee) ; Rakušanová, Marie (referee)
In the interwar period, Prague became one of the important centers of immigration from the former Russian empire, mostly thanks to the receptive stance of the fledgling republic and its political representation. This dissertation, dedicated to the visual art scene of "Russian Prague", does not confine itself to only consider artists who found themselves in exile in Czechoslovakia. Rather, it focuses on the position of Prague within the larger network of contacts of the Russian diaspora as such, and surveys relations of the local exile community with other émigré centers, especially Paris. By engaging perspectives of institutional frameworks, acquisition practices and strategies, as well as their political motivations, this study takes the Russian art collection of the Karásek Gallery, state purchases of Russian art, the Archive and Collection of Slavonic Art at the Slavonic Institute, the Scythian group and the permanent art exhibition of the Russian Cultural-Historical Museum as symptomatic examples that reveal the shifting boundaries of the notion of "Russian art outside Russia." It also brings the artistic production of the interwar period into conversation with that of the art traditions of pre-revolutionary Russia. All the described phenomena are characterized by rich international contacts and a...
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Eurasianism and the "Skify" group 1930-1933
Hauser, Jakub ; Lahoda, Vojtěch (advisor) ; Jančárková, Julie (referee)
Eurasianism was a strong intellectual movement among the interwar community of émigrés from Russia and it was reflected in a number of fields in the arts and sciences, including history, linguistics, literature and the fine arts. Transplanting this theory into the fine arts signified a departure from the Western artistic tradition and an attempt to create a new visual code that would express the idea of the wild and anti-European roots of Russian culture. In the large émigré community in Prague this concept was reflected most powerfully in the work of a group called the Scythians (Skify), which was founded at the end of the 1920's by the painter and professor of Ukrainian fine arts studies in Prague, Sergei Mako. The group's programme was formulated by its chair, the art historian Jaromír Pečírka, and the writer and journalist František Kubka, both of whom were linked to the editorial office of the German-language daily Prager Presse. The group had three exhibitions between 1931 and 1933 at Denis's French Institute in Prague and its membership base comprised Nikolai Rodionov and Alexandr Orlov, both of whom were students of Mako, and the painter Grigori Musatov, the sculptors Evgeni Brzezinski and Alexandr Golovin, and the Paris-based painters Boris Grigoriev and Mykola Hlushchenko. Czech artists exhibited...
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