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The symbolism in Michelangelo's The Last Judgement
LAZÁRKOVÁ, Simona
This bachelor thesis named "The Symbolism in Michelangelo's The Last Judgement" is compiled as a theoretically-practical thesis. The theoretical part is based on a description of Michelangelo's most important work and it deals with an analysis of individual parts of the fresco and an interpretation of Dante's Divine Comedy in greater depth. The practical part of the thesis is an authorial realisation of illustrations for a text of Dante's Divine Comedy and draws on sources of inspiration from authorial work of foreign and Czech artists. The resulting art artefact consists of a set of sketch material and 6 final illustrations processed using the drawing-graphic technique of a wash ink drawing. The thesis is also enriched by attached pictures of individual details of scenes of the work The Last Judgement by Michelangelo Buonarroti and also work of artists who illustrated Divine Comedy by Dante Alighieri.
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The Organs of Perception and Expression in Samuel Beckett's Dramatic Works
Parin, Giulia ; Pilný, Ondřej (advisor) ; Wallace, Clare (referee)
This thesis focuses on three plays written by Samuel Beckett: Play, Not I and Footfalls. Corporeality is the central theme of these works, which also connects them to an important and celebrated source of study and inspiration for the dramatist, The Comedy of Dante Alighieri. The influence played by Dante's descriptions of the body, particularly in the cantica of Inferno, is visible in Beckett's works for the ways in which the organs of perception and expression are treated at both textual and theatrical level. In the three plays the activities of mouth, eyes, ears (and less relevantly, nose) constitute the narrative focus of the text, while the sensorial aspects derived by their presence on stage determine the kind of exchange at play between actors and spectators. Staging immobilized, constricted and barely visible characters who, narrating obscure, uncertain stories, obsessively try to make a sense of their existential and physical conditions, the author gives life to a metatheatrical language rooted on instability and doubt. After the introductory opening chapter, the second chapter looks at the language of Dante's Inferno and at its thematization of corporeality, introducing the continuities between the poem and Beckett's drama. The third chapter juxtaposes the characters and the uncertain...
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Dante's Inferno as an ArcGIS StoryMap
Münzberger, Josef
StoryMap was created to reconstruct the location and structure of Dante's Inferno. Its components (maps and 3D model) were built up based on an analysis of Comedy and early studies devoted to the mapping of Hell (A. Manetti, G. Galilei). Accompanied by selected verses and supporting text, they let the readers follow the story of determining the location, shape, and division of Hell. The literary work dated to the beginning of the 14th century is thus revived thanks to modern technologies and can be viewed from a non-traditional perspective.
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The Organs of Perception and Expression in Samuel Beckett's Dramatic Works
Parin, Giulia ; Pilný, Ondřej (advisor) ; Wallace, Clare (referee)
This thesis focuses on three plays written by Samuel Beckett: Play, Not I and Footfalls. Corporeality is the central theme of these works, which also connects them to an important and celebrated source of study and inspiration for the dramatist, The Comedy of Dante Alighieri. The influence played by Dante's descriptions of the body, particularly in the cantica of Inferno, is visible in Beckett's works for the ways in which the organs of perception and expression are treated at both textual and theatrical level. In the three plays the activities of mouth, eyes, ears (and less relevantly, nose) constitute the narrative focus of the text, while the sensorial aspects derived by their presence on stage determine the kind of exchange at play between actors and spectators. Staging immobilized, constricted and barely visible characters who, narrating obscure, uncertain stories, obsessively try to make a sense of their existential and physical conditions, the author gives life to a metatheatrical language rooted on instability and doubt. After the introductory opening chapter, the second chapter looks at the language of Dante's Inferno and at its thematization of corporeality, introducing the continuities between the poem and Beckett's drama. The third chapter juxtaposes the characters and the uncertain...
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O. F. Babler's translation of Divina commedia, reviewed by Jan Zahradníček
Holický, Ondřej ; Pelán, Jiří (advisor) ; Flemrová, Alice (referee)
This thesis contains stylistic analysis of the Italian original of Divine Comedy, of its translation by O. F. Babler and of revision, conducted by J. Zahradníček. Work is preceded by a brief introduction to the topic of cooperation Babler-Zahradníček and its consequences. In its elaboration, the thesis uses the analytic approach to style, drawing from the method of literary criticism. Stylistic categories into which the work focuses are: vocabulary, sentence and prosody (meter, rhythmic solutions, euphony). The result of research are specifics of literary style of all three authors that characterize the appearance of their texts. The work highlights what mostly is focused J. Zahradníček on when adjusting Babler's translation.
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Dante Alighieri: The Divine comedy
MIHALÍKOVÁ, Petra
The bachelor thesis is divided into two parts, theoretical and practical, which together thematically correspond. The goal of this work is to process work and life of Dante Alighieri. To make literary analysis for - Divine Comedy. The theoretical part focuses on the history and personality of the writer in the context of his time and a literature search of his principal work. The practical part deals with book design and illustrations for Divine Comedy.
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