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Different Representations of Love in the Works of William Shakespeare
JANDAČOVÁ, Petra
This diploma thesis is concerned with different representations of the theme of love in William Shakespeare's works. The first part of the thesis deals with Shakespeare's biography and it points out the author's most prominent career and literary accomplishments in order to establish a context and time frame of his poetic and dramatic works. Consequently, there are explored different ways how the theme of love was approached throughout various historical and literary eras with particular attention to the development of English literature and the evolution of love poetry. In the main part of the theses, there are explored different ways how Shakespeare portrayed and understood the nature of love in his literary works. The concept of love in Shakespeare's repertoire is analysed with regard to the genres of his poetic works, namely narrative poems and sonnets, and his plays, specifically comedies, tragedies, and romances. For each of the genres there are chosen several individual plays or poems, which are then interpreted in connection to how they portray and relate to the theme of love.
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In search of tragical effect during Regency: the birth of philosophical tragedy
Očenáš, Marek ; Pohorský, Aleš (advisor) ; Pechar, Jiří (referee) ; Frantz, Pierre (referee)
1 Recherche de l'effet tragique à l'époque de la Régence : naissance de la tragédie philosophique Dans le cadre général d'une interrogation sur le renouvellement de la tragédie classique française à l'époque de la Régence (1715-1723), le travail étudie plus spécifi- quement la manière dont la recherche de l'effet tragique conduit à la naissance de la tragédie philosophique. Ce travail prend appui sur l'analyse des pièces représentées à la Comédie-Française au cours de cette période et accorde une attention particulière à leur réception contemporaine dans la presse périodique et dans les brochures. Il envisage d'abord les recherches de renouvellement de la tragédie à partir de deux polémiques, la Querelle des Anciens et des Modernes et la querelle sur la moralité du théâtre, en montrant comment la réflexion sur le théâtre conduit les auteurs à chercher des effets dramatiques mieux adaptés aux attentes d'un public dont la sensibilité évolue au début du XVIII e siècle. Il établit ensuite que la production d'un plus grand effet est liée, d'une part, à l'intensification de l'effet de terreur à travers la mise en scène du personnage odieux et, d'autre part, à la recherche d'une plus grande action grâce à l'exploitation des éléments du sacré (oracles, prêtres et chœur). Il démontre enfin que, si les impiétés...
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Rowdies and their image in Czech press in the 1980s
Mikeš, Marek ; Bednařík, Petr (advisor) ; Cebe, Jan (referee)
My bachelor thesis is focused on the Czech press in the 1980s and its tendencies to describe so-called rowdies and their negative impact not only on the football environment but also on society in general. My thesis will mainly focus on rowdies and the way they were portrayed by the Czech press at that time. In the first part, I am going to characterize rowdies and some related terms as well as the historical context. I am also going to present the great football tragedies of the 20th century that took place in Europe and therefore also in Czechoslovakia. In the main part of my thesis, I'm going to analyze 4 domestic newspapers or magazines and show how they informed our society about these incidents and rowdies.
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The Oresteia of Aeschylos and Satre's The Flies
Jakimiv, Vít ; Fischerová, Sylva (advisor) ; Bažil, Martin (referee)
The thesis aims at comparison of the poetics of Aeschylus' trilogy The Oresteia and Sartre's drama The Flies. In the first part we effectuate evaluation of the state of research as well as division and criticism of some prominent approaches. We observe in particular the limitations imposed on the comparative analysis taking its point of departure from such broad concepts as 'fate', 'freedom' and 'tragedy'. Our considerations are guided primarily by Sartre's theoretic writings on theatre and tragedy. In the second part we accomplish analysis of poetic structures discovering resemblances in the function carried out by single poetic factors in the overall structure of the drama. Notable links appear in the way of utilization of associative networks operating at the level of imagery and metaphor, which in both cases are inseparable from the particular manner of developing the action.
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Top of the french classical tragedy in Racine's work
Procházková, Laura ; Jamek, Václav (advisor) ; Voldřichová - Beránková, Eva (referee)
Work is introduced with a characterization of French Classical Tragedy of the 17th century and other contemporaneous dramatic production. Following brief description of historical development and connotations explains the formation of French classical dramatic norms and rules. Their appearance and assertion is consequently confirmed in an analysis of selected works of Jean Racine, major representative of French Classical Tragedy. Diversity of tragic conflicts and originality of Racine's dramatic and aesthetic forms is demonstrated in concluding confrontation with Pierre Corneille. Powered by TCPDF (www.tcpdf.org)
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Art and Care of Soul in Jan Patočka
Josl, Jan ; Ševčík, Miloš (advisor) ; Zátka, Vlastimil (referee) ; Frei, Jan (referee)
Summary: This work approaches Patočka's philosophy of art from the perspective of ‚care of the soul'. The first part of work describes evolution of the ‚care of the soul' in context of Patočka's philosophy of history from he 30s up to 70s. Based on this description I recognize experience of the soul as the experience of human freedom as inseparable from the ethical and methaphysical dimensions. The second part approaches art from this perspective.Patočka's intepretations of art show that Patočka saw art not only as a manifestation of human freedom, but as reflection of human position in the world and his relation to aletheia as well. However, art stays half way between myth and philosophy due to the fact, that the movement of freedom is not as absolute in art as it is in philosophy. This is evident in expressions that art takes from the fields of our emotions and experience and thus still remains for Patočka in connection with the world and our everydayness. Therefore art represents for Patočka only limited experience of the soul. It is mostly the momentum of transcendence that is important and interesting for Patočka in art, but not the results that, no matter how deep, are still insights about the things in the world. Powered by TCPDF (www.tcpdf.org)
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