|
|
Negative
Videmanová, Marie ; Žáková, Radka (referee) ; Gabriel, Michal (advisor)
The inspiration for this sculpture has gradually arisen from the experience of the previous work. I used to be in the sleeping people, in the statues of life-sized human bodies. These sculptures deformed, transformed and manipulated by various manipulations, thus getting them into unrealistic positions. These changes made it possible to see the statues, to look at their dreams. The sculptures then acted as holy scenes from the churches. The normal position of a sleeping man turned into a kind of gesture when turning. With this creation of a series of sleeping people, I cast negative shapes of castings while casting live models. Unfortunately, these negatives are one-off and are destroyed and not treated in the next process. At this time, I began to understand these negatives not only as an intermediate but also as a sculpture output that had the same function and value for me as a classic statue. Like a print, like a dream, depicting reality. This dream allows the audience to enter the figures, into their dreams. In my bachelor thesis I therefore continue to deal with human forms but in their opposite form, and I can say that I am creating a game of forms and playing with them. I did not stay with the classic forms of the bas-relief, so with the classic negative relief, but I embedded my negatives into cubes, which act as a game of cubes, which can be arranged, rotated, tossed. In my bachelor thesis I create a small group of three dice that allow this game. Cubes have only one possibility where two human characters, two human fingerprints of men and women follow. All the other possibilities of arranging the dice with the prints of these two figures are no longer logically unrelated - they follow unreasonably. Just as it is in dreams. In most cases, we have something logical in our dreams, such as characters and / or nature, but then it becomes always unrealistic in the dreams that we start flying. And these dice are like dreams - sometimes real, but mostly chaotic. That's why I gave my work a subtitle: "Negative Dreams" The word "negative" comes from the form of the statue I chose and the "dreams" of my idea, the inspiration I want to see for the viewer. Analyzing dreams, how they work, and how it enters our subconscious mind, I can not do it, I just create my own game inspired by dreaming into dreams. Dreams that seem to these two people in particular and which are diverse. I just built this work on my vision of looking into these dreams and how these dreams work. When the dream seems to me, it has a real background and then goes into something abnormal, unrealistic. Thanks to manipulation with dice I have the ability to change the real in unreal. I play dice with these two prints of people, the prints of their dreams. In my work, it represents the real basis of the dream arrangement of the cubes, in which the imprints of the two characters are anatomically linked. And then the dream comes and the dice regroup. The author or viewer has the ability to swap, change, and dice. Reality will change into a dream. The characters in a dream can be unnaturally linked or not at all. From one particular happening, a number of other, chaotic stories are developing. For the presentation of my bachelor thesis I chose the very "real" position where the characters follow on, they work. The cubes are built in a column to allow them to walk around and look at both figures. I photographed some other possibilities in various variants, lying, turned, shu
|
|
|
Contribution to the investigation of macro-stylistic shifts, as exemplified by the Czech translation of M. Stavaric's novel
Žáková, Radka ; Špirk, Jaroslav (advisor) ; Mračková Vavroušová, Petra (referee)
1 ABSTRACT The goal of this diploma thesis is a complex analysis of the translation of the novel stillborn written by Michael Stavarič, translated into Czech by Radka Denemarková as Mrtvorozená Eliška Frankensteinová. The theoretical part presents the concept of translation norms (a starting point for reconstructing the translation method chosen), Skopos theory, the theory of metatexts, phenomena pertaining to self-translation (the new concept of "self-non-translation", i.e. the decision of an author-translator not to translate their own work) and Popovič's (1975, 1983) "typology of stylistic shifts and changes in translation" as a basic tool for the subsequent micro-textual contrastive analysis of selected parts of the translation. In the empirical part, the author and his work are briefly introduced, the thesis then provides a narratological analysis of the original; in the following part the translator and her work are introduced. This is followed by a description of the translation's reception in the Czech cultural environment based on an analysis of the available literary reviews ("epitexts") of the translation; these results are compared with the results of the analysis of the German literary reviews of the original. Additional information came from interviews with the author and the translator. A...
|
|
|
Negative
Videmanová, Marie ; Žáková, Radka (referee) ; Gabriel, Michal (advisor)
The inspiration for this sculpture has gradually arisen from the experience of the previous work. I used to be in the sleeping people, in the statues of life-sized human bodies. These sculptures deformed, transformed and manipulated by various manipulations, thus getting them into unrealistic positions. These changes made it possible to see the statues, to look at their dreams. The sculptures then acted as holy scenes from the churches. The normal position of a sleeping man turned into a kind of gesture when turning. With this creation of a series of sleeping people, I cast negative shapes of castings while casting live models. Unfortunately, these negatives are one-off and are destroyed and not treated in the next process. At this time, I began to understand these negatives not only as an intermediate but also as a sculpture output that had the same function and value for me as a classic statue. Like a print, like a dream, depicting reality. This dream allows the audience to enter the figures, into their dreams. In my bachelor thesis I therefore continue to deal with human forms but in their opposite form, and I can say that I am creating a game of forms and playing with them. I did not stay with the classic forms of the bas-relief, so with the classic negative relief, but I embedded my negatives into cubes, which act as a game of cubes, which can be arranged, rotated, tossed. In my bachelor thesis I create a small group of three dice that allow this game. Cubes have only one possibility where two human characters, two human fingerprints of men and women follow. All the other possibilities of arranging the dice with the prints of these two figures are no longer logically unrelated - they follow unreasonably. Just as it is in dreams. In most cases, we have something logical in our dreams, such as characters and / or nature, but then it becomes always unrealistic in the dreams that we start flying. And these dice are like dreams - sometimes real, but mostly chaotic. That's why I gave my work a subtitle: "Negative Dreams" The word "negative" comes from the form of the statue I chose and the "dreams" of my idea, the inspiration I want to see for the viewer. Analyzing dreams, how they work, and how it enters our subconscious mind, I can not do it, I just create my own game inspired by dreaming into dreams. Dreams that seem to these two people in particular and which are diverse. I just built this work on my vision of looking into these dreams and how these dreams work. When the dream seems to me, it has a real background and then goes into something abnormal, unrealistic. Thanks to manipulation with dice I have the ability to change the real in unreal. I play dice with these two prints of people, the prints of their dreams. In my work, it represents the real basis of the dream arrangement of the cubes, in which the imprints of the two characters are anatomically linked. And then the dream comes and the dice regroup. The author or viewer has the ability to swap, change, and dice. Reality will change into a dream. The characters in a dream can be unnaturally linked or not at all. From one particular happening, a number of other, chaotic stories are developing. For the presentation of my bachelor thesis I chose the very "real" position where the characters follow on, they work. The cubes are built in a column to allow them to walk around and look at both figures. I photographed some other possibilities in various variants, lying, turned, shu
|
|
|
A Contrastive Study of Aspectual Means of Expression in Czech and German Narrative Texts
Žáková, Radka ; Lehečková, Eva (advisor) ; Martínek, František (referee)
The thesis deals with a contrastive study of various aspectual means of expression in Czech and German. First it presents the aspectual systems in both languages as they are described in traditional models of aspectuality. Czech and German express aspectual meanings by different means. Hence a contrastive analysis of both languages is based on a mutual semantic feature of telicity, which constitutes the main semantic opposition in both studied aspectual systems. The analysis focuses on a limited group of Czech and German Incremental verbs. For the Incremental verbs it is characteristic the homomorphism, the relation between event development and manipulation of the object (constitution, termination, modification). Incremental verbs include in their direct object the thematic role of Incremental Patient. The goal of the paper is to present and describe with support of corpus data the relevant means of expression of telicity and other aspectual meanings: the telicity of a verb is determined by verbal semantics, relation between a predicate and its nominal phrase that functions as an Incremental Patient and certain semantic properties of an Incremental Patient. The analysis of aspectual means of expression concentrates on specific linguistic means in both languages. In Czech the category of verbal...
|
|
| |
guest ::
