Dissertations / Theses on the topic 'Colourful'

Le théorème de Carathéodory coloré, prouvé en 1982 par Bárány, énonce le résultat suivant. Etant donnés d Å1 ensembles de points S1,SdÅ1 dans Rd , si chaque Si contient 0 dans son enveloppe convexe, alors il existe un sous-ensemble arc-en-ciel T µ SdÅ1 iÆ1 Si contenant 0 dans son enveloppe convexe, i.e. un sous-ensemble T tel que jT \Si j • 1 pour tout i et tel que 0 2 conv(T ). Ce théorème a donné naissance à de nombreuses questions, certaines algorithmiques et d’autres plus combinatoires. Dans ce manuscrit, nous nous intéressons à ces deux aspects. En 1997, Bárány et Onn ont défini la programmation linéaire colorée comme l’ensemble des questions algorithmiques liées au théorème de Carathéodory coloré. Parmi ces questions, deux ont particulièrement retenu notre attention. La première concerne la complexité du calcul d’un sous-ensemble arc-en-ciel comme dans l’énoncé du théorème. La seconde, en un sens plus générale, concerne la complexité du problème de décision suivant. Etant donnés des ensembles de points dans Rd , correspondant aux couleurs, il s’agit de décider s’il existe un sous-ensemble arc-en-ciel contenant 0 dans son enveloppe convexe, et ce en dehors des conditions du théorème de Carathéodory coloré. L’objectif de cette thèse est de mieux délimiter les cas polynomiaux et les cas “difficiles” de la programmation linéaire colorée. Nous présentons de nouveaux résultats de complexités permettant effectivement de réduire l’ensemble des cas encore incertains. En particulier, des versions combinatoires du théorème de Carathéodory coloré sont présentées d’un point de vue algorithmique. D’autre part, nous montrons que le problème de calcul d’un équilibre de Nash dans un jeu bimatriciel peut être réduit polynomialement à la programmation linéaire coloré. En prouvant ce dernier résultat, nous montrons aussi comment l’appartenance des problèmes de complémentarité à la classe PPAD peut être obtenue à l’aide du lemme de Sperner. Enfin, nous proposons une variante de l’algorithme de Bárány et Onn, calculant un sous ensemble arc-en-ciel contenant 0 dans son enveloppe convexe sous les conditions du théorème de Carathéodory coloré. Notre algorithme est clairement relié à l’algorithme du simplexe. Après une légère modification, il coïncide également avec l’algorithme de Lemke, calculant un équilibre de Nash dans un jeu bimatriciel. La question combinatoire posée par le théorème de Carathéodory coloré concerne le nombre de sous-ensemble arc-en-ciel contenant 0 dans leurs enveloppes convexes. Deza, Huang, Stephen et Terlaky (Colourful simplicial depth, Discrete Comput. Geom., 35, 597–604 (2006)) ont formulé la conjecture suivante. Si jSi j Æ d Å1 pour tout i 2 {1, . . . ,d Å1}, alors il y a au moins d2Å1 sous-ensemble arc-en-ciel contenant 0 dans leurs enveloppes convexes. Nous prouvons cette conjecture à l’aide d’objets combinatoires, connus sous le nom de systèmes octaédriques, dont nous présentons une étude plus approfondie
The colorful Carathéodory theorem, proved by Bárány in 1982, states the following. Given d Å1 sets of points S1, . . . ,SdÅ1 µ Rd , each of them containing 0 in its convex hull, there exists a colorful set T containing 0 in its convex hull, i.e. a set T µ SdÅ1 iÆ1 Si such that jT \Si j • 1 for all i and such that 0 2 conv(T ). This result gave birth to several questions, some algorithmic and some more combinatorial. This thesis provides answers on both aspects. The algorithmic questions raised by the colorful Carathéodory theorem concern, among other things, the complexity of finding a colorful set under the condition of the theorem, and more generally of deciding whether there exists such a colorful set when the condition is not satisfied. In 1997, Bárány and Onn defined colorful linear programming as algorithmic questions related to the colorful Carathéodory theorem. The two questions we just mentioned come under colorful linear programming. This thesis aims at determining which are the polynomial cases of colorful linear programming and which are the harder ones. New complexity results are obtained, refining the sets of undetermined cases. In particular, we discuss some combinatorial versions of the colorful Carathéodory theorem from an algorithmic point of view. Furthermore, we show that computing a Nash equilibrium in a bimatrix game is polynomially reducible to a colorful linear programming problem. On our track, we found a new way to prove that a complementarity problem belongs to the PPAD class with the help of Sperner’s lemma. Finally, we present a variant of the “Bárány-Onn” algorithm, which is an algorithmcomputing a colorful set T containing 0 in its convex hull whose existence is ensured by the colorful Carathéodory theorem. Our algorithm makes a clear connection with the simplex algorithm. After a slight modification, it also coincides with the Lemke method, which computes a Nash equilibriumin a bimatrix game. The combinatorial question raised by the colorful Carathéodory theorem concerns the number of positively dependent colorful sets. Deza, Huang, Stephen, and Terlaky (Colourful simplicial depth, Discrete Comput. Geom., 35, 597–604 (2006)) conjectured that, when jSi j Æ d Å1 for all i 2 {1, . . . ,d Å1}, there are always at least d2Å1 colourful sets containing 0 in their convex hulls. We prove this conjecture with the help of combinatorial objects, known as the octahedral systems. Moreover, we provide a thorough study of these objects

I work as a textile designer specialised in knitted textiles.In my designs Colours take an essential role.Where Knitting and colours are working as a team in order to reach my aesthetics.My aim is to provide new expressions and possibilities in knitting to the market, having for objective to show a different dimension to knitwear.
Program: Master in Textile Design

The colourful past of the late 18th century marquetry furniture has seldom been highlighted. Through ageing and environmental influences, colourful marquetry furniture has lost their original expression. The current knowledge of how Swedish cabinet-makers in the late 18th century used dyes to colour their furniture is limited. Trace of colour has been observed and the use of dyes has been mentioned, but deeper research in this filed is missing. A visual examination and studies of archive documents and previous research have been performed to investigate the colourful past of Gottlieb Iwerssons masterpiece, a secretaire in Gustavian style made for the king Gustav III. The result shows that the secretaire has a colourful past in accordance with its original drawing. A hypothetical picture has been created to illustrate the colourful original appearance.

In this thesis, I visualised landscapes of urban Wi-Fi (wireless connection) networks as a hybrid of art and anthropology. The process involved 'how the subjects are defined in Wi-Fi networks,' 'how the data is collected in cities' and 'how the conversion between Wi-Fi networks and artistic landscapes takes place.' The subject of my project is Wi-Fi access points, which allow users to connect to and access the internet. I viewed Wi-Fi users as cyborgs (cybernetic organisms) because they entered cyberspace with their Wi-Fi-equipped computers or phones. Access points and the users' devices as myths are necessary elements used in immersing themselves in different worlds. Claude Levi-Strauss considered myths as bricolage in organising heterogeneous events to create structures; that is, people can explain the occurrence of events in daily life with structures. Wi-Fi users' wireless equipment represents an internet-enabled structure to help users go online. In other words, Wi-Fi users' identities are tied to their particular structures - Wi-Fi equipment and the devices used to access it. In addition, the mixture of flesh and machine contributes to defining human users as cyborgs. I transformed the access points of the cyborgs' houses using metaphor and the house concept inspired by Levi-Strauss's house society theory. Houses, as places where people live, form basic economic/political units. Both invisible titles and visible, physical buildings forge the identities of the houses' occupants. In my works, access points have similar features, so I used houses as the source metaphor. With common attributes and functions, the house metaphor creates a connection between different objects (houses and access points) on the same level. All Wi-Fi access points have a unique 12-character identifier code composed of numbers (from 0 to 9) and letters (from a to f). As I walked through different cities along specific collection routes as a native Wi-Fi cyborg, I collected the Wi-Fi access points' identifier codes. Time was a unique element that added to my works, in that the sequence of time-related variables (including signal strength, new Wi-Fi APs, and abandoned APs) could be experienced only once. Following data collection, the identifier codes were converted to colour grids and arranged along the collection route to depict Wi-Fi landscapes. Although the mapping was carried out by computers, the collection routes formed the personal features of landscapes, as in Impressionist paintings. The use of colour grids/squares was widespread in modernist artworks, such as those by Josef Albers and Donald Judd. These artists pursued a notion of pure art by creating isolated colour compositions with simple geometrical shapes in their works. As relates to Lucy Lippard's terms 'dematerialization' and 'deemphasis on material aspects,' some postmodemist artists, such as Liam Gillick, applied modernist art language in specific contexts, rather than isolating their works as closed systems. Art for postmodemists was the process and context of the creation as opposed to the objects represented. The colour grids in my work are interwoven creations that juxtapose the hybridity of modernism and postmodemism. The colours relate to social contexts because they come from access points along the streets of different cities; moreover, the colours interact with each other to create a relationship first proposed by Albers. My works aim to reflect that our current situation, as it relates to technology, is juxtaposed by different hybrids, including modemism/postmodernism and humanismlposthumanism. Wi-Fi landscapes in this thesis did Dot contain all access points because Wi-Fi devices are still growing in cities. In other words, one can only present the complete features of contemporary societies via their incomplete and heterogeneous composition.

Educational studies that draw on the work of philosopher, and educationalist, Martin Buber, would seem to enact an understanding of well-being in the classroom that reflects singular interpretation. With such singularity as located in the between of the I-You, the I-It, as functional sphere, is overlooked or given a secondary or disparaged status. I attempt to nuance and complexify such a perspective by re-imagining and extending the terrain for well-being to include the relation between the I-It and I-You. By such means, my conjecture that concern for self and other - now heightened as ethicology - is denied and betrayed fullness of possibilities when construed as lying exclusively within the I-You, becomes open to exploration, with a correlated status of myth to be exposed . Such a speculative thrust achieves material expression in the empirical observance and transformation of a specific teaching practice. Teacher response to second language writing in its tight focus on linguistic error, as practised within a traditional form, overlooks student text as a creation of meaning imbued with communicative intent. Contrariwise to educational studies inspired by the work of Martin Buber, such Ht practice that, in this instance, ignores the I-You, is modified to integrate person centred activity. A quasi-experimental design having pre- and post-intervention phases employs, as living re-enactment of practice, a Freirean inspired cognizable object to gather qualitative and pictorial data. The perceptions of the 22, young adult, student participants are further elicited using associated decoding exercises with those of myself, as the teacher-researcher, transcribed using a talk-aloud procedure and research journals. Exploration and construction renders terms other, not neutralized in a grasped for equality of status, but rather - in a Derridean inspired elan - dissolved in the eruption of new concept, with parity achieved other-wise: the I-You and I-It now grasped as person-role-practice. An eagerness to create a pedagogy of the person finds form, content and repose.

This dissertation analyzes the change in the representation of women in Iranian cinema since the 1990s and investigates the motives behind it by looking at the overall history of Iranian cinema and those active in its production. Iranian cinema, both before and after the Islamic Revolution, has been closely watched by the ruling powers and one way or another has been utilized to relay messages that comply with the dominant order. But this has not completely shut down all the efforts of the filmmakers striving to convey a more meaningful message. The Iranian cinema industry has been the arena of an elite intellectual group of people; only following the 1979 Revolution and the “legitimization of cinema” by the Islamic order did it become a widely accessible industry to the general public, who tended to ignore or oppose it prior to the Islamic Revolution. This thesis pays close attention to the changing roles of women in film production and representation. Although aspects of women’s lives become stricter after the Revolution, it is in this period—from the late 1980s into the 1990s—that women for the first time took a prominent role both behind and in front of the camera. This dissertation argues that such shifts are due to “factionalism” within the Islamic Republic, shifts internal to the film industry and the emergence of a group of highly educated film production teams, in addition to the variety of ways in which women were able to exercise more agency in the film industry. One trope around which this shift occurs is that of the “veil” as a technique and metaphor for social practice in representation. Employing feminist film theory tools, a number of representative female-centric films from this period are analyzed, focusing on their cultural, political, and cinematic contexts. Examining the films with respect to the representation of women, the research relies on textual analysis as its basic methodology. Along with the textual analysis, interviews conducted with filmmakers and people active in the industry also help to map the films in the socio-political context in which they were produced.

This study aims to evaluate if a slum-upgrading project in 2016 in Malang, Indonesia lead to empowerment of the women living in the neighbourhood. The study uses the concept of Empowerment by Naila Kabeer as a theoretical lens and focuses on women’s resources, agency and achievement after the project was carried out. The study was conducted as a Minor Field Study, which relied mainly on semi-structured interviews, which were complemented with personal observation. The respondents were selected purposively: meaning only those who participated in the painting project. The study findings are limited to the case explored and do not thus aim to a generalization on other projects in Indonesia. Findings are however informative for similar projects in similar contexts. The findings indicate that women were initially excluded from official decision-making during the project. In spite of this, however, the project enabled women to be more active in the economy to organize their own meetings and become responsible for the communal cleaning and events in the area. This participation led women to also have more to say in the community and they have been able to increase their savings and set goals for their families and children, which was impossible before the existence of the slum-upgrading in the area.

This thesis explores Afro-Peruvian identity vis-à-vis national republican identity through visual representations of black Peruvian subjects in the late colonial and post-independence period (1750s – 1890s). Its foundations lie in a detailed analysis of these representations, primarily in bringing to the surface the historical articulation of post-independence representations with their late colonial precedents as an interweaving of cultural discourses. Focal points are Léonce Angrand’s (1808 – 1886) images from his time as French Vice-consul in Lima during the 1830s, and the works of German artist Johann Moritz Rugendas (1802 – 1858) during his travels in 1840s Peru. An analysis of the ‘popular’ characters and types featured in the watercolours of Peruvian mulato Francisco ‘Pancho’ Fierro (1807 – 1879) lies at the heart of this examination of 19th century images. They are the most prolific and renowned examples of Peruvian costumbrismo and constitute the most significant body of images discussed in the thesis. Photographs from the Courret Hermanos Studio provide a final source of images. My analysis of these visual discourses is complemented by a study of contemporary literary and non-fiction texts that include representations or descriptions of black culture. My findings lead me to argue for the existence of a visual tradition in the depiction of black subjects in Peru, particularly during the formative years after independence. This tradition is almost entirely related to Lima, where the largest communities of slaves, free blacks and black colonial castas were located. These findings open up new interpretative possibilities and means of exploring the symbolic centrality of blackness in the formation of a creole subjectivity and national identity in 19th century Peru.

The study seeks to analyze the &ldquo
Tulip Revolution&rdquo
, its reasons and outcomes. With the collapse of the Soviet Union, newly independent Central Asian countries
Kyrgyzstan, Kazakhstan, Turkmenistan, Uzbekistan and Tajikistan emerged in the world politics as independent sates. However, used to be parts of big complex system of former Soviet Union and being lack of government experience in politic and economic area made them to dependent on external actors. One of the main external actors has become United States with its promotion of democracy and liberalization, while the Russia was challenging not to lose its political and economical influence in these states. As a result of these external powers&rsquo
policy, within the time the leaders of these states found themselves in the complex choices, pro-Western or pro-Russian. Therefore political and economic developments of these states have become vulnerable. For these reasons the &lsquo
coloured revolutions&rsquo
in post-Soviet states, which was the struggle between the pro-Western and pro-Russian elites, were not a coincidence. The study argues that although &ldquo
Tulip Revolution&rdquo
had similarities in its occurrence with previous &lsquo
colourful revolutions&rsquo
the main reasons of the &ldquo
Tulip Revolution&rdquo
were the internal reasons, external reasons were only the accelerator factors. Analyzing of these reasons is the main goal of thesis.

Portuguese acrylic fibre producer – Fisipe, in 2005. Whilst, internally, Fisipe was changing its strategy from mainly focusing on product to focusing more on the client, driven by the specifications of its new technology on colour fibre, externally the acrylic industry was giving signs of contraction resulting in acrylic producer’s closures. In this context, Fisipe conducted a market research to assess profitable sectors when it foresees an attractive opportunity to supply with colour fibre one of the biggest American textile manufacturers.
The Colourful American Opportunity refere-se ao ponto de viragem na estratégia corporativa de um fabricante português de fibra acrílica – Fisipe, em 2005. Ao mesmo tempo que a empresa mudava a sua estratégia interna de produção para stock para uma produção direcionada ao cliente, em grande parte exigida pela introdução da nova tecnologia, a fibra de cor, externamente a indústria acrílica dava sinais de recessão resultando na extinção de fabricantes desta fibra. Neste contexto, a Fisipe realiza estudos de mercado a fim de determinar sectores atrativos quando surge a oportunidade de fornecer fibra de cor a um dos maiores produtores têxteis mundiais, nos EUA.

碩士
國立嘉義大學
視覺藝術研究所
93
An eminent artist not only concerns himself with a skill technique, but also expresses some past of the universe and the destiny of man. Aboriginal Taiwanese art as such expresses the development of their culture. The aboriginal myths in the Ink paintings reveals the development of the symbol system and value system of unique culture. Myths explain their spirit, holy object ,Picture. Study myths like ruminate their past experience. The myths and history just Like body and shadow can’t separate. On the other hand wisdom and secret of nature Are coming from myths. This essay talking about aboriginal Taiwanese different culture and history by myths .Meanwhile we wish it can make us understand more aboriginal culture. So that we can find out the myths meaning . The ink painting explain different clan culture pick out and compare it . The way I created basic by experience a good blending of Chinese And Western culture. Ancient myths , original picture , modern girls is the three element. The subject of work shows more culture and nature from myths. It discovery the nature between human and universe. The development of aboriginal art is come from the objects fond in Taiwanese aboriginal environment. Their art environment developed without outside influence. Wisdom and different ideas or new objects important for the modern art. Forward Experiments and create that make the art forward looking. So no matter finding a Subject material or skill test must be combine yourself idea . Therefore with Taiwanese aboriginal myths combine with ink painting can discover unique of myself. The unique idea represent the creative and emotion for author. Although the author don’t have conclusion to the create and such good heir to ancient sages and the teacher of posterity but hope can search a direction belong himself.

The three centennial celebrations sponsored by the W.A.C. Bennett Social Credit government in 1958, 1966/67 and 1971 were part of a process of self-definition and province building. Post-war state development in British Columbia certainly included expanding and nationalizing transportation, building ambitious mega projects, and encouraging resource extraction in the hinterlands. The previously unstudied centennials were no less important to defining post-war British Columbia by creating the infrastructure on which cultural and hegemonic province building could take place. Using the methodologies and theories of Cultural Studies this study attends to both the discursive and material elements of these occasions. It uses the voluminous records of the three Centennial Committees, newspaper articles, government reports, and documents from community archives to reveal that that these elaborate and costly centenaries served the government’s desire to build an industry-oriented consensus in BC’s populace. The government - and its Centennial Committees - sought to overcome regional disparities and invite mass participation by making the celebrations truly provincial in nature. Each community, no matter its size, had a local centennial committee, was funded for local commemorative projects, was encouraged to write its history, and enjoyed traveling centenary entertainments. All communities benefited from cultural amenities, the province’s capital assets grew, the province started to undertake heritage conservation and residents gained a new appreciation for their history. Invented traditions - limited and constructed historical re-creations and motifs – helped overcome regional differences. British Columbians were presented with images and narratives of explorers, gold-seekers, and pioneer-entrepreneurs who opened up the interior with ingenuity and bravery, as well as a mythic, popular “old west” narrative that all citizens, no matter region, could rally around. A trade fair and tourism promotion reinforced the tradition of industry especially for manufacturers and small business. By and large, British Columbians in 1958 – particularly white males who found an anti-modern release in centennial events – accepted and legitimized this industry-oriented consensus. In the two later centennials new counter-hegemonies challenged this consensus. First Nations had opposed the colonial narrative in 1958, but by 1966/67 and 1971 they were more vocal and politically active. Other British Columbians opposed the development agenda of the centenaries; youth, environmentalists and labour argued that the celebrations were a waste of time, money, and energy when more pressing issues of environmental degradation and unemployment were present. The government’s static Centennial Committee was ill equipped to address these challenges. It offered superficial amends, such as creating Indian Participation and Youth Subcommittees, but ultimately could not repudiate the hegemony on which it, and Social Credit, was based.

碩士
華梵大學
工業設計學系碩士班
96
Abstract This thesis paper is divided into five chapters.Chapter I is the introduction into 3 sections. Section 1 is research motif and purposes. In the past ten odd years, the researcher has traveled 66 large and small cities of 15 provinces in China. At the end, I bought an apartment in Zhongshan City, Guangdong Province for my future retirement. The twenty-five works (fifteen color paintings, five pottery board paintings and five pottery jar paintings) are the description of the beauty of Zhongshan City. The thesis paper is also expounded based on this. Therefore, the title of the thesis paper is The Paper-cut Silhouette of Zhongshan City. The motif and purposes are to depict the beauty of Zhongshan City the researcher experiences living in Zhongshan City with the skills and learning from many years of painting learning. These paintings will be a window for those who wish to have a look at the China after liberalization. Section 2 is research methods—historical research, observation and iconology. Section 3 is the research scope : one is the research of landscape allusions and the other is study of the skills and expression of forms. Chapter II is introduction of Zhongshan City in 3 sections. Section 1 is the brief history with simple account of establishment of Zhongshan City in South Song Dynasty to land level city in 1988 until now. Section 2 states the celebrities in the past and now in Zhongshan City, including those in politics, art, business, and overseas Chinese to show the assembly of humanity of Zhongshan City. Section 3 introduces famous sceneries in Zhongshan City with a lot of historical remains—famous sceneries in memory of Dr. Sun Yat-sen, historical remains and entertainment/holiday resorts. Chapter III is the ideas and work form experiences in 2 sections. Section 1 is the ideas. The researcher has three major ideas for these twenty-five works. The first one is to capture the beauty of Zhongshan City. The second is imitation of nature outside; heart origins inside. The third is creation of mind frame, which includes inclusion of images, the real space with the true emotions of the researcher. Advocate of simplicity—with simple strokes in the hope to express profound feelings, creation—observations with aesthetics views and emotional thoughts of the researcher to blend the emotions and landscape after melting of realms, remoteness—the researcher wishes to express profound realms in the works. Section 2 is expression forms in three dimensions—basic elements of paintings are compose of dots, lines and plane; paintings skills include observation, sketching, coloring, check lines, splash ink painting, splash colors, emptiness, dot spray, wet painting, paper rubbing, dry wiping, and wet wiping ; paintings contents expression characteristics of Zhongshan City, beautiful sceneries or the subjective feelings of the researcher with free strokes or symbolism. Chapter IV is work analysis in 2 sections. Section 1 explains the painting pictures and composition ideas of each of the fifteen paintings. Section 2 explains the painting pictures and composition ideas of each of the five pottery board and pottery jar paintings each. Chapter V is conclusions. Section 1 is the learning from the composition. After composition of these twenty-five works, the researcher better understands the difficulties of composition and insufficiency of the researcher’s abilities, particularly the pain of being unable to paint my heart. I need to work harder to enhance my fundamental skills. Section 2 is the future expectations. In any professional field, it takes times of hardship for a short moment of performance on the stage. Thanks to teaching of teachers at Huafan University in the past three years and picture-taking and sketch in Zhongshan City, I did make certain progress, although it is still far away from my demand. After leaving the beautiful campus, I will keep working hard to continue the steps of predecessors in the field of art.

Comparisons of functionally important changes at the molecular level in model systems have identified key adaptations driving isolation and speciation. For example, recent studies suggest mutations in opsins, the genes that encode retinal photoreceptors, influence colour-based female mate choice and have, thereby, contributed to the radiation of African cichlids. To test the hypothesis that the evolution of elaborate colouration in guppies (Poecilia reticulata) is also associated with opsin gene diversity, long wavelength-sensitive (LWS) opsin genes were sequenced in six species of the family Poeciliidae. Sequences of four LWS genes were amplified from the guppy genome and from mRNA isolated from adult eyes. Variation in expression was quantified using qPCR. Three of the four paralogs encode opsins that appear to be most sensitive to different wavelengths of light, as they vary at key amino acid positions. This family of LWS opsin genes was produced by a diversity of duplication events. One gene appears to be the product of retrotransposition. Between-gene PCR and DNA sequencing show that two of the guppy LWS opsins are linked in an inverted orientation. The fourth locus is a hybrid, with the first five exons most similar to one of the tandem duplicates and the last exon most similar to the other. The single-exon LWS opsin was produced prior to the divergence of families Fundulidae and Poeciliidae. The inverted tandem duplication event occurred near the base of the poecilid tree, in the common ancestor of Poecilia and Xiphophorus, and the hybrid locus is found only in the genus Poecilia. Enhanced wavelength discrimination, a likely consequence of opsin gene duplication and divergence, might have been an evolutionary prerequisite for colour based sexual selection and have led to the extraordinary colouration now observed in male guppies and in many other poeciliids.

The thesis is based on questionnaire survey conducted among 136 so called "green and colourful" respondents. The term "the colourful and the green" comes from the professor of environmental sociology, Hana Librová, and refers to people living the ecologically beneficial lifestyle that can be characterized by voluntary or intentional modesty. The target of the survey was to find out whether these people are influenced in their lifestyle by books or which books would articulate their worldview the best; what books they resonate with. Often repeated titles formed a "green influential literary canon" that is further analyzed in the thesis. First, the canon as a whole is examined, second the three most frequent books are studied with an ecocritical approach. In the canon, a minimum titles from the field of deep ecology, nature writing as well as science fiction or utopia were registered. Despite the expectation, there were many books related to New Age movement in the canon as well as pop-cultural spiritual writings. Nevertheless, books concerning native americans, together with eco- philosophical works largely dominated. Functions that the publications fulfill for the readers are seen as a clamp of diverse books in the canon. There are three main functions defined and further explained:...

This thesis is about human resources management and corporate culture in the restaurant {\clq}qZlatý jelen`` in Horažďovice. The main aim of this thesis was to deal with some aspects of human resources management and corporate culture that influence the quality of the offered services in specific conditions of a small firm. For closer investigation of these issues I used two structured questionnaires and the test of colourfully semantic differential (TBSD). I suggested some provisions for the future in the closing part of this thesis. I hope my suggestions will help increase the quality of the services, the standard of human resources management and corporate culture in this restaurant.