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U radu su prikazana dva različita metafizička sistema u kojima je vidljivo razlikovanje nužnosti boga. Aristotelova metafizika supstancije boga pojmi kao najvišu supstanciju, čistu formu, on je pojam koji predstavlja apodiktičku nužnost. Misleći isključivo sebe samoga on nema direktnog utjecaja na svijet. Akvinčeva metafizika bitka izgrađena je na temeljima Aristotelove metafizike pod utjecajem kršćanstva što ga je dovelo do drukčijih zaključaka. Svijet nije vječan, on je stvoren, a stvorio ga je svemogući Bog pojmljen kao osoba, Bog koji ima volju i nalazi se izvan stvorenog svijeta kojeg ontološki podržava. Bitak je osnova njegove metafizike jer sva stvorenja participiraju na Božjem bitku koji im omogućuje da jesu jer jedino su u Bogu bit i bitak izjednačeni što ga čini nužnim. The paper describes two different metaphysical systems in which the distinction between the necessity of god is visible. Aristotle's metaphysics of substance conceives god as the supreme substance, pure form, within the eternal and uncreated world, he is a concept that represents apodictic necessity. Considering solely himself he does not influence the world as such. Aquinas' metaphysics of being was built on the foundations of Aristotle's metaphysics under the influence of Christianity which led him to different conclusions. The world is not eternal, it was created, and it was created by an almighty God conceived as a person, a God who has a will and is outside the created world that he ontologically supports. Being is the basis of his metaphysics because all creatures participate in God’s being which allows them to exist because only in God are essence and being equal which makes him a necessity.

The main subject of my master’s thesis is to discuss the topic of English tenses and their relation to time. In order to develop a clearer understanding of the topic, four tenses (the Present simple, Present Continuous, Past simple and Past continuous) that were later used for the analysis in the empirical part, and the time and tense differences were presented theoretically. All four tenses were thoroughly described and supported with examples. For the empirical part and further analysis, the following books were used: The Front by Patricia Cornwell, In the Company of the Courtesan by Sarah Dunant, and The Rule of Four by Ian Caldwell and Dustin Thomason. With the help of these novels, the use of tenses and their compatibility with time were analysed. Special focus was put on dramatic present. We wanted to see if the time and tense in the stories were compatible and what happened with the reader’s perception if other tenses, especially the Past simple, were used. The results have shown that all three novels are mainly written in the Present Simple regardless of the time when the story happened. Such story where dramatic present is a predominant tense is given more sense of drama and acts more vividly. For this reason, the reader is not aware of the real time of the happening. Their perception is deceptive because time and tense are not consistent. Osrednji predmet raziskovanja magistrskega dela je področje angleških slovničnih časov. Za boljše razumevanje celotne teme smo v teoretičnem delu naloge podrobneje predstavili štiri slovnične čase (Present simple, Present continuous, Past simple in Past continuous), ki so v empiričnem delu uporabljeni kot del analize, ter razliko med časom kot slovnično kategorijo in časom kot dojemanjem realnosti. Raziskovalni del temelji na treh izbranih angleških delih: The Front od Patricie Cornwell, In the Company of the Courtesan od Sarah Dunant in The Rule of Four od Iana Caldwella in Dustina Thomasona. S pomočjo teh romanov smo analizirali rabo slovničnih časov in njihovo ujemanje z dejanskim časom, poseben poudarek pa je na pripovednem sedanjiku. Z raziskavo smo želeli ugotoviti, ali sta dejanski čas in slovnični čas kompatibilna in kaj se zgodi z bralčevim dojemanjem, če so uporabljeni tudi ostali slovnični časi (še posebej Past simple). Rezultati empiričnega dela kažejo na to, da so vsi trije romani napisani pretežno v Present simplu ne glede na dejanski čas, v katerem se zgodba odvija. Dogajanje v zgodbi, kjer je navadni sedanjik (v angl. dramatic present) prevladujoč čas, je bolj dramatično in deluje živahnejše, zato bralec ni pozoren na realni čas dogajanja. Njegovo dojemanje zgodbe je varljivo, saj realni čas dogajanja in čas kot slovnična kategorija nista kompatibilna.

V diplomskem delu Aktualnost mladinskih del pesnice Anice Černejeve so predstavljena mladinska dela avtorice. Analiziranih in predstavljenih je deset del, in sicer Metuljčki (1930), Za vesele in žalostne čase (1933), Kapljice (1934), Dedek Miha (1939), Sredi domovine (1953), Bratci, zima bo (1957), Vesele pesmice (1957), Orjemo, orjemo (1975), Metuljčki (1980) in Hi, konjiček (1990). Za vesele in žalostne čase (1933), Kapljice (1934) in Dedek Miha (1939) so slikanice, za katere je besedilo napisala Anica Černej. Ilustrator slikanic Za vesele in žalostne čase (1933) ter Kapljice (1934) je Edo Deržaj. Slikanico Dedek Miha (1939) sta ilustrirala Marta in Radovan Klopčič. Analizirana in predstavljena je tudi zbirka pesmi za odrasle Moje poti, ki je izšla šele ob trideseti obletnici osvoboditve leta 1975, pesmi pa je zbrala in uredila Erna Muser. Analiza in predstavitev del zajema teme, motive, snov, lirske subjekte ter književni prostor in čas. Predstavljena je biografija pesnice Anice Černej, njena umestitev v obdobje med obema vojnama in bibliografija del ter uglasbenih pesmi. Opis njene življenjske in ustvarjalne poti povzema misli raznih avtorjev ter pesnice same. Zanimala me je tudi aktualnost njenih mladinskih del v učnem načrtu devetletne osnovne šole. Na osnovi ugotovljenega je Černejeva z izbrano snovjo podoživljala svoje otroštvo, na nastanek poezije pa so vplivale tudi negotove narodnopolitične razmere, brezposelnost in krute kmečke razmere. Njene pesmi za otroke so igrive in spevne ter zato med njimi še danes priljubljene. Predvsem pesmi, ki so uglasbene, so tako priljubljene, da so že skoraj ponarodele. In a graduation thesis The topicality of children's literature written by the poet Anica Černej are presented author's works for children. Analysis and presentation include ten of her works, namely Metuljčki (1930), Za vesele in žalostne čase (1933), Kapljice (1934), Dedek Miha (1939), Sredi domovine (1953), Bratci, zima bo (1957), Vesele pesmice (1957), Orjemo, orjemo (1975), Metuljčki (1980) and Hi, konjiček (1990). Works Za vesele in žalostne čase (1933), Kapljice (1934) and Dedek Miha (1939) are picture books, which Anica Černej contributed texts for. Picture books Za vesele in žalostne čase (1933) and Kapljice (1934) were illustrated by Edo Deržaj, while authors of illustrations in a picture book Dedek Miha (1939) are Marta and Radovan Klopčič. Analysed and presented is also a collection of poems for adults titled Moje poti, which issued no earlier than on the 30th anniversary of liberation, in 1975. Poems were collected and edited by Erna Muser. Analysis and presentation of the poet's works consider topics, motives, matter, lyric subjects as well as literary space and time. Added is a biography of the poet Anica Černej, who belongs to the period between both world wars. Provided is also bibliography of her works and musicalized poems. Description of her life and creative path summarizes texts of various authors and the poet herself. I was also interested on topicality of her works for children in a curriculum of the nine-class primary school. Basically, as show my findings the poet Černej relived her childhood through a chosen matter, but creation of her poetry was also influenced by uncertain national political circumstances, unemployment and a tough situation in the countryside. Her poems for children are frisky and melodious. Consequently, they are popular among children even nowadays. Especially musicalized poems are so popular, that they became almost folk tunes.

The subject of this thesis was to analyse intradepartment accounting directives chosen allowance organisation Elementary School and Kindergarten Košetice. The basis for the entire work was to define procedures for creating and registration directives, determinate basic procedural requirements and to characterize the content of individual directives. These findings are followed in the practical part, in which the analysis of eight intradepartment accounting directives, that the organization has established, was made out. It was found out if directives have all their formal treatment, prescribed requirements, completeness and timeliness under applicable law. After analysing and evaluating two directives were chosen, concretely directives for the registration and accounting of tangible and intangible assets and inventory and directives for the provision and billing of travel expenses that have been updated. The remaining directives were added with recommendations of how the missing data should be complemented by the directives. At the end a new directive for fund of cultural and social needs was created.