The following thesis deals with the topic of the contrast of phrasemes with a constituent black in German and Czech. The first, theoretical part of the thesis seeks to outline the basic terms as well as problematic points of the phraseological domain, which are of importance for the practical part. This concerns the phraseological terminology in general as well as the terminology of the contrastive phraseology. The practical part elaborates on the contrast of five phrasemes, picked from the Deutsch- tschechisches Wörterbuch der Phraseologismen und festgeprägten Wendungen (2010). These phrasemes have been looked up in DeReKo and InterCorp and subsequently analysed from the morpho-syntactic and semantic point of view. The result of this analysis should provide the answer to the question of whether the translation variants in the dictionary correspond with the actual written language usage or whether there is a discrepancy between those two areas.

This thesis comprises two manuscripts prepared for scholarly journals. Chapter 2 comprises an article entitled “Exploring Historic Changes in Musical Communication: Deconstructing Emotional Cues in Preludes by Bach and Chopin.”, which examines emotion perception in historic prelude sets by J.S. Bach and F. Chopin. This work connects psychological research on perceived musical emotion to musicological research describing changes in music structure. Using a technique called commonality analysis to deconstruct cues’ individual and joint roles in predicting participants’ perceived emotions, the chapter clarifies how music’s conveyed emotion can differ in compositions from different eras. Chapter 3 comprises an article entitled “Parsing Musical Patterns in Prelude Sets: Bridging Qualitative and Quantitative Epistemologies in Historical Music Research”. This chapter bridges gaps between qualitative and quantitative research on music history through an analytical approach engaging with both fields. Specifically, cluster analyses of Bach and Chopin’s preludes reveal notable differences in the composers’ expressive toolkits, consistent with work from historical and empirical music research. Through a novel analytical framework, the chapter illustrates a method for detecting groups of pieces demarcated by salient musical differences, assessing cues’ importance within these groups, and determining the most influential cue values for each group. Together, these articles provide new insight into the subtle sonic relationships influencing musical meaning and emotion perception. / Thesis / Master of Science (MSc) / Music’s capacity to express emotion has received considerable attention in psychological and musicological research. Whereas efforts from psychology clarify the musical cues for emotion through perceptual experiments, efforts from musicology track changes in compositional practice over time—finding changing relationships between music’s cues for emotion in historically diverse compositions. To date, the implications of these changing musical relationships for emotion perception remain unclear. This thesis analyzes musical scores and listeners’ emotion ratings to gain insight into music’s structural changes throughout history and their implications for perceived emotion. By applying statistical techniques to (i) detect musical patterns in prelude sets by J.S. Bach and F. Chopin and (ii) clarify how cue relationships influence emotion perception, this thesis sheds light on the relationship between music’s historic context and its emotional meaning.

This thesis deals with toponym of Tschechei, which has not been studied yet in detail. This topic is still relevant since even today the Czech Republic is also called Tschechei by natives and non-natives. In this work, three theories were formulated, which describe the etymology and usage of this term. These theories were then applied in diachronic and synchronic analyses to find out the meaning of the term Tschechei used by different users of a language. Furthermore, the corresponding theory was assigned to each use. This method proved that this term is present in diachronic as well as in synchronic language usage. This thesis presents a conclusion that the explanation and description of this toponym in the available dictionaries is not sufficient. Therefore, the term of Tschechei is defined as a separate dictionary entry for the prepared German-Czech dictionary.

Cette thèse s'intéresse aux spécificités du cyberlangage chinois et à une nouvelle activité langagière à l'œuvre à travers lui : l'interaction écrite dans le domaine de la didactique du chinois langue étrangère. Nous présentons le phénomène du cyberlangage chinois sous l'angle linguistique et culturel, qui se révèle être un paysage linguistique vivant et riche, avec irruption de néologismes, néographismes et de glissements de terrain grammaticaux. Nous traitons de la langue chinoise du cyberespace dans l'interaction écrite à travers les analyses textuelles et paratextuelles pour découvrir ses aspects discursifs, pragmatiques, interactionnels et culturels. Nous discutons également des spécificités et des présentations des identités virtuelles de la cybercommunauté chinoise. Les analyses des corpus servent à une finalité didactique : l'émergence d'une nouvelle activité « l'interaction écrite », qui est un des enjeux de cette thèse. À la lumière du CECRL, nous avons discuté de sa place dans la didactique des langues et de ses influences sur l'apprentissage, l'enseignement et l'évaluation dans la didactique du chinois langue étrangère. À cause de la spécificité de l'écriture de la langue chinoise, cette activité mérite un débat approfondi sur chaque aspect de la didactique du chinois langue étrangère. / This paper is interested in the specificities of Chinese cyberlanguage and a new language activity: interactive writing, in the field of Teaching of Chinese as a foreign language. We introduce the phenomenon of Chinese cyberlanguage from the linguistic and cultural angle, which proves to be a vivid and rich linguistic landscape with burst of the neologisms, the néographismes and the landslides of grammar. We discuss the Chinese language of cyberspace in interactive writing through the textual and paratextual analysis for discovering its discursive, pragmatic, interactional and cultural aspects. We discuss also the specificities and the presentations of the virtual identities of the Chinese cybercommunity. The analysis of corpus has a didactic purpose: the emergence of the new activity “interactive writing”, which is the final key of this paper. In light of Common European Framework of Reference for Languages, we have discussed its place in the teaching of languages ​​and its influence on learning, teaching and assessment of teaching of Chinese as a foreign language. Because of the specificity of writing of Chinese language, this activity deserves a profound debate on every aspect of Teaching of Chinese as a foreign language.