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To fully appreciate the thematic essence of the Italian short-story writer Dino Buzzati it is necessary to understand his use of literary archetypes. As these have been discussed by the Canadian literary critic Northrop Frye, the question for the study was whether his theory about the tragic mode could be mapped directly onto the themes of Buzzati and, if there were discrepancies, what impact they had on the received message. The study presupposed the archetypes found in the tragic mode of the fifth phase and in the low mimetic mode as described by Frye, exemplified by Adam and the episode of the fall of man, and found many of them in the short stories collection La boutique del mistero by Buzzati. The narrative follows the archetypal theory perfectly with the cause, fall and effect of the situation, and many tragic characters can be found, such as Adam. However, Frye’s seven cyclic worlds correspond in only five cases, whereas two violate the tragic archetypal laws: the cosmological and the vegetable worlds. The literary effect is that tragedy is perceived as occurring too soon in the protagonist’s life and described by the ironic observational writer as having no effect on the world, leaving the readers with the sense that they too might be excluded from society the way Adam was and prematurely die alone.

This study is concerned with the dramaturgic use of the fools of five of Shakespeare's plays. After the Introduction, Chapter II investigates the fool as a historical figure and establishes his credibility. Chapter III examines the comic methods and techniques of the fools. Chapter IV is an investigation of the use of the fool in his capacity as choric voice to present a particular viewpoint on the play. Chapter V is a study of how the fool fits into the action as a character, and Chapter VI investigates the ways in which he may be used in structural duties. The study concludes that the Shakespearean fool is an effective device due to his historical credibility and his recognized position as an entertainer.

This study presents an alternative approach to the novels of Franz Kafka through demonstrating that the Kafkan protagonist may be conceptualized in terms of mythic archetypes: the knight errant and the pharmakos. These complementary yet contending personalities animate the Kafkan victim-hero and account for his paradoxical nature. The widely varying fates of Karl Rossmann, Joseph K., and K. are foreshadowed and partially explained by their simultaneous kinship and uniqueness. The Kafka protagonist, like the hero of quest-romance, is engaged in a quest which symbolizes man's yearning to transcend sterile human existence.

Joseph Campbell tells us that if you look closely at all cultures you find the story of “The Hero's Journey”, the vehicle for my thesis project, a devised theatre piece titled A Thousand Faces: Everyday Heroes. Though the subject of A Thousand Faces is the exploration of “The Hero's Journey” the foundation of the work is the application of the pedagogical principles of Ritual Poetic Drama Within the African Continuum (RPDWAC) as outlined in the practices of my mentor Dr. Tawnya Pettiford-Wates, Assistant Professor of Performance at Virginia Commonwealth University Theatre (VCU). I apply RPDWAC pedagogical principles to Archetypes for the Actor/Singer (AFAS), a training methodology developed by Frankie Armstrong and another of my mentors, Professor of Voice and Speech and Head of Performance at VCU Theatre, Janet B. Rodgers. This paper outlines the process and performance of a class that combined these methodologies.

It is the purpose of this thesis to explore the different principles of mask performance in modern theatre and the unique relationship it allows the actor to develop with an audience. The author uses exercises from her training experience with different mask artists such as Teatro Punto, Familie Floz, Torbjorn Alstrom, and Marcello Bartoli. These exercises document a process of training the body in preparation for the mask, how to perform with mask, and how to connect with an audience. The mask is used as a tool to discover an engagement of work that activates both body and imagination of the performer as well as the observer.

The aim of this thesis is to improve the formal aspects of the Czech case briefs. The formal aspect represents the language, syntax and overall style of writing of case briefs written by lawyers. In the Czech Republic, the legal aspect is neglected. There is no professional literature dealing with this issue. The consequence of such an approach are then very confusing, stylistically poor-quality texts. Since I could not use any legal books when writing my thesis, I had to draw inspiration from other disciplines (linguistic, journalism, psychology and creative writing). I had to then apply this knowledge to the specific environment of legal writing in my thesis, namely on the case briefs. Fortunately, this legal issue is well mapped in the USA, so I also draw my inspiration from the American professional literature dealing with this issue. The thesis is divided into four chapters. In the first chapter, I focused on what do the typical Czech case briefs look like, what are their formal shortcomings and how to correct them. In the second chapter, I tried to figure out the factors that influence the style of the Czech case briefs. The third chapter is inspired by the American briefs. Of course not everything can be applied to the Czech environment. The reason for that is the difference in the legal...

The aim of this thesis is the visual identity of the brand Staropramen analysis based on the theory of archetypes applied in marketing science. The theoretical part is focused on the archetypal theories of Jung. He marked twelve archetypes in his work, which include four main categories based on the desire they want to satisfy. The yearning for paradise: The Innocent, The Explorer and The Sage, archetypes that want to leave a thumbprint on the world: The Hero, The Outlaw and The Magician, a group that knows no man or no women is an island: The Regular Guy / Gal also known as The Everyman, The Lover and The Jester, group desiring to provide structure to the world: The Caregiver, The Creator and The Ruler. This theory is related to the use of the knowledge of psychology in marketing practice. I focused on the differences between the various archetypes on one desire too, but also the on the theoretical basis of storytelling. In the practical part I analyse the visual identity of the brand Staropramen, that I take apart to single symbols. Their importance I found in sources in the field of heraldry, mythology, botany, psychology and etymology. On the basis of identified associations I do a comparative analysis of the theoretical basis for describing the use of archetypes in marketing, describing points...

Hysing & Olsson published a paper in 2011 revealing that 23% of all Swedish municipalities had a green inside activists (a form of public official) residing within them. Our paper aims to highlight the activity of this specific brand of public officials which many know little about. Considering recent events, particularly Greta Thunberg’s strike and the Swedish public official petition in the government office, this study reused Hysing and Olsson’s (2011) questionnaire survey to examine the local environmental office in Örebro municipality to identify the presence of green inside activists. In comparison to Hysing & Olssons study results, no green inside activists were identified nor could their activity be reviewed. The study requires further research concerning the eventual presence of other bureaucratic archetypes.

Le dialogue entre la pratique et la théorie est la base de cette étude. Le défi est la réflexion à trois niveaux: la création de numéros et de spectacles par le jeu du clown; la recherche de sa théorie; et les expérimentations pédagogiques. L'interrogation sur le clown a commencé au Brésil et s'est déroulée dans quatre pays européens à travers des spectacles, des résidences artistiques, des ateliers et des rencontres avec des artistes à partir de la Cia da Bobagem. Le clown est une figure populaire et banale à la fois, mais il y a des traces primitives de son jeu. Cette étude met l'accent sur cet art sous de nombreux aspects: ses principes, son histoire, ses artistes, sa pratique interculturelle, sa liberté, sa poésie, son incompréhension et ses métamorphoses au fil du temps. C'est une invitation à voyager ensemble dans un monde paradoxalement très proche mais toujours mystérieux. La première partie aborde le parcours artistique du chercheur influencé par la recherche e sa curiosité théorique. Ce sont 15 ans de vie clownesque vécu au Brésil et intensifié en Europe avec la création de quatre spectacles et la réalisation de plusieurs cours de clowns à Bruxelles. La rentrée au Brésil est étudiée à partir des projets subventionés. La deuxième partie montre un esquisse théorique sur le clown du XVIe jusqu’aujourd’hui : dès les moralités aux clowns actuels. L’etymologie du mot clown ouvre ce chapitre qui fait une possible relation du trickster et du clown. La troisième partie fait une réflexion sur le jeu comme un outil d’apprentissage du clown. Il y a la tentative de met en lumière les principes du jeu clownesque et les élements pédagogiques appliqué dans la Cia da Bobagem. Pour conclure, la thèse essaye de montrer que la pratique du clown permet une intégration professionnelle et que la théorie peut amplifier la conception du clown à travers la psychologie, l’anthropologie et l’histoire. La transmission du jeu clownesque par la pédagogie du plaisir peut être l’autre façon de jouer et de transmettre le clown au-delà de la souffrance. / The dialogue between practice and theory is the basis of this study. The challenge is the reflection in three levels: the creation of numbers and shows by the play of clown; the investigation of clown theory; and the pedagogy experimentations. The interrogation about clown began in Brazil and came to four European countries through performances, artistic residences, workshops and meetings with artists by Cia da Bobagem group. The clown is a popular and a banal figure at the same time, but there are primitive traces of his play. This work explores this art by many aspects: his principles, his history, his artists, his intercultural practice, his freedom, his poetry, his incomprehension, and his metamorphoses over time. It is an invitation to travel together in a world paradoxically very near, but still mysterious. The first part shows the artistc journey of the researcher influenced by the research and theoretical curiosity. These are fifteen years of clown lived in Brazil and intensified in Europe with the creation of four shows and the realization of several clown classes in Brussels. The return to Brazil is studied from funded projects. The second part opens on the etymology of the word clown opens this chapter which makes a possible relation of the trickster and the clown, than indicates a theoretical sketch about the clown from the sixteen century to the present day: from morality to actual clowns. The third part is about the game as a learning tool of the clown. There is the attempt to highlight the principles of the clown game and the pedagogical elements applied in Cia da Bobagem. The thesis shows that the practice of clowning allows a professional integration, that the theory amplifies the conception of clown through psychology, anthropology and history, and that the transmission of the clown game by the pedagogy of pleasure can be the other way to play and transmit the clown beyond suffering.