The thesis "A content analysis of photographs in Pestry tyden and LIFE magazine" analyses two successful magazines of the first half of the 20th century. Intentionally, two periodicals of different origin (Czechoslovakia and the United States) are compared to investigate the assumption that the different origin has major influence on the overall concept and focus of the periodicals. The subject of this study is the selection of volumes of 1937-1945, the period of the greatest success of both magazines. The study aims not only at describing the contents of the periodicals but also at situating them into social, political and art-historical context. The study is based on a theoretical part which gives a general overview of photojournalism and tracks the slow beginning of journalistic photography and the birth of the first illustrated magazines. This part also deals with technological development which made possible quality image journalism. The study does not leave out numerous restrictions, e. g. censorship, which were a frequent point of struggle for the magazines' authors. Key words: illustrated magazines, magazine photography, photojournalism, documentary photography, war photography, censorship, propaganda

The thesis deals with actions and activities of Central Press Supervision Office in the period 1953-1966. The goals of this thesis may be further divided in four areas, i.e. gradual formation of Central Press Supervision Office, specific fields of interest of censorship, personnel resources, and finally departmental division of the above mentioned Office. The thesis is sourced mainly from primary materials in archives. The acquisition and further research of such materials in their historical context made it possible to postulate and clarify given thesis subject. The thesis offers a complex overview of the function of Central Press Supervision Office within the background of censorship in The Czech Republic as a whole and with regard to its specific aspects.

L’étude de locutions de soldats, de La Jeune Parque de Valéry et de Calligrammes de Apollinaire manifeste une variété de fonctionnements psychiques durant la Première Guerre mondiale. La lecture utilise les instruments d’intelligibilité de la psychologie collective proposés par Freud. Collecté par Gaston Esnault, Le poilu tel qu’il se parle révèle les inventions des soldats pour supporter la guerre et la dénoncer. Le régime de terreur n’empêcha pas les soldats de fonctionner en collectifs démocratiques. Le réalisme et la décence de locutions en témoignent malgré l’horreur ou la détresse vécues : compromis entre la violence et sa dénonciation par l’humour. Paul Valéry a participé à l’idéologie patriotique : La Jeune Parque présenta aux classes sociales dominantes un miroir. La censure collective a refusé d’entendre la présence de la guerre dans ce poème. Certains mots, images suggérées, indices figurent la sujétion de Valéry au régime dominant. La lecture de vers en regard des événements éclaire des phrases obscures. Le référentiel de l’Antiquité masque la guerre. Dans Calligrammes, Apollinaire dit à ses lecteurs sa mélancolie, à l’œuvre dès avant son engagement dans la guerre, amplifiée au fur et à mesure qu’il agit la guerre, en revient blessé, puis se dégage des identifications collectives. Une lecture attentive du poème Il y a révèle sa fonction dans le recueil : un calligramme issu de la guerre et adressé à la femme aimée, figurant la guerre dans son horreur et ses angoisses. Apollinaire dénonce la censure collective. La langue commune offre aux locuteurs, même en temps de guerre, la possibilité de fonctionner en régime démocratique. / The study of the sayings of soldiers, of La Jeune Parque by Paul Valéry, and Calligrammes by Guillaume Apollinaire demonstrates a variety of psychic functions during the First World War. The readings use the tools of the intelligibility of collective psychology put forward by Freud. Collected by Gaston Esnault, Le poilu tel qu'il se parle reveals the creative ways in which ordinary soldiers contrived to bear and denounce the war. The regime of terror imposed did not stop the troops functioning, wherever possible, in democratic collectives. The realism, the decency of certain sayings testifies to this, despite the horror and distress the troops experienced. Certain sayings remain coarse and constitute a compromise between violence and its denunciation by humour. Paul Valéry participated in the patriotic ideology : La Jeune Parque presented a mirror to the dominant social classes. Collective censorship has refused to see the presence of the war in this poem. Certain words, implicit images, sometimes clues reveal Valéry's subjection to the collective dominant regime. The reading of verses in light of events clarifies obscure phrases. The classical frame of reference masks the contemporary war. In Calligrammes, Apollinaire tells his readers of his melancholy, already present even before his engagement in the war, and which has been amplified proportionately by his participation in the war, coming back wounded, then disengaging himself from collective identifications. A close reading of the poem Il y a reveals its function in the collection : a 'calligramme' born of the war and addressed to the beloved, featuring the horror and anguish of the war. Apollinaire denounces collective censorship. Everyday language offers its speakers, even in wartime, the possibility of functioning in a democratic process.

The thesis "Czech music journalism focused on rock music during the period of normalization" reflects the position and importance of Czech rock music journalism within the structure and development of normalization of the media system. It is brought back through the oral historical research based on authentic evidence of their protagonists. It defines the initial prerequisites (ideological, political and socio-cultural) which are important to understand the circumstances under which rock music could be created and developed into an institution. It all depended on the confrontational attitude of communist power towards rock music generally. The next methodic element how to fulfill the defined goals is descriptive and comparative perspective. On this basis there is confronted official and samizdat's area of magazine production on the example of chosen periodicals. There also belong other qualitative aspects of music journalism (personalization, professionalization and every day editorial job). At the end the accepted conclusions are supported by the analysis and interpretation of chosen cultural and music events. They are divided by the method of their media coverage from official and samizdat periodicals.

This diploma thesis deals with Portuguese theatre at the epoch of Salazar's regime, at the period of military dictatorship. It focuses on the 40s to 60s of the 20th century in Portugal. The first part of the thesis deals with theatre which was used as a propagandism instrument, so called 'Popular Theatre', and with its function, repertoire and inventors. On the contrary, the second part is dedicated to the antidirectorial theatre, with an emphasis on the two most important playwrights Bernardo Santareno and Luíse de Sttau Monteiro. It reflects their activity in connection to the period. The thesis strives to describe Portuguese theatre development during this politically extremely complicated period. Key words: Portuguese theatre, António de Oliveira Salazar, censorship, Popular Theatre, engagé art, Bernardo Santareno, Luís de Sttau Monteiro

The purpose of this thesis is to describe the reception of Hašek's Švejk in Spain in the 20th century. The theoretical part deals with the phenomenon of indirect translations (it distinguishes between the second-hand translation and the authorial compilative translation), the problematic of metatexts and the reader's reception. The empirical part describes the "adventure" of Hašek's Švejk in the Czech and German milieu and focuses on the reception of the translations by A. Janés (1980) and M. Zgustová (2008) in Spain. Then, an analysis of censorship reports dedicated to Švejk and critical reviews of Spanish translations of this book and a short commentary of interviews with the two translators and editors follow. As a methodological instrument for the micro-textual contrastive analysis of selected passages of Hašek's novel was used the Popovič's (1975, 1983) typology of stylistic shifts and changes in the translation. Key words: Švejk, Spain, indirect translations, mediating text, reception, censorship, reviews, micro-textual contrastive analysis, Zgustová, Janés

Encadré par la théorie et la méthodologie de la sémiologie des indices proposée par Anne-Marie Houdebine, ce travail analyse les relations homme/femme, sous le coup de la censure, dans le cinéma iranien postrévolutionnaire. L’analyse systémique permet de dégager d’abord les strates iconique, scénique, sonore et technique à l’intérieur du corpus des scènes de films. Ensuite, il met en évidence des éléments explicités qui montrent qu’au plan formel existe un certain nombre de récurrences dans toutes les scènes analysées quel que soit le film travaillé. Au plan de l’expression, une grammaire formelle de la relation homme/femme dans le cinéma iranien a été dégagée. Au plan du contenu, des illusions de proximité et de rapprochement, des déclarations d’amour, des propositions sexuelles, de l’érotisme ainsi que des relations amoureuses et sexuelles surgissent à travers différentes configurations syntagmatiques des indices tels que le regard, le geste avorté, la scène de retour, l’enfant, l’objet symbolique, l’extérieur, l’intérieur, la voiture, la cour, le hors champ, la transition et la musique. En construisant son espace comme l’architecture iranienne traditionnelle entre l’externe (espace réservé aux invités et aux étrangers à la famille) et l’interne (espace privé) mais également en s’emparant des figures de styles à l’instar de la poésie iranienne classique, le cinéma iranien parle pudiquement de l’amour et créé ainsi sa propre iranité concernant les relations homme/femme. / Using Anne-Marie Houdebine’s theory and methodology of semiology of indices, this work analyses the relationships between man and woman in the censured post-revolution Iranian cinema. The systemic analysis highlights the iconic, scenic, auditory and technical stratums within the movie scenes. It also shows explicit elements, which reveals the existence of a certain amount of repetitions on a formal scale in any analyzed film. We can see there is a formal grammar respected when it comes to the expression of man and woman relationships in Iranian cinema. Illusions of closeness, love declarations, sexual propositions, erotism, love and sexual relationships are suggested through various phrasal configurations of the indices, such as glances, abortive gestures, turn around scenes, images of the child, symbolic objects, outside and inside, car, courtyard, off screens, direct transitions and music. Iranian cinema chastely explores love, expressing its own Iranianity regarding relationships between man and woman, by constructing space in the way that traditional Iranian architecture does (external space for guests and internal for family and privacy), but also by using stylistic devices, as in classical Iranian poetry.

L'objectif de ma thèse était de créer un catalogue de films de fiction relatifs à la Première Guerre mondiale produits en Italie et en France entre 1914 et 2013. Méthodologiquement, j'ai travaillé sur une variété de sources (répertoires cinématographiques, revues spécialisés, visas de censure et vision des films) selon la disponibilité des matériaux qui sont parvenus jusqu'à nous. J'ai essayé de proposer une enquête analytique qui comprend aussi des films qui se rapportent la guerre sans la montrer, pour cette raison mon travail sera sûrement incomplet mais il vise à une exhaustivité la plus grande possible. J'ai consacré une attention particulière à la censure exercée par |'État, en particulier jusqu’au les années `GD, une époque où la censure politique a été particulièrement forte. En plus de la censure définitive, j’ai aussi analysé celle préalable (en Italie de 1945 à 1965, en France de 1945 à 1961.] et en relevant deux attitudes qui sont similaires mais avec différentes méthodes d'intervention. Bien que l’enquête soit centrée sur les deux pays, l’espace donné à l’affaire italienne est supérieure à celui français. Le choix de la comparaison avec la France a été conditionné par plusieurs considérations, notamment la centralité qui, encore aujourd'hui, à la Première Guerre mondiale dans les cinémas et la public history française. L'évolution du récit cinématographique a été mise en relation avec le contexte politique, cinématographique, Législatif et historiographique; j'ai aussi essayé de comprendre la réception critique des films à travers deux facteurs : les résultats du box-office et les opinions exprimées dans les revues. / The aim of my thesis was to create a catalog of fiction films related to the First World War produced in Italy and France between 1914 and 2013. Methodologically, 1 worked on a variety of sources (movie collections, specialized magazines, rating and direct viewing of picture show), depending on the availability of materials which came to us. I have tried to propose an analytical investigation that also includes movies concerning the war without showing it; I am well aware my work will be certainly incomplete but it tries to be the more comprehensive possible. I have devoted a special attention to the censorious intervention exercised by the government, particularly until the early Sixties, indeed those years political censorship was very strong. In addition to the analysis of general censorship, I added that of prior one (in Italy 1945-65, in France 1945-61) and I found two similar attitudes but with different methods of intervention. Although the investigation is centered on the two countries, more importance will be given to the Italian CBSE instead of French one. The choice of comparison with France was influenced by several considerations; not least, the main point of the First World War has in both film and French public history even today. These factors have not been strange to the will to compare with the history of this country, considered as one of the most interesting. The evolution of fiction story has been put in relation with the political, cinematographic, and legislative and historiography background; I also tried to understand the film reception through two factors: the results of the box office and the opinions expressed in specialized magazines

Dans un pays comme la Chine, où fonctionne un régime politique de front unique du Parti communiste, le système médiatique est caractérisé par la propagande, la concordance des points de vue et le secret. Au fur et à mesure du développement d’Internet et des réseaux sociaux, les citoyens chinois, en particulier les jeunes, se sont saisis de cet espace public numérique pour échanger des opinions en tâchant de contourner les médias de masse dominants officiels. La mobilisation en ligne des citoyens suscite un nouveau phénomène socio-politique en Chine. Notre recherche porte sur les usages du Web par la génération post-80 et les représentations qui sous-tendent ses expressions et actions en ligne. En analysant soixante-neuf entretiens semi-directifs réalisés avec des internautes répartis en quatre catégories, nous avons observé leurs réactions vis-à-vis d’affaires publiques controversées. Nous avons particulièrement interrogé ces jeunes cyber-citoyens sur les quatre réactions possibles à la censure d’Internet : l’indifférence, le silence, l’autocensure, et surtout la résistance. Aujourd’hui, le cyberespace n’est pas seulement une plate-forme de propagande pour restaurer et maintenir l’autorité du Parti communiste, mais aussi un espace où les citoyens s’accordent ou s’opposent dans des conversations interminables en ligne et hors ligne. Cela peut pousser certaines organisations officielles ou non-gouvernementales à résoudre des problèmes sociaux et/ou politiques. Dans ce contexte, nous cherchons à analyser le rôle socio-politique de l’espace public numérique et à vérifier s’il pourrait être une variante de la sphère publique habermassienne et exercer une influence sur la démocratie électronique dans la Chine contemporaine. / In China, the political regime is the united front, which supports, reinforces the leadership of the Communist Party and makes a media system characterised by secret, propaganda and unanimity of viewpoints. With the development of the Internet, Chinese citizens, especially the younger demographic, take advantage of the online public escape to express themselves and exchange ideas, by bypassing dominant mass media. The online mobilisation of Chinese citizens raises a new and interesting socio-political phenomenon. Therefore, our research will examine the web habits of the post-80's generation and to explore the representations that underly their online behaviour. From the analysis of semi-structured interviews carried out with 69 cyber citizens, which are classified by four categories, we observed their reactions to controversial public affairs. The analysis aims to identify four possible reactions to online censorship: indifferent attitudes, silence, self-censorship, and the resistance. It is noticeable that today cyberspace is not just a propaganda platform aimed at restoring and maintaining the Communist party’s authority, but also a wide-open space where citizens agree or disagree in endless controversies online and below the line. This may push some official or non-governmental organisations to solve social and/or political problems. In this context, we seek to analyse the socio-political role of the digital public space and to verify if it could be a variant of the Habermasian public sphere and influence e-democracy in contemporary China.

A partir dos processos de censura previa ao teatro contidos no Arquivo Miroel Silveira (AMS), investigaremos a ação censória sobre o texto das pecas liberadas com cortes. Analisaremos os casos em que o veto incidiu sobre trechos censurados construídos com figuras de linguagem, buscando compreender o funcionamento da lógica da censura em seu caráter de interdição. Considerando a tradição clássica da Retórica das Figuras e sua retomada no âmbito da Nova Retórica, bem como a Analise do Discurso de linha francesa, com Oswald Ducrot, podemos entender as figuras de linguagem como produtoras de efeitos de sentido, magnificando pressupostos e subentendidos. Assim, temos como hipótese que o corte do censor age sobre um momento fundamental do texto, no qual se configuram formações discursivas com esmero no recurso de estilo e que, ao mesmo tempo, trabalham a adesão do publico. Nesse sentido, os cortes que incidem sobre as figuras de linguagem nos revelam sobre os conteúdos preferencialmente extirpados e as concepções de mundo vigentes no período determinado, entendendo que as pecas em questão dialogam com sentidos circulando socialmente. Concentramo-nos em pecas teatrais das décadas de 1950 e 1960, procurando variar, em nossa seleção, a autoria das mesmas e também a temática dos trechos censurados. O mecanismo textual que envolve as figuras de linguagem foi aproximado daquele que apresenta conteúdos na forma de um subentendido. Ainda, a ação da censura foi ligada a coincidência que envolve o surgimento de conteúdos numa configuração tripla: figurados, subentendidos e vetados. / Considering the theater plays subject to prior censorship present in the Miroel Silveira Files, we intend to investigate the ones released with cuts. Our analysis, trying to capture the censoring logic as an act of interdiction, focuses on censored text excerpts in which figures of speech were employed. Based on French Discourse Analysis Theories mainly in the works of Oswald Ducrot and the studies of rhetorical figures with the New Rethoric, we understand figures of speech as producers of discursive effects, magnifying presuppositions and implicatures. Our hypothesis is that the censorship interfered with crucial passages of the text, where sense was being made based on literary style resources, urging the public to adhere. In such process, the cuts reveal to us about the most commonly prohibited contents and, along with them, about the socially established conceptions present in the plays selected for analysis. We have focused on the plays which censorship certificate dated from the 50s or the 60s, trying to set the wider possible range regarding authorship of the pieces and regarding the themes of the censored excerpts. The textual architecture presented by the figures of speech was related to those of the implied contents. At the same time that we understood the exercise of censorship emerging from a triple coincidence of the same contents as being: figurative, implicated and censored.