The aim of this thesis is to implement a qualitative analysis on interpretive trails, which are also considered part of local heritage interpretation. This analysis verifies if the authors of panels used recommendations published in two known methodologies during their preparation phase. This research is applied on eighteen interpretive trails in the protected landscape area of Český kras. In the practical part of this thesis, each interpretive trail has been evaluated by applying nine criteria. The outcome of the thesis is an evaluation of visuals and content composed on the interpretive trail panels for the purpose of attractive communication. The most significant deficiencies of the panels of interpretive trails in the protected landscape area of Český kras are quality of graphical design, whether the text communicates with the reader and if the text does not require linear reading. On the other hand, the most important strengths of interpretive trail panels are that the visual elements are always well connected to the content of the text on the panel and the text is easily read without specialised terms. The interpretive trail that has reached the best evaluation in the qualitative analysis is Vodácká NS Berounka. On the other hand, the trails with the lowest scores were NS Památné stromy Karlštejnska and NS Klonk-Suchomasty.

Face à la discontinuité et à l’hétérogénéité essentielles – et non accidentelles – de la communication muséale, le spectre des postures adoptées par les acteurs de la médiatisation investis dans ces processus est très large. La présente thèse cherche à examiner la manière dont ces acteurs (autant ceux qui évoluent au sein des musées qu’autour de ces derniers) s’engagent dans un jeu d’anticipations croisées où chacun cherche à s’assurer des prises sur le continuum de la médiation patrimoniale pour poursuivre ses projets respectifs. Conduite dans le cadre d’un financement CIFRE au sein de l’agence prestataire de musées Mazedia, cette thèse se focalise, dans cette situation d’incertitude plus ou moins radicale, sur le recours aux médias informatisés et, plus précisément, aux architextes ; ces outils d’écriture qui conditionnent l’écriture (et, de fait, la lecture) des autres. Dans une démarche à la croisée entre sémiologie des médias et des médiations et économie politique de la communication, deux architextes font l’objet d’une analyse détaillée : DMA Friends (conçu par le musée d’art de Dallas) et Wezit (conçu par l’agence Mazedia). Le premier a été choisi pour la façon dont il illustre un processus d’architextualisation de l’évaluation muséale (appréhendée comme une écriture des pratiques) ; le second, un processus d’architextualisation des pratiques d’écriture de médiation de type « transmédiatique ». Dans une perspective exploratoire est examinée l’articulation possible entre ces deux processus et la manière dont celle-ci est susceptible de reconfigurer la manière dont la médiation patrimoniale peut opérer lorsqu’elle repose sur l’intervention des médias informatisés. / When dealing with the discontinuity and heterogeneity of museum communication (which is essential and not at all accidental), the broad spectrum of the positions adopted by the actors of mediatization who are involved in the processes is substantial. This thesis examines the manner in which these actors (i.e. those working in museums and those collaborating with them) anticipate complex interactions and seek to guarantee their place on the continuum of heritage interpretation in order to pursue their respective projects. This thesis was possible thanks to a CIFRE grant and was undertaken within a service provider for museums called Mazedia. In this context of relatively significant institutional instability, its aim is to focus on the reliance on digitized media and, more precisely, on architexts, that is, writing tools which condition the writing (and, as a result, the reading) of others. In a process which is situated at an intersection between media and mediation semiology and political economy of communication, two architexts are analyzed in detail, DMA Friends (conceived by the Dallas museum of Art) and Wezit (conceived by Mazedia) respectively. The first was chosen on account of the way it illustrates a process of architextualisation of museum evaluation (apprehended as practices scripturalization). The second deals with a process of the architextualization of practices of transmedia interpretation writing. It is in an exploratory perspective that this thesis examines the possible articulation between these two processes and the manner in which the latter is susceptible to reconfigure the way heritage mediation can operate when it relies on the use of digitized media.