Short story cycle Magija Beograda (2008, The Magic of Belgrade, Czech anthology Belgrade, my magic love!, 2014) is one of the last works of Serbian author Momo Kapor. His subject matter is contemporary picture of Belgrade and characters in his work are people, who are emotionally bound to this city. The aim of this dissertation is to introduce a Czech translation of the short stories and their translatological commentary. This work deals with the theme of Belgrade work of Kapor, which the author engaged in throughout his whole life and wrote in this style for more than ten years. This area of his work still does not have a Czech literary translation. This dissertation also brings more coherent author's portrait. Pivotal part consists of two chapters, first one is devoted to the profile of the author and the second one to the translation and commentary.

The dissertation entitled "Religious Issues in Karolina Světlá's Ještěd Novels" deals with an analysis of the Ještěd Novels by the author Karolina Světlá. It characterises the depiction of vernacular devoutness in the novels by means of an analysis of the changes in the characters' religious consciousness and their subsequent interpretation. The paper confronts the fictional depiction of the various forms of religiousness with real historic facts; the most important factors of the religious positions of the "long" 19th century are verified on the scale of the Ještěd Novels. The objective of the paper is to shed light on the progressive qualitative changes in Karolina Světlá's works of prose and interpret them against the backdrop of the defined problem area, which is the period concept of devoutness and attitudes to faith as such.

This very writing is examining the two ultimate books "Mlýn na mumie" from the talented Petr Stančík, and "Sedmikostelí" and "Lord Mord" from the extremely obscure Miloš Urban. The main and most significant purpose of this work is to find and distinguish characteristics of each author, diving deeper into their unique styles, finding possible similarities while trying to learn about one of the very few raw original writing styles. Despite the books being multi-genre, they do try to characterize the exact genres along the way, after a proper introduction of the authors themselves, of course. The genres appearing in these books are clearly shown in individual excerpts below original text. A dominant part of my work is an analysis of the time space and the main character or hero if you prefer - again shown in excerpts as key parts of novels. Towards the end you can find the so-called great myth of the nation as a frequently repeated topic. By the conclusion of this work is a final comparison of previous analyses.

I set out to make a lighthearted comedy punctuated with some scary moments. I wanted this story to come from a seven-year-old girl's point of view and match fantastic visuals with equally fantastic sounds. I will discuss the entire creative process in this book such as preproduction, writing, direction, cinematography, editing, and the sound design process, as well as many of my own personal experiences on this set and in my life. I have included the influence of unbiased audience members to determine whether or not I was successful in making a competent movie. This entire process, including all of the work done, rests entirely on my audience. I have done my best to include both people who are affluent in film production, as well as those who are not.

Descended from Celtic goddesses and the fairies of folklore, the literary character of Morgan le Fay has been most commonly perceived as a witch and a one-dimensional villainess who plagues King Arthur and his court, rather than recognized as the legendary King’s enchanted healer and otherworldly guardian. Too often the complexity of Morgan le Fay and her supernatural abilities are lost, her character neglected as peripheral. As a literary figure of imaginative design this thesis explores Morgan le Fay as a unique “window” into the medieval mindset, whereby one can recover both medieval understandings of magic and female magicians. By analyzing her role in key sources from the twelfth to fifteenth century, this thesis uses Morgan le Fay to recover nuanced perceptions of the supernatural in medieval England that embraced the ambiguity of a pagan past and remained insulated from continental constructions of demonic witchcraft. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2015. / FAU Electronic Theses and Dissertations Collection

This study examines the Swedish Stock Exchange during the time period of 1998-2016. Where the purpose is to investigate and compare five different investment strategies to see if these investment strategies can create excess return on their investments, after adjustment for risk. The investment strategies can be found on the internet, and be used after purchasing a smaller amount of money, therefore the results can be applied to all investors independent on their level of experience. The results for the different investment strategies are not clear, the different tests give mixed results which leaves four of five hypotheses unanswered. However, there is one strategy that can be rejected, it cannot beat the market, which is the Net-Nets strategy. In general, one could thus say that the investment strategies can create higher return compared to the market, but that these returns are random. Therefore, it requires a longer time period for the investor as well as higher risk, since one never knows when this large return will be given.

L’objectif de ce travail est d’appréhender le procédé rhétorique appelé "historiola" dans le contexte du rituel magique égyptien. La période chronologique choisie est celle du Nouvel Empire, époque regroupant une grande variété de formules. L’analyse s’effectue tant sur un plan structurel que modal et thématique afin d’observer l’ensemble des caractéristiques de ce procédé. L"’historiola" est ainsi perçue comme un procédé littéraire permettant au magicien de renforcer l’efficacité de la formule qu’il doit prononcer en vue de protéger ou de guérir un patient. / The aim of this work is to try to understand how the "historiola" works into an Ancient Egyptian ritual. The selected chronological period is the New Kingdom which conveys a great diversity of spells. The analysis is performed on a structural and on a modal and thematic approach, so as to observe the characteristics of the "historiola". The historiola is thus seen as a literary process which allows the magician to enhance the effectiveness of the formula he has to pronounce in order to protect or to cure the patient.

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La figure du mage charlatan et imposteur constitue, dans la littérature du XVIe siècle, un topos qui reflète la confiance communément accordée à la magie et aux arts hermétiques. Il s'agit d'un personnage novateur, qui apparaît à un siècle où la lutte contre les pratiques magiques se fait progressivement plus intense. Le but de cette recherche est d'analyser les personnages magiques dans différents genres littéraires comme les nouvelles et les comédies, en se concentrant sur la caractérisation linguistique, sur la description du charlatan et de ses complices et les lieux dans lesquels apparaissent le plus fréquemment les imposteurs. En outre, une comparaison est effectuée avec la littérature magique et juridique du XVIe siècle, afin de reconstruire le climat culturel dans lequel les textes étaient produits et diffusés. La représentation du mage-charlatan subit les fréquentes ingérences du pouvoir politique, inquiet du fait qu'une nouvelle hérésie puisse compromettre le fragile équilibre social. Les procès intentés contre les acteurs, dont les pièces vont au-delà du canevas fait de dérision et de moquerie à l'encontre du nécromancien, semblent témoigner de la conviction, enracinée dans le monde intellectuel du XVIe siècle, que les arts hermétiques pourraient nuire aux coutumes des hommes. Cette recherche se propose de trouver des textes littéraires où apparaît la figure du mage escroc et de montrer la précarité de la division entre charlatans et sorciers dans la littérature de l'époque. / The character of the charlatan and impostor magician constitutes in the Renaissance a tòpos who reflects the commonly granted trust to the magic and to the hermetic arts. It deals with an innovative personage, who appears in a century when the struggle against the magician practices was becoming progressively more intense. The aim of this research is the analysis of the personages who represent the magician and the charlatan, focusing on the linguistic and psychological characterisation of the « cerretano » and of his victims. Moreover, a comparison is carried out with the magic and judicial literature of the 16th century in order to reconstruct the cultural atmosphere in which the texts were composed and diffused. The representation of the magician-charlatan was influenced by the usual interferences of political power, worried for the social dangers of a new heresy. In fact, the trials of the actors, whose pieces went beyond the canvas made by derision and mockery of the necromantic, would seem to testify the conviction whereby the hermetic arts could damage the morals. This research aims to find some literary texts where there is the character of the swindler magician and to show the fragility of the division between charlatans and sorcerers in the Renaissance literature.

Made available in DSpace on 2016-04-28T19:59:09Z (GMT). No. of bitstreams: 1 Luis Eduardo Wexell Machado.pdf: 496366 bytes, checksum: 8eebabde9d5ca06a6de1e0dbc5896da1 (MD5) Previous issue date: 2008-05-15 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The present work develops a study on Guimarães Rosa s magic algebra, under the perspective of the fantastic literature development in the expectations horizon of the 18th, 19th and 20th centuries. In the 18th century, relations are established with the Gothic romance and the strange element that rises from the exterior; in the 19th century, they are established with the gender fantastic and the strange that burst from inside the human being; in the 20th century, when the human universe becomes fantastic and the strange becomes part of the daily, the new-fantastic is an interpretative possibility of a fantastic that reconciles with the poetic. The objective of this work is, thus, through the study of the fantastic in transformation as of expectation horizons of different times, to establish a group of elements which allow us to reflect about the approximation established with the rosena magic algebra. In order to understand the effect of the fantastic literature, as well as the magic algebra s, we used Paul Ricoeur s hermeneutic method with emphasis in the aspect of the integrative reading between the text s world and the reader s world, due to the double expectation horizon that the literary work contains: the book s horizon, in its structure, and the reading s horizon, which rewrites the book. The interrelations established, under the perspective of the corpus chosen for analysis O Mistério de Highmore Hall, Tempo e Destino and A Terceira Margem do Rio have shown that the magic algebra is quite distant from the concepts of the fantastic literature from the 18th and 19th century and beginning of the 20th century, although the first short stories of Guimarães Rosa are very close to these traditions. The singularity of the magic algebra reveals itself through the connection established with the poetic effect s construction, in a tight harmony with the new-fantastic conception and Borges magic causality as shown in the analyses of the Terceira Margem do Rio / A dissertação desenvolve um estudo sobre a álgebra mágica de Guimarães Rosa, à luz do desenvolvimento da literatura fantástica no horizonte de expectativas dos séculos XVIII, XIX e XX. No século XVIII, as relações se estabelecem com o romance Gótico e o elemento estranho que surge do exterior; no século XIX, com o gênero fantástico e o estranho que irrompe do interior humano; já no século XX, quando o universo humano se torna fantástico e o estranho faz parte do cotidiano, o neofantástico é uma possibilidade interpretativa de um fantástico que se reconcilia com o poético. O objetivo do trabalho é, portanto, por meio do estudo do fantástico em transformação a partir de horizontes de expectativas de épocas distintas, estabelecer um conjunto de elementos que nos permitam refletir sobre a aproximação estabelecida com a álgebra mágica roseana. Para compreender o efeito da literatura fantástica, bem como o da álgebra mágica, recorreu-se ao método hermenêutico de Paul Ricoeur, com ênfase no aspecto da leitura integrativa entre o mundo do texto e o mundo do leitor, em função do duplo horizonte de expectativas que a obra literária contém: o da obra em si, em sua estrutura, e o da leitura, que reescreve a obra. As relações estabelecidas à luz do corpus escolhido para análise O Mistério de Highmore Hall, Tempo e Destino e A Terceira Margem do Rio demonstraram que a álgebra mágica está bem distante dos conceitos da literatura fantástica dos séculos XVIII, XIX e mesmo do início do século XX, embora os primeiros contos de Guimarães Rosa guardem grande proximidade com essas tradições. A singularidade da álgebra mágica se revela, assim, por meio do vínculo estabelecido com a construção do efeito poético, em sintonia estreita com a concepção do neofantástico e a de causalidade mágica de Borges, como mostra a análise de A Terceira Margem do Rio