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This essay is an analysis of mythologies in the Swedish women´s magazine VeckoRevyn. The magazine’s own explicit purpose is to break down the unhealthy opinion of what beauty is in their industry today. By content and linguistic analysis the results of this study are interconnected to the beauty myth as it was established by Naomi Wolf in 1991. The goal is to pinpoint how VeckoRevyn’s question and answer columns construct relationships to their readers, and the mythologies that they maintain. The columns mostly focus on the readers’ physical appearance, and the beauty myth is clearly an inevitable influence. The main conclusion that can be drawn from this is that the beauty myth is hard-wired into our society’s subconscious. VeckoRevyn is working to prevent this, and even though they have not fully succeeded, they are a part of bringing the phenomenon to the surface of society.

The diploma thesis "Production Ideology of the television serial Proč bychom se netopili" deals with the production process in the making of a television serial. The initial focus was on the formation of one of the main characters, Keny, and on his position in the production as a whole. The thesis builds upon the ideas developed by cultural studies. These combine the structuralist approach inspired by the linguistics of Ferdinand de Saussure with the ideological approach based mainly on the thought of Louis Althusser. The production process is enquired into by Elena Levine who distinguishes five key categories of production. The research section which represents the core of the present diploma thesis is methodologically formed by grounded theory. It is based on qualitative interviews with those in key positions with respect to the production process. In the analytical section, the thesis operates with Roland Barthes's concept of mythologies. In the interviews, the informants make reference to the category of production routine, of the myth concerning the ideal "waterman" (the main character Keny being a symbol of this myth), of the production conditions in Czech Television and of the viewer who appears to be the ultimate instance. These categories constitute the mythology of the exceptional which...

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Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal. / Pour respecter les droits d'auteur, la version électronique de cette thèse ou ce mémoire a été dépouillée, le cas échéant, de ses documents visuels et audio-visuels. La version intégrale de la thèse ou du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.

Pour respecter les droits d’auteur, la version électronique de ce mémoire a été dépouillée de certains documents visuels et audio-visuels. La version intégrale du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal. To respect the reproduction rights and copyrights, the electronic version of this thesis was stripped of images and audiovisuals. The integral version has been left with Documents Management and Archives Service at the University of Montreal. / Selon la sociologue Nathalie Heinich, l'éclatement actuel des pratiques artistiques a profondément modifié les stratégies de singularisation qui constituent, depuis Van Gogh, un impératif incontournable pour l'artiste moderne. Un des changements concerne la personne de l'artiste, qui se prend fréquemment lui-même pour sujet de ses oeuvres. Beaucoup de pratiques contemporaines, notamment celles qui adoptent le mode de la performance, reposent en effet sur des mises en scène de soi et servent de prétextes au déploiement de mythologies personnelles. Sophie Calle appartient à cette tendance puisque sa production opère un brouillage systématique entre sa vie et son art, entre la vérité et l'invention. Son oeuvre se développe sous l'égide des doubles jeux: chassés-croisés de moyens de diffusion (expositions/livres d'artiste), de médiums (performances/documents visuels), de voix auctorielles entremêlées (Calle/Auster). Prenant appui sur À suivre..., une publication qui reprend, en les complexifiant, des performances antérieures basées sur des opérations de filature (Suite vénitienne et La filature), le présent mémoire s'inspire des écrits de Philippe Lejeune et de Vincent Colonna pour débusquer la pulsion autofictionnelle à l'oeuvre dans ce type de projet à prétention autobiographique. Les ruses intertextuelles, incluant les discordances entre l'écrit et l'image photographique, servent à illustrer le propos. En s'inspirant des considérations de Maxence Alcalde sur l'artiste opportuniste, qui constitue selon cet auteur un des modèles du créateur contemporain, le mémoire examine la distance qui s'est instaurée entre cette figure et celle du Grand Singulier incarnée à l'origine du modernisme par Vincent Van Gogh. / Nathalie Heinich examines how the current diversity of artistic practices deeply modified the way artists singularise and assert themselves on the contemporary art scene. Going back to Van Gogh, the figure of the artist itself has taken precedence over the work, notably in the literature created by critics and biographers, despite the fact that the works themselves may very well be self-referential. A number of contemporary practices, notably those emanating from performance art, rely on a theatricalisation of the self, a mythologisation even. Among them, Sophie Calle constantly blurs the distinction between art and personal life, between fiction and reality. Her work entails various double games such as media and medium crossovers (exhibition/artist book; performance/visual documentation), recycling, publicity stunts and blurrings of authorship. This thesis examines À suivre…, a book by the artist that refers to previous performances (followed by exhibitions) on her favorite theme of tracking (Suite vénitienne and La filature). Philippe Lejeune and Vincent Colonna’s arguments are summoned to highlight the fictional impulse that inhabits works with an autobiographical pretension – writing strategies and play between illustrations (photographs) and text in Calle’s production demonstrate that. In light of Maxence Alcalde’s theorisation of the opportunistic artist, a figure he considers to be emblematic of the contemporary art scenes and markets, a great distance is revealed with Heinich’s Grand Singulier, a paradigmatic figure of the modernist artist.