In this thesis will be studied the modern political parties and their media presentation. The thesis focuses on the relations between political parties, business sector and journalism. The author tries to answer the question, what do the political parties do to create positive image in the media, especially in the media of public servis. The studies of this thesis wil be done on the basic principles of text analysis using the lingvistical classification of illocutionary and perlocutionary acts. The thesis also focuses on the journalistic ethics, the new theories of the media studies and new types of political parties, especially the libertarian parties (according to Herbert Kitschelt) and business political parties as are defined the first of all by Jonathan Hopkin a Caterina Paolucci. The practical part discusses the elections to the Parliament of the Czech Republic held in 2013 or in 2017. Only those parties which have crossed the electoral clause are being examined in the thesis.

This dissertation is basically a reading the book of Lamentation as a literary whole in a sense of a text-centred approach, which aims to interpret the Scripture as divine communicative action. The major philosophical resources that I employ in this study are the Speech-Act theory developed by J. Austin and J. Searle, and the concepts particularly exemplified in the work of K. Vanhoozer. I look at repetition and literary techniques in Lamentations as a clue to its structural unity. In the body of the dissertation, Instead of historical-critical approaches, I claim that the meaning exists not ‘behind the text,’ but ‘in the text itself as a whole.’ One of the most important literary approaches to understanding the book of Lamentations is to note the poetic voices, which interweave in the text. The poetic voices are my main focus of understanding the book of Lamentations. I explain the literary meaning reading the text and demonstrate that we must find the canonical level of the meaning which supervenes on the literary level. The meaning of a text at a literary level must be carefully studied and modified by the ‘fuller sense (or meaning)’ derived from the canonical context. The ‘fuller sense’ of Scripture associated with divine authorship emerges only at the level of the whole canon. Here for the canonical meaning of the text, I focus on Vanhoozer’s assertion, having proposed the suitability of speech act theory for the various tasks of biblical interpretation and theological hermeneutics. When we read the text, there is no utterance from God in Lamentations. It is the missing voice. The main theme of Lamentations is "Where is the true comfort?". The text presents no comfort. In the literary context, God keeps silent (non-speaking). Canonically, however, Christian readers as God’s people read the Bible, connecting it to Jesus Christ. Within the canonical context, we can indeed find an answer and God’s answering speech (that is, His act), because Jesus is their true comforter acting as God’s response. We can find this response in his teaching (e.g. Jesus’ Sermon on the Mount) and in his mission (e.g. presenting his body as the temple, being Immanuel, God-with-us). / Dissertation (MA(Theology))--University of Pretoria, 2009. / Old Testament Studies / unrestricted

In text linguistics coherence is seen as one of the key factors in communication and textual interpretation. Text linguistics, as an inter-disciplinary field of study concerning the textuality of texts in conjunction with coherence, can probably be of great importance in current musicology, especially as the problem concerning musical meaning, is still an ongoing debate. The design of a musical model of coherence relations is a new field of study and can not be connected to present day language models, therefore a new model should be invented. It should be kept in mind that adaptations in text linguistics can be of great influence in musicology today and on music in its relation to language. Musical interlocution forms the basis for musical coherence relations as method of musical communication. Musical communication has its origin in the top/cohesive surface of the musical text and disseminates to the lower/coherensive surface of the musical text. Although there is an interaction between musical cohesion and coherence, coherence relations are more concentrated on the lower level. Musical illocution and musical blended perlocution function within the coherensive musical and word texts. The listener plays a big role in this process, because musical coherence is the platform for musical interpretation. As listeners design a word text around the music text, musical blended perlocution through association results. The addition of associative meaning to the musical text has the result that the linguistic perlocution and the musical perlocution intermix with one another. One must keep in mind that perlocution differs in language and music. It will be indicated that musical coherence relations have a dual character. It will be argued here that the principles of musical textuality, adjusted from those text linguistically practised by De Beaugrande&Dressler (1981) and Carstens (1997, 2000, 2009), as well as the three musical functions, adapted from Austin's (1962) determination in language, figure strongly in J.S. Bach's Schübler Chorales. / Thesis (DMus)--University of Pretoria, 2009. / Music / unrestricted

This thesis deals with the theory of speech acts which is based mainly on analysis of speech and its function in communication. We use speech not only to convey something but to also do something, to change the state of things around us and to accomplish specific goals. Speech acts in a literary piece are then analyzed on theoretical basis, specifically in Milan Kundera's dramatic play Majitelé klíčů.