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The main objective of this diploma thesis is description of poetics in Václav Řezáč's (1951-1956) novels. It 's especially interested in transformations of poetics between three periods of Řezáč's literary production. Vaclav Řezáč's novels influenced by literary tradition and time period he lived in. That's why we have analyze also novels by other writers. It is believed that Řezáč's evolution was rather cyclical; his novel Nástup in a way refers to some techniques of his previous work Slepá ulička, although with quite different ideological message.

De nombreuses thèses de grande qualité ont été rédigées autour de la situation sociale de la personne sans domicile fixe. La présente thèse aborde ce même thème,mais sous un angle singulier. Le raisonnement adopté consiste à établir de quelle façon la personne SDF peut être « inventée » en une figure de l’être au rebut. En perdantson travail, son réseau social et son domicile, le SDF quitte les espaces normés de la société. Il fait toujours partie de la structure sociale, mais relégué au plus bas de celle-ci,comme remisé dans un fond du panier social. C’est dans cet espace (physique et mental) que la société assigne à résidence ce(ux) qu’elle ne veut pas voir. Cette configurationsociale où le SDF peut être traité comme la pièce défectueuse d’une production, l’objet de qualité médiocre qu’on met de côté ou quelque chose de négligeable qu’on jette telun déchet. Le SDF serait condamné au rebut social.J’ai découvert la référence à une figure de l’être au rebut dans un texte de l’écrivain Herman Melville. La nouvelle Bartleby, le scribe est le point de départ de maréflexion sociologique. Le concept d’exclusion sociale me semble insuffisant pour décrire une dynamique de mise au rebut, notamment en raison de son approche binaire(dedans/dehors). Par conséquent, j’ai fait le choix de démarches heuristiques plus en phase avec l’idée de processus d’expulsion d’un lieu de vie sociale, d’une perte progressived’appartenance sociale. Ainsi, les chercheurs initiateurs des concepts de disqualification sociale (Paugam) et de désaffiliation sociale (Castel) m’ont été d’une grande utilité.Le SDF est défini négativement, son acronyme signale la lacune et l’absence. Son identité sociale pâtit d’une altérité négative conférée par le regard stigmatisantdu groupe social dont il est issu. À côté de la figure-repoussoir du SDF, je propose une notion que je nomme figure-rebutoir. Par rebutoir, je veux faire entendre d’abord ladimension de rebut, mais également celle de butoir. Cette figure sociale de l’altérité négative est parfois considérée par le corps social comme une pierre d’achoppement. Ellenous effraie parce qu’elle représente cette humanité détériorée que nous craignons de devenir un jour. En effet, la personne SDF assure parfois la fonction d’épouvantailsocial. Une des particularités de cette thèse réside dans la double origine de ses sources épistémologiques. D’une part, les sociologues m’ont fourni une boîte à outils efficacepour saisir le sens de cette mise au rebut. D’autre part, des écrivains concernés par une question sociale m’ont donné accès à un corpus pratique et opérant. Lesdits romanciersont immergé leur fiction dans un univers social où le personnage-SDF tient une place importante. Ces deux savoirs, sociologique et littéraire, concourent à doter cette thèsed’une épaisseur épistémologique indéniable. En effet, force est de constater que, bien souvent, sociologues et écrivains expriment des points de vue connexes et que leursméthodes respectives sont complémentaires.Le SDF, figure sociale de l’être au rebut ? Mes recherches témoignent de sa mise à l’écart, d’un mépris social à l’encontre de cet homme « domicilié » dansl’espace public, d’un refus de la société de reconnaître que c’est son fonctionnement qui le disqualifie et le désaffilie. La personne SDF est environnée d’objets rebutés : ellerécupère les aliments périmés jetés par les commerces, elle se vêtit de vêtements que les autres ont déjà portés et ne veulent plus, elle se confectionne un abri de fortune avecdes matériaux de récupération, elle gagne quelques pièces de monnaie grâce à la collecte de cannettes de soda ou de métaux. La proximité avec le rebut porte atteinte à sadignité et peut l’assimiler à du rebut humain. En effet, la personne SDF peut devenir personne aux yeux des autres, et dès lors se vivre comme rebut d’elle-même. / The social situation of the homeless person has been the subject of many excellent theses. This thesis deals with the same issue, taken from a different viewpoint.It attempts to show how a homeless person can be “invented” as a scrapheap figure. Without a job, a social network or a home, the homeless person exits the standarddimensions of society. He or she remains a part of the social structure but is relegated to its lowest level, a kind of social bottom of the basket. It is within this physical andmental dimension that society confines those it does not wish to see, in which they can be treated as defective parts of a production system, poor quality items that can be castaside or things of such little value that they can be thrown away like rubbish. In this configuration, the homeless person is condemned to be a social reject.I first discovered a literary reference to a scrapheap figure in a short story by Herman Melville, entitled Bartleby the Scrivener, which became the starting pointfor my sociology study. I do not find the concept of social exclusion sufficient for describing the dynamics of rejection, primarily because it is based on a binary notion ofinside and outside. As a result, I have chosen a heuristic approach that is more in keeping with the idea of a process of expulsion from a social living place, a gradual loss ofsocial affiliation. Thus Paugam and Castel, the researchers who initiated the concepts of social disqualification and social disaffiliation respectively, were very helpful to me.The homeless person is defined in negative terms; the adjective is based on the notion of lack or absence. The person’s social identity suffers from a negativealterity conferred by his/her stigmatisation by the social group from which he/she originates. Together with the idea of the homeless person as a figure of repulsion, I haveput forward the notion of what I call “figure-rebutoir”. “Rebutoir” combines the French words « rebut », meaning reject, scrap, waste, and « butoir » meaning a cut-off point,a strict limit. This is important because the social representation of negative alterity is problematic for society, in that the image of damaged humanity generates fear of whatany one of us could become. Indeed, the homeless person sometimes takes on the role of social scarecrow.One of the original features of this thesis lies in the fact that its epistemological sources are twofold. On one hand, sociologists have provided me with efficienttools for understanding the rejection process and on the other, writers with concern for this social issue have given me access to a practical and effective body of documents.The writers in question are novelists who have set their fiction in a social environment in which the homeless character has an important place. Sociological and literaryknowledge combine to give distinctive epistemological depth to the thesis. We are obliged to recognize the frequent connections between the points of view expressed bysociologists and those put forward by writers and to acknowledge the complementarity of their methods.The homeless person – social figure of the being on the scrapheap? My research shows the alienation and social contempt to which people whose « home » is inpublic space are subjected. It shows that society refuses to recognize that it is its own way of functioning that disqualifies and disaffiliates homeless people. The homelessperson is surrounded by rejected items: expired food products thrown out by shops, clothes worn and no longer wanted by other people, makeshift shelters built with whatevermaterials can be found, a few coins earned from collecting soda cans or metal. Living in such proximity to what has been rejected is damaging for a person’s sense of dignityand can lead to his/her status being assimilated to that

This investigation presents two literary case studies that demonstrate the heterogeneity of Wilhelmine popular fiction, both in terms of thematic orientation and aesthetic quality. The chosen authors are women from bourgeois backgrounds who were prolific and well-known during their life-time, but who have since been relegated. They target the ‘new middle class’ of that era as their readership and, respectively, represent two important but contested genres of late nineteenth-century popular fiction: Heimatkunst and the Sozialroman. Heimatkunst has been dismissed as a homogeneous propagator of right-wing ideology. Yet the texts of Charlotte Niese evidence ‘resistant practice’ within and against prevailing discourse parameters. Her autobiographical writing demonstrates a type of nationalism orientated in dignity and independence, rather than competition and militarism, while also showing how political indoctrination and imposition poisoned the vernacular social status quo which otherwise managed to integrate antagonistic values and attitudes. Her fictional narratives highlight how writing dubbed Heimatkunst was subject to hybridisation, at times to amount to an approximation of a modernist aesthetic. The Sozialroman has been dismissed as a trivial ‘variety of social recipes’. Luise Westkirch’s narratives, however, incorporate thorough-going social reform. Her shorter narratives include astute, psychologically-based social critique which facilitates insights into contemporaneous preoccupations and slow perceptual changes. Incorporating tenets derived from the German romantic legacy, her narratives challenge dominant discourse parameters directly. In the process, the internationally ubiquitous interpretation of competition and power as basic instinctual drives is deconstructed as an erroneous and self-destructive assumption. Westkirch’s complex narratives establish sub-textual agendas through ‘thematic compounding’ that directs the reader’s attention overtly at one set of issues while covertly commenting on another. In this way, she constructs gender inequality as an indictment of normative socio-political systems. This study therefore argues that popular fiction located in a time of cultural crisis has the potential to make explicit the parameters of the prevailing dominant discourse, against which specific values are articulated. Since a conscious formulation of these parameters is essential to the loosening of any conceptual hegemony, which depends on implicitness, fiction thus situated can yield new perspectives, not only in terms of historical insight, but in terms of conceptual alternatives that also have contemporary relevance.

. The thesis utilizes Althusser's notion of ideology as a system of imaginary as class and morality. Althusser's axioms are to serve as bases for the theoreti analysis of the aforementioned novels. Gaskell's concern for the polarising classes with -

In the thesis I would like to focus on the very topical literary work: Millennium trilogy by Stieg Larsson who died in 2004. The trilogy consists of three parts: The girl with the dragon tattoo, The girl who played with fire and The girl who kicked the hornets' nest. The trilogy will be examined from the perspective of genre determination. With the professional literature I would like to describe each genre and it's possibility of use. I would also like to find a typical features of particular genre in different forms: situations, characters, conflicts, etc. One part of my thesis will be dedicated to the writer and his autobiography traits. I would also like to turn to the fourth part of the trilogy by David Lagercrantz. I will try to answer the question why the trilogy has been extended, what literature genre is characteristic for the writer and what changes have been made in content or formal features of the story. During my work I would like to compare the trilogy with other Nordic literature pieces to find the cause of increasing sale of this kind of literature nowadays.