The thesis Construction of Media Reality during Mirek Topolánek's Resignation Period analyses a total of 294 instances of media output published or broadcast between 20th March and 1st April 2010 and dealing with Mirek Topolanek's resignation from his positions within the ODS in the context of his statements for LUI Magazine. The interview dealt with the Jewish faith, homosexual orientation or the voters of the ČSSD. The theoretical part of the thesis elucidates themes related to the construction of reality as described by Peter L. Berger and Thomas Luckmann, media routines, which can contribute to this phenomenon, and the creation of myth according to Roland Barthes. The research part of the thesis uses the propositions of Critical Discourse Analysis with an emphasis on Critical Linguistics, to isolate discourses, which were used to establish a connection between Topolánek's statements for LUI Magazine and his exit from the ODS and politics in general. A partial analysis also notices how the linguistic tools of tabloid and non-tabloid media were brought closer together. Finally, the Semiotic Analysis focuses on the caricatures of Mirek Topolánek and identifies myths which served as a basis for perceiving his image and the possibility of his further political career.

The introduction of this diploma thesis summarizes the production of , and it identifies the two following layers of authorship. The first layer is the fictional authorship of Jara Cimrman; the second layer is the authorship of the Cimrmanologists and their so-called (or fictional) reconstructions of Cimrman's work. The introduction further discusses the importance of the radio show , which gave birth to the character of Jara Cimrman. Finally, the introduction analyses various aspects of Cimrman and his mystifying character. The core of this thesis consists of an analysis of Cimrman and his relation to Czech Dream. It also studies the Czech dream and its development. The second chapter provides a study based on the play , which is looking at the relation between Cimrman and Czech history and the national myth. The beginning of this chapter offers an overview of the history of the . The chapter then continues with an analysis of Cimrman's play with a special attention to its unusual political dimension. The third chapter studies the connections between Cimrman, or his creators, and Czech national consciousness and Czech culture as they are reflected in Cimrman's play . The play is set in the context of Kainar's poem , Klusak and Remunda's film , Macura's essay , and Kaspar's book .

As a consequence of a process of semiotic totalization of public life in totalitarian societies, a system of social, esthetic, ethic and language norms becomes radically altered. This system is partially described in Totalitarian kitsch section, in chapters called Totality, Kitsch, Art, Language, Esthetics and Myth. In a passage called Underground, totalitarian realism and Egon Bondy's and Ivan Vodseďálek's gauche poetry is interpreted as a model reply on totalitarian society conditions. A concept of total poetry is introduced. We ask a question: what actually total poetry is, if not an art? Eleven answers are being sequentially found: 1. it is a complex of apocryphal texts of socialistic realism, 2. it is a game about art, 3. it is culture at the phase of being born, 4. a method of phenomenological reduction, 5. a language game, 6. de-construction of myth, 7. occupation of game position within totalitarian society, 8. a myth, 9. a semiotic clearance process carried out through semiotic rage, 10. symbolization of reality and realization of symbol, 11. call for a game. In the end, we try to define total poetry in relationship to avant-garde, modern art and postmodernism. Three points have been discussed in a chapter called Kitsch and underground: 1. recapitulation of acceptation of Egon Bondy's and...

The thesis based on contemporary press identifies how the newspaper wrote about Karel Havlíček Borovský during the anniversaries of his birth and his death and whether it wrote about him at all. Thereby, traces the development of the myth of Karel Havlíček and the role which the press has played in this process. The paper focuses on Karel Havlíček's attributes which were used in the articles to describe his personality. It also shows different types of festivities commemorating the anniversaries. In the analysis selected Czech written press from the period from 1866 until 2011 was used. Before the research is introduced, chapters presenting some of academic and scholarly books as well as non-fictional ones describing Havlíček or selected aspects of his work (e.g. linguistic); editions of the letters of his and some editions of his work are mentioned. Following chapters deal with the issue of myth and cult of Karel Havlíček and with the issue of festivities/celebration seen from the perspective of several historians.

Cette thèse porte sur les artistes suédois et norvégiens en France de 1889 à 1908. Ces années ont traditionnellement été considérées comme une période de retour au pays et d’abandon de la France pour les artistes scandinaves qui se seraient tournés de nouveau vers Paris seulement en 1908 avec l’arrivée des élèves d’Henri Matisse. Une étude approfondie de leur présence aux Salons parisiens a été menée afin de constater que leur nombre ne baisse pas et que les départs des uns sont aussitôt comblés par l’arrivée d’autres artistes scandinaves. À travers l’examen de la taille et de l’activité de cette communauté d’artistes installés en France durant ces deux décennies, dites nationalistes, il s’avère que l’hypothèse du retour vers la Scandinavie dans les années 1890 est un mythe créé par une historiographie faussée. La plupart des artistes scandinaves expatriés en France de 1889 à 1908 menèrent des carrières couronnées de succès dans un environnement cosmopolite et international. Les raisons de la mauvaise interprétation de cette période de l’histoire de l’art scandinave ont été analysées à travers les ouvrages d’histoire de l’art anciens et actuels. D’autres investigations ont été entreprises, basées sur la correspondance de ces artistes principalement conservée à l’Académie Royale des Beaux-Arts de Suède et dans les archives d’Auguste Rodin, ainsi que sur l’étude de leur accueil critique en France. Elles démontrent que la colonie scandinave de Paris de ces années-là a été exclue des expositions organisées en France par leurs propres pays et que la carrière de ces artistes expatriés, ainsi que le rôle de la France, ont été minimisés dans l’histoire de l’art scandinave. / This dissertation is about the presence of Swedish and Norwegian artists in France during the years 1889 to 1908. Traditionally these years have been considered as a period when Scandinavian artists left France to return to their homelands and according to this traditional view, they only returned to Paris and French influence with the arrival of Henri Matisse’s students around 1908. A thorough study of their presence in the Parisian Salons has been conducted which determines that their numbers do not decrease and that the departure of certain Scandinavian artists was balanced by the arrival of others. By examining the size and the activity of this artistic community in France during these two so-called nationalistic decades, it appears in fact that the hypothesis about the return to Scandinavia in the 1890’s is a myth created by a distorted historiography. Most Scandinavian expatriate artists living in France between 1889 and 1908 led successful careers in a cosmopolitan and international environment. The reasons for the misinterpretation of this period in Scandinavian art history have been analysed using historical and current texts and art history handbooks. Further investigation based on the correspondence of these artists, kept chiefly by the Royal Swedish Academy of Fine Arts and in the archives of Auguste Rodin, as well as the study of their critical reception in France, have shown that the Parisian colony of Scandinavian artists has often been excluded from exhibitions organized in France by their home countries and that the career of these expatriate artists as well as the role of France during this period has been minimized in Scandinavian art history.

J'ai voulu étudier un phénomène qui sous-tend l'écriture de la littérature spéculative (science-fiction et fantasy) aujourd'hui : la création d'un « monde secondaire », selon l'expression de J.R.R. Tolkien. Deux problèmes se posaient de prime abord. Premièrement, l'ensemble culturel et éditorial que recouvre l'expression « littérature spéculative » est relativement flou, du fait des problèmes de délimitation des genres et de la problématique culturelle plus générale (la littérature spéculative est-elle définie par des motifs littéraires, ou par l'appareil culturel qui l'entoure ?). Deuxièmement, un « monde secondaire » est-il uniquement un univers inventé entièrement différent ou détaché du monde réel, ou peut-il recouper le monde réel, etc. ? La littérature spéculative étant un genre foisonnant et en pleine évolution, j'ai pris le parti de ne pas donner de réponses définitives. Plutôt que de tenter de tracer des frontières, j'ai cherché à mettre en évidence les différents éléments dont se constituent les mondes secondaires : les traditions du genre sur lesquels les auteurs s'appuient pour transmettre la vision d'un univers original à leurs lecteurs, entre mise en avant de l'originalité et utilisation d'éléments connus comme soubassement, ainsi que la vision particulière de l'histoire, de la géographie et de la place de l'humanité dans le monde que les auteurs développent. Cette réflexion se veut située à la fois en amont et en aval de l'acte d'écriture. Elle se conclut sur les questions qui se posent aux auteurs contemporains : questions de renouvellement du genre, ou d'ouverture sur les autres médias, en particulier ceux que pratiquent les amateurs. / I endeavoured to study a phenomenon underlying contemporary speculative fiction (science fiction and fantasy): the creation of a ‘secondary world', to use J.R.R. Tolkien's phrasing. I had to solve two preliminary problems. First, the cultural and economic phenomenon that speculative fiction represents has a blurry outline, questions regarding genre delimitation and wider cultural problems (is speculative fiction defined only by a number of literary patterns, or by the whole cultural apparatus that goes with it?) being difficult to answer. Secondly, does the notion secondary worlds only apply to invented worlds that are entirely different or detached from the real world, or can it be applied to texts that take place at least partly in the real world, etc.? Speculative fiction being a diverse genre that has been steadily evolving for years, I have chosen to avoid giving definitive answers to those questions. Instead of looking for boundaries, I have tried to emphasise the various building blocks of secondary worlds in speculative fiction: the traditions of the genre authors rely on to convey their view of an original universe to their readers, in a dialogue between known elements used as a foundation and the idiosyncratic view of history, geography and the place of mankind in the particular secondary world developed by the author. In an attempt to open this study to the contemporary practice of world-building, I have concluded with the questions that speculative fiction authors face today: how to renew the tropes of the genre, how speculative fiction pervades other media, in particular the practices of fans.

Paris a fourni à des écrivains et à des peintres polonais de multiples motifs textuels et iconiques. Il a été transformé, voire déformé, représenté sans cesse par des générations de créateurs slaves qui ont contribué à la naissance du mythe d’un Paris polonais. Si tout mythe apparaît comme irrationnel, s’il ne se préoccupe pas de la vérité historique, il n’en a pas moins un lien nécessaire avec l’Histoire et une fonction sociale. Leur connaissance reste fondamentale pour le déchiffrage du symbole, de l’allégorie et de la métaphore du Paris polonais qui revêt plusieurs significations. Il témoigne du fait que la nation polonaise s’y est créée au XIXe siècle sa « capitale » - le lieu de refuge et de rassemblement des exilés voulant reconquérir l’indépendance de la Pologne dès la fin du XVIIIe et tout au long du XIXe siècle. Plus tard, Paris devient une patrie spirituelle pour des paysans venus en France pour des raisons économiques ou politiques. Mais Paris en lui-même a également exercé sur les Polonais une influence profonde. Si le Paris cosmopolite a éduqué les Sarmates du XVIIe au XVIIIe siècle, il s’est imposé en tant que foyer de culture universelle et d’innovation dans tous les domaines de la création dans les années 1890-1939. Certes, le Paris des Polonais a une place légitime parmi les représentations nationales slaves. Toutefois, son exploitation dans une classe de Français Langue Etrangère permet l’étude des relations franco-polonaises sous le double signe de la fascination et de la désillusion. Tandis que l’Esprit français reste synonyme d’élégance et que le langage parisien témoigne d’un art de vivre, Maria Walewska demeure l’emblème de la relation affective franco-polonaise. A son tour, la représentation de l’émigré polonais rappelle l’exil, et Paris occupé par les nazis, le combat pour « notre liberté et la vôtre ». Quant aux artistes slaves de l’Ecole de Paris, ont-ils réussi à réinventer le Paris polonais ? / Paris has provided writers and Polish painters, multiple textual and iconic motifs. It has been transformed or deformed, constantly represented by generations of Slavic artists who contributed to the birth of the myth of a Polish Paris.If every myth appears as irrational, if it is not concerned with historical truth, than there is not a necessary link with history and a social function neither. Their knowledge remains fundamental to deciphering the symbol, allegory and metaphor of the Polish Paris that has several meanings.It reflects the fact that the Polish nation has created in the XIXe century his “capital” - the place of refuge and ingathering of the exiles wanting to regain the independence of Poland abroad since the late XVIIIe and all throughout the XIXe century. Later, Paris becomes the spiritual capital of peasants polish who came in France for economic and political reasons. But Paris had also a profound influence over Poles. If the Paris cosmopolitan has educated the Sarmatians of the XVIIe and XVIIIe centuries, it has established itself as a universal center of culture and innovation in all areas of creation in the years 1890-1939.Certainly, the Polish Paris has a rightful place among the Slavic national representations. However, his use in a class of French as a foreign language allows the study of Franco- Polish relations under the double sign of the fascination and disillusionment. While the French Spirit remains synonymous with elegance and the Parisian language reflects a lifestyle, Maria Walewska remains the emblem of the Franco-Polish emotional relationship. In turn, the representation of the brave Polish immigrant reminds the exile and the occupied Paris - the struggle for “our freedom and yours”. As for the Slavic artists of the Ecole de Paris, did they manage to reinvent the Polish Paris?

A presente tese busca compreender o processo de Comunicação das características da cultura norte-americana a partir da leitura e interpretação de textos midiáticos fílmicos de diferentes épocas. O apoio teórico parte da noção de memória textual e código-texto segundo estudos de Iuri Lotman, um dos pesquisadores da Semiótica da Cultura. Nessa perspectiva, as produções do cinema são consideradas como um sistema de signos inseridos na semiosfera correspondente. A descrição do sistema da cultura norte-americana é feita pela identificação de suas narrativas míticas fundacionais, de origem judaico-cristã, latina e egípcia. Os mitos são estudados como elementos encadeadores dos textos da cultura considerados relevantes para esta pesquisa, desde o Descobrimento (século 16) até o período da independência norte-americana (século 18). Uma vez descrito o sistema da cultura norte-americana, por meio da memória textual, procede-se à leitura de dois textos cinematográficos nos quais se verificam configurações desses elementos mitológicos. A tese comprova seu objetivo de demonstrar como o mito da nova ordem repercute em textos do cinema norte-americano do final do século XX, e como esse mito é reiterado na atualidade reforçando o papel preponderante da América como nação renovadora do mundo. / This thesis seeks to understand the process of communication of north-American cultures features from the reading and interpretation of filmic media texts of different periods. The theoretical support starts from the notion of \"textual memory\" and \"code-text\" according to studies of Iuri Lotman, a researcher of Culture Semiotics. From this perspective, the productions of cinema are considered as a system of signs inserted in corresponding semiosphere. The description of the system of north-American culture is made by identification of its founding myths of Judeo-Christian, Latin, and Egyptian origin. The myths are studied as linker elements of culture texts considered relevant to this research, since the \"Discovery\" (16th century) until the period of American independence (18th century). Once described the system of American culture, through the textual memory, it proceeds to read two film texts in which there are settings of these mythological elements. The thesis proves his goal to showing how the new order myth reflects in texts of north-American cinema of the late twentieth century, and how this myth is repeated in the present strengthening the role of America as a nation renewing of world.

L’avènement de la démocratie de type libérale a entraîné un reconditionnement des mythes et images du leader politique, en Roumanie. Les événements de 1989 ont entraîné un besoin endémique de créer une nouvelle scène et un véritable imagier des figures politiques roumaines. Cependant, la communication des leaders politiques postcommunistes est soumise à l’héritage de leur passé communiste et des traces laissée par Nicolae Ceausescu dans l’imaginaire collectif. Tributaire de ce lourd héritage, les leaders politiques roumains répondent à un mécanisme qui semble contradictoire au premier abord : ces leaders construisent le terrain politique de la Roumanie contemporaine en même temps qu’ils se construisent eux-mêmes. En cela, ils sont le produit d’une société dont ils semblent être, eux-mêmes, les architectes. Cette double participation à la vie du pays rend donc le cas des leaders politiques roumain très particulier. Toutefois, l’instrumentalisation des mythes et des images permet aux représentants politiques de forger l’archétype du leader démocrate roumain et contribuent à la construction d’un espace politique stable en Europe Centrale et Orientale. / In Romania, the rise of democracy has contributed to modifying political leaders’ myths and images. The 1989 events have led to the vital necessity of creating both a new political landscape and a new set of images attached to political leaders. However, political communication has been influenced and shaped by the Communist past of the current political leaders as well as by the image of Nicolae Ceausescu in collective memory. At first sight, such a heavy legacy seems to have had a contradictory influence on political leaders who have been constructing themselves while building Romania’s contemporary political area. They are both the products and architects of Romanian society. This dual involvement in the country’s life has placed them in a very complex situation. However, the instrumentation of myths and images has given them the possibility not only of building the archetype of Romania’s democratic leaders but also of creating a steady political environment in Central and Oriental Europe.

Trata-se de um estudo exploratório de natureza qualitativa e quantitativa para minimizar o poder de alguns mitos existentes na escola, entre eles: \"ensinar língua portuguesa equivale a ensinar gramática\", que pressupõem uma série de atividades voltadas para um \"aluno ideal\". Nesse sentido, investigar-se-á, por meio da análise do discurso, as representações sobre norma gramatical que povoam o imaginário dos alunos do ensino médio e a auto-avaliação desses alunos sobre suas produções escritas. Tais propósitos são decorrentes de resultados de avaliações nacionais e internacionais (PISA, 2000, 2003) em que foram constatados sérios problemas relacionados à proficiência em leitura e escrita de alunos após 8 anos de escolarização no ensino fundamental. Visando contribuir para tornar o ensino de língua materna voltado para o \"aluno real\", foram confrontados diferentes pontos de vista sobre a TV para buscar subsídios ao possível uso da TV na escola. Vale ressaltar que a discussão sobre os mitos foi necessária para abrir espaço a outras práticas educacionais. Tendo em vista que a linguagem televisual apropria-se do contexto sócio-cultural em que está inserida e que é um \"mostruário de pluralidade lingüística\", poderá ser um recurso tecnológico significativo para o desenvolvimento de habilidades de oralidade, leitura e escrita no ensino fundamental. O quadro teórico congrega pesquisadores voltados ao imaginário (Carvalho et alii, 1998; Porto e Fonseca, 1998; Teixeira, 2005), à linguagem televisual (Fishe, 1987; Rocco, 1988; Machado, 1997;Citelli, 2002) e ao ensino e aprendizagem de língua materna (Neves, 1990; Preti, 1995; Semeghini-Siqueira, 1997; Castilho, 1998; Bagno, 2000; Marcuschi, 2001; Perini, 2001). Como proposta metodológica, foram elaborados 3 instrumentos, contendo questões abertas e fechadas, e selecionados 4 grupos de sujeitos a fim de recobrir as diversas vertentes do assunto em questão. O grupo denominado sujeito [ I ] é constituído por telespectadores comuns; o sujeito [ II ], por universitários; o sujeito [ III ], por professores de língua materna e o sujeito [ IV ] são alunos do ensino médio de uma escola pública da cidade de São Paulo. Para atingir os objetivos foram investigadas formas de se trabalhar a linguagem televisual, na sala de aula, e apresentadas duas atividades articuladas para viabilizar o ensino e aprendizagem de oralidade, leitura e escrita. Tal proposta pedagógica é direcionada ao \"aluno real\" e prioriza o ensino do uso da língua portuguesa na diversidade das práticas sociais. / This is a exploratory study of quality and quantity nature to minimize the power of some existing myths in the school, that is: \"To teach Portuguese as a teach grammar\", that presuppose series of activities related to \"a model student\". In this sense, it will research through speech analysis, the representation about grammatical rules that is in imaginary of students of High School and self-evaluation of these students about writing productions. These purposes are current results from national and international evaluations (PISA, 2000, 2003) which were verified serious problems related to acknowledge in reading and writing of students after 8 years of scholarship in Elementary School. Contributing to become the education of native language for \"real student\" were analyzed different point of view about TV to search assistance for possible use of TV in the School. Projecting the discussions about myths were necessary to give opportunity to other educational practices. Notice that the televisual language domain the socio cultural context that is added and that is a \"table of plurality of linguistic\", it can be a significative technological resource for development of orally, reading and writing abilities of Elementary School. The exposition connect researches to imaginary (Carvalho et alii, 1998; Porto e Fonseca, 1998; Teixeira, 2005), to televisual language (Fishe, 1987; Rocco, 1988; Machado, 1997;Citelli, 2002) and for teaching and learning the native language (Neves, 1990; Preti, 1995; Semeghini-Siqueira, 1997; Castilho, 1998; Bagno, 2000; Marcuschi, 2001; Perini, 2001). As a methodological purpose, was elaborated 3 tools, containing open and restrict questions and selected 4 groups of subject for covering the different areas of related matter. The group calling subject [ I ] is formed by watchers; the subject [ II ], by academics; the subject [ III ], by teachers of native language and the subject [ IV ] by students of High School of Public School in city of Sao Paulo. For targeting the objectives were researched ways of work televisual language in the classroom, presented in two linked activities for viability the teaching and learning of orally, reading and writing. Those pedagogic propose is focused on \"real student\" and preference for teaching of Portuguese language use in different social practices.