Magister Educationis - MEd / An important aspect of my thesis is the discussion of the various narrators in the novel; Vladimir Nabokov, John Ray Jnr. and Humbert Humbert. The novel, or Humbert’s memoirs, is only published after Lolita has died in order to preserve her dignity. John Ray Jnr. is the psychologist who is charged with editing Humbert's memoirs to ensure that no lewd details are published. This brings problems of their own, as we find that John Ray Jnr. has clear moral perceptions of Humbert as a person. This effectively creates a fiction within a fiction, which is already set in the fictitious genre of the novel. Vladimir Nabokov arguably informs the novel with his own ethics and ethos. This interrogates the reliability of the narrators and calls into question the truth-value of fiction and the inappropriateness of the law to ban fiction that discusses taboo issues. The main aim of my thesis is to discredit Humbert as a reliable narrator and character by analysing the taboo issues of paedophilia, incest, rape and murder. This will be done in order to show how Nabokov proposes alternative morals by deconstructing traditional morality using taboo topics in fiction

The Abstract The main focus of the diploma thesis named "GULAG as a life experience" is on the Soviet repressive system in the era of 30's to 50's of the 20th century. There are two approaches in this thesis: the first one is concerning the narrating and memory, the other point of view is the topics reflecting in the narrations. Both, oral and written stories are used, the written ones are prevailing. In the third chapter, I deal with the topic of human memory and its relation to history and telling about past. I am posing the question concerning the relation between memory and society, memory and history, how do the people conceive their narrations, what sort of language tools and schemes of telling do they use and what the differences between oral and written narrations are. This empirically focused part of the thesis is forgone by a theoretical part dealing with the mentioned topics. All is illustrated by using examples from the life stories of survivors. The other main topic is discussed in the eighth chapter, dealing with topics often appearing in the memories of the survived people. As well as in the other part I am using here the examples of the life stories for better illustration of the explained topic. The subtopics are divided into five groups: "time and space", "death and suicide", "strategies...

This dissertation offers an insight into the couple Alena and František Falerski, whose lives were considerably marked by totalitarian regimes. It examines in detail the dynamism of the changes to their spiritual lives within the context of the political, social and ecclesiastical transformations after 1918, with an emphasis on the periods 1939-1945 and 1948-1989. This work presents the spirituality of two intellectuals and church laity from the point of view of the respective development, external appearance, identity, opinions, genders and the reactions to oppression. This study combines a predominantly biographical approach with historical anthropology, where the standard work based on written sources has been expanded by the use of the oral history method. Key words Totalitarian, spirituality, Roman Catholic Church, political prisoner, marriage.

The aim of this thesis is to provide a comprehensive and focused reflection with regard to role of mass media in selected dystopian films, respectively in movies where some significant dystopian elements do appear. This thesis is based on themes that have been the content of bachelor thesis written by the same author and expands on it - however, the bachelor thesis analysed exclusively three novels (Brave New World, 1984 and Fahrenheit 451). Nevertheless this thesis does not include any film adaptation of these novels. Within this work a wider range of resources was employed as it allows highlighting multiple topics associated with the mass media. The main theme is therefore related to the use of mass media and their impact on society. The thesis contains interpretation (from media studies perspective) of a total of 12 films, which are then divided into three categories based on the prevailing perception of the role of mass media. The first part is focused on the mass media as a constitutive element of dystopian regimes. In this case the mass media affect the society as a whole. The second part deals with the films, in which, in which the media significantly influence the lives of specific individuals (although the whole society may not be affected). Finally, the third part includes movies, in...

Legal forms of political persecution in the Czechoslovak Republic in the period of communist totalitarian régime This thesis Legal forms of political persecution in the Czechoslovak Republic in the period of communist totalitarian régime is divided into five chapters. In the theoretical part of the thesis (chapter No. 1) the author defines examined period to be between years 1948-1960, defines political persecution as a legal term and desribes the ideological basis of communist law. In the end of this chapter there is a categorisation of legal forms of political persecution that is reflected in the core part of this work. In the second chapter author depicts causes of political persecution in the Czechoslovak Republic in the period of communist totalitarian régime that are based on legal and political developement between years 1945 and 1948. In the scope of this chapter author also offers a general characteristics of the period of so called Third republic. Constitutional developement in the Czechoslovak Republic after second world war and the system of Popular Front of Czechs and Slovaks are also depicted here. This chapter also includes assessment of the constitutional system of the Czechoslovak Republic between years 1948 and 1960 and of the political situation in the years 1945-1948. The...

The thesis about The Portrayal of Women in Czech Film in Times of Dictatorship is examining the female characters in the movies influenced by nazi and communist propaganda. The main objective is to find out the similarities and differences that are typical for the Czech movies of those times. In the case of the movies influenced by communist propaganda and ideology, this thesis is examining those made in the period between 1948-1956. In order to analyse female characters, 15 movies were chosen for this task after making sure they fulfill the condition of woman playing the main of one of the main roles. The theoretical part of this work is dedicated to the anchoring of the topic, therefore there are sections about propaganda, nazi and communist propaganda, development of Czech cinematography and the role of women in nazi and communist ideology. For the purposes of analyses in practical part of the thesis, I use Jens' Eder model - The Clock of Character.

Submitted by Maicon Juliano Schmidt (maicons) on 2015-06-16T16:47:28Z No. of bitstreams: 1 Nei Jairo Fonseca dos Santos Junior_.pdf: 542340 bytes, checksum: 1245d46f7d72062a47ebd21f5257cd5d (MD5) / Made available in DSpace on 2015-06-16T16:47:28Z (GMT). No. of bitstreams: 1 Nei Jairo Fonseca dos Santos Junior_.pdf: 542340 bytes, checksum: 1245d46f7d72062a47ebd21f5257cd5d (MD5) Previous issue date: 2008-04-28 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / PROSUP - Programa de Suporte à Pós-Gradução de Instituições de Ensino Particulares / O propósito desta dissertação é resgatar, nos escritos de Arendt, sua perspectiva sobre o sentido e o significado da ação humana no contexto da compreensão histórica do regime totalitário e da crise na educação na América. Na visão da autora, a história é constituída por acontecimentos imprevisíveis que interrompem processos. Tanto o acontecimento quanto a ação formam descontinuidades e, portanto, não reconhecem nenhuma causa no sentido estrito do termo. O texto apresenta suas reflexões sobre o tema da aparência, ressaltando que a condição de estar vivo significa ser possuído por um impulso de autoexposição correspondente à qualidade de aparecer de cada um. O aparecer é, sobretudo, parecer para os outros, variando conforme o interesse dos espectadores. Neste mundo comum, constituído por aparências, o espaço da educação é eminentemente político, já que a responsabilidade deste espaço é conjunta. Arendt ressalva que, diante de um mundo que deve ser posto continuamente em ordem, a educação desempenha um papel central. Resta aos homens que habitam o mundo agir de tal forma que não impeçam as novas gerações de decidir sobre seu próprio futuro. O percurso desta investigação nos possibilita afirmar que Arendt restaura o entendimento segundo o qual a capacidade humana inaugura algo novo, que não pode ser previsto e que corresponde à própria ação política. / The propose of this lecture is to rescue, in the writings, her perspective about the sense and the meaning of the human action in the context of the historical understanding of the totalitarian regime and of the crisis of the education in America. In the author’s vision, the history is constituted by unexpected events that interrupt processes. So much the event as the action generates discontinuities and, therefore, they don’t recognize any cause in the strict sense of the term. This text presents reflexions about the theme of the appearance; emphasizes the condition of being alive means to have an impulse of auto-exposition that corresponds to the quality to appear of each one. Appear means to be noticed by the other ones, changing by the spectator interest. About the educational subject, Arendt affirms that in face of the world that must be continually organized, the education performs a central function. It’s very important that the men that live in the world not obstruct the new generations in their futures .The course of this investigation makes possible to affirm that Arendt recuperates the understanding that the human capacity inaugurates something new, that cannot be predict and that corresponds to the own political action for excellence.

The present study considers the diachronic changes that took place in Soviet political discourse as reflected in six selections of Pravda editorials from the 1920s through the 1950s, as well as slogans and headlines in that newspaper from 1917 through 1933. The principal goal of analyses conducted on various levels is to identify and investigate a number of tendencies demonstrating the gradual transformation of the language of revolution into totalitarian language. A quantitative analysis of the vocabulary of slogans and headlines in Chapter 2 focuses on chronological changes in words and addresses the contexts in which they were used. The same material is used in a review of the polarization of vocabulary in positive and negative contexts. Chapters 3-6 are devoted to a qualitative analysis of editorial texts on three levels: lexical rhetorical means (Chapter 3), semantically charged elements of argumentation (Chapter 4), and the overall composition of the text (Chapter 5). Chapter 6 concludes the study with an illustration of the devices considered in Chapters 3-5 based on two editorials, one each from the revolutionary and totalitarian periods. The analysis identifies a number of stable elements present throughout the period under study, such as the self – other opposition and references to the classics of Marxism-Leninism. At the same time, noted on all levels are changes illustrating the process by which the language of revolution was gradually transformed into totalitarian language. These include the disappearance from rhetoric of emotionality, imagery, and elements of logic, as well as stylistic leveling and an increase in the frequent repetition of the same conclusions and clichés.

<p>This dissertation focuses on the fictional narratives of Eastern and Central European women authors writing in German and explores the ways in which historical and political trauma shapes their approach to narrative. By investigating the atrocities of the World War II era and beyond through a lens of trauma, I look at the ways in which their narrative writing is disrupted by traumatic memory, engendering a genre that calls into question official accounts of historical events. I argue that without the emergence and proliferation of these individual trauma narratives to contest, official, cemented accounts, there exists a threat of permanent inscription of official versions into public consciousness, effectively excluding the narratives of communities rendered fragile by war and/or displacement. The dissertation demonstrates how these trauma fictions i) reveal the burden of unresolved, transmitted trauma on the second generation as the pivotal generation between the repressive Stalinist era and the collapse of communism, ii) disrupt official accounts of events through the intrusion of individual traumatic memory that is by nature unmediated and uncensored, iii) offer alternative plural accounts of events by rejecting normal everyday language as a vehicle for narrative and instead experimenting with alternative modes of representation, articulating trauma through poetic language, through spaces, and through the body, and v) struggle against theory, while paradoxically often succumbing to the very same institutionalized language of trauma that they seek to contest. Trauma fiction therefore emerges as a distinct genre that forestalls the threat of erasure of alternative memories by constantly challenging and exposing the equivocal nature of official narratives, while also pointing to the challenges faced in attempting to give a voice to groups that have suffered trauma in an age where the term has become embedded and overused in our everyday language.</p> / Dissertation

Ce travail tente d’analyser de quelle manière la communauté politique cherche en vain l’unité et l’entente, quelle représentation le cinéma en général et celui de Chris Marker en particulier donnent à cette recherche, ainsi qu’aux rapports entre les différents acteurs de cette communauté (Etat, société civile), au fonctionnement de celle-ci, aux événements qui la traversent (révoltes, révolutions, guerres). Il étudie aussi comment l’utopie, désir de fonder des communautés plus justes, se trouve au coeur du destin de l’humanité, à tel point que les pouvoirs, les idéologies et les totalitarismes ont toujours su manipuler cette aspiration, en utilisant, par exemple, le cinéma pour rendre compte d‘une union, en apparence réalisée, de la communauté politique. Cette thèse examine encore la place de l’individu et les différentes formes de regroupement social se trouvant, selon les cas, à l’intérieur ou en dehors de la communauté politique. Elle rend compte enfin de l’originalité d’une oeuvre exceptionnelle d’un point de vue politique, celle du cinéaste Chris Marker. / This work tries to analyse how the political community searches in vain for unity and harmony ; how cinema in general, and that of Chris Marker in particular, portrays this search, as well as the relationships between different actors of this community (state, civil society), its workings, and the events which run through it (uprisings, revolutions and wars). It also considers how utopia - the wish to create fairer communities - is at the heart of mankind’s destiny, so much so that authorities, ideologies and totalitarianisms have always been able to manipulate this aspiration, for instance by using cinema to show a seemingly accomplished union of the political community. Then, this thesis examines the place of the individual and the different types of social gathering being, depending on circumstances, within or outside of the political community. It finally shows the originality of a politically exceptional work, that of the filmmaker Chris Marker.