This thesis focuses on the characteristic of the author's posture of Michel Houllebecq, a contemporary French author. The theoretical part of the thesis outlines the development of the author's concept during the 20th century and characterizes the author's posture in views of the Swiss literature critic Jérôme Meizoz, whose studies the thesis is based on. The second part of the thesis is dedicated to Michel Houllebecq's life and his present literature career. It gradually introduces his works together with receptions they received by the public. The description of the author's image follows. The final part comprises of the analysis of Houllebecq's work discursive ethos, which is the analysis of the author's poetics and style. The influence of those personalities who most affected author's style and his artistic pose as a whole is also emphasized. The thesis is complemented with a complete list of works by Michel Houllebecq and an illustrative photographic annex.

The thesis deals with prefaces to the works of Friedrich Nietzsche, especially with those he wrote retrospectively. The goal of the thesis is to state what purposes Nietzsche meant to achieve with his prefaces and what literary strategies he used to achieve these purposes. The core assumption of the thesis is that Nietzsche decided to utilize his copyright and used his prefaces as a means to establish himself as an author. My approach is based on 20th century literary theories dealing with the concept of "the author" and on approaching the preface as a self-contained genre. Aside from the various literary strategies Nietzsche used in his prefaces, I will also focus on the work Ecce Homo treating it as one great preface to the whole lifework of Nietzsche. Keywords: Nietzsche, author, reader, authorial strategies, preface, author's posture

La qualification du contrat au regard du droit d’auteur met en exergue un renversement de la logique présidant habituellement à la construction des catégories contractuelles : les divers contrats nommés et, au-delà, tous les contrats d’auteur, sont moins définis par égard à leurs effets, à savoir le transfert de droit et les obligations qui en sont la contrepartie, que par référence à leur environnement. En effet, alors que l’effet translatif est commun à tout contrat d’auteur, sa qualification dépend avant tout de son environnement « matériel », c’est-à-dire du type d’oeuvre de l’esprit ou de droit d’exploitation visés au contrat, ou de son environnement humain, c’est-à-dire la qualité des parties, notamment celle d’auteur. À l’inverse de la qualification du contrat au regard du droit d’auteur, celle du contrat d’auteur au regard du droit civil dépend plus de ses effets que de son environnement, ce qui s’avère logique dès lors que les catégories contractuelles du code civil ne sont pas définies en fonction de ce dernier. Dès lors que la nature du droit d’auteur ne constitue pas un obstacle aux qualifications civiles, les effets du contrat constituent les seuls critères de distinction opératoires. Lorsque l’obligation d’exploiter ne peut être réduite à une obligation accessoire, la qualification de vente ne peut qu’être évincée. Les modalités de la maîtrise de l’exploitation font alors apparaître que les contrats d’édition, de représentation et de production audiovisuelle sont en réalité, le plus souvent, des contrats de bail. / Characterization of contracts in view of French Authors’ Rights Law brings out a reversal of the logic usually governing the construction of contractual categories. Various authors’ rights contracts, whether they have legally specified names or not, are more defined in relation to their environment than in relation to their effects. The conveyancing effect is common to any author contract. The mention of a price and the obligation of exploitation are commonplace in several “legally named contracts” in French author law. Therefore the characterization of an author law contract is first and foremost related to its human and material environment: i.e., the kind of creation, or the kind of authors’ right mentioned in the contract, or the legal identity of the parties, notably the identity of the contracting party as an “author”. Contrary to characterization of an author contract in view of French Authors’ Right Law, characterization of an author contract in view of French Civil Law relates more to its effects than to its environment. This is logical, since contractual civil code categories are not defined in relation to the environment of contracts. Because the legal nature of an author contract is not an obstacle to its characterization in the field of Civil Law, the effects of author contracts are the only relevant criteria for distinguishing between them. When the obligation of exploitation is not subsidiary, the characterization of an author contract as a sale contract can only be set aside. The terms and conditions of exploitation management in some author contracts underline the fact that, most of the time, publishing contracts, representation contracts, and production contracts are in fact contracts of lease.

Author's Contract Law The aim of the thesis is to analyze legal regulation of license agreements within the legal branch of "droit d"auteur", or "author"s right". The main object of interest is typified license agreement, which serves as a standard contractual type to exercise authors" economic rights to their works. Recently issued Czech Civil Code shall become applicable on January 1, 2014. Unlike the currently applicable Civil Code, which leaves the regulation of license agreements to special acts, the new code includes provisions which regulate license agreements for the whole area of intellectual property, i.e. author"s right, as well as industrial property. This regulation is in line with a tendency to unite provisions that deal with license agreements, since a unification process concerning contract licenses within author"s right, has already happened with the enactment of the current authors" code in the year 2000. A comparative review of the current "droit d'auteur' and future civil regulations of author"s type license agreement takes a significant part of the thesis. Chapter 1 lists general principles and respective sources of law for further analysis. Chapter 2 deals with traditional civil and common law approaches to author"s right and copyright respectively and approaches existing...

This Diploma thesis dealing with the author's creation was written in relation to human personality. The goal of the thesis is to determine student's motivation to author's reading. Further goal is a description of student's needs and area of progress of their personality. The thesis is divided into two parts - a theoretical and a practical part. In the theoretical part the author describes the author's reading, including self - reflection and psychosomatics condition. Further there is description of human personality generally and also description of teacher's personality with focus on teacher's motivation, personality trait and voluntary characteristics, self - regulation characteristics - self-awareness, self-knowledge, self-assessment, self-criticism, conscience, self-concept and self-concept. Last part of theoretical part is about dynamical characteristics, temperament, performance characteristics and special characteristics. The practical part is basically a qualitative study which is further divided into two parts. The first part is concerned with analysis of semistructured interviews, the second part with analysis of student's self-reflections. Summary and comparison of the research results and author's own case study are at the end of the thesis. Subject of discussion is comparison to results of Bachelor thesis (2015) and results currently research.

(English) The aim of this master thesis is to analyse the fiction of Tommy Wieringa, specifically in relation to the concept of the posture developed by Jérôme Meizoz. The distinction between the internal posture and the external posture is essential in this theory. Therefore, there can arise a tension between both images of the author (i.e., in the terminology of Daniël Rovers, between auteursfiguur and figuurauteur). This thesis is based on the question if this statement is valid in case of the work of Wieringa. Keywords: Wieringa, author's posture, author's image, literary identity, self-fashioning, authorship, the literary field

In this work, the copyright protection in the music industry is discussed. I am focusing in particular on the description of copyright, rights related to copyright, collective management and protection of these rights. In the beginning, I mention the national, international and European sources of copyright and I am explaining the concepts of copyright, copyright work (including musical and processed work of art), and authoring. Furthermore, I explore the copyright law in terms of its origin, content and restrictions. Copyright is based on the quasidual concept, which simply means that we distinguish the moral rights from the property rights. In this work, I explain the content of all of these individual rights. I also address the licensing contract, by which the author authorizes another person to administer the rights to use his piece. I am focusing on cases of the so-called non-contractual use of production, which means that the user may use the work without the consent of the author and free of charge. Furthermore, I define the idea and the content of performer's rights to his artistic output, the manufacturer of the sound and image recording rights to his sound recordings and radio and television broadcaster's rights to his broadcast. At the end of this work, I am focusing on the activities of...

The diploma thesis "Imagination in William Blake´s work and illustrations (work on paper underlay)" is divided into two parts - theoretical and practical. The theoretical part aims to study the life and work of the world known artist William Blake, make deeper analysis of his work and imagination. Professional thesis from theorists who dealt with with the work of William Blake will be presented. This theoretical part is important for creation of the second part. The primary goal of the practical part is to make the concept of the author's book, which is inspired by the work of William Blake and is entitled "Tribute to William Blake".

A travers l'exemple de Molière, nous nous intéressons à la construction et à l'évolution de la représentation de l'auteur classique dans les manuels du secondaire depuis le XIX° siècle jusqu'à aujourd'hui. c'est donc le processus de la construction du mythe scolaire de Molière que nous questionnons. Notre réflexion porte d'abord sur l'analyse de la place de Molière dans les programmes successifs et dans les manuels, afin de déterminer le rapport qu'entretiennent ces deux pôles représentatifs de l'institution scolaire ainsi que l'évolution de leurs contenus en regard de l'oeuvre de Molière. Nous interrogeons ensuite le Molière des manuels à la lumière de la critique exégétique: dans quelle a-t-elle influencé la construction puis l'évolution du mythe scolaire de l'auteur-acteur? Ces deux premières étapes nous conduisent à nous pencher sur l'évolution du corpus scolaire des oeuvres moliéresques: qu'en est-il de la fortune des pièces canoniques ainsi que de tout le pan des comédies du dramaturge occulté par les programmes? Enfin, nous nous intéressons à ce nouveau "langage" introduit dans les manuels à partir du second quart du XX° siècle, qu'est le corpus iconographique: a-t-il entraîné une nouvelle lecture de Molière et de son oeuvre? Ce cheminement nous conduit au coeur de la représentation de Molière, auteur scolaire patrimonial par excellence. / Through Molière's works, we will focus on how secondary textbooks have decided to represent this author from the nineteenth century until today. It is thus the process of building the school myth of Molière that we try to question. Our study first deals with analysing the place of Molière in successive programs and textbooks in order to determine the relationship between these two main poles of the educational institution as well as the evolution of their contents regarding Molière's works. We will then question the works of Molière as used in textbooks focussing on the exegetical critique : how far has it influenced the construction and the development of the school myth of the author-actor ? These first two steps lead us to think about the evolution of the academic corpus of Molière's works : What about the success of the canonical plays as well as all the comedies that are no longer studied ? Finally, we will focus on the iconographic corpus, that is to say the new « language » that was introduced in textbooks from the second quarter of the twentieth century : has it led to a new reading of Moliere's works?This leads us to the heart of Molière, the first exemple of an academic author

This thesis is divided into two parts - theoretical and practical. The purpose of the thesis is to remind the 400th birth anniversary of Carlo Lurago in 2015. The theoretical part deals with a life and a work of this architect. It contains mostly a description of Lurago´s buildings, it follows up to an artistic style, but also to the period in which he lived and he created these pieces. The thesis is focused on the architecture which Lurago created in Prague. There will be created a concept for the realization of the practical part, based on the analysis of these constructions. The practical part is focused on the Prague construction which is the main theme of the Author´s book form, it means a set of monochrome sheets in a box, all for the 400th anniversary of Carlo Lurago´s birth.