The diploma thesis focuses on small scene theaters which developed in the 1950s and represent a unique generational movement within the Czech cultural framework. This final project aims to describe the distinctive poetics of two of the Czech small theaters - the theatre Semafor and Studio Ypsilon. The description itself is based on the analysis of the original dramatic texts produced by their main representatives, Jiří Suchý and Jan Schmid. The thesis opens with the domain of the small scene theaters as such, its definition and characteristics. In order to provide a comprehensive perspective on the matter, the authorial theater and its specifics is further discussed. The main part of this thesis then concentrates on the origins of the two theaters, their profiles during the period of 1960s to 1990s and, eventually, their present form. Finally, despite the different conditions of existence of the two theaters, and the cultural, historical and political context, a comparison of the two poetics is proposed. KEYWORDS small scene theatre, author's theatre, theatre Semafor, Studio Ypsilon, Jiří Suchý, Jan Schmid, drama, dramatic text, poetics

Diploma thesis, Analysis of publicistic columns specifically focused on politically aimed commentary, treats of attitude of authors of publicistic columns about political parties or eventually to politicians. The aim of this work is to describe the ways and means of expressing authors use to formulate their position, focusing on these within Pravo's and Mladá fronta DNES's print-outs from January 2010 to June 2010 so mainly in months before the elections. The first part presents modern development of approach to language and text. That should elucidate how the pragmatic way of language examination has begun. In the practical part I applied the approach to language and text, as listed above, and I applied the pragmatic analysis. Qualitative analysis of publicistic columns examines inclination of authors to left-wing or right-wing parties, mostly to ODS or ČSSD. It is possible to deduce what authors criticize within the frame of the whole political situation. This work also examines, what means authors of publicistic articles use to profess affection or aversion to particular politician or political party. This diploma thesis forms compendium of publicistic texts in chosen journals and characterizes the conception which reflects their relation to politics.

The thesis deals with contemporary author's law which is effective in Czech republic in relation to a piece of music and its legal protection. The goal of first chapters is to outline the crucial statutes concerning subjects as authors, executive artists and recording producers. A great deal of the thesis concerns with internet music piracy which results from a mass file-sharing. It also includes an evalution of current author's law and its efficiency in today's information society.

The main topic of this document is singer Jaromir Nohavica. I would like to describe the evolution of his poetics. The primary goal is to establish, that the year of revolution - 1989 is the critical impulse to his production. Reader is briefly introduced to Jaromir Nohavica's life, but also acquaint with concepts like popular culture and kitsch. Basically I focuse on Jaromir Nohavica's song poetics interpretation. The specific examples show that Nohavica shift towards the mainstream of popular literature, in thematic level, in level of production and presentation himself in the way of rendering Jaromir Nohavica, compared to songwriters of his time, does not lose the audience, he can beraised according to the new conditions and new age.

В диссертации рассмотрена динамика образа героя и времени в русских исторических романах XIX века. На изображение героя и времени влияет историческая концепция автора. Историческое повествование включается в контекст вечных тем и проблем. Это сближает исторический роман с философским. Такая тенденция нашла воплощение в историко-философской дилогии Вс. С. Соловьева «Волхвы» и «Великий Розенкрейцер». / The dissertation examines the dynamics of the image of the hero and time in Russian historical novels of the 19th century. The historical concept of the author influences the image of the hero and time. Historical narrative is included in the context of eternal themes and problems. This brings the historical novel closer to the philosophical one. This trend was embodied in the historical and philosophical dilogy of Vs. S. Solovyov «Sorcerers» and «The Great Rosicrucian».

Theodore Fontane is best known as the author of numerous women's novels, which he wrote in the last ten years of his life. This diploma thesis deals with the topic of women's emancipation on the basis of textual analysis of two latter novels by Theodore Fontane - Effi Briest and Mathilde Möhring. In the first part, it characterizes the topic of the period women's emancipation and puts the author's biography into context. In the second part, it creates the picture of position of the main women characters. The last part describes the personal development of the women characters, on the basis of which I determine how much the women's emancipation reflects in the author's work and what is his attitude towards it. This thesis deals with the interpretation of the author's intent to illustrate the creation of an advanced character like Mathilde Möhring. Key words: Theodore Fontane, women's emancipation, Effi Briest, Mathilde Möhring, development of women's characters, women's novels, interpretation, author's intent, counterpoint

Situé en didactique du Français Langue Étrangère (FLE) et notamment en celle de la littérature française au sein de l’université taiwanaise, l’élaboration des dispositifs didactiques tient compte des profils des apprenants locaux qui témoignent d’un trouble identitaire lié au contexte sociohistorique et expriment ainsi un intérêt envers les savoirs socioculturels en vue d’un enrichissement personnel et social. L’enjeu didactique de la lecture-écriture du personnage réside en l’occurrence dans l’exploration de la portée socioculturelle du texte littéraire en vue de la réflexion des apprenants sur des questions identitaires et sur des stratégies narratives liées à la construction du monde fictif et de l’authenticité du personnage favorisant l’identification du lecteur. Pour réaliser ce projet, une enquête sur les rapports des étudiants locaux avec la littérature française, notamment sur leur conception du personnage, a été effectué sous forme de questionnaire. Le débrouillement des données recueillies contribue à élaborer des séquences didactiques s’appuyant sur un corpus littéraire lié à la féminité des années 1920. Leur mise en pratique dans une classe de FLE en 2015 consiste à étudier des apports des référents culturels tant dans la structuration du système du personnage que dans l’articulation des séquences actionnelles du récit. Cette fonction narrative de l’acte de référence va de pair avec sa fonction pragmatique dans la programmation des tensions narratives, relatives à divers modes d’identification au personnage. Enfin, l’étude de l’acte de référence dans la construction d’un monde fictif permet de dégager la logique interne de la société représentée et les explications des phénomènes sociaux à partir de la situation définie dans le temps et dans l’espace. / The development of a didactic plan for the teaching of French as a Foreign Language (FLE), and especially in French literature at universities in Taiwan, has taken the characteristics of local learners into consideration. It shows that they have experienced an identity confusion related to the socio-historical context, and thus have expressed an interest in socio-cultural knowledge in order to enrich themselves personally and socially. Under the circumstances, the didactic challenge of the characters’ reading and writing is located on examining the socio-cultural significance of the literary texts for the learners’ reflection on identity issues, narrative strategies associated with constructing the fictional world, and characters’ authenticity encouraging the readers’ identification.A survey on the relationship between the local students and French literature particularly on their characters’ conception, has been carried out for this project in the form of a questionnaire. The collation of the data collected providing the development of didactic sequences is underpinned by a literary corpus correlated to femininity of the 1920s. Their implementation in a FLE class in 2015 consists of studying the contributions of the cultural referents in the creation of the characters’ system as well as in the articulation of the sequential actions of narrative. This narrative function of the reference acts is coupled to its pragmatic function on programming narrative tensions corresponding to various modes of the characters’ identification. Finally, the study of reference acts in the making of a fictional world renders it possible to identify the internal logic of the represented society, and the explanations of social phenomena from the situation defined in time and space.

L'avènement des technologies numériques, notamment des réseaux numériques, a servi de prétexte pour introduire dans le droit d'auteur des réformes qui mènent à une mutation profonde de ce droit. Un précédent a été créé par l'inclusion des logiciels et des bases de données électroniques dans son champ de protection ; ce sont de créations strictement fonctionnelles, qui ne devraient pas appartenir à la catégorie « oeuvre de l'esprit ». Cela ne pouvait qu'engendrer une distorsion du critère de l'originalité. En outre, la nature de ces objets imposera d'adapter le régime juridique ainsi que les règles de titularité. Naquit ainsi, au sein du droit d'auteur classique, un paradigme spécial que tout rapproche du copyright américain. Centré sur l'investisseur et sur la notion de fixation, il est désormais en train de contaminer le droit d'auteur. Au demeurant, on ne peut négliger l'influence capitale du copyright américain dans tout ce processus de construction et d'extension puisque certains de ses concepts et principes se retrouvent aujourd'hui dans le droit d'auteur. On assiste à un véritable mouvement de déconstruction du droit d'auteur personnaliste hérité de la Révolution française et dont l'apogée fut la loi du 11 mars 1957. Nous mettrons en évidence les divers facteurs qui ont agi et qui agissent conjointement aux niveaux national, communautaire et international, tout en démontrant que si l'environnement numérique pose certes des difficultés pour l'exploitation des oeuvres de l'esprit, le droit d'auteur, centré sur l'auteur et fondé sur la notion de communication au public, était bel et bien capable d'y faire face sans avoir besoin d'ébranler ses assises / The advent of digital technologies, including digital networks, served as a pretext to introduce author's right reforms that lead to a profound change in this right. A precedent was set with the inclusion of software and electronic databases in the field of protection as these are strictly functional creations that should not belong to the category of "oeuvre de l'esprit". This inclusion leads to a distortion of the criteria of originality as well as the need to change both the rules of ownership and the legal regime of author's rights. Consequently a special paradigm, similar to U.S. copyright, is born inside the classical author's right system. Focused on the investor and in the notion of fixation, this special right of sotware and database now contaminates the author's right system. We cannot ignore the important influence of American concept of copyright in the whole process of construction and expansion of this special paradigm as some of its concepts and principles are reflected in today's notion of author's rights. We are witnessing a movement of deconstruction of the author's rights personalist legacy of the French Revolution which culminated in the Act of 11 March 1957. We will highlight the various factors that have acted and act jointly at national, EU and international level to produce this result, while demonstrating that while the digital environment certainly poses difficulties for the use of works of authorship, the author's right, author-centered and based on the notion of communication to the public, would indeed be able to cope with digital environment without the need to undermine its foundations

This diploma thesis titled ``my heart does not fly{\crq}{\crq} Jiří Orten in book illustration deals with the poetic works of Jiří Orten from the viewpoint of illustrating Orten{\crq}s poetry. The theoretical part of the thesis includes Orten{\crq}s biography and the description of his poetic works, which are important for the interpretation of the illustrations. An interview with Jaroslav Šerých, who is one of the illustrators of Orten{\crq}s poetry, has been made for a deeper understanding of the issue of illustrating Orten{\crq}s poems. The practical part of the thesis consists in creating collections of illustrations inspired by some Orten{\crq}s poems. The final versions of the illustrations are completed in typography. The main aim of this thesis is a creation of author{\crq}s own illustrations for Orten{\crq}s poems and writing an essay about it.

La démocratisation de l’écrit dans notre société culturelle moderne a fait que tout un chacun peut se revendiquer auteur. La reconnaissance n’est plus désormais à rechercher à travers la traditionnelle publication chez un éditeur mais à travers l’immatérialité des outils d’auto-édition offerts en ligne. D’une part, avec la phase de désintermédiation qui se joue entre les différents acteurs du secteur littéraire, l’écrivain se passe d’une maison d’édition. L’éditeur disparaît. D’autre part, l’auteur, personnage romantique et emblématique sur lequel le droit d’auteur a été forgé, s’efface progressivement du paysage juridique. Avec l’effacement du mythe est emportée la vision propriétaire des droits d’auteur, au profit de l’utilisateur. L’auteur disparaît. Les nouvelles pratiques de cette société connectée bouleversent le droit et sa capacité d’adaptation. Pourtant le contrat d’édition littéraire, socle de la relation auteur-éditeur, existe bel et bien et constitue le sujet de cette étude. Modèle dominant des contrats d’auteur, l’ambition de cette recherche est d’arriver à saisir à travers cette relation la nature du contrat d’édition et le jeu des nouveaux équilibres posés par l'ère numérique (réforme du Code de propriété intellectuelle), mais aussi de saisir les mutations à la lisière du droit d’auteur qui redéfinissent la possession dans l’ère immatérielle avec les modèles alternatifs du contrat d’édition littéraire (licences libres et creative commons). Les moyens d'y répondre emprunteront à l'analyse juridique mais aussi dans une juste mesure à l'internormativité, qui permettra d'observer le droit avec les yeux du sociologue, de l'économiste et de l'historien / The liberalization of writing in our contemporary cultural society has made it so anyone can now aim for the title of author. The recognition of one’s work is now sought, not through the traditional means of publishing, with the assistance of a professional publisher, but through immaterial processes of self- online publishing. On one hand, thanks to these new means, the author is able to cut the intermediation of the publishing field and to avoid using a professional publishing company. On the other hand, the author, romantic and emblematic character upon whom author’s rights have been forged is fading away from the legal landscape. With the decay of the myth, the ownership conception of author’s rights is taken away by those of the user. The author is fading away. The new customs of our over connected society are dramatically changing law and its ability to adapt. Although, publishing contracts are still a part of the process and are the subject at the heart of this study. The French intellectual property code was able to grant this contract access to the dematerialized world by incorporating the paradigm shift. Main model of publishing contracts, its ambivalent nature is due to the merging of both civil and intellectual property law that can be applied to it. This study aims to capture the true nature of the publishing contract figure, through the relations established between authors and publishers, including their new balance, and also to grasp a full understanding of the mutations surrounding the authors’ rights and that redefine ownership in a now immaterial era through the new alternative means of self-publishing (free licenses and creative commons)