This submitted paper aims to give a communicative image of the conflicts of the Czech Estates Uprising in the south of Bohemia. The focal point of the research has been three clashes of Protestant and Catholic armies. The first was the Battle of Lomnice, which took place on November 11, 1618, between the allied estates troops of Jindřich Matyáš Thurn and Jiří Fridrich Hohenlohe and the catholic military assembly of Karel Bonaventura Buquoy. After the battle that was victorious for the generals of the estates, the military actions moved to the area around České Budějovice, which was besieged by the army of the estates, as the catholic troops withdrew here. Ending the siege of the South Bohemian metropolis caused the third conflict, which has become part of this work. The battle at Záblatí took place on June 10, 1619, by the troops of Petr Arnošt of Mansfeld, the general of the rebellious Czech estates, and the military corps of imperial mercenaries commanded by Karel Bonaventura Buquoy. The aim of the author was to capture the fullest range of information framework, which was completed by reports of these military clashes of the Czech Estates Uprising. As part of research activities, attention was paid first to the works which explored the battle of Záblatí from political and military point of view. This view became a basic framework in which the research was conducted. However, the work should not only to recapitulate the conclusions already drawn, but the aim was to look at the examined issue with a new look. Such a view was based in the research of either new or to-nowoverlooked sources, such as the period news that historical science began to discover in recent years. A relatively large part of the historical community took the argument in saying that under the tide of propaganda and perspice it is not possible to find the truth about individual events of the Czech Estates Uprising. It would certainly be possible to claim that credible authentic information was scarce in the leaflets of the Czech Estates Uprising. These who contracted the prints, however, attempted to influence the readers of contemporary journalism and help them orientate in their intellectual worlds that were in this way uncovering to us. Another possibility for viewing the conflicts of the Czech Estates Uprising was offered through the view of the ordinary villages and towns inhabitants that were coming into contacts or were just observers of the South Bohemian battlefield. Although the preservation of the sources of the early 17th century from the environment of towns and villages was far from abundant, we managed to find some authentic testimonies that evaluated the battles of the Czech Estates Uprising from the very distinctive angles of view. The author interpreted sources of song lyrics reporting to the rural environment and sources of interurban correspondence, through which he tried to uncover at least part of the mental world of ordinary residents of South Bohemia affected by war in the first third of the 17th century and their view on the South Bohemian battlegrounds. Similarly, he also proceeded in the interpretation of the noble correspondence, whether it were warriors or the aristocrats affected by war misfortunes.

Le peintre, soldat et mémorialiste Louis-François Lejeune (1775-1848) entendait faire de son corpus de peintures de bataille et de ses Souvenirs d’un officier de l’Empire (1851) des témoignages historiques de la période napoléonienne, destinés à la postérité. Or, cette conjugaison entre peintures et mémoires renvoie aussi à la dualité médiale de la propagande napoléonienne, qui diffuse un récit unique des événements militaires à l’aide d’organes d’information inédits tels que les Bulletins de la Grande Armée. Ce récit, déjà médiatisé comme étant historique, est repris en images par le mécénat impérial. Ce mémoire vise à démontrer comment Lejeune contribue à ce récit historicisant, d’abord à un niveau individuel en construisant son identité par rapport à sa participation aux guerres napoléoniennes, puis aussi à un niveau étatique. Son Bivouac d’Austerlitz, présenté au Salon de 1808, est une commande du gouvernement. Il sera question de la façon dont ce tableau de Lejeune s’insère d’abord dans sa carrière, ensuite dans son corpus de peintures de bataille, puis finalement dans le récit napoléonien sur Austerlitz. La forme épisodique du tableau, empruntée à la ligne narrative du 30e bulletin de la Grande Armée, où Napoléon rapporte la victoire d’Austerlitz, peut s’expliquer par la complémentarité voulue entre récit textuel et visuel. Ce tableau contribue ainsi à la construction historique de la bataille. Au milieu des transformations profondes du monde académique et de la hiérarchie des genres, la dualité peintre-soldat de Lejeune répond en tous points à la vocation historique attribuée à la peinture sous Napoléon. / Painter, soldier, and memorialist Louis-François Lejeune (1775-1848) conceived his battle paintings and his memoirs, Souvenirs d’un officier de l’Empire (1851), as historical testimonies of the Napoleonic period, destined for posterity. This twinning of paintings and memoirs mirrors the duality of Napoleonic propaganda as a whole, which disseminates a single version of military events with the help of unprecedented information tools such as the Bulletins de la Grande Armée. This written narrative, already thought of as historical, is picked up again in the paintings commissioned by the government. This master’s thesis argues that Lejeune contributes in a unique way to this historical narrative, first at an individual level by constructing his identity from his participation in the Napoleonic wars, and also at a state level. His Bivouac d’Austerlitz, presented at the 1808 Salon, was commissioned by the government as part of a larger order. It is shown that this painting fits first into Lejeune’s career, then into his cycle of battle paintings, and finally into the narrative of Austerlitz that Napoleon himself promoted. The episodic form of this painting can be explained by the deliberate pairing of written and pictorial narratives, which borrows from the 30th bulletin de la Grande Armée where Napoleon recounts the victory at Austerlitz. This painting thus contributes to the historical construction of the battle. As deep transformations threatened the academic genre hierarchy at the turn of the nineteenth century, the duality of Lejeune’s persona as soldier and painter helped promote the historical function given to paintings under Napoleon.

The September 11, 2001 Jihadists attack on the West and the subsequent wars on terrorism indicate that war may be a permanent condition of life in the contemporary world. This implies that to understand contemporary society, culture and communication requires an understanding of war because war could perhaps provide a perspective through which to understand the world. The aim of this study is to provide such a perspective and to critically explore the link between war and communication. However, in approaching a study of war one is confronted with a pervasive pacifist anti-war ideological bias. To overcome the bias the study adopts a critical strategy: firstly it deconstructs the taken for granted assumptions about the positive value of peace and then it reconstructs and traces the contours of a Western tradition of philosophical thought that considers war as being an integral and formative aspect of human identity and communication. Chapter 2 uncovers the limitations of the pacifists' discourse on war. Chapter 3 traces the Western tradition originating in Heraclitus that considers war as formative experience of being human. Chapter 4 traces war and killing as formative of language and communication. Using these insights a careful reading and interpretation of how war informs the thought and functions in the texts of selected social theorists of the twentieth century. Chapter 5 traces war as an agonistic structure in the works of Johan Huizinga on the role of play and in the political theory of Carl Schmitt. Chapter 6 explores the idea of war as a model of society in the works of Foucault. Chapter 7 investigates the central influence of real and imagined war on Marshall McLuhan’s theory of the media. Chapter 8 explores the way war structures the thought of Lyotard on the postmodern condition. Chapter 9 concludes by drawing implications on how a perspective on war contributes to development of communication theory and understanding life in the postmodern condition. / Communication Science / D. Litt. et Phil. Communication )

「一張圖勝過千言萬語」，這句話在LINE貼圖的使用上更是如此。貼圖在使用者互動的過程中不知不覺被「玩」出新意，一連串的貼圖不再只是雙方為了得到共識而進行的溝通，反而從中得到樂趣。這種「圖戰」的互動方式彰顯人類的遊戲（play）本質，以及長期在溝通中被人們所忽略的「遊戲」性質。 究竟貼圖圖戰為何讓圖戰玩家如此著迷？圖戰是如何鑲嵌在玩家的日常生活中？為何他們願意花費大量時間、金錢進行貼圖消費？本研究納入遊戲人（homo ludens）及de certeau的行人言談行動，研究者以LINE圖戰玩家為研究對象，採用深度訪談法、文本分析以及基本問卷來探究圖戰玩家如何玩貼圖，以及其圖戰的遊戲樣貌。 本研究的研究發現有三點，第一，圖戰玩家在圖戰的過程，完全就是「Just for fun」，LINE的使用情形與圖戰規則流動多變，對話框的切換以及不同情境都會有所改變，不同群組的圖戰風格也截然不同。第二，儘管多數玩家都喜歡諷刺、戲謔型的貼圖，但在貼圖使用、消費面貌上還是展現殊異特性。第三，圖戰的展演屬於一種關係性展演。LINE社群是奠基於現實世界的人際關係，，互動對象會影響貼圖的使用以及圖戰的樣貌，使用者透過互動形構出自我，已經不單單是反身性或是自戀的問題。

The diploma thesis deals with the life and reign of Augustus, the first Roman emperor from the Julian-Claudian dynasty, and compares it to the only one television film about this historical figure. In the opening chapter, the author analyses the history of the Roman Empire from 133 BC to the death of Gaius Iulius Caesar in 44 BC. The other part of the thesis deals with the life and the reign of Augustus who influenced the Roman Empire for several decades. The third and the fourth chapter are devoted to the analysis of the historical film Imperium: Augustus and its comparison with the primary and secondary literature. The last chapter deals with applying the sequences of this historical film in history classes in schools.

This thesis examines the rise of image culture in the 1920’s and its impact on American national identity. I demonstrate that, perhaps surprisingly, the central figure in these debates was not a past or present prominent American but instead an indeterminate Other which is read in ambivalent ways and for varied purposes. It is the central claim of this project that in order to trace the modern American subject that emerges from the 1920s national rift, one must attend to the ways in which a felt need to view and position oneself in relation to “the Other” was essential to defining the nature and future of the nation. More specifically, I argue that the film Grass: A Nation’s Battle for Life (1925) offers a solution to this national divide by providing viewers a popular culture form of “evidence” of the Westerner’s capacity to exhibit both premodern and modern qualities. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2014. / FAU Electronic Theses and Dissertations Collection

Beata Maria/Dea Vults is a thesis for the degree of master (one year) in theology.   The thesis explores the role of the Virgin Mary as a martial saint in catholic combat with Islam and muslims between the years 1119 AD to 1648 AD with a focus on symbolism. The paper is focusing on symbolism in war banners, patron saints and semiotic symbols on arms and armour. There are three different events or phenomenons in the study, separated in time as well as space.   Firstly the war banner used at the battle of Las Navas (1212 AD) during the reconquista of Spain. The banner of Mary with child is the prime subjekt as well as the myths appearing in the aftermath of the battle, and the ceremony that was devised from it.   The second phenomenon is the knights templars use of Mary as patron saint, and the ceremony that followed this relationship. There is also discussion of the belts worn that were related to Mary, the use of wich is attested in documents from the trials of the templars between 1307 and 1312 AD. Lastly the paper focuses on the armours of the polish winged husars of 1648 AD and the seige of Vienna. The thesis explores the relationship between the symbols of the armour of the husars and the religious views of King John III Sobieski of Poland.   The main question of the study is:   What were the meaning of the symbols of Mary as she was carried as a ritualistic symbol for war?   The subsequent questions are:   How do you trace a progression in the useage of Mary as a symbol from the templars all the way to the use of Mary as a symbol for the winged husars?   Which types of worship of Mary as a symbol were used primarliy in wars with muslims?   The paper is researched by qualitative methods including text analysis as well as semiotic symbolism reading. There are two theories used in the analysis. Smarts dimensions and Andersons and Hulls Warrior elites, with Smarts dimensions as the dominant theory.

Utbildningen av officerare är omdiskuterad och har kanske alltid varit det. Men de senaste årens förändringar av officersutbildningen och akademisering av yrket samt ändrade befälsstrukturer i Försvarsmakten (FM) har återigen satt fart på diskussionen. Det handlar bland annat om FM får den officer som man behöver för att kunna bygga starka krigsförband och om officeren har de kvalifikationer som detta kräver? Men vad är officersyrket för något och vad är det egentligen FM vill ha? Studien undersöker just det, vad en officer är och vilka egenskaper som en officer förväntas att ha med sig in i yrket.  Utbildningen vid Försvarshögskolan (FHS) Officersprogrammet (OP) är det som skall leda till en officer med rätt kvalifikationer och egenskaper vilket leder till den andra delen av studien, där bilden av vad en officer är jämförs med de examensmål som programmet har. Dessa examensmål framgår av förordningen för FHS och med de 17 examensmålen examinerade så skall kadetten vara klar att påbörja sitt yrke som officer. Frågan är om den förutsättningen verkligen finns?   För att kunna göra denna jämförelse har studien, genom intervjuer, tagit fram en modell av en officer från det unika med officersprofessionen, våldsmonopolet, via antagningskrav för utbildningen till egenskaper som officeren måste ha och roller som officeren utövar. Modellen har två portalparagrafer som är att betrakta som en sammanställning, vilka studien anser är nödvändiga för att hantera de mest allvarliga frågor som i förlängningen kan innebära beslut om liv eller död.  Portalparagraferna är mångsidighet och en väl utvecklad inre kompass.   I jämförelsen mellan modellen och examensmålen har studien funnit att examensmålen är avmilitariserade och har en teoretisk slagsida. Den väpnande striden har kommit i skymundan och officerares ansvar för det statliga våldsmonopolet inte finnsmed. De tydliggör inte heller en del av de egenskaper och kvalifikationer, som studien har visat, är nödvändiga för att officeren som ledare ska kunna hantera yrkesprofessionen och axla det ansvar detta kräver. Det gör att kadetten inte fullt ut får den möjlighet att bli den officer som FM behöver.   Studien visar bland annat att examensmålen bör ses över och kanske även till del skrivas om. / The training of military officers is well debated and has always been. But the recent years' changes in officer training and the academisation of the profession and also changed command structures in the Swedish Armed Forces (SAF) have once again set the stage for discussion. Among other things, it is about SAF getting the officer they need to build strong units and whether the officer has the qualifications that this requires? But what is the profession as an officer and what does the SAF really wants? The study examines just that, what is a military officer and what qualities an officer is expected to bring into the profession.  The education at the Swedish National Defense University (SDU) and the military officers’ program (OP) is the education, which should lead to a profession as an officer with the right qualifications and characteristics. This leads to the second part of the study, where the image of an officer is compared to the exam objectives for the program. These exam objectives are stated in the ordinance for SDU, and with the 17 exam objectives examined; the cadet should be ready to begin his profession as an officer. The question is whether this condition really exists?  In order to make this comparison, the study, through interviews, has developed a model of an officer from the unique with the profession, the monopoly of violence, via admission requirements for the education, to characteristics that the officer must have and roles that the officer exercises. The model has two portal paragraphs that are a compilation of the model, which the study considers necessary to deal with the most serious issues that may ultimately involve decisions on life or death.   The portal paragraphs are versatility and a well-developed inner moral guidance.  In the comparison between the model and the exam objectives, the study found that the objectives are demilitarized and have a theoretical approach. The armed battle is overshadowed and the officers' responsibility for the state monopoly of violence is not included. Nor do they clarify some of the characteristics and qualifications that the study has shown are necessary for the officer to be able to manage the profession as a leader and shoulder the responsibility this requires. This means that the cadet does not fully get the opportunity to become the officer that SAF needs.  The study shows, among other things, that the exam objectives should be reviewed and perhaps even partly rewritten.

Eine Reihe literaturwissenschaftlicher Arbeiten seit Anfang der Neunzigerjahre bezeugt das lebhafte Interesse an der subjektiven Verfasstheit von Müllers Schreiben. Keine jedoch widmet sich erschöpfend Müllers als Autobiografie ausgewiesenem Text KRIEG OHNE SCHLACHT – LEBEN IN ZWEI DIKTATUREN. Zu Ehren kam der Text bislang nur als Zitatsteinbruch, Interpretationshilfe und umfangreiche poetologische Materialsammlung. Zumeist wird das Werk als gültiger Beleg der Intention müllerschen Schreibens herangezogen und erlangt damit einen unzulässigen Grad an Deutungshoheit. Dabei wird die poetische Dimension des Textes oft nur unzureichend reflektiert oder gänzlich missachtet. Die vorliegende textkritische Untersuchung soll dazu beitragen, die Forschungslücke in der einschlägigen Sekundärliteratur zu schließen und dazu anregen, das Potenzial Müllers enormen und vielgestaltigen Werkes jenseits seiner als Theaterarbeiten ausgewiesenen Texte wahrzunehmen und in Bewegung zu setzen. Nach einführenden Darstellungen zu Rezeptionssituation und Forschungsstand, der Diskussion spezifischer poetologischer Fragestellungen im Allgemeinen wie solcher der Autobiografieforschung im Besonderen, der Untersuchung der Genese und formaler Besonderheiten des Textes, analysiert die vorliegende Arbeit vor allem die strukturellen Wirkungsmechanismen, die Müllers disparate Selbstexplikation zum Auto-Drama werden lassen. Die Rückführung der Bedeutungsgeneration auf die strukturästhetischen Wirkungsmechanismen scheint insofern geeignet, als sie durch Textnähe und punktuelle Analyse der Textgenese Müllers Strategie der Selbst-Dekonstruktion sehr nahe kommt. Zumal Müller seine »Lebenserzählung« nach ähnlichen Strukturprinzipien aufbaut, wie seine anderen »poetischen« Texte auch. Aus der Beschreibung der disparaten Äußerungsformen des autobiografischen Ichs ergeben sich die textimmanenten Strategien der überaus komplexen Selbstinszenierung Müllers, sein »Theater der Schrift«. / Since the early 1990s a number of literary papers testify the vivid interest in the subjective composition of Müller’s writing. But none of these detailed devotes to Müller’s as autobiography assigned text WAR WITHOUT BATTLE – LIFE IN TWO DICTATORSHIPS. Until now the text has been only used as quarry of quotations, aid of interpretation and extensive poetological collection of material. Mainly the work is used as evidence of the intention of Müller’s writing and therefore receives an inadmissible degree of sovereignty of interpretation. The poetical dimension of the text is often inadequately reflected or even totally neglected and ignored. This text-critical examination will contribute to close this gap of research within the relevant secondary literature and encourage the recognition and discussion of the potential of Müller’s enormous and multifarious work beyond his as theatre work assigned texts. After the introduction of the situation of reception and the status of current research, the discussion of specific poetological questions in general such as autobiographical research, examination of genesis and formal specific features of texts, this paper will analyse the structural mechanisms of effect, which turn Müller’s disparate self-explication into an auto-drama. It seems suitable to return the meaning of generation on the structure-esthetical mechanisms of effect, as the proximity of text and selective analysis of the genesis of text is very close to Müller’s strategy of self-deconstruction. Particularly as Müller constructs his »Lebenserzählung« to similar structural principals as well as others of his »poetical« texts. The description of the disparate form of expression of the autobiographic I result in the text-immanent strategies of the enormous complex self-dramatisation of Müller; his »Theater der Schrift«.

L’expression plastique des victoires navales opère tel un prisme à travers lequel s’observent les rites de célébration, les modes de commémoration et les desseins politiques de ses commanditaires. Il s’agit de s’intéresser à la naissance de cette image en remontant aux traditions grecques et romaines relatives au retour de guerre des soldats et à la célébration du succès. Ces coutumes à caractère cathartique ont inspiré les imagiers pour créer l’iconographie de la victoire navale. L’apparition des images et monuments pérennes exprimant la victoire, pourtant interdits dans la Grèce classique et réglementés à Rome par les valeurs républicaines, repose sur la prise de conscience du pouvoir politique de la revendication d’exploits militaires et sur des influences de pratiques orientales et macédoniennes qui accordaient la royauté à ses généraux pour des succès décisifs. L’expression de la victoire navale engendre une production artistique riche prenant des formes diverses, de la sculpture monumentale à la monnaie, en passant par la décoration privée, dans un but de diffusion massive. La confrontation des témoignages de la célébration et de la commémoration de la victoire sur mer, issus des deux mondes, sur tous les supports, permet de réunir l’ensemble des thèmes iconographiques qui appartient aussi bien aux domaines militaire, mythologique et religieux. L’examen des fonctions politiques de cet art démontre que ces manifestations ont été utilisées comme les supports de diffusion des idéologies. C’est ce détournement des succès militaires navals en propagande, devenu central dans la politique qui explique l’originalité et la subtilité des thèmes de la victoire navale. / The plastic expression of naval victories operates as a window through which can be observed the celebration rituals, commemoration modes and the political intentions of its bakers. The main purpose is to focus on the birth of this images dating back from the Greek and Roman traditions based on the returning soldiers and the celebration of success. These cathartic traditions were the artistic inspiration to create the iconography of the naval victories. Initially forbidden in the classic Greek era and regulated by Rome’s republican values and the influence based on the Eastern and Macedonian practices that gave kingship to his generals for decisive success, the appearance of images and monuments displaying victory started to show up as they realize the political power it implies to claim military achievements. Naval victory representations generated a rich artistic production in various and multiple forms, from sculptures to coins and even private home decoration; the goal was to be massively present. The Analogy between Roman’s and Hellenic’s celebration and commemoration of naval victories in all types of support allows a compilation of iconographic themes that belongs to the mythology, military and religious domains. The study of the political purpose of this art demonstrates that the representations were use as a broadcast support for ideologies. It’s the diversion of the naval military success into propaganda that became mainstream in politics and explains the originality and subtlety of naval victory themes.