This master's thesis is a study of the comic strip and its tradition in the Czech Republic. It covers development of this format and its occurrence in Czech periodicals as well as the gradual use of comics' visual language and different views on the comic strip definition. Taking views from several different perspectives including artists, writers, magazine editors and publishers this thesis will show the principles of cooperation between the comic creator and the editors of the magazine in which it is published. This is supported by original research (see Appendix) and has the goal of showing the motivations, perceptions and approaches to the comic strip from the perspective of the creator as well as the magazine editor. The research uses case studies based on structured interviews with editors of cultural magazines in the Czech Republic and with the creators of the comic strips that they publish. The results of this research combined with the historical and contemporary context offer a close look into the current perception of the comic strip as a format for creative expression, but also the magazine editor's responsibility in publishing the comic strip.

Language and style of the plays written for Jára Cimrman Theatre This magister thesis deals with language analysis of the stage plays of Jára Cimrman Theatre. The opening chapter describes general information about the theatre and it's authors as well. The thesis is divided into two parts, the theoretical part and the practical part. The theoretical part is based on results of theoretical studies of different authors, especially Bohuslav Brouk, Henri Bergson, Ladislav Dvorský and Vladimír Borecký. The practical part contains the detailed language analysis of all 15 stage plays. This diploma work analyzes which types of language comic we can find there and how much are they extended. Linguistic performances are separated on the principle of linguistics on individual linguistic branches. This diploma work also discusses mystification as a common framework for realization of all comic means. Keywords Jára Cimrman, stage play, Zdeněk Svěrák, Ladislav Smoljak, language comic, intertextuality, mystification

An automobile is one of the most important phenomenons of modern technology. Since its origins, it has profoundly shaped our physical, economic, politic, social, cultural and media habitat. The objective of this Master thesis is to analyze the evolution of the role of the car in the popculture from the 60s onwards and its dimensions, with a primary focus on Anglosaxon culture, with excursions to Asia and continental Europe, primarily Czechoslovakia/Czech Republic. The core foundation of the thesis lies in the analysis of the popcultural genres, selected films, TV series, computer games and comic books. The main purpose of the thesis is to reflect upon the identity and conceptual shifts of car, going from a mere transport machine through a vehicle of product placement towards the concept of the icon, a narrative hero of popculture. The hypothesis to verify is that the car has become an essential part of the popculture itself, reflected in many various dimensions: car as a toy, car as a friend, car as a status symbol, car as a narrative extension of the hero and finally, car as a hero and subject. The thesis is divided into five separate chapters, all including case studies. Following an introduction summarizing cultural, economic and historic factors of the car industry, the first chapter describes...

De nos jours, les avatars et les réécritures du mythe du Graal puisent leur source d'inspiration dans la Littérature puisque la première mention littéraire de ce schème apparaît à la fin du XIIeme siècle dans Perceval ou le conte du Graal de Chrétien de Troyes. De par des origines ambivalentes (païennes et chrétiennes), le Graal s'est ancré dans l'imaginaire collectif comme un mythe rédempteur ou tout du moins, étant un idéal à atteindre. Si la quête médiévale chevaleresque demande une rigueur incomparable et une pureté d’âme et de corps pour mériter la révélation des mystères du Saint Calice aujourd’hui, les héros de la littérature populaire et de la culture de masse accèdent à ses secrets par le vecteur d’en-quêtes simplifiées. La dévaluation du mythe s'effectue à mesure des transferts qui s’opèrent dans différents genres, supports et médias mais également dans la réception que la société a du mythe du Graal. De Saint Graal à Graal, de Littérature à paralittérature, de la Bible à la télévision, ce travail cherche à mettre en évidence les différents aspects de ces transferts et tente de prouver qu'il existe des résonances et des points d'articulation entre ces domaines par l'interface du Graal. Dans ce sens, le motif sert aussi de porte-à-faux à une culture et à une littérature dites « mineures » qui peuvent toutefois, sous l'effet du Graal, devenir scientifiques et apporter de nouvelles pistes de réflexion sur le mythe, la société et la Littérature. / Nowadays, avatars and re-writings of the myth of the Grail take their inspiration from Literature because the first literary mention of the scheme appears at the end of the twelfth century in Perceval ou le conte du Graal by Chrétien de Troyes. Thanks to its ambivalent (pagan and christian) origins, the Grail anchored in the collective imaginary as a myth of redemption or, at least, an ideal to reach. If the chivalric medieval quest requires a remarkable rigor and the body and soul purity to deserve the revelation of the Holy Vessel mysteries, in our days, mass culture heroes have an access to its secrets by simplified “quest-igations”. The devaluation of the subject occurs through transpositions in different genres, mediums and medias but also in the way society receives the Grail legend. From Holy Grail to Grail, from Literature to mass culture, from the Holy Bible to TV shows, this study tends to show the aspects of these transpositions and tries to prove that there are echos and exchanges between these mediums via the Grail. Following that point of view, the theme functions also as a overhang for what some call “minor” culture and literature that can, however, under the Grail influence, become scientific and bring new pieces of reflection concerning the myth, society and Literature.

This report explores the methodology themes and meanings embeded in the society that I am portraying in my comic 'THE DAY I MET THAT CAT'. This includes concept such as identity, colorism, races and cultures, human interaction with animals and the power of the visual.

Este estudo procura investigar e interpretar a trajetória artística, jornalística, política e intelectual do caricaturista ítalo-brasileiro Angelo Agostini (1843-1910). Sua estréia profissional, em São Paulo, coincide com o início da Guerra do Paraguai, em 1864, e seus últimos trabalhos acontecem quando a República oligárquica está consolidada, em 1908. Agostini assiste à decadência das últimas engrenagens do Império, assentado no trabalho escravo e na grande propriedade da terra e, em seguida, testemunha o advento da República e a nova inserção do Brasil no mercado internacional, através do fornecimento de matérias-primas aos países centrais e da entrada maciça de capitais externos aqui. Esteticamente, ele foi o principal artista gráfico em atividade, no Brasil, na segunda metade do século XIX e realizador de alguns marcos na história da imprensa brasileira, como a Revista Illustrada. Introdutor das histórias em quadrinhos entre nós, deixou como legado uma obra vasta, diferenciada e irregular. No plano político, foi um ativista na luta pela Abolição da escravatura. Nosso propósito é evidenciar como as transformações empresariais e técnicas na atividade de imprensa interferem no trabalho das artes gráficas. Ao mesmo tempo, tentaremos examinar em que consistiu a militância política de Agostini no âmbito jornalístico, quem eram seus parceiros, com quais setores de classe se articulava e qual o significado da campanha abolicionista para uma parcela da elite urbana. / This work intends to research and interpret the artistic, journalistic, political and intellectual career of the Italian-Brazilian cartoonist Angelo Agostini (1843-1910). His professional debut takes place in 1864, in São Paulo, when the Paraguay War was beginning, and his last works are published when the Oligarchic Republic is already consolidated, in 1907. Agostini witnesses the decay of the Brazilian Empire´s last ties - supported by slave work and large landed states. Following that, he also sees the raising of the Republic and Brazil´s new insertion in the international market - supplying raw material to central economies, and the massive income of external capital into the country. Esthetically wise, he was the main graphic artist at work in the second half of the nineteen century in Brazil. He accomplished some deeds in the history of the Brazilian press, such as the Revista Illustrada. Agostini was also the first one to introduce comic narrative into the country and his legacy was a vast artistic creation – although diversified and irregular. In the political field, he was an activist in the struggle for the abolition of slavery. The objective of this study is to point out how business and technical changes in press activities interfere in the final work - the graphic work. Along with that, we also try to investigate how Agostini performed his political action in the journalistic milieu, who his partners were, which class sectors he was connected with, and what the abolitionist campaign meant for a sector of the white urban elite.

Nesta investigação, refletimos sobre as avaliações impressas em textos de periódicos contemporâneos tiras e crônicas , que retomam narrativas da tradição oral, em circulação entre os séculos XVII e XIX, a fim de compreender aspectos de diferentes visões de mundo e o posicionamento valorativo do sujeito-autor e do sujeito-contemplador previsto, como forma de resposta compromissada com seu tempo. Ao longo das edições dos periódicos, a tematização dessas narrativas aconteceu de forma aleatória, em meio a conteúdos diversos e como parte do repertório cultural dos artistas. Em levantamento realizado, o corpus de análise ficou composto da seguinte forma: (1) cinquenta e quatro tiras do cartunista Fernando Gonsales que, publicadas no jornal Folha de S. Paulo entre os anos de 2004 e 2011, tematizam os contos maravilhosos Chapeuzinho Vermelho, Branca de Neve e A história dos três porquinhos; (2) três crônicas de Millôr Fernandes, que circularam nas revistas semanais Veja e IstoÉ na década de 1980, tematizando os mesmos contos, o que viabiliza um trabalho comparativo. Para orientar nosso olhar, fundamentamos nossa análise na concepção bakhtiniana de arquitetônica, desenvolvida principalmente nos primeiros textos produzidos por Bakhtin e o Círculo, na década de 1920. Essa concepção nos permite compreender como os elementos do texto forma, conteúdo e material são organizados pelos centros de valores estabelecidos na relação autor-criador, herói, autor-contemplador. Associadas a essa noção, tratamos das categorias de espaço e tempo, desenvolvidas pelo pensador Bakhtin (1937-1938, 1973). Essas categorias nos instrumentalizam para a compreensão da interação entre autor-criador e/ou autor-contemplador e objeto artístico, em determinado contexto espaço-temporal. No diálogo com o objeto de pesquisa, partimos da seguinte hipótese: se todo texto é um ato responsivo ao tempo de que emerge, então a visão de mundo contemporânea é refratada em textos de humor da esfera periodística que circularam no final do século XX e início do XXI, quando esses textos retomam narrativas da tradição oral difundidas entre os séculos XVII e XIX. Ao final do trabalho, mostra-se que, no entrecruzamento das tiras de Fernando Gonsales e das crônicas de Millôr Fernandes com os contos maravilhosos, transita a paródia de um mundo idealizado: nas tiras, ela se configura também como deboche do modo de vida contemporâneo; nas crônicas, como crítica social e reflexão sobre a existência humana. / In this thesis, we reflect on the standpoints printed on contemporary journal texts - strips and chronics that retake oral tradition narratives, between the seventeenth and nineteenth centuries, in order to understand aspects of different worldviews and the evaluative positioning of the subject-author and of the expected subject-contemplator as a way to give a committed answer to their time. Along the issues of the journals, the theming of these narratives was done at random, amid diverse contents and as part of the cultural repertoire of the artists. In the survey that was conducted, the corpus was composed as follows: (1) fifty-four strips by the cartoonist Fernando Gonsales, published in the newspaper Folha de S. Paulo between 2004 and 2011, that bring as the theme the fairy tales Little Red Riding Hood, Snow White and The story of the three little pigs; (2) three chronics by Millor Fernandes, that circulated in the weekly magazines Veja and IstoÉ in the 1980s, thematising the same tales, which enables a comparative work. To guide our vision, we base our analysis on Bakhtin\'s architectonic design, developed mainly in the first texts written by Bakhtin and the Circle in the 1920s. This concept allows us to understand how the text elements - form, content and materials - are organized by centers of values established in the relation between author-creator, hero, author-contemplator. Associated with this notion, we deal with the categories of space and time, developed by Bakhtin (1937-1938, 1973). These categories lead us to the understanding of the interaction between author-creator and/or author-contemplator and artistic object, in a particular spatial-temporal context. In dialogue with the research object, we start from the following hypothesis: if all text is a responsive act to the time that it emerges from, then the contemporary world view is refracted in humor texts from the journal sphere that circulated in the late twentieth and early twenty-first centuries, when these texts resume narratives of the oral tradition spread between the seventeenth and nineteenth centuries. At the end of the work, it is shown that, in the crossing of the strips by Fernando Gonsalves and the chronics by Millor Fernandes with the fairy tales, the parody moves from an idealized world: in the strips, it also sets as a mockery of the contemporary way of life; in the chronics, as a social critique and reflection on human existence.

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Humor’s effect on the audience’s relationship to the object, or speaker, of humor has often been neglected, and creating a framework by which scholars can examine how humor works to alter the relationship between audience and other fills this gap. Additionally, the definition of science fiction relies on the existence of a cognitively estranging other and under this definition, humor has not been thoroughly studied. This thesis attempts to explain how humor affects audiences cognitively, utilizing Hegel’s theory of self and other, and then applies this theoretical explanation to the field of science fiction and examines its effects. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2017. / FAU Electronic Theses and Dissertations Collection

A literatura machadiana apresenta uma dualidade entre a tragicidade e a comicidade que esta dissertação pretende explorar e entender. A apuração de tais aspectos foi dividida em duas partes: a primeira trata da obra machadiana como um todo, sem atentar para qualquer texto em especial; e a segunda aponta, através da análise de três contos, a convivência dessas duas características contrastantes. Como Machado adota uma miscelânea nos gêneros literários, será preciso analisar o teatro e a sátira menipéia dos quais se serviu para a confecção de tais contos, disso decorreu nossa preocupação em avaliá-los / Machado de Assis literature presents a duality between tragic and comic, which this dissertation aims to explore and understand. The investigation of such aspects has been divided in two parts: the first one approaches Machados work as a whole, with no focus on any text in particular; the second part, through the analysis of three short stories, points out the coexistence of those two contrasting characteristics. Since Machado adopts a variety of literary genres, we deem it necessary to analyse both the theater and the menippean satire he has put into use to create such short stories, thus our concern in evaluating them.