This master thesis is a result of historical analyses of past interpretation of Julius Fučík. Attention is focused on how the cult of Julius Fučík was built, how was his image changing and how this contributed to maintain communist ideology. For better understanding of the whole issue, this thesis describes Fučík's work, especially his most famous artwork Notes from the Gallows, which is important for understanding manipulations with Julius Fučík's legacy. It also examines how changing political situation transformed his role from hero to traitor and collaborator. As a counterbalance, complex expert studies dealing with Fučík's case are introduced. The end of the thesis is focused on the 70th anniversary of Fučík's death in the year 2013 in a perspective of contemporary media. This documents today's social debate which no longer deals with the question of guilt but is rather targeted on Fučík's literary output.

Cette étude s’efforce de comprendre de quelles manières la figure biblique d’Étienne (Actes 6-8) s’est transmise et a été reçue dans le christianisme des six premiers siècles de notre ère. Du texte des Actes des apôtres à la translation de ses reliques à Rome en 589, notre enquête tente de saisir les mécanismes conduisant à la construction d’Étienne comme un saint dont le culte fut central dans l’histoire du christianisme. Nous nous attachons en particulier à l’étude des diverses formes que son culte a revêtues après la découverte de ses reliques, en Palestine au ve siècle, et de sa rapide diffusion en Méditerranée orientale et occidentale. À cette fin, nous examinerons l’ensemble des pièces du dossier hagiographique d’Étienne à la lumière des recherches les plus récentes sur le culte des saints, l’hagiographie et l’histoire de la Palestine dans l’Antiquité tardive. Au terme de cette étude, nous espérons surtout exposer les motivations idéologiques de l’usage des reliques du saint dans un contexte où s’entrecroisent controverses doctrinales, topographie sacrée, antijudaïsme et construction de la mémoire chrétienne. / This study aims at understanding in what ways the biblical figure of Stephen (Acts 6-8) was transmitted and received in Christianity during the first six centuries of our era. From the text of the Acts of the apostles to the translation of his relics to Rome in 589, our investigation attempts to grasp the mechanisms that led to the construction of Stephen as a saint whose cult was central in the history of Christianity. In particular we shall concentrate on the various forms of his cult that appeared after the discovery of his relics, in Palestine in the vth century, and on its rapid spreading in the eastern and western parts of the Mediterranean. With this aim in view, we shall examine all the documents of the hagiographical dossier of Stephen in the light of the most advanced research on the cult of saints, hagiography and the history of Palestine in Late Antiquity. At the end of this study, we hope, above all, to expound the ideological motives of the use of the saint’s relics in a context in which doctrinal controversies, sacred topography, antijudaism and construction of the Christian memory intersect.

The thesis deals with the beauty myth and its presentation in Top dívky girl magazine. It focuses on revealing mechanisms used by the magazine to attract girls' attention, and their gender consequences. Observing both analogical and contrasting traits of presenting the beauty myth to girls and women is an important part of the thesis. In its theoretical part, the author begins by presenting the ongoing discussion on the beauty myth led by Naomi Wolf (2000), the feminist theorist. The basic theoretical framework for this thesis is Wolf's proposition of the "female" beauty myth, which subsequently helps the author to examine the "girlish" beauty myth. In her research, the author uses open, axial and selective coding. By determining the central category of Cult of surface, the thesis unveils the essential message of the beauty myth in Top dívky. The surface is the main aspect not only of girls' appearance, but also of their relationships and interests. The functioning of the cult of surface is enabled by the discourse of easiness and the accessibility of beautification, which the thesis considers as a very important aspect of the beauty myth in the girl magazine. Basic propositions on the female beauty myth apply to girls as well, however, there are certain nuances to consider, which the author also...

The anti-cult movement, or ACM, in the United States is a counter-movement to the wide variety of new religions which developed in the years following the Second World War. The anti-cult movement is opposed to new religions because it perceives in them a threat to the American family, traditional values and morals, and way of life which it is attempting to protect. This perception reflects a nativistic response to new religions. Nativism is understood to be a conscious attempt on the part of a society's members to protect that society's culture from the threat posed by contact with other cultures. The anti-cult movement is attempting to protect those elements of American culture which it perceives as being threatened by new religions. The sections of American society which feel most threatened, and which make up the body of the anti-cult movement, are family groups and Evangelical Christian and Jewish religious groups. The nature of the anti-cult movement, its methods, motivations, and possible implications of its existence, are all illuminated by the theory of nativism as it applies to the ACM. / Thesis / Master of Arts (MA)

Anita  (Torgny Wickman 1973) is a typical example of a film produced as part of a wave of Swedish softcore sex films created with an eye on the substantial overseas profits to be made in market curious to witness onscreen Swedish Sin.  Following an extremely brief and limited release in Sweden the film disappeared from popular cultural perception until resurfacing in the late 1990s as an object of nostalgic cult curiosity.  Taking cues from New Cinema History disciplinary methods, cult theory and touching on theories of the dispositif, this thesis maps the manner in which Anita is popularly and academically regarded as a text throughout differently delineated eras of its lifespan. By drawing on its appearance in film listings, popular press, national press and fanzines, and through its various releases and restoration this work builds to an understanding of how uses of this text move from populist via nostalgia through cult to historical canon, and the way in which these uses offer new perspectives on Swedish film history.

No / Being the first ever English-language title devoted exclusively to the controversial and influential mondo documentary film cycle, this revised edition of Sweet and Savage remains the only serious study of mondo as a global film phenomenon, and includes a detailed examination of the key films of this cult genre. Sweet and Savage identifies the principle stylistic aspects of the mondo genre through a fascinating ‘non-linear’ approach that echoes the collage shock effects of the original films. In so doing it features exclusive interviews and many unique material contributions. It is lavishly illustrated with rare photographs, stills, posters, and record sleeves.

In Spring 2007, the University of Central Florida (UCF) Department of Theatre mounted a production of "The Rocky Horror Show." This thesis focuses on the author's process of using the gospel music style to revitalize "The Rocky Horror Show," a cult musical. The author uses defining characteristics of the cult film genre to establish a set of guidelines. "The Rocky Horror Picture Show" is the movie version of the stage musical and is responsible for the show's inevitable cult status. He discusses the history and journey of "The Rocky Horror Show" and how audience participation was integral in establishing this landmark musical. The reader observes the process used in rearranging "The Rocky Horror Show" score from start to finish and recordings used as influence throughout. Although this is a discussion of a musical process, this portion of the document is written in terms for all to understand, and a glossary of terms is provided for those that are unsure of certain vocabulary. With a show that is well established, one must be careful when making stylistic changes. The author took this into consideration when arranging the score and rationalizes through a discussion of gospel music history, key gospel elements apparent throughout the score, and how the essence of Richard O'Brien's music remains intact.

Poland - like other Eastern and Central European countries - was for many years politically, socially and culturally cut off from the Western Europe. Did this have an impact on the representation of Polish cinema in English-language film criticism? Judging by the number of books about Polish cinema as a whole or about Polish directors and their films it would seem that the answer must be negative. However, a closer look at other books about world cinema and especially French cinematography proves that in spite of limited contacts Polish films were widely discussed in English-language literature. Another question is whether this representation was an exact and true one. The answer is again a positive one in spite of the political, social and cultural isolation. A comparison to Polish film criticism shows that Polish films were not generally misunderstood or rejected. Furthermore, English-language authors sometimes found different interesting plots missing in film literature in Poland. Therefore, surprisingly, the political partition did not obstruct cultural exchange and the most important Polish films were still available and discussed in the English-speaking world. However, there was still a gap in the knowledge about some aspects of Polish Cinema such as, for example, Polish cult comedies phenomenon. Therefore there is still a need for the popularisation of some important for the Polish nationality films outside of Poland and for deeper critical thought about Polish cinematography - which is an reflection of the society itself.

Through the incorporation of primary source material and prior scholarship this study looks at the Serapeums, Isiac temples and coinage of Hellenistic Alexandria and Imperial Rome. This study seeks to provide, through close analysis and comparison, a more precise picture of the Isaic ideology of the Greco-Roman governing powers of Egypt. I focus on the capital cities of Alexandria and Rome to analyze the message of Isis to their respective inhabitants. Coinage and popular iconography (such as Isis Pelagia) are incorporated into the overall understanding of Isiac uses as coinage serves as a form of ancient propaganda. The amalgamation of this information provides a clearer picture of Isis as a representation of Egyptian favor and divine validation of kingship over Egypt. Overall, the study found that the ideological manifestations of Isis set forward by the Ptolemies used Isis as a tool of cultural fusion and of positive influence on commerce. After the Ptolemies, the Imperial relationship with Isiac ideological function is made by discussing the actions made by Augutus, Domitan, Hadrian, Antoninus Pius, and Caracalla. As Isis becomes embraced by the Roman empire we see that the Ptolemaic forms of connection to Isis influenced the methods which Roman emperors then paid homage to her. The study finds that through her connection to Egypt, Isiac devotees, Egyptian commerce, and the divine kingship of Egypt during both the Hellenistic and Imperial periods; Isis became an invaluable ideological tool for the governing powers.

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