In this final work we compare fantastic forms of realistic literature in the little formations from the break of the 19th and 20th century. We look for specifics of fantastic in selected texts. By the analysis of mysterious and realistic motives we aim to show the common roots of fantastic literature and its diversity. In the first part we analyse the tales of Karel Švanda ze Semčic and compare the poetics of Švanda and E. T. A. Hoffmann, an important German romantic writer of fantastic proses. In the second part we analyse the texts of Jakub Arbes, Julius Zeyer, Růžena Svobodová and Jiří Karásek. Particularly, we focus on how the mysterious and realistic motives are realized in these texts. Finally, we compare all the texts and observe how do they follow the tradition of romantic fantastic and which other kindes of literature we can distinguish there. We use the method of narratological analysis, the basic literature is Narrative Fiction: Contemporary Poetics of Shlomith Rimmon-Kenan.

Master's thesis presents comparison of motifs and images of fantastic appearance and terror in the novel Frankenstein or the Modern Prometheus by Mary Shelley and its film and theatre adaptations, and studies their changes. It deals not only with theoretical problems of fantastic appearance, terror (horror) and adaptation, but especially the Frankenstein myth and its influence on creating these images in given texts. Thesis describes the development of fantastic and horrific images from the literary text towards visual and performance media. The thesis studies the transformation of these images within three film adaptations made by directors J. Searlse Dawley (1910), James Whale (1931) and Kenneth Branagh (1994), and one play written by Nick Dear and directed by Danny Boyle (2011). Key words: Frankenstein, Frankenstein myth, fantastic appearance, fantastic, terror, horror, adaptation

The diploma thesis tries to define the problematic of the fantastic and magic in Central European literature. It captures a selection of works published between the second half of the 20th century until today in which unrealistic elements are markedly presented (such as imaginary space, function of dreams, blending of natural and unnatural as well as myths) and time has a specific function. The main focus is on authors such as Daniela Hodrová, Daniel Kehlmann, Saša Stanišić, Olga Tokarczuk and Jáchym Topol. The aim of this work is to find out whether it is possible to understand Central European literature in categories such as magical realism or the fantastic, or whether Central Europe is so saturated with Western rationalism that all attempts to find magic fail.

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This thesis aims to introduce the history and transformation of the Czech magazines oriented on the genre Fantastika (also known as SF magazines), using the example of the magazine Pevnost, which is considered to be the flagship of the contemporary Czech fantastic arts journalism. The thesis focuses on a comprehensive analysis of the evolution of the magazine Pevnost between 2011-2015, based on which it's possible to uncover more general characteristics and tendencies of contemporary Czech market of SF magazines. Theoretical basis of the thesis defines popular fantastic arts (also known as Fantastika), introduces major theoretical concepts of this term and defines its various genres. It also provides a basic definition and history of the fandom in Czechoslovak, as well as in Czech environment. Fandom is considered to be the basis for the emergence of so called fanzines - amateur or semi-professional SF magazines. On the basis of this, the thesis introduces the evolution of the Czechoslovak and Czech fanzines, as well as professional SF magazines. Practical part of the thesis analyzes the changes of the content and graphic layout of the magazine, as well as the changes of the layout of the magazine's cover during the mentioned era. The practical part of the thesis is ended with the analysis of the...

The topic of my thesis is conning in the Czech Republic. Conning stands for actions, which take place at conventions of fans of the fantasy genre called cons. Ethnographic study consist of two circuits. The first one focuses on cons, and their different aspects of realization, as well as services, including mechandising. The second on is dedicated to participants of this kind of event. The research focuses not only on their activity at conventions, but also reflects the consumption of the genre and partecipation of related activities. The theoretical part was based on the specialist literature. Theoretical bases served to define research questions. Methods used for data collection include participant observation, semi-structured ethnographic interviews, analysis of documents, informal and unstructured ethnographic interviews and questionnaires. Timeframe for data collection is the period from June 2015 to April 2016. For analysis were used the grounded theory principles, namely open and axial coding. The output is an paradigmatic model. Research identifies characteristic elements of conning in the Czech Republic, differences between domestic and foreign cons and experience of the participants. Also illustrates the role of a fantasy genre fiction in the life of participants, and their perception of...

Antonín Kudláč Czech Popular Fantastic Arts 1990 - 2012 in Cultural, Social and Literary Contexts The dissertation focuses on the exploration of popular fantastic arts in the Czech environment between 1990 and 2012. Popular fantastic arts are defined as a segment of popular culture, which uses fantastic motifs and finds expression in various art forms and media (literature, film and television programs, visual arts, games, etc.). Popular fantastic literature (science fiction, fantasy, horror) is used as the basic medium for research in this area. For defining and understanding the nature of popular fantastic arts, its recipients (the so-called fans), who form a distinctive subculture called the fandom, are of extreme importance. This dissertation, bordering on interdisciplinary cultural anthropology, sociology, literary criticism and media studies, is based on the hypothesis of an active and creative approach of the recipients of popular culture, who endow these cultural artifacts with their own meanings, share them and use them for their own interests. This approach is rooted mostly in the theoretical works of John Fiske and Henry Jenkins, in particular in the concept of participatory culture and cultural divergence. The work consists of two parts. The research development of popular culture in...

<p>Проза Радована Белог Марковића није фантастична у<br />целини, већ садржи елементе фантастике. Типови<br />фантастике у њој су разноврсни. Типологија фантастике<br />у прози овога писца изведена је из његовог дела<br />индуктивном методом и унеколико се заснива на даљој<br />и ближој литерарној традицији, али и на закључцима до<br />којих смо дошли и на основу којих су изведени и други<br />типови фантастике у делу овога писца.<br />Типологија фантастике у прози Радована Белог<br />Марковића<br />Ф А Н Т А С Т И К А<br />ЛИРСКА, ЈЕЗИЧКА,<br />ДЕЛИРИЧНА<br />са елементима ониричког,<br />са елементима ониричког и сакралног<br />Демитологизована<br />Митолошка и фолклорна<br />Десакрализована<br />Приповедног простора и времена<br />Двојника<br />Меланхолије и досаде<br />Предмета<br />Природе<br />Смрти<br />Мнимих бића<br />Jединственост Радована Белог Марковића у савременој<br />српској књижевности огледа се у начину<br />структурирања дела, његовим формалним одликама,<br />као и у бројним и разноврсним начинима<br />мистификације приповеданог, у лиризацији прозног<br />текста и барокности језика, што су углавном и његови<br />највећи доприноси књижевности којој припада.</p> / <p>Proza Radovana Belog Markovića nije fantastična u<br />celini, već sadrži elemente fantastike. Tipovi<br />fantastike u njoj su raznovrsni. Tipologija fantastike<br />u prozi ovoga pisca izvedena je iz njegovog dela<br />induktivnom metodom i unekoliko se zasniva na daljoj<br />i bližoj literarnoj tradiciji, ali i na zaključcima do<br />kojih smo došli i na osnovu kojih su izvedeni i drugi<br />tipovi fantastike u delu ovoga pisca.<br />Tipologija fantastike u prozi Radovana Belog<br />Markovića<br />F A N T A S T I K A<br />LIRSKA, JEZIČKA,<br />DELIRIČNA<br />sa elementima oniričkog,<br />sa elementima oniričkog i sakralnog<br />Demitologizovana<br />Mitološka i folklorna<br />Desakralizovana<br />Pripovednog prostora i vremena<br />Dvojnika<br />Melanholije i dosade<br />Predmeta<br />Prirode<br />Smrti<br />Mnimih bića<br />Jedinstvenost Radovana Belog Markovića u savremenoj<br />srpskoj književnosti ogleda se u načinu<br />strukturiranja dela, njegovim formalnim odlikama,<br />kao i u brojnim i raznovrsnim načinima<br />mistifikacije pripovedanog, u lirizaciji proznog<br />teksta i baroknosti jezika, što su uglavnom i njegovi<br />najveći doprinosi književnosti kojoj pripada.</p> / <p>Тhe prose of Radovan Beli Marković is not fantastic as a<br />whole, but contains elements of fiction. Tipes of<br />fantasticism in it are diverse. The typology of fantasticism<br />in prose of this writer is derived from his work using the<br />inductive method. This typology is based on a distant and<br />recent literary tradition, but also on conclusions reached<br />by the author of this dissertation, on the basis of which<br />other types of fiction were derived in the writing of this<br />author.<br />Typology of Fantasticism in prose of Radovan Beli<br />Marković<br />F А N Т А S Т I C I S M<br />Lyric, linguistic<br />Delirious<br />- with elements of oneiric<br />- with elements of oneiric and sacred<br />Demythologized<br />Mythological and folklore<br />Desanctified<br />Narrative space and time counterpart<br />Melancholy and boredom<br />Objects<br />Nature<br />Death<br />Imaginary creatures<br />The uniqueness of Radovan Beli Markovic&#39;s writing in<br />contemporary Serbian literature is reflected in the way of<br />structuring his writing, its formal qualities, as well as in<br />numerous and diverse ways of mystification of the<br />narration, in making his prose lyrical and language<br />baroque, representing mainly his greatest contribution to<br />literature where he belongs.</p>

<p>U ovoj disertaciji istražuju se mnogobrojni oblici utopije u<br />nekolikim, prvenstveno u književnim segmentima složenog i obimnog<br />opusa H. Dž. Velsa, kao i u nekolikim, prvenstveno u književnim<br />segmentima ne tako obimnog, ali takođe složenog opusa G. Kosteljnika.<br />Studiju čine trinaest poglavlja.<br />Prvo je uvodno, te se u njemu najpre obja&scaron;njavaju predmet, cilj i<br />metodologija istraživanja, a potom se razmatraju najfrekventniji pojmovi:<br />op&scaron;ta i naučna fantastika, i, iznad svih, glavni pojam, utopija. Osvetljavaju<br />se i njena geneza, i njene karakteristike, i njene funkcije.<br />U drugom poglavlju su najpre izloženi faktori nastajanja, postojanja i<br />nestajanja utopija, a u nastavku je prezentirana iscrpna tipologija utopija.<br />U trećem i četvrtom poglavlju govori se o formiranju stvaralačkih<br />ličnosti H. Dž. Velsa i G. Kosteljnika.<br />Narednih &scaron;est poglavlja ispunjeno je odeljcima putem kojih se<br />osvetljava romaneskno, pripovedačko i diskurzivno (esejističko,<br />sociolo&scaron;ko, politikolo&scaron;ko, naučnopopularno i publicističko) stvarala&scaron;tvo H.<br />Dž. Velsa, kao i poetsko, pripovedačko, dramsko i diskurzivno (esejističko,<br />teolo&scaron;ko, književnokritičko, lingvističko i publicističko) stvarala&scaron;tvo G.<br />Kosteljnika.<br />Jedanaesto poglavlje je zaključno. U njemu je jo&scaron; jednom razmotren<br />značaj utopije uop&scaron;te, a naročito u delu dvojice protagonista ove disertacije:<br />H. Dž. Velsa i G. Kosteljnika.</p> / <p>This thesis researches numerous forms of utopia in several, primarily<br />literary segments from complex and comprehensive opus of H. G. Wells, as<br />well as in several, primarily literary segments of not so comprehensive, but<br />also complex opus of G. Kosteljnik.<br />The study consists of thirteen chapters.<br />The first chapter is introductory, where the subject matter, aim and<br />methodology of the research are explained, and the most frequent notions<br />are considered: general fantasy and science fiction, and, above all, the main<br />notion, utopia. Some light is being shed on its genesis, its characteristics<br />and its functions.<br />In the second chapter, the factors for its emergence, existence and<br />disappearance are presented, along with exhaustive typology of utopias.<br />The tird and fourth chapter deals with formation of creative<br />personalities of H. G. Wells and G. Kosteljnik.<br />The following six chapters include the extracts through which I<br />throw light on romanesque, narrative and discursive (essayistic,<br />sociological, politicological, popular scientific and publicistic) artistic<br />creation of H. G. Wells, as well as poetic, narrative, dramatic and<br />discursive (essayistic, theological, literary-critical, linguistic and<br />publicistic) artistic creation of G. Kosteljnik.<br />The eleventh chapter is conclusion. It once again considers the<br />notion of utopia in general, and particularly in the works of the two<br />protagonists of this thesis: H. G. Wells and G. Kosteljnik.</p>

This thesis investigates the intertextual links between The Sufferings of Young Werther by Johann Wolfgang Goethe, which was published originally in 1774, and Utrpení knížete Sternenhocha (The Sufferings of Prince Sternenhoch) by Ladislav Klíma. Their affinities remained unnoticed when the latter text was published for the first time in 1928, although the texts share topics as well as narrative strategies. In both texts, the presence of the beloved person is suplemented by writing, their bodies by a simulacrum. Goethe aestheticises the love suffering drawing on the sentimental tradition of the epistolary novel, whereas Klíma transforms it in his palimpsest employing manneristic techniques and parodies it by excessively thematising the body. In both cases is the writing of the heroes - work, but also fabrication of memory - works as an evidence and a constructed phantasm of their love, the only thing that survives its author in order to preserve the testimony of the love for the reader. The thesis is divided into two parts. The first part, called Convergence, show explicit as well as implicit links between the analysed texts. The second, called Divergence, contextualises both texts to find their position within several relevant theoretical categories, such as the fantastic, the gothic and mannerism....