This paper investigates presence of the superstar effect among users of the Czech fantasy league during seasons between years 2010 and 2013. Both main views are taken into consideration, namely Rosen's and also Adler's theory. Using regression models employing the method of least squares for panel data I show a positive superstar effect according to Rosen's theory in case when the star players are defined by their ability to score great amounts of goals. The presence of a positive superstar effect according to Adler's theory is not apparent in the models, which can be caused by the authors of the fantasy league overestimating the value of the star players beside their performance.

A topic of my thesis is gamification and fantasy games. The main goal of this research was analyzing the situation in Czech Republic and finding out if fantasy games have an influence on a reading of sport servers. In theory part of this project, gamification and fantasy games are clearly defined. The biggest gamification projects in the world are introduced, as well as the trials of gamification in Czech Republic and a chosen game from abroad. In practical part, the situation on Czech Republic's fantasy games market is analyzed, the two biggest representatives are compared and an influence on reading of sport servers is researched.

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Au croisement de la fantasy, ce genre de l’imaginaire qui a reçu ses lettres de noblesse avec J.R.R. Tolkien et jouit aujourd’hui d’une immense popularité, et des romans néo-victoriens, ces réécritures contemporaines du canon historique et littéraire du XIXe siècle apparues dans les années 1960, la fantasy néo-victorienne exhibe ses dragons à vapeur. Tributaire de différents genres et sous-genres, il s’agit d’une littérature paradoxale, prise entre progrès et regret, spéculation et nostalgie. Le contexte victorien renvoie la fantasy à sa première naissance dans les années 1890, et plus largement à l’émergence de la paralittérature et des littératures de l’imaginaire (roman policier, fantastique, horreur, science-fiction), héritières du roman gothique du XVIIIe siècle. Il est nécessaire de décrypter l’arbre généalogique de l’imaginaire pour comprendre les genres hybrides contemporains, tels que la fantasy urbaine et le steampunk, qui représentent à eux deux une partie majeure de la fantasy néo-victorienne. Cette dimension génétique est mise au service d’une poétique autant que d’une politique : il importe justement de définir la valeur du préfixe néo- et de distinguer les moments où le néo-victorianisme penche vers le néo-conservatisme. Quel engagement pour la fantasy néo-victorienne, cette littérature du présent qui interroge et transforme le passé victorien ? Des voyages à dos de dragon à l’héritage de l’Empire britannique, des bas-fonds de Londres aux mondes parallèles de l’uchronie, des zombies aux fanfictions, la recherche d’une poétique nous amène à problématiser l’importance de la fiction dans notre vision du monde. / Fantasy became an official genre of speculative fiction with J.R.R. Tolkien’s work, while the neo-Victorian novel emerged in the 1960s as a contemporary rewriting of the historical and literary canon of the nineteenth century: where the two meet, the steam dragons of neo-Victorian fantasy take flight. At the crossroads of several genres and sub-genres, it is a literature of paradoxes, caught between progress and regret, speculation and nostalgia. The Victorian era was the setting of fantasy’s first birth in the 1890s, and it also witnessed the appearance of several types of genre fiction and speculative fiction (the detective novel, the fantastic, horror and science-fiction) which grew out of the eighteenth-century Gothic novel. The family tree of speculative fiction needs to be laid out if one is to understand hybrid contemporary genres like urban fantasy and steampunk, which comprise most of neo-Victorian fantasy. The taxonomy itself serves to explore the poetical and political dimension: we strive to define the precise meaning of the prefix neo- and distinguish the moments when the neo-Victorian becomes neo-Conservative. What kind of commitment does neo-Victorian fantasy enact, as a type of literature anchored in the present, which interrogates and transforms the Victorian past? From travels on dragonback to the inheritance of the British Empire, from the depths of London to the parallel worlds of alternative history, from zombies to fanfictions, the search for a poetics leads us question the impact that fiction has on our worldview.

This paper aims to draft a typology of antiheroes in contemporary fantasy literature. Antiheroes are reflected upon concerning their origins, development, and recognition by the implied reader. Mythical trickster is also considered an antihero. The first half presents a theoretical base for the subsequent analysis.

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The Piano Fantasy will be compared to Aaron Copland's other major piano works, the Piano Variations and Piano Sonata, to determine if he has retained his basic stylistic features, although he has employed serial principles more extensively in the piano fantasy than in the other two works and has passed through two different style periods, the "Abstract" (1929-1935) and the American "Folksong" (1934-1955).

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