The main objective of this thesis is to describe agenda building process in Czech news media on the example of health news. The thesis is based on the concept of agenda-setting which operates with the term "media agenda". The fundamental question of media agenda building is how and why some topics get to the news while others not. Two separate pieces of research have been conducted for the purpose of this thesis. Firstly quantitative content analysis explores how selected Czech news media report on health news during 2013. The analysis is focused on daily press Mladá fronta Dnes, Lidové noviny, Hospodářské noviny, Právo, Česká televize TV news, and Český rozhlas radio news. Secondly, interviews with journalists who are or were devoted to the health news describe media routines forming media content. The result based on the two research methods is a description of health newsgathering. Particularly, the issues in question are how health journalists receive ideas for their stories, what motivates them, who forms health news, what role plays intermedia agenda, public relations materials or human stories.

Cette thèse montre comment fonctionnent et se déploient, au sein des œuvres littéraires, filmiques et webfilmiques, des scénographies mémorielles et des figurations médiatiques de la guerre d’Algérie. Empruntant sa méthodologie à la sociocritique des textes et aux études intermédiales, l’étude porte sur la manière dont le souvenir de l’évènement se confond avec celle de le relater. Elle examine le rôle du médium qui donne une forme, une matérialité, un dispositif, un type de reconnaissance institutionnelle aux représentations de la guerre et de la mémoire, contribuant aussi à former, modeler le souvenir en le rendant perceptible et intelligible. Comment les groupes de mémoire de la guerre d’Algérie, (harkis, immigration algérienne, pieds-noirs) vivent-ils – toutes proportions et différences gardées – leur rapport au passé à partir du présent ? Leurs mémoires, médiées par les vecteurs culturels (cinéma, littérature, etc.), se disent à partir de sites d’énonciations plurielles dont les espaces (topographies) et les temps (chronographies) sont communs. Elles s’approprient le souvenir de façon similaire, par les scènes narratives du procès, de la rencontre ou du retour construites par le texte littéraire ou filmique. La première partie interroge les rapports entre histoire et mémoire ; en France, leurs conceptions et pratiques, se heurtent à une nouvelle économie mémorielle dans laquelle des groupes de mémoire de la guerre d’Algérie réclament que leur histoire soit reconnue et enseignée. Appuyée par une périodisation de la production gigantesque des cinquante dernières années et par une revue critique de la recherche internationale menée à ce sujet, cette réflexion prend acte de la dispute post-coloniale française et considère l’auteur porteur de mémoire de la guerre d’Algérie pour son exemplarité en tant que témoin post-colonial. Les deuxième, troisième et quatrième parties de cette thèse déplient quant à elles, la scénographie mémorielle spécifique à trois auteurs, tout en la mettant en relation avec d’autres œuvres de genre et médium très différents. Le premier corpus est composé de : Moze de Zahia Rahmani, du tryptique de Mehdi Charef (À-bras-le-cœur, 1962. Le dernier voyage, Cartouches gauloises) et d’Exils de Tony Gatlif. À ces titres s’ajoutent des œuvres qui marquent une série, ensemble aux contours flous auxquels ils se rattachent et qui permettent de mettre à la fois en perspective le commun entretenu entre la série et l’œuvre de l’un des trois auteurs, et la manière dont l’auteur, Rahmani, Charef ou Gatlif s’en distingue de façon significative. Enfin, un troisième type d’œuvres intervient dans l’analyse comme contrepoint souvent paradoxal de cette série. / This dissertation shows how heritage-forming scenarios and media portrayals of the Algerian War have operated and been deployed in literature and cinema, as well as in films on the Web. Taking its methodology from both literary sociocriticism and intermedia studies, the study focuses on how the memory of events becomes confused with how the events are portrayed. The dissertation examines the role of the media that give form, material character, instrumentality and a kind of institutional recognition to depictions of the Algerian War and people’s memories of it, thereby helping to form and model recollections by making them perceptible and intelligible. How do the corpuses of Algerian War memories (of harkis, Algerian immigrants and pieds-noirs) respectively relate to the past from the standpoint of the present? Mediated by cultural vehicles like cinema and literature, these memories are described through pluralistic “enunciation sites” that nonetheless share common spaces (topographies) and eras (chronographies). The memories appropriate the faculty of memory in a similar fashion – through the narrative scenes of trials, encounters or return portrayed in literature or films. The first part of the study explores the relationship between history and memory, now that the conceptions and practices of those concerned are clashing with a new “remembering economy” in which groups who remember the Algerian War are demanding that their history be recognized and taught. Based on a chronological framework of the various periods in producing this enormous body of work over the past 50 years as well as on a critical review of international research on this war, the study takes due note of post-colonial conflict in France and considers certain writers as memory-bearers of the Algerian War and even exemplary post-colonial witnesses of it. The second, third and fourth parts of the dissertation deconstruct the heritage-forming narratives of three writers in particular and relate their narratives to other works in very different genres and media. The three writers, who constitute the primary corpus for this study, are Zahia Rahmani (Moze), Mehdi Charef (his tryptich of À-bras-le-cœur, 1962, le dernier voyage and Cartouches gauloises) and Tony Gatlif (Exils). This basic corpus is supplemented by a number of other works that together constitute a vaguely outlined series that provides perspective on both the commonalities and significant differences of each of the writers (Rahmani, Charef or Gatlif) in relation to the series. In conclusion, a third body of works is adduced as an often paradoxical contrast to the primary series.

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Master Thesis "Criteria for selection of news from the European Parliament into the Czech media" deals with the factors that affect the classification of reports about events in the European Parliament in the Czech print and online journals as well as defining characteristics that are typical for these reports. In the theoretical part presents political and media communication and logic and goes to the main concepts of news production, such as agenda setting, framing and priming. This Thesis is also about media and intermedia agenda and presents the information already known concerning the relationship between the European Union and the media. Research is a part of practical section. It's aim is to map by content analysis the characteristics typical for reporting about the European Parliament as a specific institution of the European Union. Further aim is the verification of assumptions based on previously conducted research abroad focusing on the theme of the EU. Trying to better determine what characters show mass media content which is to the Czech public the main source of information about European structures by large extends. The Thesis also tries to answer the question often discussed the lack of presentation of the European agenda in news media agendas, the communities of the European Union...

Requiem for Netted Fish is an intermedia composition for sixteen-voice SATB choir, harp, six dancers, slide projections, and lighting. The text, taken from the poetry of Anna Akhmatova and Carolyn Forche, presents a universal, womanly rage against human repression and destruction. The poetry finds aural interpretation in sound, and visual interpretation in movement and lighting. Poetic inspiration contributes to the integration of elements in the work, as does the impulse-exchange method of coordinating mediums, which allows the dancers control of the timing of events. The resultant interdependent relationships necessary for performance contribute to the integration of the composition. The duration of this intermedia work is approximately fifteen minutes.

Esta tesis toma el enfoque del análisis hermenéutico de la técnica y de la experiencia estética del arte de acción desde el origen de la cultura tecnocientífica occidental, pues nos interesa hallar las respuestas que nos guíen hacia el entendimiento de ¿Qué es el arte de acción? ¿Cuál es su sentido? ¿Por qué surge en el tiempo postmoderno del arte contemporáneo? Y así, al final, alcanzar el código del sentido lógico que mueve las múltiples y diversas modalidades de la sintaxis del arte de acción. Cuando, desde la presencia del cuerpo y de la acción humana, se establecen nuevas técnicas de creación y nuevos medios de producción de la escultura en la perspectiva de tiempo real de la realidad cotidiana; cuando, el performer utiliza y maneja, con la sensibilidad e intuición de su saber hacer técnico, conceptos que son herramientas creativas; cuando, en el juego estético del collage de sus acciones, produce una sintaxis abierta, indeterminada y difusa, provocando múltiples significados en la imaginación del espectador. La lógica difusa resulta ser una estructura de la formalización del pensamiento contemporáneo, correlativa y útil para entender, describir y plantear el espacio creativo del arte de acción, procurando un modo más adecuado que el método racionalista. Efectivamente, el sistema de la lógica difusa permite analizar, identificar e integrar en su estructura formal, entre otras cosas, la complejidad del proceso creativo que desde la subjetividad, la sensibilidad y la intuición, desarrolla el momentum del arte de acción. Síntesis en la que, en este sentido, queda al fin validado el saber hacer técnico del arte de acción como parte de la ciencia, que describe una parte esencial de la naturaleza del arte relacionada con el conocimiento intuitivo, sensible y poético de las potencias del ingenio del artista. / Olmos Ortega, N. (2012). La lógica difusa en el espacio creativo del arte de acción [Tesis doctoral]. Editorial Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/15914 / Palancia

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