The beginning of the paper deals with the definition of postmodernism in the context of English literature of the 2nd half of the 20th century. It mentions theoretical postulates of postmodern literature (Eco, Barthes, deconstruction of the text). The paper focuses on the concept of intertextuality and narrative techniques in selected novels of John Fowles (The French Lieutenant´s Woman, Mantissa, and The Magus). The essence of the paper involves a literary analysis of these novels with the focus on the function and an importance of presence/ absence of the author, elements of intertextuality, an unreliable narrator, a fragmentation of narrative, a function of narration in the story, a role of metafiction and metanovel. In conclusion, the paper mentions the contribution of John Fowles to the context of English postmodern literature.

Summary: The aim of this thesis was to classify the intertextual relationship entered by fan fictions. A fan fiction is a modern literary form, which developed mainly in the second half of the 20th century and has been experiencing real boom since the beginning of the Internet era. Intertextuality is a basic condition for the existence of fan fictions, as these are derivatives of other texts (usually certain popular culture products). Fan fiction is created in fandom as a product of fan activity. These texts are unauthorized, they don't bring profit to their creators and can have a subversive character. Besides the basic intertextual relation to canon, fan fictions enter into a variety of other intertextual relationships. Among these are relationships to the cultural canon similar to those formed by traditional literature. Fan fiction borrows motives and plotlines from fairytales, myths, the Bible, poetry and songs, fiction and movies. On the other hand, fan fiction also enters into such intertextual relationships that are specific for this literary genre. These are so-called crossovers - mixing of several fictional worlds, and relationships to other works of fan fiction - parodies, continuing other authors' stories, replies to so-called challenges and prompts (ideas for stories).

The present diploma work describes the early development of digital narrative on the territory of the former Czechoslovakia in the 80's and at the beginning of the 90's of the 20th century. In that period, the text adventure game production and use were influenced by the socio-cultural and economic environment in the east-European Communist bloc, and by its following transformation into a democratic system with market economy. That brought about unique approaches to the computer game development and playing, and it also led to a formation of a cultural phenomenon of digital text games connected with the context of that time. The text deals with a brief historic development of digital game playing in the world, and a general situation in the information technologies on the territory of the former Czechoslovakia including direct participants' selected opinions. Within the framework of the present work, basic theoretical approaches have been presented, examining the adventure games genre, and especially their narrative part and the principles of intertextuality. The latter have been described using the examples of the respective Czechoslovak game production.

The diploma thesis will deal with film realizations of works by Bohumil Hrabal. Specifically, they will be films that were created until 1969. These include: Fádní odpoledne, Perličky na dně, Ostře sledované vlaky, Sběrné surovosti a Skřivánci na niti. At the same time, verbal and film versions of individual texts will be compared. In addition, the work will become familiar with the film Private Storm by Vladimir Paral's book. We will focus on comparing Hrabal and Páral's poetics. Part of the work will also include information about the 60 s in the film, theater and literature. It will then contain information on the position of Bohumil Hrabal in the so-called gray zone. From a didactic point of view, how Hrabal and the 1960s are taught will be dealt with and whether the film can be used to teach literature and how to get pupils to read.

The aim of this thesis is to examine the poetics of postmodernism and explore to what extend were the dystopian novels London Fields (1989) by Martin Amis and England, England (1998) by Julian Barnes influenced by this concept. The first part of the work deals with the biographies of the authors, dystopian features of both books and the theory of postmodernism. The second part focuses on practical analyses of both novels. In the second part, the thesis theoretically introduces various concepts of postmodernism and then practically illustrates them on the works.

The aim of the thesis called Thematic constants of Pirandello's literary production through intertextuality is to illustrate inner thematic and mental interconnection of Pirandello's writing with intertextuality quotations which can be found in whole production of Luigi Pirandello across all genres to which he devoted. The main text will be the essay On humor, particularly the second part, wherein the author declares his poetics. The dissertation will observe the inception of his poetics in the texts preceding the essay (e.g. The Late Mattia Pascal) but also developing of the essay in texts created in period between two versions of On humor (e.g. So It Is, If You Think So), and also texts which were written after 1921 (Six Characters In Search of an Author, Henry IV, One, No one and One Hundred Thousand). In this work, we will focus on thematic constants which come from Pirandello's poetics of humour. I will also pay attention to exceeding or demolishing of borders between the genres: essay-prose-drama and also shifts as a result of transition (rewrite) from one genre to another one (e.g. short story Leonora, addio! → drama Tonight We Improvise; novel The Notebooks of Sarafino Gubbio, Cinematograph Operator → drama Each In His Own Way, and the like).

The diploma thesis "The linguistic analysis of headlines in daily papers Hospodářské noviny and Blesk" deals with the analysis of headlines in articles that include the commentary genre, specifically in Hospodářské noviny and Blesk. In this work, there is analyzed the form of headlines, how they are set up, and how they relate to the content of the message. The thesis consists of theoretical and analytical parts. The theoretical parts describe the analyzed material, the method of linguistic analysis is described there and also the characteristic of headlines. It is followed by analysis which is divided into two parts. In the first part, there is observed the difference of using the types of sentences and also the kinds of modality in the headlines of observed daily papers and the second part of analysis studies the general headlines and the occurrence of metaphorical expression. It analyses occurring cases of metaphor, metonymy, personification and paraphrase and compares, if there are some differences between the daily papers in observing phenomena. The premise is that the type of tabloid newspaper has a higher proportion of headlines including the metaphorical expression. There are analyzed also 10 year-old headlines of these daily papers, for the comparison, if the daily papers differ only among...

The thesis deals with intertextuality in Karel Čapek's drama R.U.R. and Dan Wells' trilogy Partials Sequence. The aim of the thesis is the interpretation and subsequent comparison of the above-mentioned works and finding mutual resemblances mostly in the main motives, but also in genre characteristics, environment, story sequence and other topics reflected in both works. Since the topic of the thesis already assumes the existence of intertextual relationship between the two works, therefore the aim of the work is not proving its existence but we are trying to determine how far these similarities goes and whether they are just random intertextual similarities or whether Dan Wells, although he does not admit it publicly, necessarily had to be inspired directly by Čapek's drama. Keywords: intertextuality, Gerard Genette, Roland Barthes, Karel Čapek, R.U.R., Dan Wells, Partials Sequence, robot.

IN ENGLISH The thesis deals with intertext and architext relations in some works of T. Pratchett. It tries to introduce some variants of intertextual referencing, their possibilities and above all to map the use of this literary phenomenon together with its interpretation. The aim of this work is to create at least an approximate map of links with their description. The method of work is primarily a thorough study of novels in translation and their originals. The introductory part of the thesis deals with the theoretical basis, the central part of the work is a summary of individual passages containing an intertext or architectext reference and their analysis.

Vít Kazmar - Juan Filloy: A myth, an author, a work The work Juan Filloy: A myth, an author, a work focuses on the neglected Argentinian writer Juan Filloy (1894 - 2000) and its aim is to serve as an introduction to his work that has received little attention so far. Its first part is dedicated to the analysis of the myth that has spread around the author and completely eclipsed his work. It consists mainly of anecdotal features of his personality and it touches his work only superficially. However, the status of an unknown writer is determined in large part by Filloy's own decision to live in a small town and publish the books himself, as well as by his demanding style, wide vocabulary and often very provocative language and themes. However, it is possible to find some key attributes of his aesthetics in the myth about the author: the palindromes mean a turning toward language as well as the strict and disciplined approach; the wide vocabulary points to the desire of precision of expression etc. The majority of the work then concentrates on the analysis of the author's language and on the interpretation of the novel Op Oloop. The language of Juan Filloy is characteristic by contrast, clarity and order. The central stylistic tool is parallelism; the structure of sentences often becomes a space for...