This master thesis deals with the topic of the relationship between man and technology, which is represented by cyborg characters in visual culture. The aim is to create a stereotype of individual cyborg characters from selected cyber-punk works, on the basis of which I can reflect the vision and ideas of the relationship between the organic and technical in the future world. This work is divided into four chapters - the first chapter focuses on cyber-punk as a sub-genre of sci-fi, in the second I define the cyborg character and the postmodern theoretical background, which are related to the cyborg, in the third chapter I present the theoretical basis for the analysis of characters and specify methodological procedures, in the final chapter I analyze the individual works.

The thesis deals with representation of cyborgs in advertising on mobile phones from Apple and Samsung. The aim is to show how this theoretical concept - a cyborg as human in intimate relationship with technology - is depicted in advertising. The concept of the work deals with the origin of the term cyborg, its development and its display in art, literature, movies and in works in field of humanities. When examining cyborgs, we use notes from philosophers and science historians, D. Haraway, K. Hayles, A. Clark, W. Mitchell. Their concept of the cyborg is more about mental rather than physical connection to the machine. Here, the mobile phone is used as an extension of people's skills, mental and physical, even without having the device implanted into their body. It corresponds to the idea of human as a cyborg, because the phone as a technology and its user creates a single being, which is now part human part machine. For theoretical base, papers on visual communication, advertising and semiotics were used. This thesis intends to defend the idea of humans as cyborgs and to show how advertisements display relationship between humans and technology, and how new positions of power are created in this ideological environment.

This thesis offers a critical reflection of posthumanism as seen through the perspectives of performance art. The first part of the text discusses the onset and development of posthumanism as a philosophical and cultural movement focused on the gradual convergence of the human and technology. The following second part then presents a reflection of thus conceptualized posthumanism in performance art. Posthumanism is conceived as a movement on the border between serious scientific discourse and fiction: Based on the mathematical theory of communication, as well as the legacy of cyberpunk dystopia, posthumanism offers a vision of a transition from human to the so called posthuman. The posthuman is seen as an offspring of technoculture, the synthesis of living and artificial, a loosely evolving entity without fixed ontological boundaries. The existence of the posthuman lies beyond dualistic categorization, has a processual character and refuses any essentialist approach. It is an attractive subject of science-fiction stories and a sexy postmodern slogan, but it is also a symbol of a transgression of actual predestinating categories such as race, gender or social status. More than anything else, posthuman is primarily a metaphor, adopted by a variety of narratives focused on the potential aspects of...

Diploma work New Flesh? The Limits of the Body in the Films by David Cronenberg deals with the human body as one of the main motives in the filmography of the Canadian director David Cronenberg. Its mission is to implicate new approaches to the human body in the theories of postmodern philosophy, philosophy of media and posthuman therories, which fundamentally transform the principles of previously applied concept of body and mind dualism and point out that media and new technologies has a significant influence on our perception of a human body. New approaches to the human flesh and fleshliness are applied in the final part of this work through the interpretation of selected movies by David Cronenberg - Videodrome and eXistenZ. The main point of this work is to show the complete change of conception and perception of the human flesh, which is summary reviewing here as a "new flesh". Key words body - controlled body - body extension - reality - hyperreality - media - new technologies - cyborg - post-human - body horror - new flesh

This thesis will be focused on the analysis of the basic types of the female artificial movie characters - the beings connecting "femininity" (humanity) and technology. These characters holds the external female sexual signs or the characteristics stereotypically perceived as female (e.g. cyborg/cyborg woman, android woman, robotess). My issue will be examinated from the perspective of postmodern approach to the process of shaping their bodies and identities in relation to the narrative movie structure. The characters will be divided into categories based on their dominating physical and "social" function in the story. The subsequent identification and interpretation of physicality, identity and relations with other characters of the narrative will be based not only on principles of semiotic analysis, but will take into account especially the approach of postmodernism. The main theoretical basis for this paper will be the theory of poststructuralism and so called post theories - a theory of posthumanism, transhumanism and cyberfeminism.

The thesis focuses on the analysis of the basic types of the film characters portraying artificial women: creatures who combine "femininity" (humanity) and technology, and who show female sexual characteristics or features that are stereotypically perceived as female-like (e.g. female cyborgs, female androids, female robots). The characters are analyzed and approached from the perspective of postmodern philosophy and post-theory studies; the forming of their body and identity is analyzed on the account of the narrative. The aim of the thesis is to explore whether the film representations of female cyborgs are similar to real cyborgs in the sense that they bring liberalization from the point if view of posthumanism and cyberfeminism, or whether they can only be perceived as the prime form of the Foucaltian body-as-machine, i.e. perfectly controllable precise technicist bodies which are created by the current power dispositions. The characters are divided into four categories, based on their predominant physical and "social" functions: a sexbot, a domesticated artificial woman, a destructive artificial woman and an emotional/intelligent artificial woman. The following identification and interpretation of the body, identity, relationships and the narrative structures are based on the theoretical...

The thesis focuses on the analysis of the basic types of the film characters portraying artificial women: creatures who combine "femininity" (humanity) and technology, and who show female sexual characteristics or features that are stereotypically perceived as female-like (e.g. female cyborgs, female androids, female robots). The characters are analyzed and approached from the perspective of postmodern philosophy and post-theory studies; the forming of their body and identity is analyzed on the account of the narrative. The aim of the thesis is to explore whether the film representations of female cyborgs are similar to real cyborgs in the sense that they bring liberalization from the point if view of posthumanism and cyberfeminism, or whether they can only be perceived as the prime form of the Foucaltian body-as-machine, i.e. perfectly controllable precise technicist bodies which are created by the current power dispositions. The characters are divided into four categories, based on their predominant physical and "social" functions: a sexbot, a domesticated artificial woman, a destructive artificial woman and an emotional/intelligent artificial woman. The following identification and interpretation of the body, identity, relationships and the narrative structures are based on the theoretical...