The main topic of the work is water. Intermedial installation consisting of objects and video.

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

The content of this diploma thesis is an analysis and a comparative study of the story of Tristan and Isolde. It depicts its literary development from the poetic form to the prose, starting from the Medieval Age to the present day. It delineates mainly the Medieval versions of the story in general, introduced the authors and summarizes the plots of the stories. Also, the modern versions of the story are briefly introduced.

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of the paper The goal of the submitted work is to compare extensively the first hagiographical concerning the process of Christianization in the Central Europe. By paralleling these texts across the national rounds and comparing their image with the current state of the historical research the author tries to understand the role of legend in the Christianization and in particular their possible use as a source for this period. The hagiographical image of paganism, the baptism of the state units, of the ruler and the usual way of the institutional spread of the faith with regard to the image of the lower social classes in the process are all examined in the thesis. Further, attention is paid to the coherence of the Central-European area observable in the typology and the content of examined hagiography.

This diploma thesis deals with the role of biblical themes in the collection of poems The Legend of the Centuries by Victor Hugo. First chapter pursues selected aspects of the collection (humanistic values, conception of history, character and time aspects). The aim of the second chapter is to put the collection into the literary context of the concerned period (romantism, symbolism) and into the context of the author's philosophical and religious ideas. This part considers the relation among the collection, the myth and the psychoanalysis. Focus of the thesis lies in the third part that analyzes selected poems of the collection. These are classified according to the role of biblical aspects. The first type of Hugo's application of the biblical elements is represented by an opening poem of the collection "La Vision d'ou est sorti ce livre", which refers to the biblical stories, characters and themes via different poetic techniques. The second group of poems represents a direct updating of the biblical stories. The last type unifies the author's convictions with the biblical elements and recreates the so-called biblical poems. The aim of the thesis is to research this new type of myths that Victor Hugo creates throughout the biblical themes.

This diploma thesis is occupied with analysis of the keys to the maps of Landscape Atlas of the Czech Republic and the Landscape Atlas of the Slovak Republic with emphasis on their mutual comparison. This thesis based on the published general theoretical principles of cartographic production. The theoretical part concludes with a chapter that engages in the key in detail, its types, procedures, etc. Then come critical analysis and classification keys to the maps of Landscape Atlas of the CR and subsequent comparison with Landscape Atlas of the SR using objective cartographic criteria. There is observed mainly the overall clarity, completeness, graphical representation and last but not least the overall look of the keys.

This diploma thesis deals with the exploration and comparison of symbol keys used for official maps of European countries. The theoretical part deals mainly with legends and cartographic symbols as a key element of the thesis. Then an assessment of available symbol systems and comparison of map symbols used in symbol systems for the official map of the Czech Republic is made. In the conclusion there is drawn proposal for symbol system applicable to maps of all European countries.

Representation of time in cartographic works on the example of maps of historical battles Abstract This study contains an in-depth analysis of possible graphical presentation of the fourth cartographic dimension (time) and utilizes the acquired findings in prototypical animated maps of historical battles. The initial chapter reflects cartography in general, later, the area of animated maps is in focus. The first part of the text is dedicated to the connection of cartography and time. Practical means of time representation are described. Further, a recommended general pattern is specified for design and development of time legend, so that time presentation suits the nature of the depicted theme. Consecutively, this general pattern is applied to a set of pieces of cartographical work depicting (historical) battles. The tangible result of this work is an interactive cartographic animation presenting the battle of Gettysburg and preceding events. Keywords: time, cartography, temporal legend, animated map, battle

O objetivo da presente pesquisa foi investigar a função informativa da legenda fotográfica no caso do Massacre do Realengo, analisando as relações entre a linguagem verbal e a visual no jornalismo contemporâneo. Foram estudados os contextos em que a fotografia jornalística transita como discurso pelos meios de comunicação, cujos alcances estão se expandindo pelas novas tecnologias. O corpus da pesquisa contou com 39 capas das edições impressas de jornais brasileiros do dia 8/4/2011, para o estudo de caso da tragédia conhecida como Massacre do Realengo. Foram utilizadas principalmente as metodologias de análise iconográfica de Kossoy e Gervereau, comparadas à análise das unidades de informação (quem, onde, quando, o que e como) contidas nas legendas fotográficas inspiradas nas metodologias de Morin e Santos. Foi aplicado também questionário sobre legenda fotográfica, respondido pelos jornalistas das redações dos jornais estudados (redatores-chefes, editores executivos, diretores de redação ou editores de fotografia). Constatou-se que mais de 50% dos jornais publicaram as fotografias do caso com suas respectivas legendas. Ao separar cada unidade de informação, verificou-se como a função informativa em cada caso promovia o diálogo entre o sentido imagético da fotografia e o sentido lógico do texto. A outra metade das fotografias publicadas formou predominantemente narrativas que facilitaram sua entrada na instância da imagem ao vivo, conceito elaborado por Bucci. Foi, enfim, possível concluir que a legenda fotográfica como unidade visual de fácil percepção do leitor cumpriu sua função informativa de dar suporte de sentido à imagem iconográfica em diálogo com outros módulos de texto do jornal, em geral, sob as seguintes tendências: 1) algumas legendas, redigidas com base nas unidades de informação, deram suporte de sentido à imagem; 2) algumas legendas continham apenas descrição do que se via na imagem e, portanto, não deram nenhum suporte de sentido à imagem; 3) e, outras, foram escritas com informações que não se relacionaram com as imagens e deram suporte de sentido à reportagem em geral e à mensagem sensacionalista que a maioria dos jornais pretendeu transmitir. / The goal of this research was to investigate the informative function of photographic captions focused on the case of the Massacre of Realengo, analyzing the relation between verbal and visual language in contemporary journalism. The essay analyses the contexts in which journalistic photography transits as a discourse through the media, which reaches have been expanded due to the new information technologies. The corpus of this research included 39 first pages of Brazilian newspapers printed editions, dated April 8th 2011, for the study of a tragedy known as the Massacre of Realengo. Kossoy and Gervereau\'s iconographic analysis methods were the most used, and they were compared to the analysis of information units (who, where, when, what and how), contained in the captions inspired by Morin and Santos´ methods. A questionnaire about photographic caption had also been applied to newsrooms\' journalists of the analysed newspapers (editor in chief, executive editors, newsroom directors or photo editors). It was found that over 50% of the newspapers published photographs of the event with their respective captions. By separating each information unit, it was verified how the informative function in each case promoted the dialogue between the imagery sense of the photograph and the logical sense of the text. The other half of the published photographs formed mostly narratives that facilitated their entry into the instance of the live image, a concept developed by Bucci. It was finally concluded that the photographic caption, as a visual unit of easy perception for the readers, fulfilled its reporting function to support the sense of iconographic image in dialogue with other modules of the newspaper text, in general, under the following trends: 1) some captions, written based on the information units, provided support for the meaning of the image; 2) some captions contained only description of what was being seen in the image, therefore, they did not give any support for the meaning of the image; 3) and others were written with information which did not relate to the images, giving sense support to the overall report and to the sensationalist message which most newspapers intended to transmit.