Dans le contexte d’une mise en question sans cesse renouvelée des hiérarchies sociales et culturelles dans les sociétés occidentales contemporaines, dont rend compte le développement des études culturelles depuis les années 1960, la publication d’un grand nombre de réécritures romanesques de l’Iliade témoigne d’un mouvement réflexif de la littérature vis-à-vis de sa propre histoire. En observant les tensions dynamiques à l’œuvre dans la rencontre du roman et du discours épique, ce travail de thèse entend proposer une approche du champ littéraire qui ne soit pas fondée sur la division de ce dernier entre culture artistique et culture à destination du grand public, mais conçue sous l’angle d’un partage transmédiatique et transculturel. L’analyse des réécritures romanesques de l’Iliade révèle en effet une convergence des procédés et des discours de part et d’autre du « grand partage » littéraire, au service d’une réflexion commune sur le caractère problématique du canon littéraire. La confrontation des discours épique et romanesque contribue à l’élaboration d’une pensée démocratique de la société, qui repose sur la construction d’un espace narratif traversé par une pluralité de discours génériques et de références culturelles. / Challenging the social and cultural hierarchies which are still authoritative in our contemporary Western societies has been a long-lasting concern of Cultural Studies ever since their development in the 1960s. As evidenced by the great amount of novels set in the fictional world of the Trojan War, which prove themselves to be genuine rewritings of the Iliad narrative, the Western canon and its relevance are equally scrutinized by contemporary novelists. By studying the dynamic conflicts which underlie the encounter between epic discourse and the genre of the novel, this dissertation intends to dispute the concept of a “Great Divide” between artistic and popular culture, and to prove that literature is a transcultural medium. A close study of a few contemporary novelisations of the Iliad brings to light existing shared narrative techniques and discourses undermining the legitimacy of the Western canon. Through the remodeling of the epic genre and its conventions, the novel assumes a democratic approach to society which stems from a narrative architecture hinging on a multiplicity of generic discourses and cultural references.

This master thesis deals with feminist literary analysis of the works of writer Michal Viewegh, specifically his two prose novels Román pro ženy and Román pro muže using a method called resistant reading with a critical gender analysis and subsequent final comparison. This thesis consists of two parts, from the theoretical - methodological, which outlines the theoretical basis for the next analytical part. The key concepts are in the first part the researches of literary critics on Michal Viewegh, theories of Judith Fetterley, Elaine Showalter and Janice A. Radway. Furthermore, there are the theoretical basis of gender, and how gender stereotypes are constructed. This section is mainly based on the theorists Blanka Knotková - Čapková, Annis Pratt, Claire M. Renzetti and Daniel J. Curran and founder of analytical psychology Carl Gustav Jung. In describing femininity and masculinity are central lines theories of Naomi Wolf, Simone de Beauvoir and Pierre Bourdieu, Michael Kimmel and Robert Bly. The analytical part is the critical uncovering of gender stereotypes and power discourse. The conclusion is made by the final critical comparison of both novels. Key words: resistant reading, literary canon, gender stereotypes, masculinity, femininity, beauty myth, male domination, power

This thesis analyses reading lists composed by secondary schools in school year 2016/2017 for the purposes of common general part of maturity exam - oral exam from Czech language and literature. The thesis creates basic material for exploring the form and development of state maturity exam. Reading lists are put into context with literary theoretic conception of canon as the thesis touches upon literary science, pedagogy and didactics. The thesis proceeds from general analysis of literary canon to functions and forms of canon (school canon and maturity exam canon). Then it concentrates on documents, which were available to students taking the maturity exam. The thesis carries out research on collection of 461 secondary schools that offer studies completed by maturity exam. It is followed by presentation of obtained data, verification of its correspondence to binding criteria defined in Katalog požadavků zkoušek společné části maturitní zkoušky (document specifying requirements for common general part of maturity exam) and comparison of obtained data with available sources from school and literary background. The conclusions reveal the content of given part of maturity exam and are set into context of current knowledge of academic and professional society. Keywords Reading lists, maturity exam,...

O trabalho objetiva uma análise da presença do grotesco na história da literatura portuguesa. A abordagem é feita a partir das teorias de W. Kayser, sobre o grotesco romântico e Mikhail Bakhtin sobre o realismo grotesco, ou a carnavalização. Três aspectos centrais do grotesco na literatura foram analisados: a linguagem grotesca, que se apodera do discurso canônico e o desconstrói das maneiras mais diversas possíveis; o corpo grotesco, que desconstrói, reconstrói e até pulveriza o corpo, seja através da paródia ou do sinistro; e o grotesco ligado ao estranho, que corrobora uma tendência moderna e contemporânea de trabalhar o abismal, sem deixar de se manifestar nos períodos anteriores. Dada a impossibilidade de analisar um espectro maior de escritores, os escolhidos formam uma parte relevante do cânone poético: as cantigas de maldizer, os satíricos barrocos, Bocage, Camilo Pessanha, Mário de Sá-Carneiro e Al Berto representam as produções grotescas de suas épocas e participam, em quase todos os casos, do cânone literário português. Por fim, após as análises dos três aspectos do grotesco em cada autor, estabeleceram-se a relação desses autores com o cânone da poesia portuguesa e a relação do grotesco com a tradição. / This work aims at analyzing the presence of the grotesque in the history of Portuguese literature. In the light of W. Kaysers theories on the romantic grotesque and Mikhail Bakhtin\'s concept of grotesque realism or carnivalization, our analysis focuses on three central aspects: the grotesque language, which takes hold of the canonical discourse in order to deconstruct it in a variety of different ways; the representation of the grotesque body, which deconstructs, reconstructs and even pulverizes the body, either through parody or the sinister; and, finally, the grotesque connected to the oddness, attesting a more modern and contemporary trend of exploring the abyss, despite the fact of its manifest also in earlier periods. Given the impossibility of examining a wider range of writers, the selection included constitutes a relevant piece of the poetic canon: the cantigas de maldizer, the satirical baroque, Bocage, Camilo Pessanha, Mário de Sá-Carneiro and Al Berto represent the grotesque productions of their time and participate, in almost all cases, of the Portuguese literary canon. Finally, after the consideration of the three aspects in each author in isolation, we examine the relationship of these authors to the canon of Portuguese poetry, and also the relationship between the grotesque and tradition.

This thesis analyses literary-historical evaluations of works by Teréza Novaková included in synthetic works, specialized monographs and also secondary paratexts, such as book epilogues. The aim is to describe the dynamics of forming the position of works by Teréza Novaková in the canon of the nineteenth-century Czech literature, to which the literary scientific production contributes significantly.

O trabalho objetiva uma análise da presença do grotesco na história da literatura portuguesa. A abordagem é feita a partir das teorias de W. Kayser, sobre o grotesco romântico e Mikhail Bakhtin sobre o realismo grotesco, ou a carnavalização. Três aspectos centrais do grotesco na literatura foram analisados: a linguagem grotesca, que se apodera do discurso canônico e o desconstrói das maneiras mais diversas possíveis; o corpo grotesco, que desconstrói, reconstrói e até pulveriza o corpo, seja através da paródia ou do sinistro; e o grotesco ligado ao estranho, que corrobora uma tendência moderna e contemporânea de trabalhar o abismal, sem deixar de se manifestar nos períodos anteriores. Dada a impossibilidade de analisar um espectro maior de escritores, os escolhidos formam uma parte relevante do cânone poético: as cantigas de maldizer, os satíricos barrocos, Bocage, Camilo Pessanha, Mário de Sá-Carneiro e Al Berto representam as produções grotescas de suas épocas e participam, em quase todos os casos, do cânone literário português. Por fim, após as análises dos três aspectos do grotesco em cada autor, estabeleceram-se a relação desses autores com o cânone da poesia portuguesa e a relação do grotesco com a tradição. / This work aims at analyzing the presence of the grotesque in the history of Portuguese literature. In the light of W. Kaysers theories on the romantic grotesque and Mikhail Bakhtin\'s concept of grotesque realism or carnivalization, our analysis focuses on three central aspects: the grotesque language, which takes hold of the canonical discourse in order to deconstruct it in a variety of different ways; the representation of the grotesque body, which deconstructs, reconstructs and even pulverizes the body, either through parody or the sinister; and, finally, the grotesque connected to the oddness, attesting a more modern and contemporary trend of exploring the abyss, despite the fact of its manifest also in earlier periods. Given the impossibility of examining a wider range of writers, the selection included constitutes a relevant piece of the poetic canon: the cantigas de maldizer, the satirical baroque, Bocage, Camilo Pessanha, Mário de Sá-Carneiro and Al Berto represent the grotesque productions of their time and participate, in almost all cases, of the Portuguese literary canon. Finally, after the consideration of the three aspects in each author in isolation, we examine the relationship of these authors to the canon of Portuguese poetry, and also the relationship between the grotesque and tradition.

This thesis strives to understand the underlying narrative behind the current distribution of the public funding between the writers of the Spanish language and writers of native languages in Mexico, as well as contextualise the policies of the Mexican State that often materialise colonial dynamics. The situation of native women writers is emphasised as they are forced to tackle multiple disadvantages based on unjust social structures. At the same time, the concept of national and world literary canon plays an exclusionary role when it comes to inclusion of diverse literary oeuvres that represent different versions of the world as the one traditionally carried by European languages and their literary works.

Ce mémoire a pour ambition de comprendre comment et en quel sens l’idée de « classique » est repensée au XIXe siècle. Alors que l’Ancien Régime intégrait le classique dans un système de représentation relativement cohérent, au sein duquel sa fonction, son rôle et sa pertinence étaient clairement établis, la notion devient brusquement problématique aux lendemains de la Révolution. La France révolutionnée est marquée par une expérience du temps inédite et une nouvelle relation à sa mémoire culturelle qui font éprouver aux lettrés la nécessité de redéfinir leurs rapports au classique. Après avoir clarifié le sens général de la notion avant la Révolution, l’étude se penche sur trois grands « moments » de la dynamique de redéfinition du classique au XIXe siècle. Il s’agit d’abord de voir dans quelle mesure l’historicisation du passé dans les premières années du siècle conduit les lettrés à refuser la fonction de modèle à imiter traditionnellement associée au classique, et à l’envisager désormais en vertu d’une rupture entre le présent et l’« avant-soi ». La partie suivante s’attache aux reconfigurations du canon littéraire par la lancée romantique, et montre comment ces métamorphoses de l’horizon culturel amènent les lettrés à déterminer de nouvelles modalités d’appropriation du classique. Une dernière partie tente de voir de quelle manière la pertinence et la portée de la notion sont révisées une fois de plus dans le contexte de l’« institutionnalisation » de la distance critique entraînée par la scientifisation des études littéraires dans le dernier tiers du XIXe siècle. Inspiré à la fois par l’histoire des idées et l’histoire culturelle, ce mémoire se propose de saisir son objet dans une perspective de longue durée. Outre un large corpus secondaire délibérément éclectique, cinq auteurs sont interrogés plus spécifiquement : Ballanche, Stendhal, Sainte-Beuve, Renan, Lanson. / This master’s thesis aims to understand how and in what sense the idea of "classic" was rethought throughout the 19th century. During the historical period of Old Regime in France, the classic was incorporated into a relatively coherent system of representation, within which its function, role and relevance were clearly established. However, the notion suddenly became problematic in the aftermath of the French Revolution. Revolutionized France was marked by an unprecedented experience of time and a new relation to its cultural memory which made literati feel the need to redefine their relation to the classic. After clarifying the general meaning of the concept before the Revolution, the study examines three major "moments" in the dynamics of redefining the classic in the 19th century. First, the analysis intends to determine the extent to which the historicization of the past, in the first years of the century, led the literati to refuse the classic its traditional function of a model to imitate and instead, to consider it in the perspective of a rupture between the present and the past. The following part explores the reconfigurations of the literary canon by the romantic movement and shows how these metamorphoses of the cultural horizon led the literati to determine new modalities of appropriation of the classic. The final part attempts to see how the relevance and scope of the notion are revised in the context of the "institutionalization" of critical distance brought about by the scientification of literary studies in the last third of the 19th century. Inspired by both intellectual history and cultural history, this dissertation sets out to grasp its subject matter from a long-term perspective. In addition to a large, deliberately eclectic secondary corpus, five authors are questioned more specifically: Ballanche, Stendhal, Sainte-Beuve, Renan, Lanson.

La construcción y divulgación de un canon literario, sea éste en el contexto de las literaturas nacionales o de la literatura universal, provoca hasta hoy fuertes debates ya que representa algo elitista, lo más eximio de la literatura de una cultura como así también la inmortalidad de los autores. Todo esto constituye a su vez el prestigio de una país como nación cultural.:Observaciones prologómenas. - Borges y sus estrategias literarias. - Borges y el ANTi-canon: re-lecturas y re-escrituras infinitas

Author's name: Tomáš Palát School: Charles University in Prague, Faculty of Arts Institute of Linguistics and Finno-Ugric Studies Nám. Jana Palacha 2, 116 38 Praha 1 Program: Finnish language Title: The picture of common people in selected writings of Finnish canon Consultant: Mgr. Jan Dlask, Ph.D. Number of pages: 79 + attachments Number of attachments: 1 Year: 2012 Key words: Runeberg, Kianto, common people, rural people, Finnish literary canon, cottager, The tales of ensign Stål, Red line, death, dying, nature, bravery, heroism, patriotism, nationalism, clergy, religion This thesis aims to analyze a picture of common people in two separate well-known Finnish writings. First of them is The tales of ensign Stål from Johan Ludvig Runeberg and second is Red line from Ilmari Kianto. Both works were created in a different time periods. The Finnish society in 19th and in the beginning of 20th century was mostly comprised from relatively poor rural people who typically worked in agriculture and describing life of those people was in the same time period very common topic in Finnish literature. In this thesis the picture of common people is being studied through five main topics. How the common people see dying and death; their relationship towards nature; if they are depicted as brave and heroic or...