This thesis deals with the stylization procedures used in the belletristic and journalistic texts written by Ladislav Fuks. The aim of the thesis is to define and demonstrate the basic distinctive methods and procedures such as repetition, intertextuality, ambiguity and mystification, ambivalence and autostylization. This thesis follows the methods mentioned above in characteristic exposures and transformations and examines the diversity of functions these methods fulfil in several texts of different nature. Furthermore, this thesis occupies with the relationship between these methods and author`s artistic stylization as well as to what extent he can be cogitated. This thesis is directed to defining the uniqueness of Fuks`s writing method which offers a variety of reading approaches. It allows to look at Fuks`s writing from different angles and observe the intensity of author`s personal attitudes projecting into his texts. Keywords Ladislav Fuks, stylization, stylization procedures, deliberateness, unpremeditation, repetition, intertextuality, ambiguity and mystification, ambivalence, autostylization, variation(s), memory

This thesis deals with the dramatic work of Jara Cimrman, which is based on the cooperation of two authors named Zdenek Sverak and Ladislav Smoljak. In the introductory chapters we analyze the genesis of mystifying legend named Jara Cimrman, then his way from the radio show to the theatre and also his own cult, which all leads to the general poetics of the Theatre of Jara Cimrman. We can find some related attributes in this theatre, like specific acting, phenomenon of their workshops and imaginative humour. All of these attributes leads to the definition of repetitive stereotypes in the plays of this theatre. In this thesis we also try to define the genre of the plays, also their subject matter, topics and their motives. The aim of this thesis is to describe these motives and also its gradual progress as in the particular dramas, so in the social atmosphere of those days.

The diploma thesis called Jára Cimrman as a transmedial phenomenon - canon and participation focuses on the fictional character of Jára Cimrman from several points of view. Jára Cimrman is briefly introduced in the thesis and the founding of Jára Cimrman Theatre (Divadlo Járy Cimrmana) and the founding of Cimrman Salon (Salón Cimrman) are also described. The information about a radio programme called Vinárna U Pavouka where the name of Jára Cimrman first appeared are also involved. Identifying the canon of Cimrman presents an important element of the first part of the thesis. The following chapters focus on mystification and fictional world. The practical part of the thesis then deals particularly with fan participation and other user-generated content. The thesis briefly introduces and then uses various media and literary theories. These are especially transmediality theory, fictional worlds theory and mystification. The associated aim of this thesis is to describe composing of Cimrman's fictional world based on the canon with the help of literary theories. The canon or rather a corpus of the chosen texts is subsequently compared to the excerpts (but not only excerpts) of fan participation and produsage. The outcome of the thesis is also a partial mapping of Cimrman's marks in the Czech Republic...

1 Abstract In my diploma thesis I deal with the concept of the Jára Cimrman Theater. Using description and explanation, I examine the influence of mystification, fictional worlds, intertextuality, and special effects of the theater comicality up on its success and unwavering popularity among the audience. For this purpose, I work with audiovisual recordings and the book release of all theater plays by the Jára Cimrman Theater. In terms of theoretical research, I use bibliographic resources, among which are texts, articles, studies and publications by Lubomír Doležel, Umberto Eco and other authors whose works are relevant to the topic of my diploma thesis. In the diploma thesis I present an interpretation of theoretical knowledge, opinions, comments and reflections related to the chosen topic. The topic is a subject of broad professional discourse and is theoretically so complex that this diploma thesis cannot contain all the issues and contexts that apply to it. In this regard, I have tried to outline at least some of them and on their basis to elaborate the theme of this diploma thesis.

Univerzita Karlova v Praze Pedagogická fakulta Mystifikace ve výtvarné výchově/Skutečnost a fikce Anna Daňhelková Katedra výtvarné výchovy Pedf UK Vedoucí diplomové práce: doc. ak. mal. Ivan Špirk Studijní program: Učitelství pro základní školy, I. ST 2019 ABSTRACT: The diploma thesis is focused on mystification in literary and visual arts, and on the use of this topic in art education at primary school. At the same time, the thesis deals with the concept of art and also with interdisciplinary relations. The aim of the thesis is to create an art work composed of fictitious artefacts that make a record of a foreign trip. Furthermore, the work of art is linked to the lessons of art education. To achieve this goal, it is necessary to introduce a theory that examines the subject of mystification and the diary. Furthermore, it is necessary to create artefacts and test the art lessons in practice. The contribution of the thesis is the creation of artistic work, which can be used within the motivational part of individual art lessons and thus to link the areas of education. The thesis is divided into three parts. First, the theoretical part which explains the concept of mystification and introduces authors related to this topic. It also deals with the conceptual art and its influences on the further development of...

<p>Проза Радована Белог Марковића није фантастична у<br />целини, већ садржи елементе фантастике. Типови<br />фантастике у њој су разноврсни. Типологија фантастике<br />у прози овога писца изведена је из његовог дела<br />индуктивном методом и унеколико се заснива на даљој<br />и ближој литерарној традицији, али и на закључцима до<br />којих смо дошли и на основу којих су изведени и други<br />типови фантастике у делу овога писца.<br />Типологија фантастике у прози Радована Белог<br />Марковића<br />Ф А Н Т А С Т И К А<br />ЛИРСКА, ЈЕЗИЧКА,<br />ДЕЛИРИЧНА<br />са елементима ониричког,<br />са елементима ониричког и сакралног<br />Демитологизована<br />Митолошка и фолклорна<br />Десакрализована<br />Приповедног простора и времена<br />Двојника<br />Меланхолије и досаде<br />Предмета<br />Природе<br />Смрти<br />Мнимих бића<br />Jединственост Радована Белог Марковића у савременој<br />српској књижевности огледа се у начину<br />структурирања дела, његовим формалним одликама,<br />као и у бројним и разноврсним начинима<br />мистификације приповеданог, у лиризацији прозног<br />текста и барокности језика, што су углавном и његови<br />највећи доприноси књижевности којој припада.</p> / <p>Proza Radovana Belog Markovića nije fantastična u<br />celini, već sadrži elemente fantastike. Tipovi<br />fantastike u njoj su raznovrsni. Tipologija fantastike<br />u prozi ovoga pisca izvedena je iz njegovog dela<br />induktivnom metodom i unekoliko se zasniva na daljoj<br />i bližoj literarnoj tradiciji, ali i na zaključcima do<br />kojih smo došli i na osnovu kojih su izvedeni i drugi<br />tipovi fantastike u delu ovoga pisca.<br />Tipologija fantastike u prozi Radovana Belog<br />Markovića<br />F A N T A S T I K A<br />LIRSKA, JEZIČKA,<br />DELIRIČNA<br />sa elementima oniričkog,<br />sa elementima oniričkog i sakralnog<br />Demitologizovana<br />Mitološka i folklorna<br />Desakralizovana<br />Pripovednog prostora i vremena<br />Dvojnika<br />Melanholije i dosade<br />Predmeta<br />Prirode<br />Smrti<br />Mnimih bića<br />Jedinstvenost Radovana Belog Markovića u savremenoj<br />srpskoj književnosti ogleda se u načinu<br />strukturiranja dela, njegovim formalnim odlikama,<br />kao i u brojnim i raznovrsnim načinima<br />mistifikacije pripovedanog, u lirizaciji proznog<br />teksta i baroknosti jezika, što su uglavnom i njegovi<br />najveći doprinosi književnosti kojoj pripada.</p> / <p>Тhe prose of Radovan Beli Marković is not fantastic as a<br />whole, but contains elements of fiction. Tipes of<br />fantasticism in it are diverse. The typology of fantasticism<br />in prose of this writer is derived from his work using the<br />inductive method. This typology is based on a distant and<br />recent literary tradition, but also on conclusions reached<br />by the author of this dissertation, on the basis of which<br />other types of fiction were derived in the writing of this<br />author.<br />Typology of Fantasticism in prose of Radovan Beli<br />Marković<br />F А N Т А S Т I C I S M<br />Lyric, linguistic<br />Delirious<br />- with elements of oneiric<br />- with elements of oneiric and sacred<br />Demythologized<br />Mythological and folklore<br />Desanctified<br />Narrative space and time counterpart<br />Melancholy and boredom<br />Objects<br />Nature<br />Death<br />Imaginary creatures<br />The uniqueness of Radovan Beli Markovic&#39;s writing in<br />contemporary Serbian literature is reflected in the way of<br />structuring his writing, its formal qualities, as well as in<br />numerous and diverse ways of mystification of the<br />narration, in making his prose lyrical and language<br />baroque, representing mainly his greatest contribution to<br />literature where he belongs.</p>

This MA thesis is primarily concerned with the poetics of the first two poetry collections by the Bulgarian writer Georgi Gospodinov. The said collections, Lapidarium and The Cherry Tree of One People were published for the first time in the 1990s. The first part of the thesis is devoted to the author's debut, Lapidarium; mainly, we are attempting to capture the collection's characteristic traits and draw attention to the conspicious features connecting this oeuvre with the book Tao Te Ching. In the second part we continue by the analysis of The Cherry Tree of One People. We are focusing on the change of the author's poetics and furthermore, we concetrate on the national/supranatural aspects of the texts. In the concluding part, we anchor Gospodinov's work in the wider context of the 1990s and provide a comparison of contemporary Czech and Bulgarian poetry.