This thesis presents transformation as the key principle of production, as well as reception of a literary text. As far as production is concerned, the thesis takes off from the passing nature of any moment, any element of reality, and it perceives a literary text as a way to save and conserve that element. It is obvious that should the given element of the physical reality - perishable in its true character - survive in a text, it needs to undergo a change, a transformation: what needs to change in order for it to survive? By analyzing authors who discuss this nature of the text in their works, the thesis comes to understanding the production of a text as a discovery of such an environment within the text, which would allow the element of reality to be conserved. As far as reception is concerned, the thesis studies the influence a literary text has on our experience of reality. The problem is not only tackled as a perception of the world via a certain literary work, which was for example the case with the literary characters of Don Quixote or Madame Bovary, but the thesis tries to describe the deep transformation of our perception of reality caused by a poetic outlook on elements of the real world.

This dissertation, entitled Utopia Refracted through Mandarin Lenses, examines the legacy of Thomas More's Utopia (1516) in three aspects: translations, paratexts, and afterlives. It explores how Utopia - as a book and as a construct - has been appropriated into the Mandarin context during the process of linguistic and cultural transfer in the acts of translation. Employing close reading, instrumental case study, and the concept of paratexts to survey fourteen standalone Mandarin translations of Utopia, this study aims to fill in the gap of a previously neglected aspect of utopian studies, especially its paratextual apparatus, which has been almost entirely overlooked (with only one exception in 2003) since its first translation in 1935. This dissertation is structured into four chapters: the first chapter contextualises Utopia in the original Renaissance context by providing its early publication history (Latin and English) and by analysing the modes of narrative - fiction and dialogue - in which More's self-fashioning is manifest and where his hypothetical heterocosm is materialised. All this substantiates how fiction, dialogue, and paratexts are integral to the shaping of Utopia, without which a holistic reading is not feasible. The second chapter examines the introduction of the concept of...

Videogames are becoming an important means of expression for marginalized communities. Despite the growing body of research in queer game studies, transgender identity remains under-researched and lacking in empirical data. By using an experimental approach coupled with grounded theory and informed by current game and queer theory, this study aims to illuminate how transgender- identifying persons approach autobiographical videogame depiction of transgender experience. Ten participants were asked to play influential independent videogame Dys4ia, which depicts the author's hormonal replacement therapy, and semi-structured interviews were conducted. Their responses were coded, and a preliminary model of how Dys4ia works in the context of transgender media ecology was constructed. The term Procedural-autobiographic multimodality is introduced to describe an assemblage of interactive affordances, distinctive aesthetics and situatedness of Dys4ia in structures of minority media while considering video game-specific theories. This study attempts to empirically ground transgender queer game studies, suggesting avenues for future research and proposing a model of how videogames as procedural artefacts work alongside vlogs and other expressive means within transgender mediascape.

In this work, I examine the hypothesis that the territorial nature of a work of art, as defined by Gilles Deleuze, provides the lexicon for the establishment of artistic communication. Confronted with Deleuze's critical grasp of the notion that communication is creative, we are required to rethink the positions of interpretation and representation in experiencing artwork. This effort commences with the proposal of a communication model based on the qualitative aspects of communication that support the semiotic nature of artistic creation. Thus, it can be established that the communicative essence of art is not based on the transmission of a specific meaning, but rather an emphasis on the affective plane of sharing. Such shift presupposes the fusion of the individual roles of the functionality of the communication scheme and the focus on the performative level of reception. Keywords: Deleuze, communication, art, map, performative reception

During the research project "The situation of literary translation in Czech society after 1945", which was initiated by the Institute of Translation studies of the Faculty of Arts of Charles University and undertaken between 2008 and 2011, nearly thirty interviews were conducted with important Czech translators of the post-war generation. This thesis follows the cited research project. It is divided into three parts. The first part presents an introduction to the methods of oral history. The second part confronts objective historical facts with subjective memory - information obtained through the conducted interviews. The third part expands the corpus with two further sets of interviews. These are introduced by a short depiction of the presented narrators and followed by an editorial note. In the summary the paper points out and evaluates the results gained by the present research, including the newly collected material.

(in English): The present thesis titled Translation of francophone comics deals with the subject matter of comics translation, while applying both a theoretical and an empirical approach. Particular attention is paid especially to translations from French into Czech. Regarded the fact that Czech science has only scarcely studied the subject so far, the present thesis is conceived as a global introduction to the subject matter with particular focus on some of its partial aspects. The introduction to the theoretical part of the present study defines the main characteristic features of comics as a medium, as these features are closely linked to the particular challenges raised by its translations. The key chapters of the theoretical part go further to the core of the principal subject and focus on setting a general theoretical framework for translation analysis of specific problems linked with comics translations. The most common challenges faced by a comics translator are identified based on the defined characteristics of the Ninth Art and systemized in three main groups defined as technical, cultural and linguistic aspects of translation. While translating comics from French into Czech, the translator's work is also influenced by the radical differences in approaches to the Ninth Art in the Czech...

This thesis deals with reception of Scandinavian decadent literature in the Czech literary milieu on the background of European culture and philosophy in the late 19th century, the cultural homogeneity of European fin-de-siècle literature being stressed. The Scandinavian literature is in this thesis recognized to be an element of importance for the Czech periodicals (the main emphasis is placed on the periodical Moderní revue) as well as publishing houses. The thesis deals more thoroughly with Scandinavian men of letters such as Ola Hansson, August Strindberg, Georg Brandes, Herman Bang, Arne Garborg and considers their impact on the Czech literary ground. The personal contact amongst the European literary personas of the decadent epoch is of certain importance to the thesis.

The dissertation is trying to form basic rules for interpretational possibilities of an ancient chorus in the process of the Czech theatre based on the detailed analysis of chosen productions in Sophocles tragedy Oidipus Tyrannus from the end of 19th century to the present day. The analysis follows the transformations of the chorus from the original vision of the old men that prevailed in the first half of the 20th century over the image of ancient people common in the fifties of the last century to metaphorical transformation of the chorus brought up by some stage conceptions in the beginning of 21st century.

Diploma thesis called Josef Čapek (monographic study)focuses on Josef Čapek's literary discourse. On the one hand it deals with the meanings of topics and motives, which were crucial for Čapek's writing in the relation with the whole author's work, on the other one it concentrates on formal characteristics of Čapek's literary language. Thesis also attempts to answer the question whether Josef Čapek followed contemporary literary tendencies or whether his works differed and if they did, then how. The relationship between Čapek's writing and paintings is also important, therefore the thesis examines whether his painting activity somehow reflected in or even directly influenced his literary works. The whole thesis is divided into eight chapters, by which we suggest to structure also whole Josef Čapek's literary work itself into eight periods and areas. Bibliography, mapping published first editions of his texts, reception and reflection of his literary works, paintings and his own personality, is also important part of the thesis.

The aim is to create a basic imagination about the poetic school of J. Vrchlicky on the basic of selected literary historical synthesis. Subsequently my task is to create a database of information about book publications which belong to this field. The aim of the work is to find a representative sample of book publications which comment Jaroslav Vrchlicky´s work and his after epigones. Therefore, I focus on authors who belong into the enclave Poetry School of Jaroslav Vrchlicky. I chronologically sort and briefly characterize these poets and writers.