This thesis investigates and examines the manifestations of ideology in paratexts, specifically concentrating on forewords and afterwords in Czech translations of novels written during the Spanish Golden Age and translated into Czech between 1948 and 1989. To uncover and classify each display of ideology, a new methodology was proposed. Its creation was based on research documented in the theoretical part of this thesis which discusses translatological concepts, studies ideology and censorship and characterizes the literature of Spanish Golden Age. The translatological concepts covered in this thesis are: the communicative model and praxeology of Anton Popovič, André Lefevere's concept of rewriting, and the paratext theory of Gérard Genett. The functionality of the proposed methodology was tested in the thesis's empirical part, in which nine paratexts were analyzed. On the basis of this paratext analysis, the trends of each ideology manifestations were established as well as factors that contribute to their presence.

In the decades around 1900, political and social cartoons flourished in humour and satire magazines in the Swedish capital. The thesis presents a new theoretical start on the nature of humour in cartoons: the idea of the comical is argued as effects of reality notions and bracketing reality notions. The theory is a prerequisite for understanding the mechanisms of the identity play performed in the comic scenes. The thesis pursues a search for the object or the character with whom the intended recipient was expected to identify, referred to as the “the main character”. The analysis is based on a kind of theatrical construction, where the real city, its pleasures, secrets and dangers constitute the material for the image’s scenes. The characters in the scenes act out the dangers and ambiguities that the city’s bourgeois man faced. The material of the study consists of social cartoons from the two Stockholm-based magazines Söndags-Nisse and Kasper between 1870 and 1900. About a hundred of them are reproduced in the thesis.  The analysis builds on three theoretical perspectives: theories on images; humour; and identity constructions. By integrating theories on humour with image analysis, the thesis highlights the ambivalence and ambiguity of identity aspects. Relationships and characters explored through the image elements are given as headlines for the chapters: the room; the body; and the act. The study shows how a male and bourgeois hegemony invents image expressions, main characters, and plots that offer the recipient protection against being laughed at and against the danger of mistakes. The analysis shows that four strategies to represent the bourgeois man are frequent: as the “fuzzy man”; as the caricature of the bourgeois man; as the stereotype; and as the “unfettered man”. The various figures offer more or less possibilities of identification versus distancing. The pictures’ expressions of uncertainties – in terms of vague or fuzzy lines; self-irony; or avoiding being singled out – all these means provide distance, in relation to the picture content, the issues that concerned the intended recipient, whether it is about the difficulty of distinguishing the public body from the forbidden, or about general human conditions.

"La projecció d'un ideal estètic durant el Noucentisme. Josep Aragay i Blanchar (1889-1973)" es el primer estudi integral dedicat a aquest artista i teòric del Noucentisme. La tesi analitza amb profunditat la trajectòria d’Aragay com a dibuixant, pintor, gravador i ceramista, però també com a poeta, professor i polític; a més del paper que va exercir com a crític, polemista i teòric de l’art. La tesi posa de manifest la labor artística i intel•lectual d’aquest personatge que va assumir, defensar i projectar, fins el final de la seva vida, aquell ideal estètic de signe mediterraneista i classitzant, que sorgia a Catalunya a principis del segle XX. / "La projecció d'un ideal estètic durant el Noucentisme. Josep Aragay i Blanchar (1889-1973)" is the first comprehensive work based on this artist and theoretician of the Noucentisme’s movement. The above-mentioned doctoral thesis, studies his career not only as a draughtsman, painter, engraver and potter but also as a poet, lecturer and politician, besides his production as a brilliant polemicist and theoretician of Art. The Thesis stresses an artistic and intellectual work of Aragay who assumed, defended and projected, until the end of his days, those aesthetics ideals of a Mediterranean and Classicistic style that emerged in Catalonia on the early XX century.

Notre enquête doctorale étudie l’illustration de la colonisation dans la presse satirique illustrée française entre 1829 et 1990. Cette thèse ambitionne d’éclairer un aspect méconnu de l’iconographie coloniale, à partir du dépouillement et de l’analyse de vingt-deux périodiques satiriques qui touchent diverses sensibilités éditoriales. Afin de confronter iconographie satirique et non satirique, deux journaux illustrés généralistes sérieux complètent le corpus. En suivant un parcours chronologique, il s’agira de présenter les axes caractéristiques de l’iconographie satirique coloniale.Pour comprendre la construction, le fonctionnement et le rôle des images expansionnistes issues des titres satiriques, cette recherche entend également définir le genre « presse satirique ». En analysant l’évolution historique, les caractéristiques populaires et les traits distinctifs de cette catégorie médiatique, nous mettrons en évidence les relations déterminantes qui existent entre le genre et les images coloniales. / This doctoral investigation studied satirical colonial iconography in the French satirical illustrated press between 1829 and 1990. From counting and analysis of twenty-two satirical periodicals, representing different editorial lines, this thesis aims to inform an unknown part of this colonial iconography. Two serious illustrated papers complement the general corpus to reintegrate results in the general fields of media images. For a diachronic, the aim should be to identify the major axes of the colonial satirical illustration.To understand the construction, operation and role of colonial imagery from satirical titles, this research also intends to define the genre "satirical press". By analyzing the historical evolution, popular features and the hallmark of this media class, we will highlight the crucial relationship between gender and colonial images.

L’objet de cette étude est d’offrir une vision à la fois d’ensemble et particulière sur les revues satiriques publiées durant les dernières années du franquisme et pendant Transition démocratique. En effet, de nombreux bouleversements politiques et sociaux s’opèrent entre 1970 et 1982, ce qui représente objectivement une période relativement courte mais très riche en événements dans l’histoire de l’Espagne et de la Catalogne. En ce qui concerne la presse, l’entrée en vigueur de la Ley de Prensa e Imprenta en mars 1966 marque un point d’inflexion car elle supprime la censure préalable et permet le développement de publications beaucoup plus critiques et irrévérencieuses au début des années 1970, tels que Mata Ratos, Barrabás ou Por Favor. Très imprégnées par la tradition satirique catalane (comme Xut!, El Be Negre ou ¡Cu-Cut!), les revues de cette époque sont aussi influencées par la presse française, américaine et anglaise (Hara Kiri, Charlie Hebdo, National Lampoon, Punch, etc.). Peu à peu, elles réussirent à fissurer le carcan de la censure au prix de nombreuses mises sous séquestre, jugements, suspensions et condamnations. Après deux années troublées entre 1976 et 1978 où les menaces d’attentats contre les rédactions sont de plus en plus oppressantes, l’avènement de la démocratie est le point de départ d’un nouveau type d’humour plus général et incarné par El Jueves, et basé sur des faits de société ou d’actualité. De par leur style particulier et les thèmes qu’elles abordent, ces revues satiriques marquent profondément la société et le moment politique dans lequel elles évoluent. Leur impact est toujours perceptible aujourd’hui puisqu’El Jueves continue d’être publiée en 2017. / The purpose of this thesis is to provide both an overview and an analysis of the satirical journals published during the last years of Francoism and the Democratic Transition. Indeed, the country underwent many dramatic political and social changes between 1970 and 1982, which objectively represents a relatively short, extremely eventful period in the history of Spain and Catalonia. As concerns the press, the coming into effect of the Ley de Prensa e Imprenta in March 1966 marked an inflection point by suppressing prior censorship and paving the way for much more critical and irreverent publications, such as Mata Ratos, Barrabás or Por Favor, at the beginning of the 1970’s. Very much in debt to Catalan satirical tradition (e.g. Xut!, El Be Negre or ¡Cu-Cut!), the publications of the time were also influenced by the French, American, and English press (Hara Kiri, Charlie Hebdo, National Lampoon, Punch, etc.). Gradually, they succeeded in breaking the straitjacket of censorship at the cost of numerous confiscations, trials, suspensions and condemnations. Following two troubled years between 1976 and 1978, when editorial offices were subject to increasingly oppressive threats of attack, the advent of democracy was the starting point of a new, more general type of humor embodied by El Jueves and based on societal and current events. Due to their specific style and to the themes they dealt with, these satirical journals made a deep mark on society and on the political period. Their impact has endured, since El Jueves is still published in 2017.

El propósito de este artículo es dar noticia de una nueva copia o apógrafo del poema épico-satírico Beltraneja. La peculiaridad de esta copia radica en el hecho de que forma parte de un códice del siglo XVII hecho por el pintor sevillano Francisco Pacheco. Mediante el análisis de este documento, no solo intentamos construir un panorama crítico de los estudios sobre el poema desarrollados hasta el momento, sino que proponemos una serie de reflexiones en torno del anonimato y la datación del poema a partir del contexto cultural de Pacheco. Más allá de pretender precisar cuestiones paratextuales o de interpretación ideológica, este trabajo busca realzar la trascendencia histórica y literaria de un producto representativo de la sátira hispanoamericana colonial. / The purpose of this article is to give notice of a new copy or apograph of the epic-satirical poem Beltraneja. The peculiarity of this copy lies in the fact that it is part of a seventeenth-century codex made by the Sevillian painter Francisco Pacheco. Through the analysis of this document, not only do we try to construct a critical view of the studies on the poem developed so far, but we also propose a series of reflections around the anonymity and the date of the poem starting from Pacheco’s cultural context. Beyond pretending to precise paratextual and ideological interpretation issues, this piece of work aims to enhance the historical and literary significance of a representative product of the colonial Spanish-American satire.

La presente tesis tiene como tema la identificación de las características del discurso satírico en la construcción de la imagen del expresidente Alejandro Toledo Manrique en los sketches presentados en el programa humorístico “El especial del humor”. El objetivo general es analizar los elementos que componen este discurso satírico a partir de la identificación de recursos verbales y no verbales que integraron la narrativa de la puesta en escena. Para tal fin, el método seguido fue el análisis de contenido de los sketches, los cuales fueron publicados vía páginas de YouTube que realizaron una recopilación de los mismos. La selección de las grabaciones respondió a los diferentes escenarios donde Toledo Manrique participó como político y ciudadano común –por ejemplo, en espacios privados como su habitación o un paseo familiar–. Ya en la puesta escena, y para la identificación de los distintos elementos que se incluyeron en la misma, se consideró clave la mención de la caracterización de los personajes, así como las palabras que formaron parte de un lenguaje vulgar e inapropiado, el cual fue expresado por el actor que dio vida a la figura del expresidente. Tras procesar estos componentes de análisis, el principal hallazgo de esta investigación es que elementos como la ridiculización y exageración, que son parte de un discurso satírico, se mezclan con expresiones discriminatorias que podrían desvirtuar el fin reflexivo de la sátira. / The subject of this document is to identify characteristics of the satirical discourse in the construction of the image of former president Alejandro Toledo Manrique in the sketches presented in the humorous program “El especial del humor”. The general objective is to analyze the elements that formed part of this satirical discourse from the identification of verbal and non-verbal resources that were included in the narrative of the staging. For this purpose, the method followed was the content analysis of the sketches, which were published through a YouTube pages that made a compilation of them. The selection of the recordings responded to the different scenarios where Toledo Manrique participated as a politician and a common citizen –for example, in private spaces such as his room or a family meeting–. Already in the staging, and for the identification of the different elements that were included in it, two points were considered important: the mention of the characterization of the characters as well as the words that were part of a vulgar and inappropriate language expressed by the actor who played the character of the former president. After processing these analysis components, the main finding of this research is that elements such as ridicule and exaggeration, which are part of a satirical discourse, are mixed with discriminatory expressions that could undermine the reflective purpose of satire. / Tesis

Cette étude comprend l'analyse et le commentaire de quelques cent-trente-cinq caricatures qui ont pour but de tenter de répondre à la question sur l'éventualité d'une reconstitution historique au travers des caricatures antihitlériennes de la presse satirique de la République de Weimar. Elles illustrent la montée du national-socialisme, du moins par le biais de la critique, puis de l'opposition et de la révolte, que ce dernier a pu susciter au cours des années 1923-1933. Ce travail a nécessité la recherche de faits politiques précis auxquels chaque caricature faisait référence et la comparaison de la représentation proposée par la caricature avec les informations et les jugements donnés rétrospectivement par les historiens. Ce jeu de va-et-vient entre le document-source et l'arrière-plan référentiel a aidé à proposer une estimation de l'écho suscité ou non par l'événement politique en question. Ce choix de caricatures a permis par exemple de voir quelles avaient été les apparitions de Hitler sur la scène politique qui avaient le plus déchaîné les passions. Toutefois il reste difficile de concevoir une histoire de la montée du national-socialisme et de l'opposition à Hitler avant 1933 à partir des seules caricatures. / This study is made up of the analysis and commentary of some one hundred and thirty-five caricatures in an attempt to resolve the question of a possible historical reconstruction through anti-Hitler caricatures in the satirical press of the Weimar Republic. They illustrate the rise of National Socialism, at least as seen by the critics and then the opposition and revolt that the former actually gave rise to between 1923 and 1933. The work bas required research into the precise political events referred to by each caricature and the comparison between the representation proposed by the caricature and the information and the opinion provided in retrospect by historians. This coming and going between the original document and the referential background has led to an assessment of the extent of the coverage given to the political event in question. The choice of caricatures has allowed for instance to see which appearances in public by Hitler had unleashed the most passion. Nevertheless it still remains difficult to establish a history of the rise of National Socialism and of the opposition to Hitler before 1933 from these caricatures alone.

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.

Basé sur des documents authentiques rares et inédits, ce travail a pour but d’étoffer une nouvelle image de la Révolution russe via les revues satiriques de l’époque. Ces revues sont de véritables œuvres d’art révolutionnaires qui interrogent la liberté de la presse et l’art durant une période charnière en Russie. Il s’agit d’une témoignage direct de cette année révolutionnaire, véhiculé par des artistes avant-gardistes libérés de la censure, et qui vont, au fil des semaines, composer une image originale de l’année 2017 et des deux révolutions russes de février et d’octobre au travers des couvertures illustrées. Afin de conserver la dynamique chronologique des événements, les revues ont été mises en parallèle avec les témoignages écrits d’époque, de personnalités diverses telles que Claude Anet, Pierre Pascal, Maxime Gorki, Maurice Paléologue, ou encore John S. Reed. Tous ont accompagné les bouleversements révolutionnaires à leur manière et constituent l’écho historique de ces revues satiriques illustrées qui nous permettent de plonger au cœur même du quotidien des révolutions russes caractérisant une nouvelle image de la Révolution, mouvante, singulière et remarquable. / Based on rare and authentic documents, this work endeavors to elaborate a new image of the Russian Revolution through satirical magazines of the time. These illustrated reviews are genuine works of art that question freedom of the press and art itself during a transnational period in Russia. They serve as a direct testimony of this revolutionary year, providing an original image of the two Russian revolutions of February and October and featuring on the review’s front cover week after week avant-garde artists freed from censorship of the press. In order to preserve the chronological dynamic of the events, satirical reviews are coupled with historical testimony of various writers such as Claude Anet, Pierre Pascal, Maxime Gorki, Maurice Paleologue, and John S. Reed, among others. All of them had supported the revolutionary turmoil in their own way and constitute an historical echo of the illustrated satirical reviews allowing us to plunge into the heart of daily life during the two Russian revolutions, and thus creating a new image of the Revolution, set in motion, single-minded, and noteworthy.