Cette thèse vise à analyser les formes de l’expérience des récits sériels en culture médiatique, dans les différents supports à travers lesquels se sont déployés les feuilletons et les séries du XIXe au XXIe siècle (journal, bande dessinée, cinéma et télévision notamment). La relation des publics aux récits sériels est fondée sur la dynamique de la diffusion discontinue et de la récurrence, qui structurent une promesse de retrouvailles. Les expériences sérielles ne se limitent pas au moment d’actualisation des épisodes ni à l’objet « récit » en tant que tel : elles se prolongent de diverses manières durant le temps d’attente inter-épisodique. En outre, fondées sur l’échange et le partage, elles sont indissociables de la sociabilité qu’elles impliquent, ainsi que des interactions entre les pôles de la production et de la réception, qui passent par diverses médiatisations et favorisent la formation de communautés interprétatives. Il s’agit donc d’expériences médiatiquement situées : les caractéristiques thématiques ou formelles des récits ne sont pas détachables de facteurs économiques ni de leurs contextes de production et de réception. Afin de décrire la spécificité de l’engagement dans les récits sériels dans toute sa complexité, je propose de suivre une démarche intégrative, articulant l’étude des dispositifs narratifs et de la dimension sémantique des récits sériels à celle de leurs usages socioculturels. / This thesis analyses the modalities under which serial narratives are experienced in media culture, looking at the different media in which serials and series were developed from the 19th to the 21st century (newspapers, comics, cinema and television in particular). The way different audiences relate to serial narratives is grounded in the dynamics of discontinuous distribution and recurrence, thus framing their expectation of a renewed event. Serial experiences are not limited to the moment of reading or viewing, nor to the “narrative object” as such: they extend beyond it in various ways during the inter-episodic waiting time. Moreover, since these experiences are based on exchange and sharing, they are inseparable from the sociability they imply, as well as from diversely mediatized interactions between production and reception, which favor the emergence of interpretive communities. Therefore, these experiences are conditioned by the media from which they stem: the thematic and the formal dimensions cannot be separated from the material conditions, within the contexts of production and reception. In order to describe the specific modes of engagement of audiences with serial narratives in all its complexity, I follow an integrated approach, by studying narrative devices and the semantic dimension of serial narratives as well as their sociocultural uses.

Ce mémoire propose d’étudier le processus narratif à l’œuvre dans la série télévisée Penny Dreadful. Il naît du constat que la plupart des études et des recherches mettant au premier plan cet objet télévisuel l’associent au concept d’adaptation. L’objectif de cette recherche est d’interroger cette filiation entre ce qui se produit dans la série télévisée Penny Dreadful et le concept d’adaptation. L’adaptation ne rend pas compte de toutes les subtilités des procédés narratifs et télévisuels de cette série télévisée. Ceux-ci se rapprochent davantage des concepts de transfiction, de Frankenfiction et de remix qui sont en marge de celui d’adaptation. Les réflexions autour de ces derniers permettent d’ouvrir un dialogue avec les notions de répétition, de variation et de sérialité propre à l’adaptation et aux études télévisuelles. Il sera question d’observer par l’analyse de séquences et l’analyse de personnage les limites et les frontières de ces concepts dans le cas des séries télévisées et de leurs possibilités créatives, dont s’approprient les fans pour fabriquer leurs œuvres. / This thesis proposes to study the narrative process at work in the television series Penny Dreadful. It arises from the observation that most studies and research about this television object associate it with the concept of adaptation. The objective of this research is to question this connection between what happens in the television series Penny Dreadful and the concept of adaptation. The adaptation does not reflect all the subtleties of the narrative and television processes of this series. These are closer to the concepts of transfiction, Frankenfiction and remix which are on the margin of adaptation. The reflections around these allow to open a dialogue with the notions of repetition, variation, and seriality proper to the adaptation and the television studies. It will be question of the limits and boundaries of these concepts in the case of television series and their creative possibilities, which fans appropriate to make their works.

This study will argue that visual art and the making of images share much With other languages. If writing can be deoonstructed, visual Imagery can be deconfigured, for figuring an image is much like structuring a sentence. The process of deconfiguration however relies on repetition. DeconflguratiOn therefore denies any claim of a primary creator. It will be argued though that deconfiguratlon remains creative as it engages the imagination in a process of transference and through association. Moreover, deconfiguration shows how binary opposites are essential In the making of artworks. The repetitive process takes place when the artwork Is made and continues during the appreciation and/or interpretation of the artwork. For the interpretation to really deconfigure, it would mean that the image constituted by the artist has metaphorical, allegorical and even symbolical implications. The interpreter will thus always remain a partidpant in the creative process suggested by the artwork. / Art History, Visual Arts & Musicology / M.A. (Visual Arts)

This diploma thesis "Educational environment in Czechoslovak and Czech Television Serials" deals with television serials where the educational environment is prevalent. There is a deep analysis of six serials with specific reference to the traits of the characters and the educational environment. There is also a detailed analysis of story construction in terms of seriality. In each serial there are a number of connected stories and plots. However, there are also stories which remain separate from the primarily storylines. It also looks closely at how the levels by suspense are maintained. The endings of each episode is deeply analysed as they are crucial for maintaining suspense. The period in that the serials were made is also important. The author deals with the responses in the media as a completion of the journalist's opinion. A comparation between the results and the analysis to conclude the thesis is carried out.

The overall aim of this dissertation is to discuss the scope as well as the limits of sociological theory. This project is undertaken with the help of Søren Kierkegaard and his unique interpretation of human existence. Taking as its point of departure the existential reality of the single individual (den Enkelte), this study also addresses the fundamental question posed by Georg Simmel, “How is society possible?” It is argued that an answer to this question needs to take into account the existential concepts of choice, authenticity, subjectivity, anxiety, faith, and responsibility.  The strategy – and the implicit method – of this study is to start out from the single individual and gradually move towards society, culture and history. After addressing some theories of everyday life, such as social phenomenology and dramaturgical theory, the investigation moves on to the central sociological problem of how to construct a synthetic theory of the relation between man and society. The final theory to be discussed is the social theory of Jean-Paul Sartre, which can be seen as a reformulation and modification of the Kierkegaardian perspective, now set in dialectical relation to society and history. The main argument of the thesis is that the message that can be found in Kierkegaard’s writings represents both a reminder and a challenge to every sociological project which seeks to achieve a synthesis between individual existence and social reality. Sociological theories can neither account for the existence of the single individual in an exhaustive manner, nor fully integrate this existence into some social system. It is impossible to reduce the existence of individuals to some socially and culturally given lifeworld, because authentic faith and infinite passion constitute an inner experience that is largely hidden from the sociologist observer. A sociological incompleteness theorem is proposed, which states that sociological theories are simply incapable of dealing with certain aspects of human existence. These aspects are, from an ontological point of view, unsettled and not social in nature. This theorem can also be expressed so that there exists a blind spot in every sociological theory that tries to account systematically for the single individual. By focussing attention on the existential tension between choice and inner experience, the sociologist can however push the limits for what can be accomplished with the help of sociological theory.

This study will argue that visual art and the making of images share much With other languages. If writing can be deoonstructed, visual Imagery can be deconfigured, for figuring an image is much like structuring a sentence. The process of deconfiguration however relies on repetition. DeconflguratiOn therefore denies any claim of a primary creator. It will be argued though that deconfiguratlon remains creative as it engages the imagination in a process of transference and through association. Moreover, deconfiguration shows how binary opposites are essential In the making of artworks. The repetitive process takes place when the artwork Is made and continues during the appreciation and/or interpretation of the artwork. For the interpretation to really deconfigure, it would mean that the image constituted by the artist has metaphorical, allegorical and even symbolical implications. The interpreter will thus always remain a partidpant in the creative process suggested by the artwork. / Art History, Visual Arts and Musicology / M.A. (Visual Arts)

The thesis "Audience reception to the paradoxical narrative in the series Game of Thrones" focuses on the research of the audience and its reactions to the unusual plot twists in the series Game of Thrones producted by HBO. The Audience and its reactions to specifically selected twists were researched through qualitative methods of deep semi-structured interview which was carried out with ten respondents. "Primary" audience, i.e. the viewers who had not read any books from the Ice and Fire saga before watching the show, was choosen as a research sample for this study. Reactions of this audience are more spontaneous and unpredictable. The primary aim of the research is to find out how viewers react to the newly defined paradoxical narrative in the Game of Thrones series and why they keep watching this series despite its unusual plot twists.

La musique a beaucoup influencé l’écriture de Michel Butor, dont les œuvres traduisent bien souvent dans l’art littéraire des structures musicales, comme celles du contrepoint (fugue, thème et variations), de la musique sérielle ou du jazz. Ce travail a l’ambition de montrer la métamorphose de ces structures musicales dans les textes, tout particulièrement complexe lorsqu’il s’agit de traduire la simultanéité inhérente à la polyphonie musicale.Cette pratique musicale de l’écriture bouleverse les structures littéraires conventionnelles, s’associant ainsi aux innovations caractéristiques du Nouveau Roman (changements fréquents de narrateur, fragmentation du récit) et proposant aussi de nouvelles contraintes qui mènent l’écriture à des formes inédites : concerts-conférences, formes mobiles, œuvres radiophoniques. Cela transforme aussi notre perception du temps, non plus linéaire mais cyclique, ainsi que nos habitudes de lecture en nous impliquant dans la construction de l’œuvre.Enfin, l’influence de la musique permet de créer ce que j’ai nommé des cosmos culturels, inventant des connexions entre des cultures éloignées les unes des autres dans le temps ou l’espace, dans un geste d’hospitalité et de générosité caractéristique de l’œuvre butorienne. L’écrivain propose souvent de voir dans cette hospitalité littéraire un modèle éthique, voire politique. Les différents genres littéraires pratiqués par Michel Butor sont étudiés à travers quelques œuvres qui témoignent des diverses modalités de l’influence musicale sur l’écriture de Michel Butor : le roman, les œuvres mobiles, les dialogues avec des œuvres d’art, l’opéra Votre Faust et les récits de rêve sont rapprochés de tendances musicales familières à l’écrivain. / Music has much influenced the writing of Michel Butor whose works often translate musical structures into literary art. These can be the counterpoint (fugue, theme and variation), serial music or jazz. This way of working shows the metamorphosis of these musical structures in the texts, particularly complex when the writer has to translate the simultaneousness inherent in musical polyphony. This musical practise of writing upsets the conventional literary structures, thus associating with innovations which characterise the Nouveau Roman (frequent change of narrators, fragmentation of the narrative) and also proposing new constraints that lead the writing into novel forms: conference-concerts, mobile forms, radio works. This practise also modifies our reading habits, compelling the reader to be responsible for the construction of the work and our perception of time which is no longer linear but cyclical. Lastly, the influence of music enables to create what I have called cultural cosmoses, inventing connections between cultures usually isolated in time or space, in a gesture of hospitality and generosity which is characteristic of the works of Michel Butor. The writer sees this literary hospitality as an ethic, or politic model. The different literary genres practised by Michel Butor are studied through a few works which testify to the various modalities of the musical influence on the writing of Michel Butor: the novel, the mobile works, the dialogues with art works, the opera Your Faust and the narrations of dreams are related to the musical trends familiar to the the writer.

Ce mémoire propose d’analyser une série phénomène à travers le concept de série monde développé dans les études télévisuelles et cinématographiques. Notre objet d’analyse est Xena la guerrière (Syndication 1995-2001), une série des années 1990 connue à l’ère contemporaine pour son phénomène de fandom autour de la série et des personnages Xena et Gabrielle. Les séries de la fin des années 1990 s’inscrivent dans une ère de transition, où numérique et mutations narratives vont participer à la création d’objets denses et complexes. Nous tenterons d’établir un parallèle entre la structure d’une série télévisée et sa réception qui reposent toutes les deux sur une logique de densification, à observer sous différentes formes : l’extension, la continuité et la dérivation, ainsi que sur deux niveaux : le texte et le fandom. L’analyse diégétique de la série nous permettra d’établir une conception de la série comme une expérience dense et complexe qui invite et suggère une pluralité interprétative. Les spectateurs/fans investissent l’objet de différentes façons jusqu’à produire des lectures riches et variées. Définir un phénomène sériel reviendrait donc à s’intéresser à cette corrélation : producteurs, texte, fans et contextes, qui permet l’expansion de l’objet dans de multiples directions. L’analyse de Xena la guerrière autour d’une logique de densification nous permettrait de mieux comprendre certains phénomènes de fandom autour de séries contemporaines. / This dissertation proposes an analysis of a series phenomenon through the concept of world series developed in television and film. Our object of analysis is Xena: Warrior Princess (Syndication 1995-2001), a television series from the 1990s known in the contemporary era for the phenomenon of fandom created around the series and characters Xena and Gabrielle. The series of the late 1990s are part of an era of transition, where digital and narratives mutations come together in the creation of dense and complex objects. We will try to draw a parallel between the structure of a television series and its reception, both of which are based on a logic of densification, to be observed in different forms: extension, continuity, and derivation, as well as on two levels: the text of Xena and the fandom of Xena. The diegetic analysis of the series will allow us to establish the conception and origins of the series as something dense and complex that invites and suggests a plurality of interpretations. Spectators/fans invest time and effort in the show in a variety of ways to produce rich and varied interpretations and fandom content. Defining a serial phenomenon would therefore take us back to examining the correlation of: producer, text, fans, and context, which allows this expansion of the series in multiple directions. The analysis of Xena: Warrior Princess around a logic of densification will allow us to better understand certain phenomena of fandom around contemporary series.

Au cours des trois dernières décennies, plusieurs modèles théoriques de l’homicide sexuel ont été proposés. Ces modèles ont suggéré qu’il existe une diversité de facteurs associés à la commission d’un ou de plusieurs homicides sexuels, notamment des facteurs développementaux, psychologiques et de l’événement criminel et ont permis de proposer un profil des individus ayant commis un homicide sexuel. Cependant, aucun de ces profils n’a intégré l’ensemble de ces facteurs en un tout cohérent. De plus, ces modèles et profils, à l’exception du modèle proposé par des chercheurs associés au Federal Bureau of Investigation, ont été réalisés à partir d’échantillons d’individus ayant commis un seul homicide sexuel. En conséquence, bien que ces modèles et profils proposent une explication de l’émergence de ces comportements, ils ne permettent pas d’expliquer dans quelles circonstances ceux-ci se répètent et prennent fin. Étant donné que ces modèles et profils n’ont pas pris en considération les caractéristiques du parcours de vie de l’individu après la commission du premier homicide sexuel, ceux-ci n’intègrent pas de paramètres post-homicides, tels que les paramètres de l’enquête criminelle. En conséquence, il existe actuellement peu de certitudes concernant les caractéristiques du profil des individus pouvant constituer des facteurs permettant potentiellement d’expliquer pourquoi certains individus commettront une série d’homicides sexuels tandis que d’autres n’en commettront qu’un. L’objectif principal de cette thèse est d’identifier les caractéristiques distinctives des individus ayant commis une série d’homicides sexuels, afin de proposer des profils d’individus sériels et non-sériels. Afin d’atteindre cet objectif, une série d’études comparatives entre des individus ayant commis des homicides sexuels en série (HSS; n = 33) et des individus ayant commis un seul homicide sexuel (HS; n = 87) ont été réalisées. Les résultats de cette étude mettent en évidence que les caractéristiques qui distinguent les sériels des non-sériels ne se limitent pas à des facteurs individuels ou à la façon dont les individus commettent leur crime, mais aussi à l’échec des intervenants de l’enquête criminelle à appliquer les pratiques considérées comme étant indispensables à la résolution rapide d’un homicide. D’autre part, les résultats de cette étude mettent en évidence qu’il existe deux principaux profils d’individus ayant commis un homicide sexuel, celui des HSS et celle des HS. Finalement, les résultats de cette étude ont servi de fondations au développement d’un modèle conceptuel théorique de l’homicide sexuel sériel et non-sériel qui permet d’expliquer dans quelles circonstances le phénomène semblerait émerger, se répéter et prendre fin. / Over the last three decades, many theoretical models of sexual homicide have been proposed, which have made it possible to propose a profile of individuals. Although these models and profiles have suggested associations between the commission of one or more sexual homicides and a wide variety of factors—notably developmental, psychological, and crime-phase—none has produced a unified vision of sexual homicide that takes into account all factors. Moreover, these models and profiles, with the exception of that of the US Federal Bureau of Investigation, have been based on samples of individuals having committed a single homicide. As a result, although they propose explanations of the emergence of sexual homicide, current models and profiles are silent on the determinants of its repetition and cessation. Additionally, these models and profiles do not address post-homicide parameters, such as those related to the criminal investigation, since they do not take into account the sexual murderer’s life course following the commission of the homicide. For all these reasons, considerable uncertainty remains about why some individuals commit a series of sexual homicides while others commit only one. The principal objective of this thesis’s research was therefore to identify the distinctive characteristics of individuals having committed a series of sexual homicides, in order to proposed profiled of serial and nonserial sexual murderers. To this end, comparative analyses of serial sexual murderers (HSSs; n = 33) and nonserial sexual murderers (HSs n = 87) were conducted. The results indicate that the two groups of participants in this sample can be distinguished not only on individual factors and the manner in which the homicide was committed, but also on the failure of criminal investigators to apply best practices and rapidly resolve the homicides. Finally, this thesis’ research establishes a foundation for the development of theoretical models of serial and nonserial sexual homicide that explain the circumstances responsible for the emergence, repetition, and cessation of this phenomenon.