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

Title: Dialectal elements in Czech acted cinema of the 30s and 40s Author: Petr Farkaš Department: Film Studies Department Supervisor: Doc. PhDr. Ivan Klimeš Abstract: The subject of this diploma thesis is a reflection on the possible uses of spoken language in films aimed at dialect as one of the substandard forms of Czech national language. In particular, the thesis focuses on the use of Moravian dialectal elements in the language of the film characters in Czech acted cinema made in the 1930s and 1940s. It evaluates the Moravian applied dialect from the phonetic and lexical point of view and analyses its function. The aim of the thesis is an evaluation and generalization of the possible uses of dialectal elements in cinematographic work. Keywords: folklore, dialect, artwork language, stylization of spoken language, spoken language in films.

This diploma thesis Analysis of the Czech translation of Yuri Vynnychuk's collection of short stories Chachacha is devoted to the analysis of translation solutions of selected linguistic features in two short stories - Chachacha and Kulparkiv, aneb Chachacha 2. The goal of this work is to assess translation methods of Rita Kindlerová, describe its possible positives and negatives. Introductory chapters deal with the biography of Yuri Vynnychuk, his classification in a literal context, general characteristics of his work and consequently the stylistic analysis of two excerpted texts. An integral part of the work is definition of theoretical base for translatological analysis. Main parts of the work are focused on the analysis of translation of specific linguistic features, which are the stylistic dominants of selected texts: stylization of speech, style differentiation, phraseme and selected culture- specific items with an emphasis on proper nouns.

This thesis is focused on the decadent form of Czech symbolist literature at the turn of the 19th century and the beginning of the 20th century. The main task is to present a complex catalogue of motifs and images used by Czech decadents in their works and also to analyse the main methods and strategies they used - in particular interstatuality, also connected with the decadent effort to capture the uniqueness of each passing moment, and synaesthesia. The thesis also focuses on the radical individualism of decadent authors and its connection with both the motifs used and the symbolist style in itself - in the form of self-stylization of the decadent authors who tend to identify with their own works and become (even in real life) their own literal subjects. Because of the prominent visual aspect of decadent literature, the thesis also takes into consideration contemporary art works and the relations between words and images.

This doctoral thesis is concerned with autobiographical forms, their general characteristics as well as with three examples of Czech works of art that prove how difficult it is to make that general characteristics and show various kinds of autobiographical narrative. It aims to show the often heterogeneous character of the so- called autobiographical genres, and present some approaches in their study. In the opening chapter, we define the term autobiography or autobiographical form in regard to literary history and theory, and special attention to Czech research in this field. We concentrate on the genre specifics of autobiographical forms, the opposition of "literary" and "authentic" diary, the term "autobiographical pact" coined by Philippe Lejeune and several patterns of autobiographical memory introduced by James Olney. The key aspect of our study is the nature of autobiographical form derived from the subject's style and illocutionary acts, i. e. stylization as defined by John Searle followed by Jean Starobinski or Paul de Man. Out of the wide spectrum of issues connected with autobiography we focus on the description of the subject's narrative structure, mainly on its language, style, frequent motifs, its memory and relationship to other characters in its text. The complexity of the very...

The thesis attempts to describe the life and work of Jiří Karásek ze Lvovic through an analysis of his lifestyle, i.e. the way in which he organized, embellished and individualized his life. Karásek sought to shape his existence as an artwork, in accordance with the inspirational concepts of the contemporary and antecedent thinkers and artists (e.g. Oscar Wilde, Walter Pater and Maurice Maeterlinck). He accented its integrity and orientation towards beauty. In accord with his aesthetic vision (and his literary work) Karásek conditioned beauty with sadness and pain and attempted to emphasize melancholic beauty, unity in disunion. For that purpose he would accentuate particularly the disintegrative, critical elements, evoking the impression of unsuccessful, self-destructive endeavor to reach life's high ideal. This corresponded with his tragic concept of the artist immolating himself for his Art. I approach Karásek's lifestyle through the use of the terms youth and (eternal) boyhood, which Karásek himself employed as symbols of mournfully beautiful existence in his literary work. I define a youth - in accordance with the romantic and symbolist interpretation - as a person at odds with reality (contemporary truths, customs and rules), a solitary, unique being, trying to construct a new world - only...

Lenka Mundevová Translation of Colloquial Language Devices in Fiction: A Century of Maupassant's Ivrogne in Czech Translation Abstract The dissertation compares the stylization of the dialogues in the French original of Maupassant's short story Ivrogne (The Drunkard), written in 1884, with five Czech translations published between 1902 and 1997. The comparative analysis is focused on the devices of colloquial language, including dialect, which appear frequently in the dialogues of the story and prove to be extraordinarily useful when interpreting Maupassant's text. The analysis of the excerpted material is preceded by the description of the basic characteristics of colloquial French and Czech, followed by the description of their stratifications. The mutual relation of the colloquial language varieties is an important prerequisite for the evaluation of the translations of colloquial language devices and their appropriateness in the individual Czech versions of Ivrogne. The paper also deals with the development of Czech aesthetic translation standards and their relation to the standard of local fiction, outlining the important tendencies of Czech fiction translation applied when colloquial devices were conveyed from French to Czech during the specified timeframe. The individual language devices used in the...