The divide between popular culture and high culture has been a subject of discussion since the early days of media research. Even though popular culture has a somewhat higher status today than in the early 1900’s, the division between the two cultural forms still exists. For example, the movies that appeal to the great masses are rarely awarded the most prestigious European film prices. The aim of this study was to examine how these two cultural practices is separated in film reviews on the Swedish film site MovieZine with the use of the socio-cultural theories of Adorno, Horkheimer and Bourdieu. The main issues consisted of what types of rhetorical arguments the critics use to value the film, and what types of cultural references they make in the different reviews The selection of the movie reviews for this study was based on the ten most viewed movies in Swedish cinema in 2016, and ten movies that were awarded some of the most prestigious and refined American and European film prices in the same year. The general result showed that the film critics used different types of rhetorical arguments based on what type of films they reviewed. In their reviews of the more high cultural films, the citric based their arguments on matters that are considered to be of a more intellectual and analytical kind, than in the reviews of the films that appeal to the masses. The critics often referred to movies or other cultural phenomenon that could be placed on the same side of the cultural spectrum as the movies they reviewed.

Birka contains a lot of rich graves and tombs with weapons and warriors, one of these has beeninterpreted as a male in the late 1900-th century but now confirmed as a woman according to anew study of her aDNA. In her grave there where a lot of objects that´s been interpreted asmasculine before but now we can see that they were used by a woman. The warrior womanfrom Birka has raised a lot of questions whether of the aDNA was correct. This paper is goingto look through the critics by a gender perspective and see if its reasonable.

This thesis critically analyzes the concepts of deliberative democracy and demarchy. Both theories are described from many different viewpoints, including criticisms aimed at elections in democratic political systems, the issue of legitimacy and representativeness. The analysis of the theory of deliberative democracy is based on the works of Bernard Manin, John Dryzek, Joshua Cohen etc. The analysis of the theory of demarchy is based on the works of John Burnheim. Both theoretical concepts are also confronted with criticisms aimed at their theoretical and practical imperfections. The thesis also deals with examples and possibilities of practical use of some elements from both theories. Finally, this thesis attempts to answer the question of whether both analyzed concepts could be satisfactory alternatives to representative democracy.

Violence can be handled in a variety of ways across a wide variety of film genres and specific grasps of genres. The goal of this thesis is to explore the different functions of violence in films and then show how different is the acceptance of violence by Western film critics, ie journalists, in the same genre with similar motivations of the main characters, but with a slightly different approach of these characters to the use of violence. In the theoretical part I will describe the terms of review, criticism, film and at the same time the function of violence in films across genres. The practical part will then show how the concept of violence and its function may differ even within one larger genre, although the motivations of the main characters may sometimes be similar. Certain parallels as well as differences in the use and function of violence will be discussed on the example of selected scenes from two action film series Ip Man and Rambo. Subsequently, the reactions to the manifestations of violence by film critics will be analyzed and in the end it will be assessed whether the critics reacted to the processing of violence at all, how they reacted to it and what generally follows from the critics' approach to various possibilities on depicting violence. The partial goal of the thesis will...

[pt] O presente trabalho pretende investigar algumas formas de participação de autores, leitores e críticos em mídias digitais, especialmente em redes sociais, nesse processo de construção de visibilidade, e as possíveis consequências dessas participações. Para tal, analisaremos tanto a fortuna crítica referente aos tópicos apresentados, bem como publicações que circulam no âmbito virtual, além da análise de perfis no YouTube, Instagram, participações em clubes de leitura, entre outros. A curiosidade sobre a vida de um autor, como afirma Phillip Lejeune, não é algo novo dentro dos estudos literários. No entanto, na contemporaneidade, muitas vezes podemos confundir a vida do autor com o que ele publica em mídias sociais, especialmente as digitais, confundir a função autor com o sujeito empírico. A forma como o autor aparece em mídias digitais pode ser crucial para aumentar sua visibilidade, assim como a da obra que está sendo lançada. No entanto, o autor não é o único ator nesse processo de construção de visibilidade (e nem o único que aparece) em tempos de redes sociais. Junto com ele, temos também o leitor, que cada vez se torna mais presente nesse processo de visibilidade. Com a participação mais acentuada do leitor, resta-nos refletir sobre o papel da crítica nessa transformação das relações, decorrentes do advento das novas tecnologias. / [en] This work intends to investigate some forms of participation of authors, readers and critics in digital media, especially on social network media, as part of the process of gaining visibility, and the consequences of this participation. In order to consider these instances of participation, we will analyze both the theorical concepts related to our inquiry as well as publications that may be found in cyberspace, analyses of social network profiles from YouTube, Instagram, participation in book clubs, among others. The curiosity about an author s life, as proposed by Philp Lejeune, is not a new concept in the area of literature studies. However, nowadays, sometimes we may confuse an author s life with what he/she publishes in his/her social media or mix up the authorship with the person itself. The way that the author presents himself/ herself in cyberspace can be crucial for his/her visibility beyond his work. Authors, however, are not the only actors that we may find in play in cyberspace: along, we may also consider the arising of reader s presence. In the context of reader s presence alongside the author in this environment, we still need to ask ourselves the role of the criticism in these transformations that are a consequence of the emergence of these technologies.

This study considers how and why the established histories of criticism fail to recognize the Victorian woman critic. Although many women wrote critical essays for Victorian periodicals, the practice of anonymous publication and the gendered coding of certain genres ensured that the image of the critic was masculine for Victorian readers. And despite the ongoing work of The Wellesley Index to Victorian Periodicals, the growing field of periodicals research, and forty years of feminist scholarship, the Victorian critic remains, by and large, a male figure for us as well. In order to understand how women critics justified their authority and negotiated the gendered assumptions of critical discourse over the second half of the nineteenth century, this project explores the rhetorical strategies used by four prolific women journalists: Margaret Oliphant, Anne Mozley, Julia Wedgwood, and Anne Thackeray Ritchie. These case studies demonstrate how women critics defined their role in response to an expanding reading public, conservative gender ideology, the professionalization of criticism, changing aesthetics, and the establishment of English as a university discipline. They also reveal that both anonymous and signed women critics addressed these contentious issues to subtly undermine prejudices about gender and genre. In addition to demonstrating the feminist agenda of these (sometimes conservative) critics, this study also seeks to complicate the image of the moralizing woman critic symbolized by Mrs. Grundy. Moral rhetoric was common among both male and female critics in the nineteenth century, and this project argues that moral considerations are not necessarily antithetical to artistic ones in nineteenth-century discourse. We must begin to view women's critical arguments in their full context of political, aesthetic, and professional concerns if we truly wish to understand what was at stake for Victorian critics and readers. Thus, by presenting a fuller portrait of these individual women authors, this study not only critiques the gendered definitions of genre that continue to shape literary history, but also revises our understanding of Victorian critical theories. / English

The artist uses herself as the object of study. Her subjective position is validated within a theoretical framework provided by feminism, existentialism and Freudian theory. The three world views provide the context for an analysis of sculpture produced between the years 1988 and 1997. Three one-person exhibitions held in 1990, 1993 and 1996, are examined in terms of their iconographic emphasis and their theoretical bias. The role of the unconscious in the genesis of the sculptures and the problem of author/reader dichotomies in interpretation are dealt with as thematic threads throughout the dissertation. / Department of History of Art and Fine Arts / M.A. (Fine Arts)

This diploma thesis named The Comparison of Media Image of Czech film awards - The Czech Lion and The Czech Film Critics Award in years 2011 - 2013 analyses the media image of those film awards in printed media. As a method is used the qualitative analysis - the Grounded theory and research is made from four types of media - newspapers, weeklies, cultural magazines and tabloids. The aim of this diploma thesis is comparison of articles about those awards and evaluation of Czech cinematography's media image through czech film awards.

Na segunda metade do século XX, a relação entre pintura e fotografia se modifica.. Pintores como Andy Warhol e Gerhard Richter partem de imagens ordinárias e esquemáticas como modelo para as suas pinturas. Warhol assume os procedimentos gráficos e seriais dos meios de comunicação de massa, Richter representa com óleo sobre tela a superfície e a luz da imagem fotográfica. Essas novas práticas têm impactos decisivos na história da arte. Esta tese pretende levantar as relações entre pintura e fotografia na obra de Warhol e Richter. Tentaremos relacioná-los com um contexto mais amplo da arte do pós-guerra na Europa e nos Estados Unidos e entender como isso sugere uma mudança no sentido da arte depois da década de 1960. / From mid 20th century, the relations between painting and photography changes. Painters like Andy Warhol and Gerhard Richter use ordinary and schematic images as a model for their paintings. Warhol assumes the graphic and serial procedures of the mass media, Richter represents with oil on canvas the surface and the light of the photographic image. These new practices have a decisive impacts on the history of art. This thesis aims to raise questions on the impact of the photography in the work of Warhol and Richter. We will try to relate them to a wider context of postwar art in Europe and the United States and to understand how this suggests a change in the direction of the visual arts after the 1960s.

O trabalho analisa a construção da visualidade no filme Serras da Desordem (2006) de Andrea Tonacci. As questões que guiam a pesquisa cercam a construção da visualidade fílmica através da investigação da filmografia do diretor, seu histórico, seu repertório. Paralelamente, buscou-se também aproximar a pesquisa de uma abordagem do cinema como resultado de uma colaboração. Também é explorada uma certa produção do cinema contemporâneo que faz ressonância com Serras da Desordem. Assim, aproximamos a produção de Tonacci dos filmes do diretor Rithy Pahn, S-21:The Khmer Rouge Killing Machine (2003) e LImage Manquante (2013), e de Joshua Oppenheimer, The globalization tapes (2003) e The Act of Killing (2012). Em comum, os filmes apresentam uma posição de crítica pós-colonial, exploração das fronteiras cinematográficas, rememoração e reencenação do passado, entre outras características. Para realizar nossa análise utilizamos os conceitos e autores que trabalham a estética relacional, a crítica de arte através da psicanálise, as idéias do Tercer Cine, a análise fílmica contemporânea, o documentário como obra de arte contemporânea, e as discussões que cercam o realismo e o documentário. Por fim, apresentamos um ensaio fílmico de nosso autoria, que dialoga com os filmes analisados. / This work analises the building visual style of Andrea Tonaccis movie Serras da Desordem (2006). The guide lines of this research relates to the filmic visual construction and investigates the directors filmography, history and repertoire. Besides, pursued also approximate the research to an approach that watches cinema as a result of collaborations. Equally, is explored a certain contemporary cinema scene wich is related to Serras da Desordem. Therefore, we approximate Andrea Tonaccis film production to directors like Rithy Pahn, S-21: The Khmer Rouge Killing Machine (2003) and LImage Manquante (2013), and Joshua Oppenheimer, The globalization Tapes (2003) and The act of killing (2012). In common, the movies have a post-colonial criticism, the exploration of cinematographic borders, recollection and reenactment of the past. To build our analysis we made use of authors and concepts wich think relational aesthetics, art criticism, psychoanalysis, the ideas of Tercer Cine, the contemporary film analysis, documentary as contemporary art, and the discussions about realism and documentary. Finally, a film essay that dialogues with the analysed movies is presented by the author of this research.