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The Understood Author: A hermeneutical exploration of audiences interpretation of the author as productive practices behind a text
Pavlíčková, Tereza ; Carpentier, Nico (advisor) ; Kuzmičová, Anežka (referee) ; Hermes, Joke (referee)
in English This project builds on the tradition of audience research that theoretically and empirically established that meaning is formed in the negotiation between the text and the reader, that the audiences are agentic, their interpretation of media is contextual and situated, and that they have the potential to resist the media. It argues that it is important to explore people's attention to different sources: who is listening, to whom, and why - and asks how people understand the notion of an author that they encounter in the interpretation of factual media texts, and how this interpretation is brought back into the interpretative act. The thesis subscribes to philosophical hermeneutics as an overarching theoretical as well as methodological framework to devise a concept of an understood author that is a result of the interpretative act, where the author imagined and anticipated by the reader (in the form of prior knowledge and prejudices) is encountered and actualised by the author inscribed into the text. I carried out 28 in-depth face-to-face interviews with Czechs born between 1948-1963 to explore participants' experiences and relationship with media and media authors. Employing hermeneutical analysis, the focus is not to capture what is an author, but how it happened to be so. The...
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Comparison of the dramatic artwork with its contemporary staging. Tom Stoppard : Rosenkrantz and Guildenstern Are Dead
Bočková, Anežka ; Hník, Ondřej (advisor) ; Hausenblas, Ondřej (referee)
The theme of my bachelor thesis is a comparison of a dramatic artwork Rosencrantz and Guildenstern Are Dead by Tom Stoppard with its contemporary staging in Celetná theatre. First of all I would like to grasp theoretically the relationship between play and its staging, then I want to deal with the role of the director and also with the interpretation of drama. I will introduce Tom Stoppard, his biography with important life milestones, which are somehow related to the play Rosencrantz and Guildenstern Are Dead. My goal is to show bits of the play, which could be interpreted divergently in the dramatic artwork and in its staging. I will go through all of the components of the original play and the staging and look for the possible differences of interpretation and their reasons. In comparison, I perceive changes in the impression of both of the works. I am going to work mainly with the dramatic artwork and its staging, because there is almost none secondary literature on this topic. My goal is to show bits of the play, which could be interpreted divergently. I demostrate the possibility of different interpretation on three examples. The first example are the gaps in the storyline, which Stoppard uses as a space for his brilliant play on words. However the staging seems to emphasize this humorous...
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Comparison of the dramatic artwork with its contemporary staging. Tom Stoppard : Rosenkrantz and Guildenstern Are Dead
Bočková, Anežka ; Hník, Ondřej (advisor) ; Hausenblas, Ondřej (referee)
The theme of my bachelor thesis is a comparison of a dramatic artwork Rosencrantz and Guildenstern Are Dead by Tom Stoppard with its contemporary staging in Celetná theatre. First of all I would like to grasp theoretically the relationship between play and its staging, then I want to deal with the role of the director and also with the interpretation of drama. I will introduce Tom Stoppard, his biography with important life milestones, which are somehow related to the play Rosencrantz and Guildenstern Are Dead. My goal is to show bits of the play, which could be interpreted divergently in the dramatic artwork and in its staging. I will go through all of the components of the original play and the staging and look for the possible differences of interpretation and their reasons. In comparison, I perceive changes in the impression of both of the works. I am going to work mainly with the dramatic artwork and its staging, because there is almost none secondary literature on this topic. My goal is to show bits of the play, which could be interpreted divergently. I demostrate the possibility of different interpretation on three examples. The first example are the gaps in the storyline, which Stoppard uses as a space for his brilliant play on words. However the staging seems to emphasize this humorous...
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