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Diplomsko delo se na podlagi analize javnega dogodka posveča razumevanju pojmovanj, ki se prireditvi bodisi s strani medijev ali organizatorjev pripisujejo. Ob tem pri proučevanju sodobne turistične prireditve v ospredje postavlja pojem tradicije, ki ga po pripovedovanju organizatorjev Prangerijade lahko razumemo kot oznako za njeno kontinuirano, neprekinjeno izvajanje. S kategorizacijo javnega dogodka kot tradicionalnega organizatorji poskušajo nakazati tudi na oblikovanje vsebinskega modela prireditve, ki je vezan na (re)prezentacijo segmentov preteklosti, zato avtor v prispevku poda kulturnozgodovinski okvir na Prangerijadi izpostavljenega dela človeške zgodovine, tj. sramotilnega kaznovanja, s katerim prepoznava preteklost kot navdih za sodobno človeško (po)ustvarjanje. Sodobno prikazovanje sramotilnih praks kaznovanja, odigrano v obliki ljudskega gledališča, je sestavni del programske zasnove javnega dogodka, ki predstavlja skupaj s srednjeveško tržnico, ki v fizičnem prostoru prevzema funkcijo turističnega trga, jedrni del programske zasnove prireditve, s katerim organizatorji upravičuje pripisovanje tradicije javnemu dogodku. Based on an analysis of a public event, the thesis sheds light on the conceptions ascribed to the event either by the media or by its organizers. In doing so and by exploring a modern tourist event, the thesis focuses on the notion of tradition, which can be understood — as maintained by the organizers of Prangerijada — as a mark of its continual, uninterrupted taking place. By categorizing a public event as a traditional one, organizers seek to hint also at the shape of the event’s content-related model, which is associated with the (re-)presentation of segments of the past. Consequently, the author provides a cultural and historical framework of that part of human history which is placed at the forefront of Prangerijada, i.e. public shaming as a form of punishment, identifying the past as an inspiration for contemporary human (re-)production. Contemporary presentation of shaming practices enacted by folk theatres is a constituent part of this public event’s programme, which — along with a medieval marketplace acting as a tourist market — forms the central part of the content-related model of the event by means of which the organizers justify attributing tradition to a public event.