National Repository of Grey Literature 140 records found  1 - 10nextend  jump to record: Search took 0.00 seconds. 
Subject Falling out of a Situation
Míka, Matyáš ; Petříček, Miroslav (advisor) ; Švec, Ondřej (referee)
This work juxtaposes Michel Foucault's late thought on the issue of the subject and Jan Císař's thought on theatre as communication. Its objective is to outline the possibility to understand individual self-care as propaedeutics to the communication with others through one's own act. What follows after explaining the positions of both authors, is an analysis of the subject's situation and the subject's act from the position of Foucault's ethics and through the event nature of theatrical communication. Since Foucault's and Císař's thought does not naturally result in an integrated theatrological/philosophical concept, the final chapter presents a possible solution of the controversial issues consisting in going beyond the two concepts discussed with the help of Friedrich Nietzsche's early texts and of Ivan Vyskočil's dialogue acting.
The Concept of History in the Works of Theodor W. Adorno and Walter Benjamin
Kettner, Marek ; Petříček, Miroslav (advisor) ; Švec, Ondřej (referee)
The thesis examines the concept of history in the thinking of Walter Benjamin and Theodor W. Adorno. It systematically inquires into texts of the period between 1913 and 1932. Benjamin's thought is interpreted in its whole, with regards to his key concepts of messianic salvation, profane revolution, biblical fall, mythical positing of right, and actuality of the present. Adorno's contribution to the concept of history is examined on the basis of three early texts from the beginning of the thirties. The thesis follows first the evolution of the concept of history in the thought of Benjamin and then turns toward the relation between the explicated deliberations regarding the theme and the conception of Adorno. The major change which occurs during Adorno's accepting of Benjamin's terminology and thoughts lies in the fact that the concept of history is moved from the theological-eschatological context to the context of praxis. Key Words Philosophy of history, messianic salvation, revolution, myth, right, actuality, configuration.
!The heavens are not humane..." Philosophical interpretation of Too Loud a Solitude
Kinter, Vojtěch ; Petříček, Miroslav (advisor) ; Thein, Karel (referee)
Too Loud a Solitude is one of the most famous texts of Bohumil Hrabal and possibly it is his most philosophical one. The following thesis interprets this text from the philosophical points of view as a statement about modern age and an individuals place in it. Based on one of the central sentences - "The heavens are not humane" - spoken by the protagonist Haňťa in his monologue in, the text is read as defense against incommensurability of the world with an indiviual. Christian a ancient Greek's way of defense are considered as not appliable to the age Haňťa lives at, but also as somehow present in his way of defense, which is described as a specific type of "pábení". "The end of Christian epoch" (as Hrabal himself puts it) which occurs in Too Loud a Solitude is described then in terms of mechanizing and forgetting of actual humane being. Existencial analysis of Haňťa's state after the end of epoch follows. The thesis mostly reffers to following thinkers: Friedrich Nietzsche, Karl Jaspers, Albert Camus and Jean Améry.
Artificial Light in Art
Víchová, Ilona ; Rakušanová, Marie (advisor) ; Wittlich, Petr (referee) ; Petříček, Miroslav (referee)
In my dissertation I focus on light and spatial situations rooted in a dialogue between an empty space and artificial light. These environments are so charged in terms of perception that their experience affects the processes in the viewer's consciousness. First, there are usually the feelings of increased instability and disorientation. These factors were first explored in depth by the Californian artists James Turrell and Robert Irwin in the mid-1960s, in response to psychological and neurological scientific experiments in the field of sensory deprivation. Turrell's and Irwin's progressive approach found a host of followers. In Europe, it was developed, in particular, by the contemporary artists Olafur Eliasson and Ann Veronica Janssens, in the Czech milieu by Pavel Korbička. Korbička's interest in the potential of space and its definition by artificial light constitutes a key material in my dissertation for the explanation of the links between light and spatial works and the processes regarding the viewer's perception. Inside light and spatial works, the limits of the viewer's body dissolve; at the same time, the natural dependence of human orientation on allocentric representation (i.e. on the relationship between the subject and the surrounding landmarks) is stimulated, to the extent that the...
Intuition and vacuum of film imaging
Krůček, Václav ; Svatoňová, Kateřina (advisor) ; Petříček, Miroslav (referee) ; Dvořák, Tomáš (referee)
My PhD thesis explores impacts of the specific moments of film within the context of its ontological potential. It follows forms of intervention into stability and continuity of visual re-presentation, which may induce intuition of the new. The opening chapters are devoted to the image "in itself", presented as duration of a "self-modulating" shot, whose apparent stillness initiates (with participation of sound) the pressure of off-screen field. The relationship of visible and sensible is considered from this point as initiation of impulses and changes immanent to film recording, as examined in subsequent arguments. Presented shots in these cases not only fulfill its narrative function by means of pictorial representation, but act concurrently as movement of elementary structures in time, as Gilles Deleuze points out. Based on references to his reflections, the following chapters expand on topics that analyze factors, partaking in possible initiation of intuition: effects of sequential processes of difference and repetition in film images, their rhythm, duration, elementarization, refraction and disappearance. Sudden occurences and persistence of these processes are demonstrated in film examples, where intuition departs medium and unfolds reality beyond film.
A web of eyes. Irony and romanticism in the works of Jorge Luis Borges and Julio Cortázar
Kazmar, Vít ; Housková, Anna (advisor) ; Šišmišová, Paulína (referee) ; Petříček, Miroslav (referee)
A Web Of Eyes: Irony and romanticism in the works of Jorge Luis Borges and Julio Cortázar (Mgr. Vít Kazmar) Abstract The present doctoral thesis offers an interpretation of the works of Borges and Cortázar through the lens of romantic irony. It outlines the origin of the notion of irony from greek drama through philosophical dialogue to rhetorics. The main focus of the work is Schlegel's concept of romantic irony. Various aspects serve as a basis for the interpretation of the work of both Argentine writers in particular chapters: the struggle between enthusiasmus and scepsis in Borges (litotes) and Cortázar (novelistic dialogue), motive of the double, reflexivity in literature written in the spanish language from Cervantes to Borges, focusing on Borges' sources of inspiration (Carlyle, Fernández, Unamuno); Cortázars reflexive short stories, heteronyms of both authors (Morelli, Ménard); and finally the tendency to see the world from above, to constant transcendence of perspective in Borges' short stories and poems and in Cortázar's novel 62: A model kit, as well as in his poetics based on the works of John Keats.
Moment and Autorship in Photography
Šarkadyová, Lucie ; Petříček, Miroslav (advisor) ; Váša, Ondřej (referee) ; Silverio, Robert (referee)
Most of the work on photography is about image and trying to understand photography as an image. Contrary to this approach, this paper deals with the experience of the photographer at the time of taking the picture, and also the influence of photography, understood as a medium, on our perception. The main topic is the photography of movement, where we can best demonstrate how photography changes both our perception and our understanding of (objective) reality. The beginning of the work is devoted to one of the greatest Czech photographers, Josef Sudek, who describes the method of his work. Sudek's definition of the moment involved in taking the picture is "when everything fits together"; the impossibility of returning to the same moment is a central feature of photography as presented in this work. Consequently, the basis for the thesis is that (1) photography and camera change the way we perceive, and that (2) photography is an actualization of the possibility of how we see what we see. The actualization of the possibility is discussed mainly in the context of Barbara Probst, whose work "Exposures" fundamentally enters the history of photography, and who - once again - does not put emphasis on the image but rather on the photographer as the creator of the image.
Hans-Georg Gadamer and the Method of Interpretation
Zbořil, Prokop-Jan ; Čapek, Jakub (advisor) ; Petříček, Miroslav (referee)
In 1981, Gadamer gave his Text und Interpretation speech at a Paris conference. He emphasized the role of interpretation as a wholly fundamental phenomenon shaping our overall relation with the world. All knowledge seems to be dependent on interpretation, as Gadamer claims in Wahrheit und Methode, his central work, as early as 1960. The work's key term is interpretation, taken from Gadamer's later lecture, as it narrows hermeneutic interpretation, focusing it on one specific problem. Gadamer's hermeneutics is treated as a correct interpretation methodology of sorts - a position Gadamer himself always denounced. The decision is intentional and will be explained and defended in the text. This approach will allow Gadamer's general propositions to be tested in a real, concrete situation.
The Machine in the early works of Ernst Jünger
Miller, Václav ; Starý, Jiří (advisor) ; Petříček, Miroslav (referee)
This thesis deals with the concept of the machine in the works of the German writer Ernst Jünger (1895-1998). It analyses the author's opinions about the machine and technology expressed in his essays, as well as the way how Ernst Jünger depicts the machine in his war memoirs. Due to the considerable amount of the author's publications, only his early work is taken into consideration. This creative period begins 1918 with Jüngers return from the front-line service and ends, from the specific perspective of the chosen subject, 1932 with the publication of the essay The Worker. The mentioned essay represents together with a shorter paper titled Total Mobilization (1930) a separate chapter in the author's understanding of technology and is therefore given adequate space in the present thesis. The writer's concepts of machine and technology, which have been published prior to the Worker, are largely observed in the light of this later development of his ideas. In the final chapter it is attempted to show how the structure of the author's front-line experience is reflected in some of his ideas concerning the problem of modern technology.
Henri Bergson: Philosophy and Perception
Hřídel, Jan ; Čapek, Jakub (advisor) ; Petříček, Miroslav (referee)
(in English): The thesis deals with Henri Bergson's theory of perception. Bergson approached the problem of perception in an original way, namely in terms of life, action and movement. The starting point of this inquiry is his claim that if perception is de iure a picture of the whole but de facto confined to what we are interested in, then we should not ask how perception is produced, but how it is limited. I trace this line of thought mainly in the work Matter and Memory; subsequently, I try to relate it to Bergson's urge that perception should be expanded and deepened beyond the level of attention given to practical activity. I develop the notion of expanded perception on the basis of Bergson's texts in The Creative Mind, and in this connection I reflects on mental life as a movement on the continuum, two senses of life and two conceptions of freedom.

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