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Three textbooks of aesthetics (Hugh Blair, Johann Joachim Eschenburg and Johann August Eberhard).
Martinková, Zuzana ; Hlobil, Tomáš (advisor) ; Dykast, Roman (referee)
The thesis examines three enlightenment textbooks of literary arts of that period, which were all published in 1783 and significantly contributed to dissemination of aesthetic ideas. Its primary aim is to determine how aesthetics, as a separate philosophical discipline, entered into these three selected textbooks of literary arts of that period, and in what ways it has influenced their interpretation. It raises a question of how the presence or absence of aesthetics influenced the concept of these texts not only as a whole, but also in developing specific theories, themes and ideas that are further compared in this thesis. It analyses the main sections of the textbooks and introduces their basic structure and specific opinions, which are then critically evaluated. The aim of the thesis is to examine the character of the interpretations and grasp the theories of particular kinds of arts depending on whether they were performed within or outside the framework of aesthetics. The presented thesis should contribute to a better understanding of the differences and similarities between German and Scottish reflections of aesthetic questions at the end of 18th century based on these three examples of textbooks.
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The notion "bad music" viewed in terms of development of aesthetic norm
Solfronková, Kateřina ; Dykast, Roman (advisor) ; Soško, Vladimír (referee)
The basis for this thesis, "bad music", is the term utilized in the book by H. H. Eggebrecht, Music and Beautiful. The work presents four different theories from Theodor Adorno, Hans Heinrich Eggebrecht, Umberto Eco and Roger Scruton, which maps the ideas of the individual authors and focuses primarily on the sections that the authors devoted to the topic of problematic music. The final part of the thesis explains those points where the authors differ, or how they respond to each other. All the authors classify their individual subchapters in accordance to the subject matter contain in the theories. The objective of this thesis, together with a presentation of the individual approaches, is to demonstrate whether it is achievable, despite the contrasts in approaches and differences in terminology, to unify the concepts of the individual authors under one identical term, namely the term of bad music.
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Controversy over the Nature of Dramatic Text
Vašáková, Martina ; Kaplický, Martin (advisor) ; Dykast, Roman (referee)
Controversy over the Nature of Dramatic Text This thesis will attempt to identify the nature of dramatic text in the context of two art forms: literature and theatre. It will investigate the changes which dramatic text undergoes when staged while also thematizing the relationship between the textual and other aspects of works of drama. The thesis will be primarily based around Czech theatre aesthetics of the twentieth century and will attempt to map and reflect on the theoretic discussion on this subject. At the same time it shall observe how these theoretic attitudes are reflected in dramatic texts themselves and in scenic practice of Czech theatre of the twentieth century.
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The Concept of Humoral Theory as the Means of William Shakespeare's Artistic Expression
Hrabaňová, Olga ; Dykast, Roman (advisor) ; Dadejík, Ondřej (referee)
(in English) The aim of this thesis is to present humoral theory as the means of William Shakespeare's artistic expression and to show that he created his dramatic characters on the basis of its knowledge. Humoral theory is presented here first in the context of ancient philosophy as a concept which has a key impact on human's temperament, and this concept is afterwards examined on the basis of period books in the scope of Renaissance aesthetics, philosophy and medicine. The essential texts for this study are De triplici vita by Marsilio Ficino and The Anatomy of Melancholy by Robert Burton. This thesis traces the way by which the theory spread from Italy to England, it examines its impact on period poetics and a possible means by which Shakespeare could have got to know it. In the second part the thesis analyses four specific characters from Shakespeare's plays and it shows how their temperaments correspond to the period concept of humoral theory. The period concept of humoral theory, which is in its base psychological, is therefore transferred to the area of aesthetics as a distinctive concept of the period theory of drama, which is shown in Shakespeare's emphasis on typological contrast in his dramatic characters
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Otakar Zich's The Aesthetics of Dramatic Art and the issue of inner-tactile perception
Bezděk, Ester ; Kaplický, Martin (advisor) ; Dykast, Roman (referee)
This bachelor thesis is primarily focused on Otakar Zich's theory of Dramatic art. The first part, which is the main part of this work, deals with Zich's approach to drama in general, localising the thought of inner-tactile perception afterwards. Inner-tactile perception is presented as a crucial part of Zich's theory. Not only it is a part of the process of creation, but also of perception of drama itself. The second part of this thesis is an addendum to Otakar Zich's theory. This part is a response to Zich's thought of inner-tactile perception in current aesthetic theories of proprioception. In context of several aesthetic theories it is shown what proprioception is and what role it plays in aesthetic situation. It also reveals a relationship to Zich's inner-tactile perception. Powered by TCPDF (www.tcpdf.org)
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Aristides Quintilianus and the Position his work on music holds among the Extant musicological Treatises
Slavíková, Marcela ; Fischerová, Sylva (advisor) ; Dykast, Roman (referee) ; Pavlík, Jiří (referee)
The extant ancient Greek treatises on music show very striking similarities regarding the explanation of music theory, although they span a time period of seven centuries. The aim of this thesis is to prove that these similarities were not caused by the missing development of music, but rather by the habit of ancient musicologists, who seem to have preferred the information contained in their sources, however old they were, to the description of real musical practice. In this respect Aristides Quintilianus, an author of the 3rd century AD, who wrote three books On music, was not different. This thesis includes an explanation of the development of music as it is depicted by contemporary non-musicological writers and notational diagrams, then presents the work of Aristides Quintilianus per se as well as in the context of the other ancient Greek musicological research. There is also a translation and a commentary on Aristides's first book, where the musical changes should be present. Finally, by a comparison of some parallel passages found in Aristides's first book and in the rest of the extant musicological treatises, Aristides's sources are exposed.
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The Shape of Orpheus. The sketch of the Iconography of Orfeus in European and Czech nineteenth-century visual arts
Machková, Magda ; Konečný, Lubomír (advisor) ; Prahl, Roman (referee) ; Dykast, Roman (referee)
Who says there is only one Orpheus, the mythical singer, poet, lover, musician, tragedian? The pivotal term of this study 'Orpheus' potential' refers to a set of characteristic datas or qualities, encrypted into the iconography of this theme by the time of c. 3 000 years and deciphered and interpreted by artists for nearly equivalent period. Although the Czech lands of the nineteenth century were both metaforically and literally distant from the Greek antiquity, we are able to trace a surprising volume of comments, receptions or appropriatons of Orpheus' iconography in various fields of arts: visual arts, dramatic arts, poetry, opera. The transformation of typology is discussed on illustrative examples using the genre of micro- stories, the second part of the study focuses on the localy determined shape of 'Slavic Orpheus', the person from the pre-Czech mythology, Lumír, who was gifted by analogic talents like his prototype.
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Problems of a musical work in musical poetics 20th century
Grosamová, Alžběta ; Dykast, Roman (advisor) ; Soško, Vladimír (referee)
The thesis focuses on issues of musical works in musical poetics of Arnold Schönberg and Igor Stravinsky. Due to the changes music was undergoing in the 20th century, the matter of musical works was very problematic. The goal of this thesis is to introduce the key moments in the authors' thinking and their creation of music. The work then presents a reflection on these key moments through the writings of F. Herzfeld, H. H. Stuckenschmidt and M. S. Druskin. The final comparison should familiarize the reader with Schönberger's and Stravinsky's insight on the categories important for the search for the new form of musical artworks in the 20th century. An important part of this work is dedicated to show the link between the authors' lives and their work; to show which life conditions they originated from and how their life experiences influenced their thinking. Key words Schönberg, Stravinskij, dodecaphony, neo-classicism, comparation, atonality, dissonance, 20th century, tonality, poetics
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The concept of beauty in Ficino's commentary De amore and its influence on Renaissance aesthetics
Polák, Ján ; Dykast, Roman (advisor) ; Dadejík, Ondřej (referee)
The aim of this study is to examine piece of work of Marsilio Ficino known as De amore according to the characteristic of author's life and work, and to demonstrate its influence on Renaissance aesthetic. The main motive of the writing that was composed as commentary of Plato's Symposion is the function of love in the cosmology inspired by neoplatonists, mainly Plotinus. Ficino's principal contribution to the Renaissance and modern thinking is translation and development of Plato's work including his conception of double love. This study summarizes Ficino's life and work, afterward it examines writing itself emphasizing aesthetic themes and then demonstrates the influence of Ficino's conception of love on selected works of Renaissance literature. The selection of texts exposes transformation of this conception from piece of work directly inspired by Ficino's theory passing through writing in which is this theory confronted with formal literary requirements to the texts demonstrating dominance of literary form over philosophical content. Keywords Marsilio Ficino*Renaissance Platonism*Renaissance aesthetic*platonic love
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Otakar Hostinsky and his contribution to the Czech contemplation on dance
Pivodová, Klarisa ; Dykast, Roman (advisor) ; Kaplický, Martin (referee)
The diploma thesis "Otakar Hostinsky and his contribution to the Czech contemplation on dance" deals with aesthetics of one of the prominent Czech figure of aesthetics Otakar Hostinský - its specific part is focused on the artistic human body movement - specified as dance and pantomime. Although this professor of aesthetics at the University of Prague did not leave any work where he would have comprehensively formulated his aesthetics theories about dance yet he included dance in his reflections. This thesis aims to outline Hostinský's aesthetics views on the issue of artistic human body movement specified and defined as dance. The thesis mainly focuses on abstracting Hostinský's views on the art of human movement with a particular focus on dance and attempts to present them as a coherent system of artistic kind.
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