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Conceptual Art and its relationship to aesthetic value
Liborová, Noemi ; Kubalík, Štěpán (advisor) ; Dadejík, Ondřej (referee)
The question of the aesthetic value of conceptual art is one of the complex problems of aesthetic research, especially due to its diversity and ontological elusiveness stemming from dematerialization and the absence of the medium, as well as its frequent proclamatory anti- aestheticism. A wave of interest was sparked in 2009 by the study Who's Afraid of Conceptual Art by Peter Goldie and Elisabeth Schellekens. The authors were the first to attempt a comprehensive philosophical-aesthetic analysis of conceptual art, in which they also put forward their own bold hypothesis about the nature of this phenomenon. Their notion of the Idea idea, in which they tried to find the core of all conceptual art, lies in aesthetic idealism. Their approach has inspired other scholars to polemic, and thus prompted several other studies on the subject. The first part of the thesis is devoted to the key characteristics that define conceptual art and that are central to a theoretical grasp of the problem of its aesthetic value. Dematerialisation, ironic self-reflection, anti-definitional characteristics, its anti-aesthetic and intellectual nature are thus the starting point for the second part, which is an attempt at an independent analysis of the problem. The latter begins with an attempt to critique the notion of the...
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Iser's concept of Implied Reader and Children's Literature
Piwowarská, Veronika ; Kaplický, Martin (advisor) ; Kubalík, Štěpán (referee)
This bachelor's thesis introduces the concept of the so-called implied reader, which was introduced first by the literal theoretician Wolfgang Iser in the 1970s'. This thesis defines Iser's concept of the implied reader, for instance the advantages of the implied reader for understanding the process of reading, and furthering the understanding of readers themselves. In light of these elemental understandings, the thesis further indicates whether and how the concept of the implied reader can be used to characterise and understand children's literature. The matters in question of children's literature are mainly analysed in the style of Jana Segi Lukavská and Karin Lesnik-Obersteinová. The further evaluation of the child implied reader is based on the work of Aidan Chambers. Keywords implied reader, reader, children's literature, child reader, child implied reader, Wolfgang Iser, Aidan Chambers, Jana Segi Lukavská, Karin Lesnik-Oberstein
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Defense of the concept of aesthetic disinterestedness in the theory of Thomas Hilgers
Kosyak Shuman, Ekaterina ; Kubalík, Štěpán (advisor) ; Dadejík, Ondřej (referee)
The proposed bachelor thesis deals with the question of the relevance of one of the key concepts of modern aesthetic theory, the concept of aesthetic disinterestedness. This concept was criticized in the second half of the 20th century, especially within the framework of Anglo-American aesthetics and philosophy of art (e.g. George Dickie, Arnold Berleant or Allen Carlson) and, as a result of this criticism, it was rejected as a concept on which the explanation of aesthetic experience could be based. This bachelor's thesis will first present the basic arguments of this criticism, then it will offer one of the contemporary elaborations of the concept of aesthetic disinterestedness, which responded to the above-mentioned criticism (Thomas Hilgers; attention will be paid primarily to Hilgers' proposal to base a new concept of disinterest attitude on the so-called "practical self-consciousness" or socially conditioned consciousness himself), and in the final part, it will evaluate the success of this defense of the concept of aesthetic disinterestedness and the relevance of this theory in relation to contemporary artistic manifestations, such as conceptual art, happening, performance. KEY WORDS: Aesthetic disinterestedness, practical self-consciousness , Thomas Hilgers, Martin Heidegger, George Dickie,...
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The Concept of Reader in Wolfgang Iser's and Stanley Fish's Literary Theory
Vavřičková, Hana ; Kaplický, Martin (advisor) ; Kubalík, Štěpán (referee)
Since the 1970s, concepts exploring reader-response theories of literature have been developing in literary aesthetics and literary theory. Although these theories share a reader-orientation, they often differ significantly from one another, attempt to answer different research questions, and emphasize different aspects of reader response. This can also be said of the literary theory of Stanley Fish and Wolfgang Iser. The commissioned bachelor's thesis will attempt to show both the points of contact between the two theories and their differences. The introduction to both theories will be an introduction to the concept of the reader with which both theories work. In the case of Iser it is the implied reader, in the case of Fish the informed reader.
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The Experiential Dimension of Arthur C. Danto's Definition of Art
Lojdová, Šárka ; Kubalík, Štěpán (advisor) ; Koblížek, Tomáš (referee) ; Makky, Lukáš (referee)
Title: The Experiental Dimension of Arthur C. Danto's Definition of Art Author: Mgr. Šárka Lojdová Department: Katedra Estetiky Supervisor: Mgr. Štěpán Kubalík, Ph.D. Abstract The main topic of the present dissertation thesis is Arthur Coleman Danto's approach to defining art. The dissertation explains characteristics Danto considers as defining conditions of art. Its goal, however, lies elsewhere - I aim to demonstrate that Danto ties the essence of art with the experiential dimension of art. The experiential or - in Danto's terms, pragmatic - dimension of art describes the viewer's interaction with an artwork. According to Danto, artworks provoke an emotional reaction on the part of a spectator; what is more, they might change one's view of the world. My reading of Danto's position differs significantly from the traditional interpretation of his definition of art. Contemporary philosophers emphasize the semantical dimension of Danto's writings. Danto proved that one thing might be an artwork regardless of being perceptually indiscernible from an ordinary thing since artworks - contrary to real things - have content. Danto's introduction of this condition helped to accept avant-garde works as art. My thesis, however, shows that the content (and interpretation) is not the whole story. I argue that it is not...
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Conceptual Art and Environmental Aesthetics
Esopová, Tereza ; Dadejík, Ondřej (advisor) ; Kubalík, Štěpán (referee)
(in english) The thesis Conceptual Art and Environmental Aesthetics aims to reveal the closeness of these seemingly completely different fields. Two dominant themes run through the whole investigation. From the point of view of conceptual art, it is primarily the question of the material, which will be discussed in the light of the previous research of Peter Goldie and Elisabeth Schellekens. The second issue, and therefore an issue from the point of view of environmental aesthetics, is the attempt to distinguish the realm of the artistic from the realm of the non-artistic. This thesis is therefore divided into two parts. The first one introduces conceptual art and the basic questions concerning its nature. The prevailing dualistic approach to the concept of conceptual art in the authors under review is here critically refuted and replaced by another concept that reopens the question of what is included in a conceptual work. Thus, the aspect of the choice of the medium and, consequently, the aspect of the choice of the environment as part of the conceptual work comes into focus. The topic moves seamlessly into environmental aesthetics, where the fundamental problem of the existing distinctions between the artistic and the non-artistic is introduced, which is that these distinctions are too narrow....
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Aesthetic aspects of photography : Photographic style as a problem for R. Scruton's theory
Chytilová, Anna ; Kulka, Tomáš (advisor) ; Kubalík, Štěpán (referee)
Present BA thesis aims to discuss aesthetic aspects of photography, especially in relation to Roger Scruoton's sceptical theory of photography from his article Photography and Representation in which he calls into question artistic capabilities of this medium. His overall stance holds that photography is not capable of artistic representation as other art media. His opinion is based predominantly on the causality and mechanical character of photography and first part of the thesis will consist of interpretation of his view. The objective of further study is to bring his views into critical light, and then to present some arguments to argue for possibility of individual photographic style, which is doubted in Scroton's theory. Study aims show forth basic aeshetic aspects of photography in its own terms as a specific representational medium and then discuss photographic style on this basis. Argumentation on style will be supported also by particular examples of photographic artworks that show aspects of individual style and by relevant theories, namely N. Goodman's article Status of Style from his work Ways of Worldmaking.
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Moral criticism of art in the concept of Noël Carroll and Berys Gaut
Davidová, Sára ; Stejskal, Jakub (advisor) ; Kubalík, Štěpán (referee)
In this thesis I focus on the moral criticism of art in the conception of two american aestheticians, who came to the conclusion that it is a legitimate approach in the evaluation of art. Namely, I address the conception of Noël Carroll and his concept of moderate moralism and the conception of Berys Gaut and his concept of ethicism. I present these against the background of other approaches with which it is possible to evaluate a work of art. Moral criticism is explained through the relation of aesthetic and moral values, and the relationship of art and its reception. The work focuses on the views of Carroll and Gaut on cognitive gain from art and how it is connected with considerations of morality.
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Definitions of Art
Mikešová, Marcela ; Kulka, Tomáš (advisor) ; Kubalík, Štěpán (referee)
The thesis deals with George Dickie's institutional theory (IT) of art. Dickie provides a definition of art which relates art to cultural, social and historical conditions. His definition is based on realizing the contextual framework of so-called Artworld. The thesis maps the intellectual background of Dickie's theory, analyzes its form, and provides a critical reflection of its shortcomings. In the first part we introduce several authors, whose work forms the theoretical background for the Dickie's theory, including anti-essencialism. We will outline the basic principles of the IT and, finally, we will point out the major problematic issues of his relational theory of art. Keywords artworld, institutional analysis, conferring status, candidate for appreciation
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"Categories of art" as a concept in Kendal Walton's theory of aesthetic appreciation of art
Kolář, Karel ; Kubalík, Štěpán (advisor) ; Kulka, Tomáš (referee)
The Bachelor's thesis offers a critical interpretation of the theory of aesthetic appreciation of artworks, specifically the theory developed by American art philosopher Kendall Walton. In his study Categories of art, Walton presents the theory of aesthetic judgments, according to which making of aesthetic judgments is conditional upon the classification of a work in the correct category of art on the basis of the work's non-aesthetic properties. The first part of the thesis summarizes the core ideas of his theory. The following part is the actual critique of Walton's thesis. It is devoted to its conception of Gestalt and examines the adequacy of its classification as an aesthetic property. The work goes on to criticize the thesis based on the necessity of knowledge of the author's intentions and the context of the creation of the work for its aesthetic assessment. The work concludes that Walton's study does not meet the goals he set for himself. After reviewing the various steps of his argument, we find that his theory of artistic evaluation is more static than the formalistic theories, and that he does not create an alternative that fits the practice.
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