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Denis Dutton's cluster definition of art
Kyjacová, Natália ; Kubalík, Štěpán (advisor) ; Dadejík, Ondřej (referee)
The thesis focuses on Denis Dutton's cluster definition of art, its critique and possible defence in the context of evolutionary aesthetics. The main theme that accompanies the thesis is the connection between the evolutionary origins of art and its definition today. After an introductory presentation of evolutionary aesthetics' approaches to the search for the origin and definition of art, the central section is devoted to Dutton's cluster theory. This is presented from two perspectives - against the background of his understanding of the Darwinian-inspired concept of art, that is, based on natural and sexual selection, and against the background of Berys Gaut's original cluster theory. Dutton's theory has faced criticisms of the normative universalism that his evolutionary theory has the potential to set up, the subjectivity regarding antipathy to modern art, and the over-openness of the cluster. The thesis will attempt to evaluate the critique and to clarify whether Dutton succeeds in advocating a link between the origins of art and its modern definition. Keywords: Denis Dutton, evolutionary aesthetics, darwinism, adaptation, cluster theory, definition of art.
A Theory of Quasi-Emotions by Kendall Walton
Kotas, Klara ; Hadravová, Tereza (advisor) ; Kubalík, Štěpán (referee)
In this bachelor's thesis I will focus on Kendall Walton's interpretation of the theory of emotions evoked by fiction, presented primarily in his book Mimesis as Make - Believe: On the Foundations of the Representational Arts and a number of articles. First, I will analyse how in general Kendall Walton views the nature of emotions experienced in perceiving fiction. I will deal with the term "game of make - believe", which Walton introduces to describe the reader's or the viewer's experience with fiction. Using the concept of game of make - believe Walton points out the character of the emotions evoked by fiction. I will perform a comprehensive analysis of Walton's term "quasi - emotions". The bachelor's thesis will be divided into two main parts. In the first part, I will interpret Walton's studies. In the second part, I will approach the topic critically and confront his thesis with the arguments by Noël Carroll and Richard Moran, who have reacted critically to Walton's theory. The purpose of this critique is to point out the certain problematic aspects of both quasi - emotions and the theory game of make - believe. Finally, I will present my own position on his studies and summarize the overall argumentation presented in the work. KEY WORDS Kendall Walton, quasi - emotions, game of make -...
The concept of aspect-seeing and its application in metaphor theory
Waloschek, Jonáš ; Kubalík, Štěpán (advisor) ; Kulka, Tomáš (referee)
The diploma thesis offers an outline of the progression of thinking about metaphor and at the same time follows the role that particular theories attribute to the concept of similarity and imagination. The common definition of metaphor as a figurative name, which is based on similarity, a conception which can be traced back to Aristotle, became a target of criticism and refutation in the works of analytical philosophy. In the first step, we will see how all of the three assumptions present in this definition are challenged, namely the assumption that metaphors are necessarily figurative, that they are a type of naming, and that they are based on the principle of similarity. In the second step, we will introduce a theory that reimagines the role of imagery and defends the view that quasi- sensory ideas of readers play a significant role in understanding metaphors. This theory can be found in the works of Marcus Hester, who, in an original way, uses Wittgenstein's notion of aspect- seeing, and whose contribution is especially appreciated by the French philosopher Paul Ricoeur. The work will examine the ways in which Hester understands and modifies Wittgenstein's concept and to what extent is his understanding appropriate in relation to other possible interpretations of Wittgenstein. Despite the...
Motif of antinomy of taste in the Frank Sibley's work
Švehla, Matěj ; Kubalík, Štěpán (advisor) ; Kulka, Tomáš (referee)
The topic of this bachelor's thesis is the interpretation of the reflections of the British aesthetician and philosopher of ordinary language Frank N. Sibley, whose contributions to the discussion of aesthetic judgment within the Anglo-American analytical philosophical tradition represent key moments of this debate as a modern formulation of Antinomy of Taste. Attention is paid not only to Sibley's famous article Aesthetic Concepts, but also to three critical commentaries aimed at the article (Hubert R. G. Schwyzer, David Novitz, Mary Mothersill), which come from the background of analytic aesthetics as well and through its controversy reveals the issue of aesthetic judgment in Sibley's work, more precisely the motif of Antinomy of Taste. This revelation is made explicit on a comparison of selected Sibley's moments with Kant's original formulation of the Antinomy of Taste and on a comparison of the contradiction between the two axioms of common sense formulated in David Hume's contemplation. The work not only confirms the motif of the Antinomy of Taste in Sibley's work, but also assesses whether there are convincing reasons for rejecting the idea of Antinomy of Taste and the idea of autonomous aesthetic value, which are demonstrated in critique by David Novitz. Key words aesthetic concepts,...
Scruton's Concept of Musical Meaning
Hurník, Štěpán ; Dykast, Roman (advisor) ; Kubalík, Štěpán (referee)
The subject of the presented paper is Scruton's concept of musical meaning. The research is based on analysis of Scruton's crtitique of semiotic attitudes towards the problem of musical significance. From the semiotic point of view, music is regarded as a sign. On this basis, the meaning of music is described as a relation: music signifies by reference to something other than itself. Musical semiotics analyzes forms of this semantic relation and determines the nature of musical significance. Scruton's concept is built in opposition to this theory. Its presupposition is an a-semantic relation of musical significance, which is grounded in the listener's metaphorical experience of music. The musical meaning is not to be given by semantic relation but it is heard by the listener in the music itself. Thanks to this, Scruton states the meaning of music is found only in the musical structure. In order to achieve succesful formulation of Scruton's concept, it is necessary to analyze his particular critiques of the semiotic attitudes towards meaning of music. In this analysis, on the one hand Scruton's reasons why he denies semiotic approach towards research of musical significance will be clarified, on the other hand his asemiotic concept of the meaning of music will be presented and illuminated. The main...
Ruin as an aesthetic object
Všetečková, Anna ; Dadejík, Ondřej (advisor) ; Kubalík, Štěpán (referee)
This bachelor's thesis is focused on ruins as specific aesthetic objects. The thesis will first remind us about the beginning and rise of aesthetic interest in ruins in the eighteenth and nineteenth century, which mainly stems from the category of picturesque, which was prominent in this period of time. The first part of the thesis mainly focuses on the theory of Sir Uvedale Price, who discussed ruins in terms of picturesque. This part also looks at historical changeability of ruins and the approach to them. Next the thesis discusses ruin as an object. This entails analysis of the defining trend of the term ruin in dictionaries as well as in texts written by authors interested in the aesthetics of ruins. The aim of this part is to create a unique definition of the term ruin. After creating this definition, the text continues by discussing ruin as an aesthetic object. A ruin is in terms of its value a complexly structured object and outlining this value structure is the aim of this thesis. This part therefore focused on discussing elements, which the ruins consist of and which together play a major role in constituting an aesthetic object. What is absolutely essential for ruin is unity. This part also talks about senses, the relationship of a ruin and nature and ruin's temporal dimension. The last...
The Relationship Between Moral and Aesthetic Values In Performance Art
Moiseeva, Olga ; Hadravová, Tereza (advisor) ; Kubalík, Štěpán (referee)
This bachelor thesis pursues the relationship between moral and aesthetic values in performance art. The current debate about moral value of art in Anglo-American aesthetics focuses mainly on art as such, while individual accounts of advocates of the developed approaches - autonomism, moralism, immoralism - about the relationship between moral and aesthetic values are illustrated exclusivelly through literary and film artworks, i.e. through narrative fiction. In this thesis I examine whether these accounts are applicable on performance art, which stands out from traditional art characterisation and categorisation. I describe performance art with regards to it being a relatively new art form, and point out problematic moments that performance art poses for the subject of the relationship between moral and aesthetic values. Subsequently, I apply individual accounts of advocates of autonomism, moralism, and immoralism onto performance art, and show that it is necessary to review the default premises if we want to include less traditional art forms, such as performance art, into the debate about the relationship between moral and aesthetic values. Key words performance art, moral value, aesthetic value, autonomism, moralism, immoralism
Photography, Text and Their Relationship to Reality in the Early Thought of Roland Barthes
Hřib, Matěj ; Ševčík, Miloš (advisor) ; Kubalík, Štěpán (referee)
This bachelor thesis aims to compare conceptions of photography, text and their relationships to reality in the semiological texts of Roland Barthes from '60s. From his then structuralist position is photography "a message without a code" which is in direct, analogical relationship with reality, while text cannot be anything like that and is only capable of creating "the reality effect" or "referential illusion." Barthes places the photography to a specific place, which is unanalyzable with his semiological method - there is no system, code, only analogy of reality. Oppositely, it seems that in language, which is the standard of systematicity, through the arbitrary signs, one can never come to anything real. Even realistic literature produces only signs of realism, specific type of discourse, not signs of reality. Photography is the analogon of reality, while the speech always stays in discrepancy. The aim of this thesis is to show connectedness of the concept "reality effect" with Barthes' ways of thinking about photography, realistic texts try to constitute essentially similar way of signifying as photography, but for its language character produce only effect of reality. Another aim is to show the importance of the phenomenon of photography for Barthes' thought and to suggest that his research...
Conceptual Art and a Problem of Aesthetic Value
Slabá, Eva ; Kubalík, Štěpán (advisor) ; Dadejík, Ondřej (referee)
Abstract
 The bachelor thesis Conceptual Art and a Problem of Aesthetic Value aims to analyze the problem of aesthetic value within one contemporary representative theory of conceptual art (text by Peter Goldie and Elisabeth Schellekens). In the visual arts the aesthetic value has traditionally been associated with the evaluation of the material object of the artwork; however, conceptual works reject the role of traditional media and replace them with the dematerialized ideas. In order for the conceptual works to remain in the domain of art, it is necessary to seek their aesthetic value elsewhere. In the first part of the thesis, after defining the basic features of conceptual art and its idea, the way of how Goldie and Schellekens replace traditional aesthetic qualities is presented. This is done on the basis of an analogy of literary works and conceptual works, through which they define a new category of experiental qualities. To set the distinction between literature and conceptual artworks Goldie and Schellekens identify the possibility of evaluation of the conceptual artwork on the basis of its description. But as it turns out, this distinction creates a problem of the relation between the idea and the value of the conceptual artwork. On the ground of this analogy, the text in the second step proceeds...
Problematic aspects of Kendall L. Walton's theory of mimesis
Bučan, Jindřich ; Kubalík, Štěpán (advisor) ; Kulka, Tomáš (referee)
This bachelor thesis aims to critically review the theory of artistic imitation of the American philosopher of art Kendall Walton, focusing in particular on the explanation of the nature of emotions in the experience of works of art and the difference between active and passive participation in the game of make-believe. Attention will also be paid to the similarity of Walton's description of the viewer's experience with the concept of "psychical distance" by British aesthetician Edward Bullough. In the centre of Walton's theory, is a concept of experience of works of art as "games of make-believe". In the proposed work, this concept will first be presented in the wider context of both Walton's own reflections on visual art works and the time of its origin. Subsequently, Walton's approach to the problem of emotions that the subject feels during the reception of a fictional work will be presented. The problematic places of his solution to the question of spectator's emotions will be pointed out and his explanation will be confronted with a considerably related solution, which is Bullough's theory of psychical distance. This confrontation should help to better identify the disputed thoughts of Walton's theory responsible for the dissatisfaction of his solution to the problem of emotions experienced by...

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