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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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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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A Critique of Popular Music in Roger Scruton's Thoughts
Smutný, Robert ; Dykast, Roman (advisor) ; Kulka, Tomáš (referee)
This Master's thesis deals with a critique of popular music by the British conservative philosopher Roger Scruton. It is based on a premise that this critique is not purely aesthetic, as it is deeply rooted in Scruton's conception of art, culture, and man. The first part of the thesis, therefore, deals with this broader context, and its outcome is an explanation of the reasons why Scruton rejects popular music as an integral part of popular culture. The second part of the thesis focuses on Scruton's philosophy of music, in other words, on questions of musical aesthetics: what the ontological status of music is, what the nature of its meaning is, what its value is, and what its 'ethical power' is. The third part is devoted to the critique of popular music itself: first, the concept of popular music is clarified, and then the outputs of the two previous chapters are linked to fully grasp Scruton's condemnation of popular music. In the end, the thesis points to problematic aspects of Scruton's theory: it questions the adequacy of applying the model of evaluating classical music to the case of popular music.
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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...
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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,...
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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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Frank Sibley and the issue of supervenience of aesthetic properties
Horáček, Jakub ; Kubalík, Štěpán (advisor) ; Kulka, Tomáš (referee)
In this thesis, I focus on the aesthetic theory of British philosopher Frank Sibley and the connection between his theory and the theories of aesthetic supervenience (the thesis of dependency of aesthetic properties on the non-aesthetic ones). Sibley's work in the tradition of analytical aesthetic is considered to be an inspiration for the theory of aesthetic supervenience. Interpreting Sibley in this way, he would be a philosopher who was asking a question about an ontological dependency between aesthetic and nonaesthetic properties. The purpose of this work is to offer an alternative and more accurate interpretation of Silbey's ideas. This work will assert that Sibley's primary interest lied in discriminating aesthetic properties, not in their ontological dependency and that his answers to this question are in clear contradiction with the premises of supervenience. Powered by TCPDF (www.tcpdf.org)
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