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Adriena Šimotová - Images That Are Neither from Themselves Nor for Themselves: Reflections on Communication in the Artist's Work
Brunclík, Pavel ; Benyovszky, Ladislav (advisor) ; Petříček, Miroslav (referee) ; Bajcurová, Katarína (referee)
Adriena Šimotová - Images That Are Neither from Themselves Nor for Themselves: Reflections on Communication in the Artist's Work Mgr. Pavel Brunclík Abstract Adriena Šimotová is an outstanding figure in Czech visual arts and Czech culture in general. Beyond the aspects of art history, it may be useful to address the interpretation of Šimotová's life and work using the interpretive approaches of the philosophical thinking of her time. The focus of the present paper relates to the subject matter which strongly determines Šimotová's art: themes of communication, communicative relations, and the relationship between communication and imagery. This corresponds to the choice of authors whose texts are referred to: Martin Buber, Karl Jaspers, and Emmanuel Levinas. The first chapter addresses the formation of the artist's personality and the development of her creative orientation from her early years to the late 1970s. The second chapter discusses the key moments and elements of her artistic expression in the 1980. The third chapter presents the final stages of her lifelong work. An interpretive approach underpinned by references to selected works by the above authors appears useful. It demonstrates that the communicative aspects of Šimotová's art are vital for her and the interpretation of her work. I worked with...
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Václav Cigler and his Pedagogy
Šindelová, Jana ; Fulková, Marie (advisor) ; Bláha, Jaroslav (referee) ; Petříček, Miroslav (referee)
TITLE: Václav Cigler and his Pedagogy AUTHOR: Mgr. MgA Jana Šindelová DEPARTMENT: Art Education Department SUPERVISOR: Doc. PhDr. Marie Fulková, Ph.D. This dissertation thesis examines Václav Cigler ́s views on the visual arts through the perception of movement, space and time and attempts to bring his creative thought into conversation with the field of art education. Cigler has anticipated many concepts of nascent contemporary artistic expression (constructive tendencies, minimalism, land art, light and kinetic sculpture). His oeuvre is extraordinary in its constructive sharing of knowledge and modes of critical thought, in its activism and experimentation. The work of Václav Cigler represents five principles: man, space, water, light and glass. Space as a means of communication constitutes the fundamental structuring aspect of Cigler ́s work. The dissertation ́s research focused on the question of whether children can communicate complex issues of contemporary art. Itemploy s Grounded Theory as its methodology, and it describes, analyses and interprets the relationships of codes created through analysis of primary documents of participatory pedagogical action research in Art Education conducted in elementary school. KEYWORDS: Václav Cigler, man, visual arts, thinking, Gro unded Theory, Pedagogical Action...
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Materialist Phenomenology: Trần Đức Thảo's Reading of Edmund Husserl
Juřica, David ; De Santis, Daniele (advisor) ; Petříček, Miroslav (referee)
Post-war France saw many attempts to reconcile the phenomenological project with Marxism. One of those endeavours is represented by Tran Duc Thao's work Phénoménologie et Matérialisme Dialectique. Thao was one of the first to gain access to Husserl's unpublished works in Leuven, and in his evaluation of Husserl's phenomenology found himself facing an unsurpassable contradiction between the theoretical principles of the Husserlian method and the results of his concrete analyses. Although admittedly not satisfied with his own solution to the problems of Husserlian phenomenology, Thao's account of the latter was influential among the thinkers of his time and laid the groundwork for future attempts at overcoming these problems. The present theses will try to follow Thao's reading of Husserl in the first part of Phénoménologie et Matérialisme Dialectique and the reasons that led him to assume a standpoint from which the only way to overcome the difficulties of phenomenology was the path of dialectical materialism. The thesis will further try to carve out Thao's own conception of phenomenology and what, despite the criticism he had for Husserl's work, led him to regard it as a starting point for all his further theoretical endeavours.
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Walter Benjamin and his theological-philosophical conception of time
Bitto, Maxim ; Petříček, Miroslav (advisor) ; Thein, Karel (referee)
Bachelor's thesis Walter Benjamin and his theological-philosophical conception of time Maxim Bitto Abstract In my work, I will deal with Walter Benjamin's non-linear concept of time and I will compare this concept with the concepts of time of Karl Marx, St. Augustine and with the Jewish conception of paradigmatic time. My work is based for the most part on two texts by Walter Benjamin: On the Concept of history and N. At first, I will present two linear conceptions of time. The first will be Marx's linear perception of history, which ends with a secular goal, classless society. The second will be St. Augustine's conception of time, which perceives the culmination of history theologically, throught the second coming of Jesus Christ. Next, I will focus on the Jewish non-linear conception of time, called paradigmatic time. Paradigmatic time represents atemporal system in which past, present and future interwine in time, that resembles eternity. The central part of my thesis will be dedicated to Walter Benjamin and his conception of non- chronological structure of his thoughts about history and time. Then I will focus on the role of the individual in his concept of time. Next, I will present the epistemological and theological implications that Benjamin's non-linear conception of time entails. And at the very...
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Anarchy and Evidence. Essay on Writing and Seeing
Olšovský, Miroslav ; Petříček, Miroslav (advisor) ; Fulka, Josef (referee) ; Ébert-Zeminová, Catherine (referee)
Modern literature does not create a literary work, but a process of writing that decomposes the work. Writing is anarchy. Writing causes that we constantly perceive what we want to express. Writing is evident, but it also encrypts a message. Writing endures as a record and evidence of what we want to express in words, as some persistence of the message in time. Modern poetic language strives to bring events closer to the limit of their representation and to show them in their becoming of events. Such language becomes the language of motion, cinematographic, obvious and evident language that shows the world outside a window as the world that has become a part of our perspective on the world. Capturing the time of transformation becomes a matter of writing as permanent process of "becoming". Modern literature is no longer just "speaking", but also "writing". It constantly alienates "speaking". It fixes "speaking", capturing its outside. If "speaking" disappears at the moment of silence, "writing" stays present, fixed on a paper, and we can come back to it any time to have a look at it. Writing is a permanent record - "permanent evidence", it is an aperture (Gombrowicz) and an insight (Nabokov). In addition, this "permanent evidence" of outside, which writing is, is the essence of the film. The film...
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Destabilization of Man in Czech Surrealism
Hakenová, Martina ; Thein, Karel (advisor) ; Petříček, Miroslav (referee)
This work focuses on the destabilization of human being in the context of Czech surrealism. It is based on the artistic realisations of Jindřich Štýrský and Toyen from the surrealist phase of their work. The specific works are used to show how the authors used disturbing imagery to reflect the anxiety typical of the interwar period. The main motif is the symbol of the human body and its fragments, which are often the subject of violence in the paintings, and which thus become a space for the manifestation of a new perception of reality beyond primary experience. The aim of the work is to show how the individual seeks to find an anchorage outside the traditional framework of harmonious, humanistically understood development, and therefore strives for a new conception of values and morality outside the positivistically attuned world, thus challenging established norms. We will see that the Surrealists took as the starting point for this reconstruction of morality the thought of Friedrich Nietzsche. Attention is also paid to dream visions that draw attention to the ambiguity of the world and are thus ordered to the level of waking experience, becoming part of a conception of a 'new objectivity' that denies the established guiding role of so-called objective reality. The work thus shows how artworks...
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Soliloquy, Madness and Structure of the Other
Kotasová, Emma ; Petříček, Miroslav (advisor) ; Švec, Ondřej (referee)
The ambition of this thesis is to present the phenomenon of soliloquy as a thin line between losing the Other and finding him and to demonstrate that what speaks out of us is not necessarily an echo of madness, but rather a revelation of the other in his absence. Here, self-talk can serve as a situation in which, while we seriously transgress social conventions, we are in a real sense paradoxically claiming the Other, who is woven into us as the structure through which we access the world around us. The analysis of Tournier's novel Friday, or, The Other Island and Deleuze's afterword to this work will show how fundamental the role of the Other is in our approach to the world. These insights will then serve as the basis for an examination of how fundamental the nature of perceived reality is in relation to speech. Key words: soliloquy, madness, loneliness, structure of the other, structure of perception, measure, speech, Deleuze, Sartre, Tournier, Bernhard
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The Sacred and the Beginnings of Cubism
Jahnová, Kateřina ; Lyčka, Milan (advisor) ; Petříček, Miroslav (referee) ; Vlček, Tomáš (referee)
This dissertation deals with the relationship between the sacred and the cubism of Pablo Picasso and Georges Braque. Through the analysis of images, it shows how the sacred is present in the main inspirational sources of Cubism, i.e., in the work of Paul Cézanne and in primitive art, and how it manifests itself in the early and later stages of Cubism. It also points out the affinity between Husserl's phenomenology and Cubism, which is manifested primarily from the analytical phase of Cubism onwards. The first chapter deals with the sources of inspiration of cubism, namely Paul Cézanne and primitive art. It explores elements of otherness and ugliness, mainly associated with the feeling of tremendum. In Cézanne's work it notes his relationship to the landscape, which it examines in connection with sacred space. Primitive art served as a parenthesis for Picasso, thanks to which he was able to look at things in a new way. The real breakthrough, however, comes with the creation of analytical cubism, for it is a picture of a radically different and new world, a world based on the subjectivity of its creator. The second chapter traces the chronological development of Cubism from the analytical period, through the invention of collage to the synthetic period. In doing so, it pays particular attention to...
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Josef Capek's and Carl Einstein's Theory of Art
Michlová, Hana ; Petříček, Miroslav (advisor) ; Vojvodík, Josef (referee) ; Winter, Tomáš (referee)
Independently on each other, the painter Josef Čapek and the art critic Carl Einstein begin to write a book on African sculpture. Both authors are led by their experience with African sculpture to cubism and start to consider the singularity of the space of the artwork. This doctoral thesis therefore traces and compares the thinking about art and its philosophical overlap of these two authors. They write about modern, non-European or amateur art from the modernist position of "man after the loss of God". Therefore, they cannot explain the validity of art on the basis of no longer valid conventions and canons. Modern works can no longer derive their power, validity, and intelligibility from the divine, the objective, and the immutable, but, as we shall see, artworks will derive their power from the personal, the ephemeral, and the biased.
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What do we not tell about ourselves? The limits of Paul Ricoeur's narrative identity
Smolíková, Barbora ; Čapek, Jakub (advisor) ; Petříček, Miroslav (referee)
The aim of this thesis is the explication of Paul Ricoeur's term narrative identity. The explication is focused on nondiscursive structures which shape stories but are not themselves articulated. The first part explains the term in the context of Ricoeur's distinction between idem and ipse personal identities. The second part then moves to the question of the relation between life and narrative; the concept of distanciation is applied to the narrative identity problematics and subsequently, it is shown how literary narratives can refigure the experience. In the third part, Ricoeur's conception is confronted with some objections, which also point towards further unarticulated conditions of the narrative identity. The thesis emphasizes the instability and changeability of this identity. The fourth part applies the foregoing explication of refiguration of experience through literature to other art forms and opens the topic of experience which is impossible to articulate. The conclusion makes a distinction between the three senses of limits of narrative identity: firstly unarticulated conditions shaping narratives, secondly experience impossible to articulate and thirdly critique of the conception.
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