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Situation of the Surrealist Subject
Svěrák, Šimon ; Zuska, Vlastimil (advisor) ; Dadejík, Ondřej (referee)
Univerzita Karlova v Praze Filosofická fakulta katedra estetiky Diploma thesis Šimon Svěrák Situation of the Surrealist Subject (abstract) 2012 thesis supervisor: prof. PhDr. Vlastimil Zuska, CSc. Abstract This thesis focuses on the situation of a substantial subject in the historical development of the surrealist experience and confronts it with our original postmodern interpretation of thoughts of early Marx. The surrealist consciousness is based on a dialectical opposition between rational and irrational elements of cognitive processes. André Breton apprehends this dialectics under the perspective of love life and relates it to values of love, freedom and poetry. Nevertheless, this conception changes in the immanent development of the surrealist consciousness from Breton over the work and thoughts Salvador Dalí and Mikuláš Medek to Vratislav Effenberger. Effenberger removes positive values from surrealism and puts emphasis on the critical functions of the irrational. On the psychological field, all these ideas are based on the conception of the unconscious which means there is the substantial approach in them. Our critical interpretation of Marx shows, that the surrealist concept of subject is in the contradiction with its substantial determination. The subject has to be perceived as the essential...
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Adorno's critique of mass culture in light of Hegel's aesthetics.
Kvapil, Matouš ; Paulíček, Miroslav (advisor) ; Horák, Vít (referee)
Often now talking about the decline or disaffection of arts, which is often associated with negative influences of mass culture. I try to explore these negative influences of mass culture, especially in music. For this purpose I use criticism of mass culture by Theodor W. Adorno, one of the representatives of the Frankfurt School. Music by its criticism loses its original purpose. It gets parasitic and fetish character, disappearing from it all individuality and spirituality and becomes a mere commodity made for consumption only. Through the Aesthetics by G.W.F. Hegel I will shortly introduce the philosophical conception of arts and I'll try to look into the original nature and purpose of arts, as it Hegel describes. Then I valorize the mutual relation of both conceptions and show that the characteristics of mass culture are incompatible with the true nature and purpose of arts. At the end I will try to point out perhaps too skeptical and resolute sight that Adorno in his critique presents. I will try to show that despite all the negative effects of mass culture, there is still room for a serious production and music can still be made true to its original nature and purpose. Keywords music, arts, culture, aesthetics, mass culture, cultural industry, Hegel, Adorno
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Reality as Self, Thing and Their Relation
Jahoda, Lukáš ; Hill, James (advisor) ; Karásek, Jindřich (referee)
The meaning of this work is to grasp the development of early-modern philosophy into "modern" philosophy on the basis of the subject-object issue, which is considered and demonstrated as ontologically entirely fundamental. The expression of this development is illustrated for reason of deeper clarification of the sense and meaning of modern philosophy. The ontology of early-modern philosophy is essentially determined through the categories of subject and object, self and thing. The most universal nature of this ontology is based on object of reality fixation which is self, thing, or both. The notions of self and thing are in this work introduced in their totality through the extreme positions of two early-modern philosophers. The demonstration of the extreme philosophy of the subject is Berkeley. The demonstration of the extreme philosophy of the object is Spinoza. On the basis of explication of their ontology is explicated the universal nature of early-modern ontology. The end of early-modern ontology and its transition into "modern" ontology happens through the reconstruction of the subject-object figure. The author of this reconstruction is Hegel. Reality is now placed neither into the subject neither into the object, but into their mutual relation.
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Freedom and Ethical Life; Hegel's Conception of Freedom in Elements of the Philophy of Right
Zelenda Kupcová, Adéla ; Karásek, Jindřich (advisor) ; Sobotka, Milan (referee)
Práce se zaměřuje na pojetí svobody v praktické filozofii G. W. F. Hegela a jejím vztahem k etice, konkrétně k moralitě a mravnosti. Zkoumán je i vztah svobody a společenských struktur, v nichž jedinec žije a svou svobodu nejen realizuje, ale i získává. Cílem práce je zohlednit možný vliv Hegelova pojetí svobody na současné otázky a problémy a k jejich reflexi v politické filozofii a sdělit, jaký přínos může mít Hegelova praktická filosofie pro současnou filozofii i společenské vědy jako takové. Práce vychází zejména z Hegelova spisu Základy filosofie práva, ale přihlíží i k jeho Filosofii dějin a Fenomenologii ducha. KLÍČOVÁ SLOVA: politická filosofie; Hegel; svoboda; etika; moralita; mravnost ABSTRACT: This work is focused on the concept of freedom in the practical philosophy of G. W. F. Hegel and its relation to ethics, specifically the morality and ethical life. Also researched is the relation of freedom and social structures in which individual lives and in which is his freedom not only realized but also gained. The goal of the work is to consider the influence of Hegel's practical philosophy on contemporary questions and problems and to its reflection in political philosophy. The answer should be, what kind of contribution may Hegel's philosophy have for contemporary philosophy and social...
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The spirit in Hegel's Phenomenology of Spirit: Antigone and Rameau's nephew in dialectical conflict
Matějčková, Tereza ; Karásek, Jindřich (advisor) ; Sobotka, Milan (referee)
The work seeks to gain an understanding of the concept of spirit in Hegel's Phenomenology of Spirit. The objective will be met by means of Hegel's interpretation of Sophocles' Antigone and Diderot's Rameau's Nephew. In its most immediate form the spirit appears as an organically structured whole which Hegel identifies with the Greek ethical substance. Superficially this substance is conceived as a harmonious organism; in reality - as Antigone's and Creon's paradigmatic conflict shows - it is beset by inner conflicts. The once unitary and organically structured spirit decomposes into individual forms of consciousness during the Roman period and develops in further course into a subject freed from anything substantial. It is in this course of the spirit evolving into a subject that Hegel presents his interpretation of Rameau's Nephew. Rameau represents the self-negating and self-destructive spirit, who has completely identified with Antigone's and Creon's revolt and has lost the capability of accepting anything not issuing from his consciousness. The last part of the work presents the spirit as a movement seeking to encompass both of these extremes, i.e. the extreme of the substance devoid of subject as well as the extreme of subject negating the substance. In the context of the Phenomenology of...
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Individuality in Hegel's Phenomenology of Spirit
Hanovská, Lenka ; Benyovszky, Ladislav (advisor) ; Novotný, Jaroslav (referee)
Lenka Hanovská, Motiv individuality ve Fenomenologii ducha G. W. F. Hegela. Praha 2010. Abstract The work focus on the notion of individuality in Hegel's Phenomenology of Spirit. It's aim is to understand the question: "what does it mean to be individual being?" from the point of view of traditional thinker who is considered to stand on the top of traditional philosophical thinking. In the work I interpret the most important passages of Phenomenology. I point out that to the individuality we can look only as on a single example of subjectivity. Every specific quality and determination of individuality come from outside, individuality is determinated by the common reason and the society where she lives. Individuality in Hegel doesn't mean some sort of special beeing, concrete life (which search modern philosophy of 20th century) but it means only occurence of something "eternal", the consciousness.
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The Concept of the End of Art History and the Theory of Arthur C. Danto
Drexlerová, Eva ; Rakušanová, Marie (advisor) ; Konečný, Lubomír (referee)
The aim of this essay is to give a critical examination of Arthur C. Danto's art theory. In order to present a comprehensive exploration, the thesis deals with both Danto's philosophy of art and philosophy of the history of art. Within this discourse it aspires to evaluate Danto's end of art thesis and its appropriateness. In the first part, Danto's idea of the artworld, that is his contextual and historical theory of art, is examined. This includes the exploration of historical circumstances within which his art definition was developed, the notion of his essentialist and historic approach, and main features of his well-known technique of comparing indiscernible counterparts. The second part is devoted to Danto's philosophy of the history of art, especially to his Hegelian turn and what of such shift further stems. The third part explores the end of art thesis itself and, as its consequence, the posthistorical condition of art. The final part consists of two sections that attemp to critically evaluate both Danto's art definition and his end of art thesis. Finally, some arguments why Danto's theory about the end of art might be considered as inconclusive and speculative are conferred.
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