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The aesthetic experience of ruins
Pechoušková, Klára ; Dadejík, Ondřej (advisor) ; Kaplický, Martin (referee)
Bachelor project follows the basic definition of ruins, dilapidated objects as specific object of aesthetics. Visitors are attracted by such places for many reasons and one of them is traditionally the hunt for a specific aesthetic experience. The goal of the project is to identify the quality of this experience through comparison with two basic types of aesthetic objects: artworks and natural aesthetic objects. Nature and culture are often considered two divided fields. A ruin is an object which doesn't fully belong to the area of artifacts but neither is a fully natural element. Primary literature bases on contemporary environmental aesthetics and is complemented by basic titles of so-called "aesthetics of ruins" or "aesthetics of decay". The end of the project discuss the use of the achieved findings in exploration of the aesthetic specificity of modern ruins like abandoned factories, hospitals, schools, hotels etc. Powered by TCPDF (www.tcpdf.org)
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The Notion of Aesthetic Experience in American Philosophy after John Dewey
Špryňarová, Denisa ; Dadejík, Ondřej (advisor) ; Kaplický, Martin (referee)
John Dewey's philosophical work was establishing a continuum between human behavior and nature. Dewey advanced the theory that everything we experience comes through interaction with our surroundings - and articulating our experience by this interaction. Dewey uses experience even in the framework of art - and he stresses the importance of combining art and esthetic experience into our everyday life. The first part of my paper is meant to explain Dewey's philosophical concepts, his view on the issues relating to the common world, his analysis of normal/everyday experience, and his analysis of what he termed esthetic experience. Part two is a comparison between Dewey's philosophy of esthetic experience and Jerome Stolnitz's, another known aesthetic philosopher, and their theories on esthetics. The basic question I seek to answer is whether, despite their differences in theories, Stolnitz was coming from a different theoretical background with different traditions and assumptions, one can still trace certain consensus and mutually shared territory in which their theories merge. And so, I attempt to answer the question, can we find characteristics of esthetic experience that would be plausible to both of them? Or is it rather that their understanding of esthetic experience was so different, that we...
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The Body of a New Aesthetics
Gazdíková, Anna ; Ševčík, Miloš (advisor) ; Kaplický, Martin (referee)
The subject of the presented paper is an investigation of specific forms of corporeality and related concept of perception present in Gernot Böhme's aesthetics of atmosphere. Subsequent application of them on particular art forms is an endeavour to show the potential of this aesthetic theory within the realm of reception and reflection of (not only) new art forms. Text deals with the analysis of Gernot Böhme's concept of subject understood purely as a body (felt body), which lives "in" and "through" space and represents an essential moment of legitimization of aesthetics of atmospheres. Subject understood in this way exceeds the traditional duality of mind and body and is also trying to rehabilitate certain form of "baumgartenian" aesthetics viewed as an aisthésis, or in other words as a general theory of perception. The shift on the side of the subject, which can be called "the shift towards felt body" is inspired by the radical concept of the subject introduced by neo-phenomenologist Hermann Schmitz. For Schmitz, human being is always primarily and essentially body (felt body) with its spatiality and only then a subject, acting individual or soul. Exactly this emphasis on physical presence in space - as a meeting point between neo-phenomenological tradition on one side and Böhme's accentuation of...
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THE PROBLEM OF THE FIXITY OF TABLES: VIRGINIA WOOLF AS A NON-DUALIST AND PROCESS-ORIENTED THINKER
Krajíčková, Veronika ; Nagy, Ladislav (advisor) ; Chalupský, Petr (referee) ; Kaplický, Martin (referee)
1 Abstract This doctoral thesis focuses on the analogies between Virginia Woolf's "personal philosophy" and Alfred North Whitehead's process philosophy, or in his own words "philosophy of organism." The thesis does not claim that Whitehead's thought directly influenced Woolf's fiction, rather, it makes use of a zeitgeist model. The two contemporaries shared the rejection of long-established dualisms, particularly the Cartesian mind-body dualism, the binaries of subject and object, animate and inanimate matter, the human and the nonhuman, and last but not least the individual and the community. Interested in the philosophical enquiry into the problem of reality and the visible world, Woolf redefines the notion of "things" in her fiction and adopts the processist view that objects may be defined as clusters of events, which are not separate from the perceiving subject but interrelated with it. Moreover, Woolf illustrates her interest in the natural world in most of her works and often suggests that what we normally think to be inert and lifeless matter, may, in fact, also have some proto-conscious, or proto- experiential, qualities like Whitehead's "actual occasions." The second part of the thesis focuses on Woolf's attempt to overcome one's individual identity in favour of adopting a more inclusive and...
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Critical atittudes of aesthetic formalism in Durdík's and Hostinský's conceptions to Wagner's idea "Gesamtkunstwerk"
Janková, Markéta ; Dykast, Roman (advisor) ; Kaplický, Martin (referee)
The presented bachelor thesis aims to examine the critique of the concept of "Gesamtkunstwerk" in terms of Czech formalist aesthetics of the second half of the 19th century. Because the concept of "Gesamtkunstwerk" is primarily associated with the theoretical and artistic work of Richard Wagner, an essential part of the work is an overall analysis of the contemporary situation in Czech music culture in the late 60s and especially during the 70s. During this period in Czech society, there was a heated debate about the possibility of performing Wagner's opera in the Czech lands. Along with this topic, there was a dispute over the essence of Czech opera, which was mainly related to the opera by Bedřich Smetana. The emerging Czech aesthetics entered into this dispute mainly through the aestheticians Josef Durdík and Otakar Hostinský. The main topic of the bachelor's thesis is the interpretation of the critical approach of Durdík and Hostinský to the concept of "Gesamtkunstwerk" based on the analysis of their work, which dealt with this topic in terms of their system of formalistic aesthetics. Durdík's and Hostinský's conceptions of formalist aesthetics began to differ significantly at a time when both were intensively dealing with the issue of "Gesamtkunstwerk". The final goal of the thesis is based on...
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The Garden as an Aesthetic Object
Svobodová, Lucie ; Dadejík, Ondřej (advisor) ; Kaplický, Martin (referee)
This bachelor thesis is centred around the problematics of a garden as a unique aesthetic object. First, it will define what is considered an aesthetic object, and try to define and set boundaries for the term garden. Gardens are in their essence very ambivalent, because they are a fusion of nature and human activity. This thesis will therefore introduce arguments for placing gardens in the same category as nature or art (a human product that is created intentionally and consciously). It will then pose the question if gardens can be considered art, as well as how to aesthetically appreciate a garden. Finally, the thesis will try to answer the question "can gardeners be considered artists?" and how we should be reflecting the process of art - or garden - creation, so that we could consider gardeners artists. The objective of this thesis is to describe the uniqueness of a garden as an aesthetic object, and introduce its unique qualities. Keywords Garden, aesthetic object, art, nature, environmental aesthetics, aesthetic experience
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Landscape As a Way of Seeing and Its Critique
Pátek, Filip ; Dadejík, Ondřej (advisor) ; Kaplický, Martin (referee)
This diploma thesis deals with landscape as a way of seeing, its critique and its defense. The thesis will initially focus on the presentation of the critical concept of ways of seeing by English art critic and writer John Berger. On the basis of this, the thesis will move to the exploration of the critical concepts of landscape and landscape painting by British humanistic cultural geographer Denis E. Cosgrove and American visual theorist and philosopher W. J. T. Mitchell. Subsequently, it will also deal with the relationship of these concepts to the concept of landscape by English historian and art historian Simon Schama. Cosgrove and Mitchell both deal in a similar way with the critical reflection of the idea of landscape in terms of postmodern and postcolonial criticism. Both authors are influenced by Berger's concept and claim that our aesthetic perception of landscape is not a natural vision, but an acquired, historically created way of seeing. This way of seeing then raises a number of questions in relation to the traditional conception of landscape aesthetics and can lead to a rethinking of traditional concepts such as aesthetic attitude, psychical distance or the idea of disinterested pleasure. Opposite to it, the thesis intends to present an optimistic concept of landscape by Schama. The...
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Female body as the Language of Performance
Pereverzeva, Kristina ; Ševčík, Miloš (advisor) ; Kaplický, Martin (referee)
The bachelor thesis deals with the specificity of the aesthetic opinions of Erika Fischer-Lichte and her concept of performativity. The aesthetic concept of performativity of Erika Fischer-Lichte was formed under the influence of ongoing performative and cultural turnover based on the newly established field of theater science. In connection with this fact, the work also focuses on other contemporary theatrical theories and corresponds with the analysis of productions and performances since the 1960s. The thesis also outlines the theories of German theater scientist and germanist Max Herrmann, the concept of contemporary art RoseLee Goldberg and the views of the German theater scientist Hans-Thies Lehmann. The main theme of the work, however, remains the figure of Erika Fischer-Lichte.
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The Influence of "Zhdanovism" on the Development of Czech musical Aesthetics after "Victorious February"
Smutný, Robert ; Dykast, Roman (advisor) ; Kaplický, Martin (referee)
This bachelor thesis focuses on Czech musical aesthetics after "Victorious February". This sphere of public life was controlled in accordance with Soviet model due to the political changes. This was the reason why Czech authors assumed originally Soviet campaign against formalism. The first part of the thesis deals with the Soviet part of the story. We focus on two main themes: social function of music (or art in general) and limits of representation in music. The second part focuses on Czech debate or its main protagonists respectively: Zdeněk Nejedlý, Josef Stanislav, Miroslav Barvík and Antonín Sychra. The Czech debate is compared with the Soviet model in the end. Keywords socialist realism | normative aesthetics | musical aesthetics | zhdanovism | ideology
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