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The Concept of Implied Reader in Wolfgang Iser's theory
Berková, Pavlína ; Kaplický, Martin (advisor) ; Kubalík, Štěpán (referee)
The Bachelor thesis titled "The Concept of Implied Reader in Wolfgang's Iser Theory" aims to introduce the concept of implied reader, which played the key role in the theory of reception aesthetician Wolfgang Iser. In the beginning the thesis is focused on the context of Iser's works, i.e. the Constance School of reception aesthetics and its main ideas, then introduces the concept of implied reader itself. Iser is using this term to capture the nature of the interactions that take place in the process of reading. The thesis introduces not only the concept but also its role in the process of reading and in the constitution of a literary art work. Powered by TCPDF (www.tcpdf.org)
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Gombrich theory of reception of representational works of art
Fejfarová, Tereza ; Ševčík, Miloš (advisor) ; Kubalík, Štěpán (referee)
The aim of my thesis is to introduce E. H. Gombrich's views on the nature of the reception of representational works of art. Firstly I describe the moments in Gombrich's life that contributed to the formation of his views on this topic. Subsequently, I focus on Gombrich's very concept of the reception of representational works of art. My thesis is divided into three parts, in which Gombrich's reflections on reception are thematized. The first part introduces reflections on the participation of the viewer in the process of the reception of works of art. This part demonstrates that the core of Gombrich's views create a distinction between two spheres: "vision" and "knowledge". The second part, in which I tematize Gombrich's concept of reception, introduces his views on the artist's role and discusses the manner and limits of artistic creation. The third part describes Gombrich's reflections on the development of reception, in relation to historical changes on artistic functions. My thesis analyzes Gombrich's reflection, which is that knowledge, experience and memory have a dicisive influence on the perception, interpretation and the creation itself of the work of art. In another part of my thesis, I paraphrase Gombrich's reflections of the perspective representation and I pay attention to the...
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Asymmetrical relation of beauty and ugliness
Al-Salmanová, Sabrina ; Zuska, Vlastimil (advisor) ; Kubalík, Štěpán (referee)
The aim of this diploma thesis is to introduce the notion of ugliness as an aesthetic category, concerning the question of its position in the aesthetic experience, based in particular on the conception of difficult beauty by Bernard Bosanquet. The first part of the thesis discusses the possibility of aesthetic experiencing of unpleasantness and so specifies ugliness as inherently aesthetic category, in comparison to the unaesthetic response of disgust. The second part of the thesis deals with the question of position of ugliness and the feeling of unpleasantness if ugliness is an adequate part of the aesthetic experience which is regarded as excellent and contributing. The solution offered by Bosanquet in his conception of difficult beauty however isn't fully sufficient and therefore the last chapter introduces the problem of ugliness from a different viewpoint which emphasizes the negativity and disturbance of ugliness, impossible to dissolve. The key feature of ugliness is the ambivalent link amongst the repulsion and the attraction in aesthetic experiencing. The attribution of a meaning in the whole of the aesthetic experience, i.e. the possibility of attaining new insight thanks to ugliness, may however lead to a tendency to the reconciliation of ugliness. The original unpleasantness and...
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Moral criticism of art in the concept of Noël Carroll and Berys Gaut
Davidová, Sára ; Stejskal, Jakub (advisor) ; Kubalík, Štěpán (referee)
In this thesis I focus on the moral criticism of art in the conception of two american aestheticians, who came to the conclusion that it is a legitimate approach in the evaluation of art. Namely, I address the conception of Noël Carroll and his concept of moderate moralism and the conception of Berys Gaut and his concept of ethicism. I present these against the background of other approaches with which it is possible to evaluate a work of art. Moral criticism is explained through the relation of aesthetic and moral values, and the relationship of art and its reception. The work focuses on the views of Carroll and Gaut on cognitive gain from art and how it is connected with considerations of morality.
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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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Role of indeterminance in literary work
Marković, Maša ; Zuska, Vlastimil (advisor) ; Kubalík, Štěpán (referee)
In this paper I focused mainly on "indeterminacy" as a term which functions in literary theory. This paper was based on analysis of phenomenological approach of Roman Ingarden, on theory of Reception Aesthetics of Wolfgang Iser and on the theory of Fictional Worlds by Lubomir Doležela. I have analyzed the indeterminacy in relation to the literary work and what function does it have when fictional worlds are constructed. It was ascertained that its function has changed in time. This paper's focus was on aesthetic reception in relation to the gaps and blanks which originate from literary work. One part of this thesis was dedicated to construction of fictional and possible worlds and their relation to the indeterminacy. Indeterminacy in this paper was presented as indispensible part of the aesthetic reception.
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Concept of logical consequence
Kubalík, Štěpán ; Kolář, Petr (referee) ; Peregrin, Jaroslav (advisor)
What does i t mean for a gi ven sentence to be a logical consequence of another one? Some basic articulation of this notion is easily available: no matter what is the case, if the premisses are true, then the conclusion is true. Alfred Tarski proposed in 1936 his famous no-counterexample analysis of this notion which was supposed to refine this intuitions and become conceptually adequate formal counterpart of pre-theoretic notion: a sentence X is a logical consequence of K if and only if there is no possible interpretation (model) of the nonlogical terminology of L according to which all the sentences in K are true and X is false. This definition has been considered a conceptually adequate analysis of the pre-formal notion of logical consequence up to present day. I am tryting to find out in this text if this believe can be justified. Various realizations of Tarski's definitional proposal exhibi ts various faul ts, and in the end i t seems like the model-theoretic approach to account of logical notions is not useful for this purpose at all.
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The role of places of indeterminacy in the proces of reading the work of art
Kadlčíková, Radka ; Kubalík, Štěpán (advisor) ; Ševčík, Miloš (referee)
The work is focussing on two aesthetic theories, which primarily deal with the reception of literary work of art. Thesis discusses about the phenomenological aesthetics of Roman Ingarden and reception aesthetics of Wolfgang Iser. Research is conducted to clarify the notion of indeterminacy places in a literary text and its function in it. Both authors explain this concept by their own approach to the reception of literary work of art. The method of work is defined by the description of these two presented theories, and by the end of the thesis, both approaches are compared. The aim of the thesis is to characterize both theories and define the concept of indeterminacy places within them. The aim is also to describe the moments in which Wolfgang Iser theories are inspired by Roman Ingarden and also the place where their theories do not agree and Iser revises it.
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The Objectivity and Art Criticism
Pacáková, Pavlína ; KAPLICKÝ, Martin (advisor) ; KUBALÍK, Štěpán (referee)
This paper intends to answer the question of when and how we can consider a theatre criticism or review of a play to be more objective than another one. First we define the field of inquiry, art criticism and theatre criticism in particular. In doing so we describe how objectivity, truth, the author of a review and his or her intentions are related. We also explore various forms and functions of theatre criticism. While describing the process how criticism is created (perception, interpretation, evaluation and repeated search of arguments for the subjective view in the theatre piece itself) we identify how the different steps of such process influence the level of objectivity. At the end of the theoretical part this paper offers a synthesis of different criteria for objectivity in theatre criticism.
The second part compares the criteria of objective criticism with a set of current theatre reviews in the daily press, weekly magazines and professional publications. We analyze ten reviews of Václav Havel's The Garden Party (Zahradní slavnost) directed by Dušan Pařízek at the Prague's Estates Theatre (Stavovské divadlo). This set of the ten reviews includes an article by the author of this paper herself. Based on the criteria described in the first part of the paper we evaluate reviews by Radmila Hrdinová, Marcela Magdová, Marie Reslová, Vladmír Just, Richard Erm, Vojtěch Varyš, Vladimír Mikulka, Vladimír Hulec, Milan Uhde and Pavlína Pacáková. The evaluation shows the criteria can distinguish the reviews on a subjective-objective scale.
We conclude that an objective criticism fulfils several key demands: it openly defines the criteria of its evaluation, offers consistent reasoning, evaluates the theatre performance as a whole and not only as individual elements and helps the reader to make his own opinion and conclusion based on the given information.
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