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Technology of morbid in fairy tales
Prokopová, Eliška ; Vojvodík, Josef (advisor) ; Heczková, Libuše (referee)
(in English): The diploma thesis deals with the specific conception of body and corporeality in fairy tales, especially with morbid elements which are often reflected as non-fairy tale. The fairy tales of Karel Jaromír Erben, Hans Christian Andersen and Oscar Wilde are the main focus. The thesis also introduces the theory of the Swiss scholar Max Lüthi formulated in The European Folktale: Form and Nature into the Czech context. The thesis is divided into a theoretical and a practical part. The theoretical section provides a complex explication of Max Lüthi's theory of the fairy tale. It examines the main terms that Luthi defined for the fairy tale: One-dimensionality, Depthlessness, Abstract Style, Isolation and Universal Interconnection, Sublimation and All-Inclusiveness. Then the frame of this theory is extended into the field of the authorial fairy tale. The diploma thesis then sums up the differences and the points of contact between those two subgenres using The Story of the Eldest Princess as an example. The practical part focuses on relevant strategies of handling the body and corporeality in fairy tales. The last chapter deals with techniques of breaking the surface of the fairy tale characters' bodies, with internal destruction of the body and with the elements in between. All is...
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The Organs of Perception and Expression in Samuel Beckett's Dramatic Works
Parin, Giulia ; Pilný, Ondřej (advisor) ; Wallace, Clare (referee)
This thesis focuses on three plays written by Samuel Beckett: Play, Not I and Footfalls. Corporeality is the central theme of these works, which also connects them to an important and celebrated source of study and inspiration for the dramatist, The Comedy of Dante Alighieri. The influence played by Dante's descriptions of the body, particularly in the cantica of Inferno, is visible in Beckett's works for the ways in which the organs of perception and expression are treated at both textual and theatrical level. In the three plays the activities of mouth, eyes, ears (and less relevantly, nose) constitute the narrative focus of the text, while the sensorial aspects derived by their presence on stage determine the kind of exchange at play between actors and spectators. Staging immobilized, constricted and barely visible characters who, narrating obscure, uncertain stories, obsessively try to make a sense of their existential and physical conditions, the author gives life to a metatheatrical language rooted on instability and doubt. After the introductory opening chapter, the second chapter looks at the language of Dante's Inferno and at its thematization of corporeality, introducing the continuities between the poem and Beckett's drama. The third chapter juxtaposes the characters and the uncertain...
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The analysis of movie characters of cyborg-woman from the perspective of the postmodern and post-theoretical approaches to the body and the identity constitution.
Bubeníčková, Kateřina ; Fišerová, Michaela (advisor) ; Kobová, Ĺubica (referee)
The thesis focuses on the analysis of the basic types of the film characters portraying artificial women: creatures who combine "femininity" (humanity) and technology, and who show female sexual characteristics or features that are stereotypically perceived as female-like (e.g. female cyborgs, female androids, female robots). The characters are analyzed and approached from the perspective of postmodern philosophy and post-theory studies; the forming of their body and identity is analyzed on the account of the narrative. The aim of the thesis is to explore whether the film representations of female cyborgs are similar to real cyborgs in the sense that they bring liberalization from the point if view of posthumanism and cyberfeminism, or whether they can only be perceived as the prime form of the Foucaltian body-as-machine, i.e. perfectly controllable precise technicist bodies which are created by the current power dispositions. The characters are divided into four categories, based on their predominant physical and "social" functions: a sexbot, a domesticated artificial woman, a destructive artificial woman and an emotional/intelligent artificial woman. The following identification and interpretation of the body, identity, relationships and the narrative structures are based on the theoretical...
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Directional creation by Frank Castorf
Pavlíčková, Aneta ; Augustová, Zuzana (advisor) ; Pšenička, Martin (referee)
(in English): This bachelor thesis is dealing with the work of German director and intendant of Volksbühne am Rosa-Luxemburg-Platz theatre in Berlin, Frank Castorf (born 1951). The thesis is focusing on the characteristic features of Castorf's directing method and on the subject of politics in his current plays in Volksbühne theatre. In the thesis there are two plays being analysed: Kean ou Désordre et Génie. Comédie en cinq actes par Alexandre Dumas et "Die Hamletmaschine" par Heiner Müller (premiere: 6. 11. 2008) a Das Duell (premiere: 27. 3. 2013). Castorf's work is being investigated in terms of postdramatical theatre and performance aesthetics. The firts part of the thesis is focusing on Castorf's method of adapting and rearranging dramatical and literary texts. The second part deals with the director's concept of actor's physical being on stage. The last chapter looks into Castrof's work with video projections and live streaming in his plays and deals with the matter of distinguishing the real body presence of an actor on stage and his reflection in the electronic projections. Castrof's work concept is mainly being analysed from the point of the viewer's perception. The bachelor thesis shows that political dimension of Castorf's work doesn't depend only on textual expression but also on the...
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The Body of Music
Galuška, Ondřej ; Petříček, Miroslav (advisor) ; Karfíková, Lenka (referee) ; Kolman, Vojtěch (referee)
The Body of Music examines in what sense we can and must ascribe some sort of a body to music, which has traditionally been considered the most ideal and metaphysical of arts, and it seeks to analyze different aspects of corporeality in music. Its aim is to show that the body of music cannot be reduced to mere physical vibrations or simply to the condition sine qua non of musical experience. The body is always somehow active in music, it co-creates it, inspires it, it forms its significance or signifiance. Simultaneously it is itself transformed by music, it is played out in and through music. First, the body becomes apparent when we look at music as a process and activity rather than as a product. The body of a musician is that of a perpetual learner, it transforms itself, it is forced to think by itself and while "performing" music it has to breathe life into it, actualize it. Second, confronted with the process of learning and a musical instrument we come across the body of sound: something like the obstinacy of the material, irreducible to the intelligible strata of the musical sound. Sound is a complex phenomenon, whose material layer is itself productive of meaning. Third, there is the body of the listener, which is similar to that of the musician in that it too has to "perform", compose the music....
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Phenomenology of body and corporeality
Míková, Martina ; Hogenová, Anna (advisor) ; Rybák, David (referee)
MÍKOVÁ, Martina. Phenomenology of body and corporeality. Prague: Faculty of Education, Charles University in Prague, 2012, pp. 84 Master Degree Thesis. The aim of the master thesis deals with the phenomenology of a body and corporeality. This is mainly the analysis of the arguments to distnquish a body and soul based on the Descartes 'Meditations on the First Philosophy' and 'The Passions of the Soul'. The introduction to the Cartesian dualism, which is the introduction to the phenomenology of a body and corporeality, is followed by the analysis of key passages in 'Phenomenology of Perception' by the French phenomenologists M. Merleau-Ponty who accents the importance of human corporeality as the essential and determining condition of human being. The third section deals with the philosophy of movement because the world and a man are in relative motion, based on Patočka's texts 'Body, Community, Language, World'. The final chapter of the thesis is based on the issue of the game as a symbol of the world presented by Eugen Fink. Keywords: Descartes, perception, Pexis, body, corporeality, corporeal scheme, movement, game.
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Stereotypes in the Works of Jára Cimrman
Bulejová, Hana ; Bílek, Petr (advisor) ; Činátlová, Blanka (referee)
This thesis deals with the dramatic work of Jara Cimrman, which is based on the cooperation of two authors named Zdenek Sverak and Ladislav Smoljak. In the introductory chapters we analyze the genesis of mystifying legend named Jara Cimrman, then his way from the radio show to the theatre and also his own cult, which all leads to the general poetics of the Theatre of Jara Cimrman. We can find some related attributes in this theatre, like specific acting, phenomenon of their workshops and imaginative humour. All of these attributes leads to the definition of repetitive stereotypes in the plays of this theatre. In this thesis we also try to define the genre of the plays, also their subject matter, topics and their motives. The aim of this thesis is to describe these motives and also its gradual progress as in the particular dramas, so in the social atmosphere of those days.
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Sokol performations. Semiotical-historical analysis of Sokol (1862-1882)
Smyčka, Václav ; Činátl, Kamil (advisor) ; Randák, Jan (referee)
Václav Smyčka Charles University, Faculty of arts, Departement of Czech modern history Sokol Performations. Semiotical-historical analyse of Sokol (1862-1882) Supervisor: Mgr. Kamil Činátl, Ph.D. Number of pages: 65 (own text: 63, appendix: 2) Key words: Sokol, corporeality, poststructuralism Anotation: This work deals with the formation of Sokol during the first 20 years of its existence. The work describes by a semiotic approach a radical break in body consciousness leading to the birth of new knowledge and new models of behaviour. These changes are followed both on the level of discourse (by an analysis of Sokol press) and on the level of a social practise. Formation of Sokol is described at the end in the cotext of contemporary religiosity.
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To thin from psychedelic experiences - a transdisciplinary interpretation
Pokorný, Vít ; Komárek, Stanislav (advisor) ; Horák, Miroslav (referee) ; Dadejík, Ondřej (referee)
Pokorný, V., To think from psychedelic experiences. Transdisciplinary interpretation. Diseration Thesis, Departement of General Anthropology, Faculty of Humanities, Charles University Prague, 2016 Abstract: The goal of this text is to think from and according to psychedelic experiences. To think from psychededic experiences means to introduce a transdisciplinary model of psychedelic domain. This model is based on autoethnographic, cognitive, phenomenological and psychopharmacological types of analysis. These analyses allow to demonstrate: 1) place of psychedelics in contemporary globalised czech society; 2) possible heuristic (theoretical and experiemental) value of psychedelic experience for understanding human situation. This text interprets psychedelic experience as a process of deteritorialization and reteritorialization that occurs on different, intertwinned levels of our experience, and, thus, it is a contribution to explication of a philosophical concept of intertwinning. Keywords: psychedelic experience, transdisciplinarity, autoethnography, cognitive anthropology, anthropology of experience, enactivism, phenomenology, embodiment, analogy, intertwinning
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