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Mass and Crowd. Multiplicity in works by Ivan Kafka
Bartlová, Anežka ; Konečný, Lubomír (advisor) ; Pospiszyl, Tomáš (referee)
I have paid attention to artworks of Ivan Kafka especially to the problem of multiplicity. On the background of the reseach of Kafka's work I have described some aspects of his art work in more common way: dealing with time, with space and with multiplicity. I have shortly analyzed first two aspects. On the other hand is multiplicity much wider phenomena, I have defined with categories which were created specially for this work. The category of mass is defined by non-living unifique parts of one coplex without any autonomy. The second type labeled as crowd type, typically contains some level of individuality. On such background I tried to create a diagramatic structure, which was postulated according to Rolasind Krauss'es "expanded fields". This should better show the relations between terms like mass, crowd, seriality and serial type of multiplicity. I have also applied these categories on particular Ivan Kafka's artworks, but in the end I suggest to asser this system of multiplicity categories on other artists artworks as well.
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Aspects of humour in visual arts of the Early Modern
Bartlová, Anežka ; Konečný, Lubomír (advisor) ; Zlatohlávek, Martin (referee)
Ve své práci jsem se věnovala obrazu Hanse von Aachena Smějící se sedláci z pohledu smíchové kultury a jejích konotací ve dvorské kultuře Rudolfa II. Tento obraz jsme zkoumala v porovnání s obrazy podobných námětů slavností sedláků. Výsledkem mého zkoumání bylo zjištění, že zkoumaný obraz nemá s ostatními díly s tematikou sedláckých slavností mnoho společného, že jde spíše o typ portrétu. Námětem obrazu je pravděpodobně soukromá hra malíře a adresáta obrazu. Hra se odehrává mezi divákem a zobrazenými postavami, zajímavě je také rozehrána hra s mediem obrazu samým. Annotation I have chosen Hans von Aachen's image Laughing peasants for my work and I suggest its interpretation from the point of "vulgar" culture of laughter and also its connection with art at the court of Rudolf II. I have recompared the picture with some images depicting a similar topic of peasant's festivals. RI suggest as a conclusion that the image has no connection with these works, and I think it is more likely a certain type of portrait. The correct topic of von Aachen`s image is private a play between the painter and recepient. This interplay is enacted between the beholder and figures in the image and another interesting play takes place concerning the image medium itself.
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