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Discussion on Bullough's Concept of Psychical Distance
Lojdová, Šárka ; Ševčík, Miloš (advisor) ; Dadejík, Ondřej (referee)
The main topic of Bacherol thesis Discussion on Bullough's Concept of Psychical Distance is to outline a discussion based on Edward Bullough's conception of psychical Distance and to try to prove relevance of "distance" for the contemplation of aesthetic object. According to this topic the first part of the thesis sums up Bullough's main ideas, it focuses on its aspects (antinomy, variability and consistence); describes the way of adopting and loosing of distance; defines its status of aesthetic principle (distinction between agreeable and beautiful, formulation of anti- realistic character of art). The second part summarizes reflections of Bullough 's psychical distance in work of Sheila Dawson, Allan Casebier, Oswald Hanfling and George Dickie. Hanfling and Casebier distinguish several types of distance. Using the term "conceptual form" Dawson specifies Bullough's attitude and accepts it. Dickie refuses existence of distance and replaces it by the term "paying attention."
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Art, play and the development of personality
Šašek, Miroslav ; Zuska, Vlastimil (advisor) ; Dadejík, Ondřej (referee)
Art and play are social phenomena with features which could be used in personality development. This thesis is at first plan trying to see what these phenomena are likes. It seems that mentioned phenomena are cultural universalities and that art has a longer tradition of thinking of its subject than play. This thesis tries to say how play manifests itself. Its manifestations are called symptomas and we can find ten of these. We part from works of J. Huizinga, R. Caillois and E. Fink. In this way we get a measure to distinguish among the play and other forms of activities, e.g. little games, riddles, sayings as less structured activities. And sport, outdoor, model and psychological activities as the ones with greater complexity than the play on the other side. We point that a play lies on the aesthetic ground or even that its aesthetic activity is dominant. In the following part we deal with the term art. Across historical use of this notion we come to Jan Mukarovsky's and Nelson Goodman's point of view. Art is a system of signs which not only in functions as means of meaning, but its meaning lies on different symbolical fields from plain sign immediacy to complex reference. At the end of this work we have compared these two phenomena and try to point out to different possible ways of use for personality...
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Landscape with memory, example Sudetenland
Köhlerová, Simona ; Dadejík, Ondřej (advisor) ; Jarošová, Helena (referee)
Landscape is usually classified into cultural and natural part. Landscape can be defined on more general level as a unit operating on the basis of interaction between phisically existing plane, i. e. landscape as an organism, and plane interpretational, which is result of reading the landscape by its elements. Interdependence of the two landscape levels follows the definition of landscape memory. Parts of the landscape memory correspond to the theoretical landscape levels and shape specific aesthetics aspects of landsape. Landscape memory also reflects independency of the landscape and its parts. This thesis is based on the assumption that components involved in shaping the landscape are both living creatures and inanimate objects (with all the problems that this assumption would entail). All these components are responsible for landscape memory and come across this function in landscape only as a whole. Theoretical conclusions about the landscape memory are instantiated in this work by the Sudeten landscape example from which they are also partly derived.
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Pragmatic moments in the dissertation of Karel Čapek
Váchová, Michaela ; Dadejík, Ondřej (advisor) ; Kaplický, Martin (referee)
Karel Čapek is known as a pragmatist of the Czech philosophical background. The truth is that the pragmatism had in the Czech philosophical background several idealistic followers in the 1st middle of the 20th century (Emanuel Rádl, Karel Vorovka, T. G. Masaryk). However the majority of them desinterpreted the idea of American pragmatism and they just proceeded via this philosophical tendence to the another one. My thesis deals with pragmatic moments in the Aesthetics of Karel Čapek because he finished his studies by the dissertation Objective Method in the Aesthetics regarding visual arts. Through the comparison with John Dewey's Art as Experience it's clear there's a pragmatic inspiration in the aesthetics too. However it is possible to speak just about the pragmatic moments, not about the pragmatic aesthetics.
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The changes of reflection of landscape in the Czech art and its new concepts in last fifty years intented on photography
Dlabáčková, Barbora ; Dadejík, Ondřej (referee) ; Stibral, Karel (advisor)
Our thesis contents the description of the progress of landscape art reflection from the very antique beginning. In that time, at first just the natural detailes entered the art. After, in Renesssaince the landscape attracted artists as a whole. Later, landscape established itself as an independent topic and even as a visual art genre. The first big break in landscape art reflection came in romantism when even tabooed topics, mountains in the most important way, got in the people's subconsciousness. In the 20th century, the decrement of landscape painting happened, on the contrary an era of landscape photography arrived making subsequent steps within the technical progress. Traditional Czech landscape comes from the landscape painters of 19th century, centered on horizontal and vertical lines of fields and meadows composed in a mosaic. This traditional model is no longer valid and actual. Landscape has changed so much, it has been filled by mines, tips and factories. Thanks to the process of artealisation, we can reflect also these new landscapes, having no aesthetic value in reality, with pleasure. We are convinced by photographies made by Sudek, Koudelka, Holomíček as well as Spurný. In their works, we are finding concepts of new landscape, metalandscape, original (great-) landscape or silent landscape...
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The critique of the concept of aesthetic experience in the 2nd half of XX. century. Two controversies: the end of art and the rebirth of natural beauty
Dadejík, Ondřej ; Zuska, Vlastimil (advisor) ; Petříček, Miroslav (referee) ; Haman, Aleš (referee)
The present thesis explores the critique of aesthetic experience in aesthetics of the second half of the 20th century. The aim is to defend the consistency of the notion of aesthetic experience and highlight its potential for aesthetics in the 21st century. The thesis points out certain historical and conceptual inconsistencies in the critique, and advances some arguments in support of tenebality of traditionally the main distinctive feature of aesthetic experience: disinterestedness. We focus on two dominant discussions in modern aesthetics that both built on re-evaluation and crititique of the concept of aesthetic experience, namely the controversy about the aesthetic nature of art, and the so-called rebirth of theoretical interest in aesthetic dimension of nature (and other living environments). The thesis comprises ten chapters, each devoted to a particular facet of the concept of aesthetic experience. The chapters are arranged around the 'nuclear chapter' (IV) that articulates the methodological point of view, based on an open model of descriptive definition (drawn mainly from the work of Stephen C. Pepper).
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The neo-avantgarde and controversy about the aesthetic nature of art
Švábová, Michaela ; Dadejík, Ondřej (referee) ; Kulka, Tomáš (advisor)
V této práci jsem se pokusila nastínit spor o estetickou podstatu umění, který se v angloamerické estetice odehrával ve druhé polovině dvacátého století. Nejprve jsme se setkali s těmi, kteří estetickou podstatu umění obhajovali. Umění nových avantgard, jelikož postrádalo vlastnosti typické pro klasická umění, nepovažovali tito estetici za umění a z různých důvodů a různými způsoby se snažili dokázat, že nové avantgardy do rodiny umění nepatří. Dále jsme viděli ty, kteří se snažili nové avantgardy do této rodiny zahrnout. První možnou strategií tohoto přijetí bylo znegovat estetický status umění a de facto popřít celou estetiku a definovat umění na jiném základě tak, aby nové avantgardy byly jeho součástí. Setkali jsme se s kognitivistickými přístupy a s přístupem sociologickým. Tyto definice se však neukázaly jako uspokojivé a především celý spor díky nim neuhasnul, spíše naopak. Jiní estetici se začali bránit tím, že se pokusili nové avantgardy pod rámec umění i estetična přijmout a estetiku rozšířit.
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Aspects of perception: science fiction in film and literature
Žilová, Jana ; Dadejík, Ondřej (referee) ; Zuska, Vlastimil (advisor)
The thesis focuses on distinct aspects of the aesthetic perception of the sci-fi genre in film and literature. The paper examines both literary (Hirsch, Iser) and film (Altman, Chatman) theories of the genre. The literary genre is treated from the perspective of E. D. Hirsch and his concept of the author's intention (mens auctoris), in contrast to which, however, the concept of the implied reader seems more workable. Thus, from a pragmatic point of view, we arrive at a labelling without the ground of biographism. This argumentative approach is reconfirmed in the case of film genres, which are shaped as processes of systemization (dynamic vs. fixed forms), on three levels (the level of expectation, the genre corpus, and rules/norms). Proceeding from an examination of these, mutual interactions, potential overlappings and fusions of genres are then demonstrated. The central aim of the paper was to identify and explore the specificity of the aesthetic reception of the sci-fi genre against the background of the dynamic aesthetic norm, in its function not merely as a regulative norm, but emphasizing the norm-as-impulse aspect. The paper presents facets of the aesthetic reception of the sci-fi genre from the viewpoint of the apprenticeship of the reader/viewer, the cultural/fictional encyclopaedia,...
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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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