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Relation between Comedy and "Fine Arts" according to Henri Bergson
Pavelková, Veronika ; Ševčík, Miloš (advisor) ; Dadejík, Ondřej (referee)
This bachelor thesis deals with the relationship between comedy and serious arts in the thought of Henri Bergson. It is divided into three main sections. In the first section, I examine Bergson's understanding of the serious arts as expounded mainly in The Two Sources of Morality and Religion and Laughter. In the second part, I deal with Bergson's theory of laughter. In the third, I compare these two topics and draw conclusions from them regarding Bergson's conception of both topics and their relation.
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The temporality of empathy
Konyševa, Alina ; Zuska, Vlastimil (advisor) ; Ševčík, Miloš (referee)
As the title suggests, this bachelor's thesis deals with the temporality of empathy. The phenomenon of empathy is fundamentally related to the awareness of time, how we perceive time, continuity, and the understanding of another's behavior. For research, we need to not take into account so-called objective time - the clock's time. Therefore we have to take into account the internal time consciousness. Given the topic, it is natural that we rely on the phenomenological apparatus and method of the father of phenomenology, Edmund Husserl. The work will have two parts. In the first part, we will present Husserl's concept of temporality and the phenomenology of temporality. In the second part, we will present empathy as an analogizing apperception in Husserl's intersubjectivity theory. We will present empathy as a tool for understanding (continuity) the behavior of another. In the third part, we will show the potential applications of this topic to theories of art and the extension of the idea of empathy with the advent of the temporal concept. Keywords: Temporality (zeitlichkeit), empathy (einfůhlung), E. Husserl, T. Lipps, W. Worringer, intersubjectivity, inner time consciousness, phenomenology
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Patocka's aesthetic interpretations of Hegel's philosophical and aesthetic thoughts
Vydrová, Tereza ; Ševčík, Miloš (advisor) ; Kaplický, Martin (referee)
In the thesis I deal with Patočka's conception of art on the basis of temporality. In his philosophy of art, Patočka relates to Hegel's thesis on the past nature of art and, with references to Hegel's philosophy of time and Hegel's description of the experience of the beautiful object, formulates a theory of art based on original temporality. Later, however, he challenges this conception, which offers a space for reflection on the nature of art and, above all, on the ways in which art has changed in the course of human development. I use Patočka's notion of subjectivity, myth, drama and epicness to address this issue, which I discuss on the basis of Patočka's notion of time as a unity of temporal dimensions. In the last part of the thesis, I focus on Patočka's statements about contemporary art, its proximity to life, and the not entirely clear thesis about the potential of contemporary art to break free from epic binding.
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Patočka's interpretation of Ingarden's concept of image layers and its use
Čejka, Jan ; Ševčík, Miloš (advisor) ; Zuska, Vlastimil (referee)
In his late texts, Jan Patočka came up with a remarkable interpretation of Ingarden's system of image layers. Patočka considered this layer system to be a universal method for a characterization of artworks, and this method according to Patočka more suitable than early ones - various analyses of artistic styles (e.g. Riegl's or Wölflinn's). However, Patočka had never tried the application of the method. The aim of this bachelor's thesis is to introduce the metehod, place it in the cotexts of Patočka's ideas and try to apply it to specific works of art. In particular, the work will try to prove the effectivity of this method in relation to selected works of modern art. Key Words modern literature, freedom, historicity, movement of truth, phenomenology, the picture, painting, artistic style, fine arts interpretation
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Nietzsche's Gay Science and contemporary aesthetics
Samek, Tomáš ; Dadejík, Ondřej (advisor) ; Ševčík, Miloš (referee)
This bachelor's thesis aims to interpret aesthetic thinking based on Nietzsche's Gay Science within the basic features of his philosophy. At first it reflects both the author's philosophical background, whose significant features are perspectivist pluralism and affirmation of this pluralism, as well as the specific ways in which those ideas are contained in The Gay Science and also through the motif of the death of God. Based on this reflection, the thesis reconstructs author's aesthetic thinking: in which (whether artistic or non-artistic) aesthetic experience is understood by Nietzsche as something that reflects this plurality and affirmation - whether positively, when it affirms, or negatively, when the aesthetic is in danger of becoming a new backworldsmen to which one can turn away after the death of God. Those thoughts are then concretized on examples within various art genres that the author mentions in his book. Key Words: Friedrich Nietzsche, The Gay Science, plurality, affirmation, perspectivism, aesthetics, value
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The original experience in the thinking of Maurice Blanchot
Pola, Petr ; Ševčík, Miloš (advisor) ; Jarošová, Helena (referee)
The aim of this work is to present the original concept of art and its experience, which a French writer and a critic Maurice Blanchot described in his work at the end of the 1940's and at the beginning of the 1950's. At this time an effort to depict literature, or art in relation to the Original experience culminates in Blanchot's work. A work of art which has its origine in the Original experience is not incorporated into structures of the world. A work of art in this sense is not a form which is to be contemplated or understood. Art connected to the Original experience is perceived like "the exile of truth". The first part of this study deals with several features of the experience of art. First of all a level is defined, by creating the distinction between the concepts of Solitude in the World and Essential Solitude, into which art and its experience belongs. Afterwards, the primary relation for a writer - relation to "qui s'ecrit" is stated. Écriture (writing) does not represent activity here, it is revealed in its pasivity as "interminable, incessant". The writing points at the most essential feature of this level: specific time character. In this time a radical transformation of the subject, its interests and its objects happens. The last chapter of the first part is directed to the concept of Image,...
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Critical reactions on Edward Bullough's concept of psychical distance
Adámková, Veronika ; Ševčík, Miloš (advisor) ; Dadejík, Ondřej (referee)
In this thesis we are focusing at the notion of psychical distance first introduced in the work "'Psychical Distance' as a Factor in Art and as an Aesthetic Principle" from Edward Bullough. There were many responses to the concept of psychical distance from many authors, some of them have rejected this notion, and others tried to support it. Initially we provided brief interpretation of Bulough's work with the focus at parts, which are cited and investigated most frequently in mentioned interpretations. We are interpreting and comparing gradually the most popular works, which involve the notion of psychical distance with respect to Bullough's original concept. We are pointing out the difference between notions psychical distance and aesthetic attitude, because they are mistaken one for another by many different authors. This thesis tries to provide new look at some papers responding to Bullough's conception.
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Semiotic interpretation of Kant's aesthetics
Šlerka, Josef ; Petříček, Miroslav (advisor) ; Ševčík, Miloš (referee)
The Semiotic lnterpretation of Kanťs Aesthetics deals with the relations between Peirce's serniotic concepts and some aspects of Kant' s philosophy and aesthetics. The first part, named Peirce And His Philosophy, presents basic terms and concepts of Peirce's philosophy. The second part, named Kanťs aesthetics, identifies some mutual elements of Peirce's and Kanťs approach. Therefore it interprets some basic concepts of Kanťs philosophy and aesthetics as semiotic, namely it tries to define the concept of beauty and sublimity by means of Peirce's distinction of icon and index. In the following analysis the text focuses on the aspect of subjectivation and sensuality in the experience of beauty and sublimity. Finally, the third part, named The Leve/s of Thought, shows that this interpretation belongs to a wider context of human thought levels based on the axes of the irrational/rational and absurdity/active skepticism.
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Artist as a gender related issue: gender stereotypes in aesthetics
Šlaufová, Markéta ; Heczková, Libuše (advisor) ; Ševčík, Miloš (referee)
The Thesis Artist as a Gender Related Issue: Gender Stereotypes in Aesthetics considers the problem of gender stereotypes included in aesthetic theories and concepts which are often used in Aesthetics. Gender (as a social construct of sex) functions as a deep factor in all theories of art, art production and artist. The problematic connotations of masculinity and femininity aren't based on the facts but on stereotypes; significant is the example of the myth that man is "creative", woman is "procreative". All of these gender related stereotypes lead to the fact that art and artist are usually seen as a male domain. That is why a reflection of Aesthetics from the feminist point of view is needed, to help to destroy the barriers that still remain in art and aesthetic theories.
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Fashion and art
Vlášková, Veronika ; Ševčík, Miloš (advisor) ; Jarošová, Helena (referee)
The final thesis examines the relationship between art and fashion from the perspective of aesthetics. It deals with the problem systematically. The first chapter examines the principle of fashion on the strength of the classics of sociology, G. Simmel, R. König, T. Veblen and G. Lipovetsky. It concludes that the principle of fashion is sociological, i.e. it is a two-fold movement of social differentiation and integration. This meaning (fashion as principle) is contrasted with clothing fashion, i.e. fashion in the sense of the sum of fashion clothing. The aesthetic element in fashion occurs subsidiarily. The second chapter links these conclusions and bases them on the functionally structuralistic principles of J. Mukařovský. This connection defines fashion clothing as clothing with a dominant fashion function, enabling social differentiation. As it is clothing, it must be possible to wear it. Therefore fashion clothing cannot be included in the domain of art, where the aesthetic function dominates, or let us say only under the condition of losing the dominance of fashion function. The third chapter explores possible causes of its loss. The fourth chapter summarizes Genettes conception of mode of transcendence of a work of art, which is then applied to the discussed topic. This enables the explanation of...
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