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The Notion of Aesthetic Experience in American Philosophy after John Dewey
Špryňarová, Denisa ; Dadejík, Ondřej (advisor) ; Kaplický, Martin (referee)
John Dewey's philosophical work was establishing a continuum between human behavior and nature. Dewey advanced the theory that everything we experience comes through interaction with our surroundings - and articulating our experience by this interaction. Dewey uses experience even in the framework of art - and he stresses the importance of combining art and esthetic experience into our everyday life. The first part of my paper is meant to explain Dewey's philosophical concepts, his view on the issues relating to the common world, his analysis of normal/everyday experience, and his analysis of what he termed esthetic experience. Part two is a comparison between Dewey's philosophy of esthetic experience and Jerome Stolnitz's, another known aesthetic philosopher, and their theories on esthetics. The basic question I seek to answer is whether, despite their differences in theories, Stolnitz was coming from a different theoretical background with different traditions and assumptions, one can still trace certain consensus and mutually shared territory in which their theories merge. And so, I attempt to answer the question, can we find characteristics of esthetic experience that would be plausible to both of them? Or is it rather that their understanding of esthetic experience was so different, that we...
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Aesthetic Education in the concept of Bohumil Markalous
Čeledová, Irena ; Ševčík, Miloš (advisor) ; Kaplický, Martin (referee)
5.2 Resumé v anglickém jazyce Aesthetic Education in the concept of Bohumil Markalous. The object of this thesis is the work of Bohumil Markalous. This author dedicated his lifework to Aesthetic Education. His works on this topic have never been published together. They were published only in form of many articles and essays in newspapers, journals and magazines. This work is based on texts about Aesthetic Education written not only by Markalous, but also by other authors as we try to present their concepts as well. Among the most important authors we can name Otakar Hostinský, Josef Patočka and Otakar Zich. In the first part of our work we dedicate ourselves to the way Bohumil Markalous formed his opinions about the development of Aesthetic Education. The second part of our work focuses on the author`s concept of Aesthetic Education itself. In the third part of this work is we deal with the current state of education in relation to the development of Aesthetic Education. In addition to the topic of aesthetics, we deal with the term Eidiko, used by the author to refer to the cultivation of the senses, especially of sight.
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The Influence of Benedetto Croce's Philosophy on the Aesthetics od Josef Bartoš
Krejčová, Martina ; Kaplický, Martin (advisor) ; Dykast, Roman (referee)
This thesis deals with the Benedetto Croce's influence on the aesthetics of Josef Bartoš mainly between the years 1920 and 1929. It presents the historical facts effecting this influence and also the theoretical themes that determine the nature of the connection between Benedetto Croce and Josef Bartoš. Focusing on the historical parts of this thesis, the main point is to describe the evolution of the aesthetic attitudes of Josef Bartoš towards Benedetto Croce's philosophical system, and to find out the possible historical events that could play certain part in the evolution. On the level of theoretical survey the thesis describes the change of aesthetic attitudes of Josef Bartoš concerning the evolution of his theoretical specialisations and also the change in the scale of his philosophical studies. Mainly, the evolution of his attitudes is evident in his journal studies and also in his unpublished personal notes which are gathered in the estate of Josef Bartoš in Czech Music Museum.
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Aesthetic Factor in John Dewey's Conception of an Experience Aesthetic Relevance demonstrated by Example of Snowbording
Vyhnánková, Klára ; Kaplický, Martin (advisor) ; Dadejík, Ondřej (referee)
This diploma thesis examines John Dewey's concept of experience, focusing especially on his notion that an aesthetic factor is present in every complete and consummatory experience. It deals with the differences between a common experience and "an experience" and examines how an aesthetic factor works in them. The indispensable role of the aesthetic factor is intentionally demonstrated on the non-artistic example of experiences of snowboarding. The most important findings are developed through the approach of Richard Shusterman's somaesthetics. The theories of these two philosophers support the main idea of this thesis, namely that dynamic movements of the body can bring aesthetic experiences to their actor. Thus, some of the reasons that explain the attractiveness of this modern sport come to light that are not apparent at first glance.
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The motive of sport in Robert Musil's literary work (Aesthetic aspect)
Šafrová, Kateřina ; Hlobil, Tomáš (advisor) ; Kaplický, Martin (referee)
This thesis investigates the motive of sport and physicality in the literary work of Robert Musil, especially its philosophical and aesthetic aspect. The aim of the first part is to capture the existing knowledge on this subject in the secondary literature. Based on these findings the second part of this work develops a hypothesis by Hanns- Marcus Müller on the context of the concepts of physicality and sport by Friedrich Nietzsche and Robert Musil. My bachelor thesis concludes with a comprehensive concept of sport in Robert Musil's thinking, which refutes the view of apparent internal inconsistencies of Musil's claims, currently prevailing in the expert community.
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Bergson's conception of art
Chalupa, Marek ; Ševčík, Miloš (advisor) ; Kaplický, Martin (referee)
- Marek Chalupa: Bergson's Conception of Art The study aims to present Henri Bergson's opinions concerning art. According to Bergson, art is able to "suggest" an individual moment of "duration" of feelings, emotions and "external" things. An artist perceives things in their "deep" quality and forms the elements of his work in a way to put the recipient right "inside" the experience of "pure perception". An artwork can even become a reference to the universal principle of the continual change of the world in general. The study summarises Bergson's fundamental theses about art as presented in particular works of this author and describes the development of the whole Bergson's conception of art (based on a level of extension of the concept of "duration"). Moreover, the study deals with several problematic points of this conception (the "perfect" "suggestion", the implicit art hierarchy and the nature of the "aesthetic experience") including Bergson's specific concentration on the question of the "artistic truth".
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The Concept of Beauty in the First, Second adn Third Edition of Jungmann's Slovesnost
Vinická, Lucie ; Hlobil, Tomáš (advisor) ; Kaplický, Martin (referee)
Bachelor thesis deals with issues of beauty in three editions of Jungmann's Slovesnost. It gradually narrows its focus on the concept of beauty categories in the first two editions. The first part describes circumstances of Slovesnost's origin and Jungmann's era in general. It also briefly presents the secondary literature, goals and methods of the thesis. The second and third part analyse concepts of beauty in the first and second edition of Slovesnost. The fourth part, which is the crucial part, compares these observations. Aim of this thesis is to outline the author's approach, cover the changes that occurred in the second edition in comparison to the first one, and show Jungmann's work with the concepts of beauty.
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A role of empathy in the reception of film work of art
Csicsely, Lukáš ; Zuska, Vlastimil (advisor) ; Kaplický, Martin (referee)
This bachelor thesis focuses on the subject of empathy in the reception of film work of art and the distinction of empathy and the terms which are being generally confused with it (such as identification and sympathy) in a representative selection of texts on both psychoanalysis and film cognitivism. Bela Buda's writing serves as a background for those works. The first two parts are dealing with the definition of Buda's empathy and its differentiation from sympathy, identification and projection in the context of the reception of film work of art with emphasis on psychical distance. The following part is focused on the comparison of various concepts of authors from the field of psychoanalysis (Mulvay and Metz) and film cognitivism (Carroll, Neill, Grodal, Smith). This part works with the findings of the previous parts.
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