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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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The Environmental Aesthetics of Arnold Berleant
Lahovská, Kristýna ; Dadejík, Ondřej (advisor) ; Kaplický, Martin (referee)
The aim of this dissertation is focusing on environmental aesthetics of Arnold Berleant. Firstly we concentrated on his theoretical aesthetics opinions and then we passed to use them on field of environmental aesthetics. To draw a comparison we used writings of another American aesthetician, Allen Carlson. In sphere of Berleant's theoretical aesthetics opinions it is not possible to omit concepts of aesthetical experience, value and social factor. These points are important ideas of aesthetics of engagement, which we would like to present. As useful for environmental aesthetics we also see Berleant evaluation of negative and positive aesthetics values. In case of Allen Carlson we use several models in the field of theoretical aesthetics. The author assessments the functionality of these models for environmental aesthetics. The last point of this dissertation is focusing on a certain type of environment, to architecture and "Disney World", respective. In this field we wanted to demonstrate how the Berleant works with certain type of environment. Allen Carlson chooses as certain type of environment American farms. He concentrates on point how these farms have changed during one century. KEYWORDS: Arnold Berleant, Allen Carlson, environmental aesthetics, aesthetics value, aesthetics experience
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The chapter on dramatic poetry in the first and second edition of Josef Jungmann's Slovesnost
Fleyberková, Klára ; Hlobil, Tomáš (advisor) ; Kaplický, Martin (referee)
This thesis deals with the chapter about dramatic poetry in the first and second edition of Jungmann's "Slovesnost". Its aim is to outline the author's dramatic approach, cover the changes that occurred in the second edition in comparison to the first one, and show Jungmann's work with aesthetic notions, using examples. First of all, we described a formal set-out of the chapter and its place within the whole "Slovesnost", and then we concentrated on individual genres and their modifications in either edition. Finally, we focused on aesthetic motives which occur in the chapter. Our thesis proves that Jungmann's thinking dramatically changed and modernised within a quarter of a century. He stopped using primarily Czech expressions, which was the case in 1820, and yielded to ever more often used international words in a way, which led to his moderation in terms of Czech Revivalism. The case of the key term "estetický" ("aesthetic") was similar - the author mentioned it only in 1845 instead of the original "krasovědný" (a truly Czech word with the same meaning), and using it enabled him to rebuild the aesthetic system by creating the so-called "nonaesthetic feelings". Modernising the theory was also mirrored in the fact that the author no longer emphasised ethical moments. In the second edition, he concentrated...
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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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Multiplicity and singularity: impulses of Whitehead's philosophy for aesthetics
Kaplický, Martin ; Zuska, Vlastimil (advisor) ; Petříček, Miroslav (referee) ; Marcelli, Miroslav (referee)
The present PhD Thesis has two basic aims. First aim is an introduction of many-ťaceted philosophy oť Alťred North Whitehead in a new way. The key to this introduction is an analysis oť Whiteheaďs Category oť Ultimate as creativity ťunctioning within two limits, multiplicity and singularity. The second aim is an application oť Whiteheaďs philosophical scheme to aesthetic theory. The Thesis is thereťore divided in two parts. First, philosophical, part contains three chapters. Each oť them endeavours to characterize certain Ieve! oť Whitcheaďs philosophical oeuvre. The first chapter concerns with Whiteheaďs detinition oť speculative philosophy and tries to point out the role oť multiplicity and singularity. The second chapter pursues the analysis oť actual occasion in its process oť concrescence. The third chapter deals with Whiteheaďs conception oť society. The second aesthetical part contains two chapters. The tirst chapter oť the second part introduces Donald W. Sherburne's development oť Whiteheadian aesthetics, based on Whiteheaďs conception of proposition. lt draws attention to Sherburne's static understanding oť natural beauty, and tries to develop more dynamic interpretation. The second chapter oť the second part shows the environmental aesthetics of Allen Carlson, who argues that aesthetic experience...
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Kitsch and Theatre
Haplová, Barbora ; KAPLICKÝ, Martin (advisor) ; ETLÍK, Jaroslav (referee)
This bachelor thesis tries to capture the general characterics of kitsch. It attempts to find these characterics in a particular theatre production. In terms of general principles of kitsch I am trying to show how kitsch can become a subject of a theatre production. In the first theoretical part I worked mainly with Kitsch and Art, a book by Tomáš Kulka, and with various texts by Jan Mukařovský, Umberto Eco, Milan Kundera, Ludwig Giesz, Matei Calinescu, Václav Černý etc. The theoretical part analyses Petr Kolečko's play Buchty a bohyně directed by Jan Frič and Lukas Bärfuss' play Dvacet tisíc stránek directed by Zuzana Burianová, both final productions of graduating students under the Department of Dramatic Theatre DAMU.
The main aim of this bachelor thesis is to focus on the principles of kitsch in connection with the youngest generation of theatre artists. I am trying to apply general esthetical theory on particular theatre productions. In the analytical part I am working mainly with these productions, with a Czech play Buchty a bohyně and a Swiss play Twenty thousand pages translated by Magdalena Štulcová and adapted by Helena Kebrtová and Zuzana Burianová.
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The Objectivity and Art Criticism
Pacáková, Pavlína ; KAPLICKÝ, Martin (advisor) ; KUBALÍK, Štěpán (referee)
This paper intends to answer the question of when and how we can consider a theatre criticism or review of a play to be more objective than another one. First we define the field of inquiry, art criticism and theatre criticism in particular. In doing so we describe how objectivity, truth, the author of a review and his or her intentions are related. We also explore various forms and functions of theatre criticism. While describing the process how criticism is created (perception, interpretation, evaluation and repeated search of arguments for the subjective view in the theatre piece itself) we identify how the different steps of such process influence the level of objectivity. At the end of the theoretical part this paper offers a synthesis of different criteria for objectivity in theatre criticism.
The second part compares the criteria of objective criticism with a set of current theatre reviews in the daily press, weekly magazines and professional publications. We analyze ten reviews of Václav Havel's The Garden Party (Zahradní slavnost) directed by Dušan Pařízek at the Prague's Estates Theatre (Stavovské divadlo). This set of the ten reviews includes an article by the author of this paper herself. Based on the criteria described in the first part of the paper we evaluate reviews by Radmila Hrdinová, Marcela Magdová, Marie Reslová, Vladmír Just, Richard Erm, Vojtěch Varyš, Vladimír Mikulka, Vladimír Hulec, Milan Uhde and Pavlína Pacáková. The evaluation shows the criteria can distinguish the reviews on a subjective-objective scale.
We conclude that an objective criticism fulfils several key demands: it openly defines the criteria of its evaluation, offers consistent reasoning, evaluates the theatre performance as a whole and not only as individual elements and helps the reader to make his own opinion and conclusion based on the given information.
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Preciousness of Discarded Objects, that is Rubbish, as a Material for Film, Photography,Animation
Tomić, Miloš ; Čihák, Martin (advisor) ; Bregant, Michal (referee) ; Kaplický, Martin (referee)
This work, with a short view on the consumers society and mostly throughout visual arts, will try to give answer to the question: wheather art can turn over the relations between men and object, and object and rubbish. And relations between people.
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