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Semiotic nature of art in aesthetic theories of Jan Mukařovský and Nelson Goodman
Rabiňák, Václav ; Kubalík, Štěpán (advisor) ; Kulka, Tomáš (referee)
The aim of the bachelor thesis entitled "Semiotic nature of Art in aesthetic theories of Jan Mukařovský and Nelson Goodman" is to present and then compare two systematic conceptions of the artwork as a sign. Despite the association with the different thought traditions of the mentioned authors, a key similarity is found in the closer characterization of work of art as a sign (symbol) that is symptomatically non-transparent. The bachelor thesis is focusing mainly on the identification and subsequent analysis of the reasons leading to such concept of artistic signs (symbols). For this purpose, the thesis also presents wider theoretical assumptions of the aesthetic theories of Jan Mukařovský and Nelson Goodman, in which the conception of the artwork is situated. One of these assumptions is the belief that symbolisation is dependent on social practice that takes the form of (semantic) rules.
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Aesthetic aspects of photography : Photographic style as a problem for R. Scruton's theory
Chytilová, Anna ; Kulka, Tomáš (advisor) ; Kubalík, Štěpán (referee)
Present BA thesis aims to discuss aesthetic aspects of photography, especially in relation to Roger Scruoton's sceptical theory of photography from his article Photography and Representation in which he calls into question artistic capabilities of this medium. His overall stance holds that photography is not capable of artistic representation as other art media. His opinion is based predominantly on the causality and mechanical character of photography and first part of the thesis will consist of interpretation of his view. The objective of further study is to bring his views into critical light, and then to present some arguments to argue for possibility of individual photographic style, which is doubted in Scroton's theory. Study aims show forth basic aeshetic aspects of photography in its own terms as a specific representational medium and then discuss photographic style on this basis. Argumentation on style will be supported also by particular examples of photographic artworks that show aspects of individual style and by relevant theories, namely N. Goodman's article Status of Style from his work Ways of Worldmaking.
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Conceptualism as an aesthetic problem
Ohrádková, Veronika ; Kubalík, Štěpán (advisor) ; Kulka, Tomáš (referee)
The aim of the bachelor's thesis is to present questions raised by the emergence of conceptual art in the wider field of fine arts. Conceptual art, where the idea is considered the most important aspect of a work, signifies a radical departure from traditional fine arts. My goal is to analyze the influence of its dematerialized form on its aesthetical value and position in fine arts. In the first part of work, I describe its characteristic properties, focusing on researching its un- aesthetical nature, the low priority of material form and its philosophical character. The main sources are texts produced by anglo-american aesthets, published in Philosophy and Conceptual Art, edited by Peter Goldie and Elisabeth Schellekens. The second part is concerned with the problem of defining and evaluating conceptual art. I introduce the debate between institutional and functional definitions of art, which are both theories that could explain the artistic essence of conceptual art. Keywords conceptual art, institutional theory, functionalism, the problem of value, dematerialisation, anglo-american aesthetics, art as an idea
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Perspectives of an Art Institution
Lojdová, Šárka ; Dadejík, Ondřej (advisor) ; Kulka, Tomáš (referee)
This master thesis "Perspectives of an Art Institution" focuses on the George Dickie's institutional theory of art (thereafter IT). This theory defines "work of art" as a result of the position of an artefact in the institutional framework of the artworld. The author of the thesis pays attention to the historical development of the IT- firstly published in 1969 in the article "Defining Art" and radically revisited in the book The Art Circle in 1984- as well as to the critical discussion based on Dickie's theory. In the first chapter she compares both the earlier and the later version of the theory; in following chapters she concerns with objections formulated against Dickie's IT. IT seems to be problematic in several aspects: the term "institution" is considered to be ambiguous; Dickie fails to give a full description of roles and rules which determine the operations of the artworld; the notion of appreciation seems to be contradictory with Dickie's opinions presented earlier; circularity; and Dickie's unsatisfactory attention to the historical dimension of the artworld. All of these objections are compared with Dickie's theory to prove their legitimacy or to refuse them as illegitimate. Not only aims the thesis to sum up the critical discussion but it aims to answer the question if the theory...
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Definitions of Art
Mikešová, Marcela ; Kulka, Tomáš (advisor) ; Kubalík, Štěpán (referee)
The thesis deals with George Dickie's institutional theory (IT) of art. Dickie provides a definition of art which relates art to cultural, social and historical conditions. His definition is based on realizing the contextual framework of so-called Artworld. The thesis maps the intellectual background of Dickie's theory, analyzes its form, and provides a critical reflection of its shortcomings. In the first part we introduce several authors, whose work forms the theoretical background for the Dickie's theory, including anti-essencialism. We will outline the basic principles of the IT and, finally, we will point out the major problematic issues of his relational theory of art. Keywords artworld, institutional analysis, conferring status, candidate for appreciation
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Metaphor as a Tool for Communication and Creative Thought
Policar, Antonín ; Kulka, Tomáš (advisor) ; Stejskal, Jakub (referee)
This work is concerned with the role of metaphor in language, discourse and thought. The first section presents a brief historical survey of the origins and development of theorizing about the metaphor as a legitimate cognitive tool and not just a rhetorically or poetically effective but otherwise uninformative sort of expression. The aim of the second section is to outline several different accounts of metaphor given by contemporary researchers in the fields of the philosophy of language, congnitive psychology and linguistics as well as to hint at some possible ways they could be interconnected. Especially those theories are concerned which in some way diverge from the traditional view on metaphor as a fringe phenomenon of language and discourse and which on the contrary stress its central role in the meaning- making activity of the human mind. Although the work does not focus primarly on the metaphor in art, its relevance for aesthetics lies nevertheless in its highlighting certain aesthetic or poetic aspects of human reasoning and everyday communication. Powered by TCPDF (www.tcpdf.org)
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Art, avant-garde and kitsch in works of Clement Greenberg and Matei Călinescu
Taltynová, Marie ; Kulka, Tomáš (advisor) ; Dadejík, Ondřej (referee)
Bachelor thesis Art, avant-garde and kitsch in works of Clement Greenberg and Matei Călinescu deals with kitsch in relation to avant-garde and to contemporary art, and to the visual arts in general. It is primarily based on the essay Avant-Garde and Kitsch by American critic Clement Greenberg and the essay Kitsch by Romanian literary scholar Matei Călinescu. The first part is devoted to outlining the concept of kitsch according to these two theorists, with an emphasis on the thinking about the origin and nature of kitsch. The second part deals with revising Greenberg's beliefs that condemn popular culture, official culture and academism for kitsch and highlights avant-garde as the only worthy manifestation of art of his time. On this basis, the work examines why avant-garde seemed like the pure opposite of kitsch in the thirties, and why to the contrary today we find that contemporary art is often influenced by kitsch.
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Cognitive Sciences and the Paradox of Fiction
Staniševská, Aneta ; Zuska, Vlastimil (advisor) ; Kulka, Tomáš (referee)
The thesis being presented concerns an issue of the paradox of fiction viewed as a theme of anglo- american aesthetics of a second half of the twentieth century in a reflection of Colin Radford's thoughts and considerations of his critics. It also tries to regard emotional responses to fiction, disputable and paradoxical from Radford's point of view, within a "foreign" context of cognitive sciences, fragments of Antonio Damasio's theories especially, which could be able to provide a new perspective for the problem in question. Thesis definitely does not present itself as ambitiously reaching for a goal neither of grasping these theories in their complexity nor of solving the paradox but wants to elucidate the basis of it and put them in motion. For doing so, it uses selected and particular thoughts of a scientist who concerns with a phenomenon of emotions and their fundamental role in a human cognition and thinking. First chapter thus deals with Radford's formulation which is fundamental for whole problem as we assume. Second chapter provides insight to the complex of the criticism surrounding Radford's formulation in question. Some considerations appear significant for later synchronization with fragments of Damasio's theories in a way shown in the third chapter. Key words emotion, quasi-emotion,...
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