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Difference of ontological difference in thinking of Martin Heidegger
Dubovec, Marcel ; Novák, Aleš (advisor) ; Novotný, Jaroslav (referee)
DUBOVEC, M.: Difference of ontological difference in thinking of Martin Heidegger (Master's thesis) Charles University in Prague, Faculty of Humanities, Institute for philosophy and religious studies. Supervisor: doc. Mgr. Aleš Novák, Ph.D. The aim of master's thesis consists in explication of ontological difference in Martin Heidegger's thinking. For this purpose is used a dual method of interpretion of difference in the concept of ontological difference. First it is the issue of the difference as such. For the understanding of this idea it is analyzed the text Onto-Theological Constitution of Metaphysics. The second interpretation od difference concentrate on different understanding of ontological difference. The text Basic Problems of Phenomenology is presented as the opposite one, in which the ontological difference is connected with the temporality. The last part of master's thesis concerns the text On the essence of ground. With this the concept of transcendence is introduced as a subject in which the explication of ontological difference leads. Key words: ontological difference, onto-theology, ecstatic-horizontal temporality, Temporality, transcendence, understanding of Being
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Incorporation and Morality. The Conception of a Body in Friedrich Nietzsche's Philosophy
Chavalka, Jakub ; Benyovszky, Ladislav (advisor) ; Novák, Aleš (referee) ; Nitsche, Martin (referee)
My dissertation firstly attempts to define the methodological principles of Nietzsche's analysis of a body and corporeality by means of the concept of physiopsychology (Physio- Psychologie). Nietzsche tries for an explanation of moral judgements as symptoms of bodily conditions and in physiopsychology he detects what is withheld behind moral judgments and shows that their source is always some drive or instinct. This conclusion leads to the core metaphors he uses in thinking about a body: the body as a teacher (Der Leib als Lehrmeister) or the body as a guiding thread (Der Leib als Leitfaden). The first section discusses the process of incorporation (Einverleibung), which, according to Nietzsche, is the foundation of an anthropogenesis. A human must incorporate some schemes (firstly the belief in the sameness of the thing), that form the specific conditions, in order to cultivate himself as a species, which is capable of surviving. The incorporated schemes must be inherently erroneous, but Nietzsche emphasizes that the truth isn't a point in an anthropogenesis, but a firm anchor for a human in the world. The physiopsychologist describes incorporated errors and finds their un/presence in particular value judgments. The second section approaches a body and corporeality relationship from a different point of...
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Nietzsche and aristocratic ranking
Holý, Jakub ; Chavalka, Jakub (advisor) ; Novák, Aleš (referee)
"Nietzsche and aristocratic ranking" tries to address and interpret relatively incoherent topic of the higher man and, specifically, aristocratic ranking. Basic concepts of Nietzsche's thoughts are shown through the thesis, specifically from Genealogy of Morality, The Dawn or The Gay Science. Some of those concepts are listed as follows: morality of custom, gradation, individual, autonomous individual, noble or blond beast and these concepts are then intertwined with aristocratic ranking. By that not only those basic concepts are clarified, but especially aristocratic ranking as such. Thesis aims to interconnect each of these motives and take interpretation to some important motives of Will to Power, which then helps the reader to understand broader context. Aristocratic ranking is shown as integral part of Nietzsche's thoughs and is then implied as inherent part of all basic motives that Nietzsche's work imply.
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Photography as a Representation
Vřeťonko, Barbora ; Novák, Aleš (advisor) ; Petříčková, Taťána (referee)
Barbora Vřeťonko PHOTOGRAPHY AS A REPRESENTATION Photography, although it is technology, is also an idea that implies a specific interpretation of a 'representation'. If there is photography, the world becomes photogenic and therefore it is possible to possess the world in the way of photography. That also requires a network of photographic terms. Reality is ineliminable in photography, we are moving between an image as representation and an image as the "reality." According to Maurice Merleau-Ponty the image is reversing invisible into visible. Photography, in contrary, is reversing visible into visible and so it is a special kind of zero degree image. This thesis will discuss the problems of the existence of photography as a created visual medium. Later it will focus on the relationship between photography and reality, photography and the possibility or impossibility of representation and then, in particular, the relationship between photography and a viewer. The research will take place in a discourse of the contemporary philosophical thinking as it is presented by Miroslav Petricek's book Myšlení obrazem (Thinking by the Images). The main thesis we will develop in this context is a definition of photography as the futile desire to see something as itself and now.
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Zahradníček's Sign of Power
Svárovská, Nicol ; Novák, Aleš (advisor) ; Chavalka, Jakub (referee)
The aim of this thesis is to interpret Jan Zahradnicek's spacious poem The Sign of Power. The interpretation crystallizes around the motifs of dehumanisation (connected with Nietzsche's motif of nihilism and of the last man) of a man, the loss of a word, discontinuity, the loss of time, the human face, nothingness (specific Nothingness) and the possibility of salvation, connected with an awakening of the sight. There are two semantic lines essential for enlightening these motifs: Dante's Divine Comedy and Picard's works of the late 40s. Zahradnicek wrote The Sign of Power during 1950-1951, at the time of his intense work on the translation of Dante's Divine Comedy. The purpose of the first part of this thesis is to illustrate how strongly the Divine Comedy influenced the key motifs of The Sign of Power. The purpose of the second part of the thesis is to uncover a new semantic context for the interpretation of Zahradnicek's poem; the works of Swiss essayist, philosopher and poet Max Picard, which were of great importance for Zahradnicek's poem. I see the exposition of Picard's specific grasp of the key modern phenomena, which penetrated to Zahradnicek's poem, as the further objective of the work. The thesis is guided by the fundamental question of The Sign of Power - "what happened with a man" -,...
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