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Against adaptation: toward transdisciplinarity and minor cinema
Petříková, Linda ; Roraback, Erik Sherman (advisor) ; Nováková, Soňa (referee) ; Burt, Richard (referee)
Against Adaptation: Toward Transdisciplinarity and Minor Cinema Linda Petříková Abstract Over the past decades, the field adaptation studies has been trying to break new grounds and escape the confines of the predominant fidelity discourse. This thesis wants to propose new perspectives that have been widely underrepresented, at least in the Anglo-American context, drawing attention to the great relevance to adaptation of the writings of French critical thinkers, most notably Gilles Deleuze and his two-volume publication on cinema and Jacques Rancière and his continuation/reevaluation of Deleuze's film-related concepts. Without directly addressing questions of adaptation, the way both philosophers think about cinema is inseparable from their thinking about literature and indeed about other arts and media, exemplifying new transdisciplinary approaches to adaptation this thesis hopes to encourage. Even though it might seem counterintuitive, considering the efforts of adaptation studies to cut the roots it has grown within literary departments, I chose three Shakespearean adaptations for the case studies as I believe that such focus will enable us to see more clearly the significance of interstices as much as of the links the films form with the text. Jean-Luc-Godard's King Lear, Orson Welles's Chimes at...
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Movement and multiplicity. Ontological dimension of painting in Gilles Deleuze's works.
Sluková, Tereza ; Fišerová, Michaela (advisor) ; Marcelli, Miroslav (referee)
Annotation: The aim of the thesis is to verify the claim that movement and multiplicity in the works of Francis Bacon, as interpreted by Deleuze, become novel ontological features of the paintings; at the same time, Deleuze's critical reading of Bacon's thoughts and other texts foregrounds the relationships of representation and interpretation, thus making Deleuze's concepts applicable to the philosophical refexion of the theory of painting. The chief goals of the thesis are therefore to understand the rhizomatic thinking in the perception of the artwork and to emphasize the problem-riddled nature of the relationship of representation and interpretation in the works of Gill Deleuze. By way of comparison of two actual texts it will be demonstrated that the endeavour by Deleuze to use the rhizome concept to transcend represention is doomed when confined to the level of immanence. What is thus arrived at is a far more fundamental topic of the relationship of the levels of immanence and consistence.
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Time in Film. Comparison of the Conception of Jan Mukařovský and Gilles Deleuze
Kadlecová, Vladimíra ; Fišerová, Michaela (advisor) ; Michalovič, Peter (referee)
The topic of my diploma thesis is a comparison of speculation about a film from two perspectives. Firstly, it deals with the approach of Jan Mukařovský, a Czech structuralist, who was one of the first in the Czech context to explore the time concept in a film. Secondly, it considers the approach of Gillese Deleuze, who was accredited with the new view on the time-image in a film, however, much later than Jan Mukařovský. The aim of the paper is to explain the way the approaches of Mukařovský and Deluze relate to other approaches of thinking about time in films, the influence of other concepts of their time that they both theoretically based their views on, as well as specifying the films that became the starting points of exploring the time in films. The method of comparison is divided into three aspects, as three comparison levels.
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Becoming Heaviness: Philosophy of Difference and Metal Music
Volák, Vojtěch ; Švantner, Martin (advisor) ; Marcelli, Miroslav (referee)
Metal music is a term that currently serves as a designation for a plethora of different subgenres. The main goal of this work is to find a process that is shared between given subgenres of metal music. The search is based on the non-essentialist position of Gilles Deleuze's philosophy of difference. For this reason, the first focus of the work is extensive excursion into this philosophy, to which it devotes it's first chapter. In it, through analysis of Difference and Repetition, it creates a thought and conceptual basis for the processual perception of ideas as multiplicities, a position that makes it possible to examine the process of becoming. From this position, the second chapter focuses on metal music and it's main characteristic quality - heaviness, and examines the ways in which music can become heavy. Keywords: Gilles Deleuze, metal music, heaviness, difference, becoming, multiplicity, intensity
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Machine, movie and human perception
Pechoušková, Klára ; Fišerová, Michaela (advisor) ; Řehořová, Irena (referee)
The main topic of this diploma thesis is the relationship of movie and human perception. Movie is a purely technical medium that moves images for the first time. The starting point of the work is the book written by French cultural theorist Paul Virilio and his reflections on film and technology. Virilio's position is negative in many ways due to cinematography. He blames technology for horrors inflicted during world wars. Cinematography is guilty of a revolution of perception that leads to the decomposition of the vision and the disintegration of the classical dimensions of space and time. In my work Virilio's views are confronted with the reflections of Virilio's contemporary, also the French theorist, Gilles Deleuze. Deleuze understands movie in many ways differently than Virilio. Also his opinion on the technique is quite different. The movie after World War II is a medium that no longer attempts to imitate natural perception. Such film can cause a shock to the audience. This shock opens up new possibilities of thinking and perception, and the viewer gains the opportunity to achieve a specific spiritual life through a movie.
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"All this little affair with 'being' is over:" Metaphysical Crisis in Virginia Woolf's The Waves
Opravil, Vít ; Procházka, Martin (advisor) ; Vichnar, David (referee)
Thesis Abstract The present thesis sets out to follow three different problems in the metaphysics of Virginia Woolf's late novel The Waves and contrast them with the theories of three thinkers - Gilles Deleuze, Félix Guattari and Jacques Derrida. First chapter discusses Woolf's approach to subjectivity. It is shown that Deleuze's and Guattari's method establishing subjectivity as a by- product of a machinic assemblage is particularly fruitful in reading the characters in the first four chapters where their bodies and their "subjectivities" form in diverse ways. D&G comment on the waves of the lyrical passages as an abstract machine of which the character-assemblages are actualizations. They do not, however, comment on the territorialising function of sunlight which seems to be equally important and therefore needs to be analysed. This function corresponds with the ever growing oedipalisation of the characters, which finds its summit in the fifth chapter of the novel and transforms a deterritorialised rhizome into a reterritorialized (or oedipalised) signifying system. The second chapter discusses how the functioning of the territorial machine of the sun reduces the rhizome into a centralised system whose centre can be understood through the prism of Derrida's theory of structure as a play of...
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Against adaptation: toward transdisciplinarity and minor cinema
Petříková, Linda ; Roraback, Erik Sherman (advisor) ; Nováková, Soňa (referee) ; Burt, Richard (referee)
Against Adaptation: Toward Transdisciplinarity and Minor Cinema Linda Petříková Abstract Over the past decades, the field adaptation studies has been trying to break new grounds and escape the confines of the predominant fidelity discourse. This thesis wants to propose new perspectives that have been widely underrepresented, at least in the Anglo-American context, drawing attention to the great relevance to adaptation of the writings of French critical thinkers, most notably Gilles Deleuze and his two-volume publication on cinema and Jacques Rancière and his continuation/reevaluation of Deleuze's film-related concepts. Without directly addressing questions of adaptation, the way both philosophers think about cinema is inseparable from their thinking about literature and indeed about other arts and media, exemplifying new transdisciplinary approaches to adaptation this thesis hopes to encourage. Even though it might seem counterintuitive, considering the efforts of adaptation studies to cut the roots it has grown within literary departments, I chose three Shakespearean adaptations for the case studies as I believe that such focus will enable us to see more clearly the significance of interstices as much as of the links the films form with the text. Jean-Luc-Godard's King Lear, Orson Welles's Chimes at...
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Claude Simon. Introduction and interpretation
Charvát, Martin ; Češka, Jakub (advisor) ; Fišerová, Michaela (referee)
The present diploma thesis "Claude Simon. Introduction and interpretation" is philosophical interpretation of the novels of the French writer Claude Simon, the Nobel prize winner for literature in 1985, whose work has been in the Czech academic field neglected theme. My interpretation is based on the philosophy of G. Deleuze and according to him I understand Simon's work like a rhizome, that is like decentralized heterogenous links, multiplicities and lines which are not subjects to any structural model. In my interpretation I start with novel Le Vent (The Wind) from 1957, because it's a text in which are being manifest fundamental themes of Simon's poetic such as are event nature of the fiction world or the lost of transcendence and its transformation into immanence of life affairs. The analysis of the novel Le Vent makes possible to pass continuosly and frequently to Simon's other novels (Histoire, Les Gèorgiques, Le Palace, L'Herbe, La Route des Flandres). The aim of the diploma thesis is to reach coherent interpretation of the Simon's work.
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Movement and multiplicity. Ontological dimension of painting in Gilles Deleuze's works.
Sluková, Tereza ; Fišerová, Michaela (advisor) ; Marcelli, Miroslav (referee)
Annotation: The aim of the thesis is to verify the claim that movement and multiplicity in the works of Francis Bacon, as interpreted by Deleuze, become novel ontological features of the paintings; at the same time, Deleuze's critical reading of Bacon's thoughts and other texts foregrounds the relationships of representation and interpretation, thus making Deleuze's concepts applicable to the philosophical refexion of the theory of painting. The chief goals of the thesis are therefore to understand the rhizomatic thinking in the perception of the artwork and to emphasize the problem-riddled nature of the relationship of representation and interpretation in the works of Gill Deleuze. By way of comparison of two actual texts it will be demonstrated that the endeavour by Deleuze to use the rhizome concept to transcend represention is doomed when confined to the level of immanence. What is thus arrived at is a far more fundamental topic of the relationship of the levels of immanence and consistence.
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