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The Roundness of the Crystal
MOLÍKOVÁ, Veronika
The thesis uncovers latent relations binding Maurice Merleau-Ponty´s theory of perception and Gaston Bachelard´s theory of reverie. Through finding the common basis of both modes of experiencing the world - through outlining the interaction of the flesh and imagination whose purpose was to clarify Bachelard´s confused, nontransparent concept of r?verie - the thesis focuses on the works by Norwegian artist Edvard Munch. The brief interpretation aims to look at Munch´s work through the prism of Bachelard´s especially elemental oneiric pictures and follow their "crystallization" both in literary and fine arts line. Fundamental root system nourishing "the corpus of the explanation" becomes a dialectic of heights and precipices (it is treated in Bachelard´s books Air and dreams and Earth and Reveries of Will) whose tension, which is like an invisible stream, imprints the rhythm to whole Munch´s magnum opus. Thus, both the motive of vertigo and the mirror glint of the fear of fall, the motive of lust for disembodiment, release from the confinement of "metabolism", liberation from "incarnation of the subject" takes a relevant position in this vertical range. The final chapter then literally "completes the circle" by the insight of phenomenology of roundness. The phenomenon of a line becomes a relevant medium that sketches links of both halves of the thesis and through which a defence of vision as in essence performative act is constructed. The character of line acquires the value of a key unlocking possibility to apply the Bachelardian method to the art of visual type, uncovers implicit possibility of epiphany of oneiric pictures in fine arts - it shows, that painting is not spiritless flat dispassionate mimesis, but it contents affective invisible dimension.
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Film as a Medium of Cultural Memory: Cinematic Representations of the Post - War Expulsion of Germans and its Changes
Řehořová, Irena ; Šubrt, Jiří (advisor) ; Jirák, Jan (referee) ; Klimeš, Ivan (referee)
As a result of the development of visual media and the related tendency in social sciences described as "pictorial turn", many disciplines have incorporated in the field of their research also the study of phenomena that used to stay out of their attention. In sociology, this tendency resulted in the emergence of a new sub-discipline, referred to as sociology of the image or visual sociology. The subject of this dissertation falls within this sub-field: the attention is focused on movies, which today stand as a powerful media of cultural memory. The main goal of this project is to describe the specific practices of cultural remembering following from the nature of the film medium, and to explore the significance of the film as a source of sociological cognition. In the first part, film is recognized as a cultural/social phenomenon, which shouldn't be understood only as a product of individual authors, as there are many institutions and other subjects (which together form a cinematographic field) who also contribute to the making of a film by defining its possibilities and thus influence the way how particular events are represented. The second part of the work presents different theoretical approaches that map the nature of relation between film representation and reality - they describe the...
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Merleau-Ponty and the Modern Art as a Means of Return to the Lifeworld
Roček, Tomáš ; Švec, Ondřej (advisor) ; Ritter, Martin (referee)
The thesis addresses the topic of lifeworld in the work of Edmund Husserl and Maurice Merleau-Ponty. The first part describes the context surrounding the genesis of the notion of lifeworld in Husserl. The notion came about as a reaction to the crisis of sciences as perceived by Husserl, characterized by the loss of meaning, as science can no longer answer the substantial questions of human existence. A return to the natural world is then enabled by the transcendental epoché. The second part is devoted to Merleau-Ponty for whom lifeworld does not denote the realm of original self-evidences, as in Husserl, but a space of lively communication to which we are led by modern art, especially painting. According to Merleau-Ponty, modern art evinces ambiguity that rests in its inconclusiveness and multisidedness of its potential interpretation. The aim of the thesis is to show that this ambiguity corresponds to the ambiguity in lifeworld, the latter being constituted by the opposition of the seen and the seer that are subject to unending reversibility. The structure of lifeworld corresponds to the structure of modern art as understood by Merleau-Ponty.
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