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Model
Hládeková, Katarína ; Mazanec, Martin (referee) ; Zahoranský, Dušan (referee) ; Fajnor, Richard (advisor)
The dissertation thesis studies the extension of the context of the term model as a means of interpretation for Czech and Slovak post-conceptual works of art. Based on result of a historical excursion into the history of painting, sculpture and architecture, the thesis offers a new typology of a model which is exemplified on particular work of art of Czech and Slovak post-conceptual era in the first two decades of the 21st century. The historical part of the thesis concludes the following: model in the art is an emancipated form originating from different academic as well as layman discourse; emancipated model has a methaphorical layer and thus it reflects wide historical, cultural and social relations. The categories proposed include: a linear model, a physical model, a cognitive model and an immersive model. The linear model encompases the sketch themes and so-called visualization metaphors (graphs, charts, schemes, etc) and originates as a reaction to information saturation and complicated networks. The physical model is a form to architecture and hobby modelling, it is characterised by a simple, „sketchy“ structure reacting to social themes and individual and collective memory. The cognitive model points to the cognitive turn of the society, it evaluates the materialisation of mental space and explains the emancipated model as an open category. Finally, the immersive model interprets the medium of exhibition as a model form which is articulated by and artisitic manifesto or an architectural interference. Another form of immersion that is being discussed in the chapter about immersive models, is a photographic or 3 D computer illusion as a reaction to society‘s virtualisation. Simultaneously to theoretical-historical research, an artistic research was taking place which became the basis for the creation of different categories and typologies of model. Each proposed category thus includes a so-called author‘s note reflecting the practical part of the dissertation thesis.
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The Linguostylistic Analysis of Sorokin's Novel "A Day of the Oprichnik" (In Comparison with the Czech Translation)
Beňovský, Jan ; Lendělová, Věra (advisor) ; Chlupáčová, Kamila (referee)
During the last three decades the work of Vladimir Sorokin has become well-known not only in Russia but also all over the world. His novels have been translated into many world languages. This is especially because of his individual attitude to Russia and its politics, history, and social issues, but also because of his attitude to literature and art. These topics are put into literary styles of post-modernism and conceptualism. In 2009 Czech translation of Sorokin's novel "A Day of the Oprichnik" was released. This novel was chosen for linguostylistic analysis because of its lexical and stylistic profuseness. In this thesis Vladimir Sorokin was put into the literary style. The novel "A Day of the Oprichnik" was briefly described, as well as basic characteristic of Oprichnina was summarized. In the detailed linguostylistic analysis were examined 17 historical terms and features (дьяк, приказ, скоморох, смута, стрелец, челобитная, ярлык, государь, калики перехожие, соборность, столбовой, трактир, домострой, гусляр, лик, трапеза, батя) helping to create Sorokin's fresco of the "new" Russia in the future. Subsequently the expression is compared to the Czech analogue. With particular attention paid to the comprehensibility of the Czech translation, semantic differences between the original word or...
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Model
Hládeková, Katarína ; Mazanec, Martin (referee) ; Zahoranský, Dušan (referee) ; Fajnor, Richard (advisor)
The dissertation thesis studies the extension of the context of the term model as a means of interpretation for Czech and Slovak post-conceptual works of art. Based on result of a historical excursion into the history of painting, sculpture and architecture, the thesis offers a new typology of a model which is exemplified on particular work of art of Czech and Slovak post-conceptual era in the first two decades of the 21st century. The historical part of the thesis concludes the following: model in the art is an emancipated form originating from different academic as well as layman discourse; emancipated model has a methaphorical layer and thus it reflects wide historical, cultural and social relations. The categories proposed include: a linear model, a physical model, a cognitive model and an immersive model. The linear model encompases the sketch themes and so-called visualization metaphors (graphs, charts, schemes, etc) and originates as a reaction to information saturation and complicated networks. The physical model is a form to architecture and hobby modelling, it is characterised by a simple, „sketchy“ structure reacting to social themes and individual and collective memory. The cognitive model points to the cognitive turn of the society, it evaluates the materialisation of mental space and explains the emancipated model as an open category. Finally, the immersive model interprets the medium of exhibition as a model form which is articulated by and artisitic manifesto or an architectural interference. Another form of immersion that is being discussed in the chapter about immersive models, is a photographic or 3 D computer illusion as a reaction to society‘s virtualisation. Simultaneously to theoretical-historical research, an artistic research was taking place which became the basis for the creation of different categories and typologies of model. Each proposed category thus includes a so-called author‘s note reflecting the practical part of the dissertation thesis.
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Second Nature: A Contribution to the Social Philosophy of Art
Stejskal, Jakub ; Zuska, Vlastimil (advisor) ; Hauser, Michael (referee) ; Hrubec, Marek (referee)
- Doctoral Thesis Second Nature: A Contribution to the Social Philosophy of Art (Jakub Stejskal) In what sense can one speak of art as a source of insight into the social? In my thesis I focus on criticizing a position that explains art's social-cognitive potential in terms of its purported intrinsic adherence to a normative view of society as a reconciled second nature: Art either offers insight into the nature of social reality as such a second nature or it makes us feel its unreconciled condition and becomes a promise of reconciliation. I identify two traditions of art interpretation holding this position, which both have their intellectual roots in early German Idealism: the Frankfurt Critical Theory and analytic Kantian Revisionism. In the writings of their adherents art is - implicitly or explicitly - understood essentially as a means of enchantment and affirmation that can at most suppress its affirmative character in the name of future reconciliation. Against this conception I develop an understanding of artistic modernism as belonging to an aesthetics of disenchantment, which takes art to be a way of establishing a specific cognitive distance from the social second nature without evoking reconciliation.
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The Linguostylistic Analysis of Sorokin's Novel "A Day of the Oprichnik" (In Comparison with the Czech Translation)
Beňovský, Jan ; Lendělová, Věra (advisor) ; Chlupáčová, Kamila (referee)
During the last three decades the work of Vladimir Sorokin has become well-known not only in Russia but also all over the world. His novels have been translated into many world languages. This is especially because of his individual attitude to Russia and its politics, history, and social issues, but also because of his attitude to literature and art. These topics are put into literary styles of post-modernism and conceptualism. In 2009 Czech translation of Sorokin's novel "A Day of the Oprichnik" was released. This novel was chosen for linguostylistic analysis because of its lexical and stylistic profuseness. In this thesis Vladimir Sorokin was put into the literary style. The novel "A Day of the Oprichnik" was briefly described, as well as basic characteristic of Oprichnina was summarized. In the detailed linguostylistic analysis were examined 17 historical terms and features (дьяк, приказ, скоморох, смута, стрелец, челобитная, ярлык, государь, калики перехожие, соборность, столбовой, трактир, домострой, гусляр, лик, трапеза, батя) helping to create Sorokin's fresco of the "new" Russia in the future. Subsequently the expression is compared to the Czech analogue. With particular attention paid to the comprehensibility of the Czech translation, semantic differences between the original word or...
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Transformation of cult and conceptual value in history of photography
Dotřel, Jan ; Ševčík, Miloš (advisor) ; Zuska, Vlastimil (referee)
This historical work focuses on the theory of photography. It is divided into three autonomous episodes chronologically correspond to three historical stages. These parts are connected with one genealogies of one possible reading of the photography. The first part deals with the historical circumstances and causes of the birth of photography. The second phase describes the later period of history of the Weimar Republic and photographic movement of Neue Sachlichkeit. The last part concentrates on Düsseldorf School of Photography and its current followers. These historical eras combines the aesthetic issues of cult and conceptual values, which is demonstrated on the way how read the photographic medium as a specific aesthetic phenomenon.
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Theory of universals in J. Locke and W. Ockham
BAUER, Lukáš
This thesis deals with universals, as conceived by J. Locke and W. Ockham. It is based on two major writings: William Ockham´s ?Ordinatio? and John Locke´s ?An Essay Concerning Humane Understanding?. The first part of the thesis summarizes the main points of theories that deal with universals. Ockham´s theory of ?fictum?, its subsequent criticism and theory ?intellectio?. The section on the theory of J. Locke is based on the theory of general ideas. The final part focuses on the comparison of these theories. Whether you can find some similarities. The last step is the application of criticism of Ockham´s fictum theory to Locke´s theory of universal ideas.
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Conceptualisation of Art: Negation of Form and the Problem of Nature of Conceptual Art.
ŘÍHOVÁ, Monika
The bachelor thesis deals with the problematic aspects of avant-garde, which were amplified and developed in the postwar movement known as neo-avant-garde in visual art, and especially with its conceptual tendencies which represent constant challenge for current aesthetics. Firstly the basis of aesthetic theory of art will be outlined in order to explain and show where the critique of aesthetics by conceptual artists is leading to. Then it introduces possibilities and limits of selected definition strategies, character of the relationship of conceptual art to other types of art and non-artistic activities, especially its approach to the philosophy and science. The key points of this thesis are: What is conceptualism? What transforms the neo-avant-garde pieces of works into art? Can we apply aesthetic categories at conceptualism? In which way does the conceptual piece work as a symbol?
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