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The Oresteia of Aeschylos and Satre's The Flies
Jakimiv, Vít ; Fischerová, Sylva (advisor) ; Bažil, Martin (referee)
The thesis aims at comparison of the poetics of Aeschylus' trilogy The Oresteia and Sartre's drama The Flies. In the first part we effectuate evaluation of the state of research as well as division and criticism of some prominent approaches. We observe in particular the limitations imposed on the comparative analysis taking its point of departure from such broad concepts as 'fate', 'freedom' and 'tragedy'. Our considerations are guided primarily by Sartre's theoretic writings on theatre and tragedy. In the second part we accomplish analysis of poetic structures discovering resemblances in the function carried out by single poetic factors in the overall structure of the drama. Notable links appear in the way of utilization of associative networks operating at the level of imagery and metaphor, which in both cases are inseparable from the particular manner of developing the action.
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The Ground of the World: A Marginal Problem in Hegel's Phenomenology of Spirit
Matějčková, Tereza ; Karásek, Jindřich (advisor) ; Gutschmidt, Holger (referee) ; Kuneš, Jan (referee)
Is there a world in G. W. F. Hegel's The Phenomenology of Spirit? This is the central question my doctoral thesis aims to address. Both scholars and philosophers alike tend to consider Hegel a thinker who, having formulated the philosophy of absolute spirit, has surrendered the world. Despite this suspicion, the consciousness finds itself at nearly every level of Hegel's oeuvre in a place called "the world". At every stage, the world changes its shape - along with the consciousness - but its function seems to remain the same. The world is a conception of totality; thus, the world is an object of the consciousness that, by definition, surpasses the consciousness and thus reveals its limits. This moment of a "worldly" estrangement is especially pronounced as the consciousness sets itself into action. One of the most recurring motives in Hegel's The Phenomenology of Spirit is the inability of the consciousness to realize its intentions as planned. The consciousness fails to recognize itself in the deed, and thus devises strategies to distance itself from the deed. In my interpretation, this testifies that the deed is the door to the world, and obviously this world is not one that would be in the power of the consciousness. Instead, it is the consciousness that needs to subordinate itself to the deed...
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The Oresteia of Aeschylos and Satre's The Flies
Jakimiv, Vít ; Fischerová, Sylva (advisor) ; Bažil, Martin (referee)
The thesis aims at comparison of the poetics of Aeschylus' trilogy The Oresteia and Sartre's drama The Flies. In the first part we effectuate evaluation of the state of research as well as division and criticism of some prominent approaches. We observe in particular the limitations imposed on the comparative analysis taking its point of departure from such broad concepts as 'fate', 'freedom' and 'tragedy'. Our considerations are guided primarily by Sartre's theoretic writings on theatre and tragedy. In the second part we accomplish analysis of poetic structures discovering resemblances in the function carried out by single poetic factors in the overall structure of the drama. Notable links appear in the way of utilization of associative networks operating at the level of imagery and metaphor, which in both cases are inseparable from the particular manner of developing the action.
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Survey of stage interpretacion of chorus in Sofokles's tragedy Oidipús Tyrannos on czech stage
Mrázek, Vít ; Topolová, Barbara (advisor) ; Sarkissian, Alena (referee)
The dissertation is trying to form a panoramic survey of interpretational possibilities of an ancient chorus in the process of the Czech theatre on the basis of the detailed analysis of chosen productions in Sofokles's tragedy Oidipús Tyrannos from the end of 19th century to the beginning of 21st century. Chronological summary of the interpretations follows evolutional trends from the original version of the choir of the old men that prevailed in the first half of the 20th century over the variants ancient people that began in the fifties of the last century to metaphorical transformation of choirs that was brought by some stage conceptions from the beginning of 21st century.
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Good concept at classical greek philosophy and literature
Fleischerová, Andrea ; Blažková, Miloslava (advisor) ; Hauser, Michael (referee)
The matter of the Good in classical Greek philosophy and literature is so important and extensive that it can hardly be covered in one document. Therefore the aim of the first part of the thesis is to express both fundamental context and critical attitude towards the concept of the Good in the philosophy of Socrates, Plato and Aristotle. The second part provides a coherent perspective on the development of archaic literature in terms of forming the idea of gods, virtues, good and evil in classical Greek epic and tragedy. Theoretical basis of the thesis relies on the studies of important philosophers, literature historians, religionists and mythologists, whose views are connected systematically or outlined comparatively in corresponding chapters. Both main parts of the thesis are divided into chapters which follow in logical sequence. The thesis is theoretical and corresponds to the assigned topic.
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The spirit in Hegel's Phenomenology of Spirit: Antigone and Rameau's nephew in dialectical conflict
Matějčková, Tereza ; Karásek, Jindřich (advisor) ; Sobotka, Milan (referee)
The work seeks to gain an understanding of the concept of spirit in Hegel's Phenomenology of Spirit. The objective will be met by means of Hegel's interpretation of Sophocles' Antigone and Diderot's Rameau's Nephew. In its most immediate form the spirit appears as an organically structured whole which Hegel identifies with the Greek ethical substance. Superficially this substance is conceived as a harmonious organism; in reality - as Antigone's and Creon's paradigmatic conflict shows - it is beset by inner conflicts. The once unitary and organically structured spirit decomposes into individual forms of consciousness during the Roman period and develops in further course into a subject freed from anything substantial. It is in this course of the spirit evolving into a subject that Hegel presents his interpretation of Rameau's Nephew. Rameau represents the self-negating and self-destructive spirit, who has completely identified with Antigone's and Creon's revolt and has lost the capability of accepting anything not issuing from his consciousness. The last part of the work presents the spirit as a movement seeking to encompass both of these extremes, i.e. the extreme of the substance devoid of subject as well as the extreme of subject negating the substance. In the context of the Phenomenology of...
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