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Critical reactions on Edward Bullough's concept of psychical distance
Adámková, Veronika ; Ševčík, Miloš (advisor) ; Dadejík, Ondřej (referee)
In this thesis we are focusing at the notion of psychical distance first introduced in the work "'Psychical Distance' as a Factor in Art and as an Aesthetic Principle" from Edward Bullough. There were many responses to the concept of psychical distance from many authors, some of them have rejected this notion, and others tried to support it. Initially we provided brief interpretation of Bulough's work with the focus at parts, which are cited and investigated most frequently in mentioned interpretations. We are interpreting and comparing gradually the most popular works, which involve the notion of psychical distance with respect to Bullough's original concept. We are pointing out the difference between notions psychical distance and aesthetic attitude, because they are mistaken one for another by many different authors. This thesis tries to provide new look at some papers responding to Bullough's conception.
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Art and Care of Soul in Jan Patočka
Josl, Jan ; Ševčík, Miloš (advisor) ; Zátka, Vlastimil (referee) ; Frei, Jan (referee)
Summary: This work approaches Patočka's philosophy of art from the perspective of ‚care of the soul'. The first part of work describes evolution of the ‚care of the soul' in context of Patočka's philosophy of history from he 30s up to 70s. Based on this description I recognize experience of the soul as the experience of human freedom as inseparable from the ethical and methaphysical dimensions. The second part approaches art from this perspective.Patočka's intepretations of art show that Patočka saw art not only as a manifestation of human freedom, but as reflection of human position in the world and his relation to aletheia as well. However, art stays half way between myth and philosophy due to the fact, that the movement of freedom is not as absolute in art as it is in philosophy. This is evident in expressions that art takes from the fields of our emotions and experience and thus still remains for Patočka in connection with the world and our everydayness. Therefore art represents for Patočka only limited experience of the soul. It is mostly the momentum of transcendence that is important and interesting for Patočka in art, but not the results that, no matter how deep, are still insights about the things in the world. Powered by TCPDF (www.tcpdf.org)
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Art and Care of Soul in Jan Patočka
Josl, Jan ; Ševčík, Miloš (advisor) ; Zátka, Vlastimil (referee) ; Frei, Jan (referee)
Summary: This work approaches Patočka's philosophy of art from the perspective of ‚care of the soul'. The first part of work describes evolution of the ‚care of the soul' in context of Patočka's philosophy of history from he 30s up to 70s. Based on this description I recognize experience of the soul as the experience of human freedom as inseparable from the ethical and methaphysical dimensions. The second part approaches art from this perspective.Patočka's intepretations of art show that Patočka saw art not only as a manifestation of human freedom, but as reflection of human position in the world and his relation to aletheia as well. However, art stays half way between myth and philosophy due to the fact, that the movement of freedom is not as absolute in art as it is in philosophy. This is evident in expressions that art takes from the fields of our emotions and experience and thus still remains for Patočka in connection with the world and our everydayness. Therefore art represents for Patočka only limited experience of the soul. It is mostly the momentum of transcendence that is important and interesting for Patočka in art, but not the results that, no matter how deep, are still insights about the things in the world. Powered by TCPDF (www.tcpdf.org)
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Asymmetrical relation of beauty and ugliness
Al-Salmanová, Sabrina ; Zuska, Vlastimil (advisor) ; Kubalík, Štěpán (referee)
The aim of this diploma thesis is to introduce the notion of ugliness as an aesthetic category, concerning the question of its position in the aesthetic experience, based in particular on the conception of difficult beauty by Bernard Bosanquet. The first part of the thesis discusses the possibility of aesthetic experiencing of unpleasantness and so specifies ugliness as inherently aesthetic category, in comparison to the unaesthetic response of disgust. The second part of the thesis deals with the question of position of ugliness and the feeling of unpleasantness if ugliness is an adequate part of the aesthetic experience which is regarded as excellent and contributing. The solution offered by Bosanquet in his conception of difficult beauty however isn't fully sufficient and therefore the last chapter introduces the problem of ugliness from a different viewpoint which emphasizes the negativity and disturbance of ugliness, impossible to dissolve. The key feature of ugliness is the ambivalent link amongst the repulsion and the attraction in aesthetic experiencing. The attribution of a meaning in the whole of the aesthetic experience, i.e. the possibility of attaining new insight thanks to ugliness, may however lead to a tendency to the reconciliation of ugliness. The original unpleasantness and...
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Theme of Psychical Distance in Otakar Zich's Concept of Dramatic Art
Pátek, Filip ; Kaplický, Martin (advisor) ; Zuska, Vlastimil (referee)
This bachelor's thesis focuses on the comparison of the concept of psychical distance of Edward Bullough with the concept of dramatic art of Otakar Zich. Bullough at the key points of his essay on psychical distance refers to the dramatic art, but unified concept of this art he does not present. Zich in his work, which tries to present unified concept of dramatic art, does not refer directly to Bullough's concept of distance, but it is still possible to find in the works of both authors analogical moments. The aim of this bachelor's thesis is to find these moments and systematize them. The first part of this work deals with the presentation of Bullough's concept of psychical distance, the second part deals with the presentation of Zich's concept of dramatic art and the third part is devoted to the comparison of Bullough's views with selected themes of Zich's aesthetics of dramatic art. Keywords psychical distance * aesthetic attitude * dramatic art * theatre * semantic idea
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Critical reactions on Edward Bullough's concept of psychical distance
Adámková, Veronika ; Ševčík, Miloš (advisor) ; Dadejík, Ondřej (referee)
In this thesis we are focusing at the notion of psychical distance first introduced in the work "'Psychical Distance' as a Factor in Art and as an Aesthetic Principle" from Edward Bullough. There were many responses to the concept of psychical distance from many authors, some of them have rejected this notion, and others tried to support it. Initially we provided brief interpretation of Bulough's work with the focus at parts, which are cited and investigated most frequently in mentioned interpretations. We are interpreting and comparing gradually the most popular works, which involve the notion of psychical distance with respect to Bullough's original concept. We are pointing out the difference between notions psychical distance and aesthetic attitude, because they are mistaken one for another by many different authors. This thesis tries to provide new look at some papers responding to Bullough's conception.
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Aesthetics of Camp
NOVOTNÁ, Pavlína
This thesis deals with the phenomenon of camp and its manifestations in modern western culture. The aim of this thesis is to indentify the signifiant features typical for camp as an aesthetic stance and for camp as an object. Attention is paid to the relationship of the camp and kitsch, and their differences and similarities. The relationship of camp to the high and low art or dandyism is also examined. The main text used for this thesis is an essay "Notes on Camp" by Susan Sontag.
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