REFLEXION OF EVIL IN ART AND ITS ACCEPTANCE (Reflexia zla v umeni a jeho recepcia)
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The paper deals with the contemporary marginal position of art which thematizes evil and represents drasticness in its various real forms. It starts with exposition how the evil passed into the art and after compendious historic digression shows that image of evil in art of western culture of 20th century would be more real and more palpable. The whole following part is attended to interpretations of selected illustrious artistic works rendering evil, while their analysis is concentrated prior to the measure of reality of the rendered evil; the reactions of recipients depend on. There is also assessed the common denominator of those works - it is unanimous intention to eliminate cruelty all over the world. After the interpretative part, the author highlights on perception of those works. Based on Wolfgang Welsch's essay - AESTHETICS AND ANAESTHETICS - he cautions on social insensibility for the real constituted verity. Effective means for calling forth insensible senses of people is exactly art symbolising real brutality of evil. Following paradox also originates from that: on the one hand this art has ambition to cultivate the world; on the other hand this art is indigestible for recipient. However, reasons why this kind of art does not fulfil its mission more effectually should be searched not only in its shocking nature, but also in its minority position within the world of art. So it seams to be found itself in the vicious circle of incomprehension. In the conclusion of the theme author would like to present the problem of culmination of evil in the world from the psychologist Erich Fromm's point of view. He upholds conviction that malignantly forms of aggression are not inborn for people and that they can be combated by conversion of contemporaneous social-economic conditions into such conditions which will reflect actual necessities and abilities of man. According to Wolfgang Welsch's and Erich Fromm's proposals the author presents the hypothesis whether also the art performing realistic brutal evil - destruction should not go via a topic of evil by other way - in favour of its effectiveness for its influence on society.
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