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"Minulost umění" - modernost surrealismu

100%
Vojvodik J.
Česká literatura (Czech Literature)
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2008
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vol. 56
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issue 5
673-676
EN
A contribution from the conference 'The Second Avant-garde' (part of the grant-funded project 'The Myths, Language, and Taboos of the Czech Post-Avant-garde from the Forties to the Sixties'), which was held on 23 October 2007. The article considers Karel Teige's (1900-1951) attitude to the Avant-garde, particularly his attitude to echoes of the Avant-garde, and also his perception of the Avant-garde in the 1940s. Using examples, the article discusses Teige's perception of art as a dialectic fact. It considers his attitude to Hegel and the ideas of the art historian Max Dvorak (1874-1921), particularly Dvorak's conception of art history as history of the mind and Dvorak's call for a unity of art scholarship and art.
2
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Pohyb, rytmy a klid

100%
Jiracek P.
Česká literatura (Czech Literature)
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2008
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vol. 56
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issue 5
635-650
EN
Subjectivity in the rhythm of the lyrical image manifests itself in two different, yet parallel, rhythm spaces. The space of the linear rhythm of the lyrical image, which is formed by the movement of perception is more passive, more sensuously objectivized than the value-positive (upward and outward) and value-negative (downward and inward) orientation (in the metaphors of the iamb and trochee). The space of the nonlinear rhythm (of atmosphere) of the lyrical image, which is created by the movement of perception is more active, more emotionally subjective in comparison the value-positive (pleasant, suggesting a warm colour, active) and value-negative (unpleasant, suggesting a cool colour, passive) emotionally evocative orientation. This article, based on psychosemantic study of the lexis of Antonin Sova's (1864-1928) poem 'Dym' (Smoke) inquires into the relationship between the value shifts in the perception of the semantics of the poem's lexis and phraseology, and concepts of the lyrical image's movement, rhythm, and rest.
3
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FILOZOFICKÁ PRÓZA LEVA ŠESTOVA: POETOLOGICKÉ KOMPONENTY „APOTEÓZY BEZZÁSADOVOSTI“ V KONTEXTE FILOZOFIE SUBJEKTIVIZMU

88%
Dulebová I., Duleba M.
World Literature Studies
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2018
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vol. 10
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issue 2
41 – 50
EN
The study analyses poetological components and their function in relation to the thematically ideological basis of the “Apotheosis of Groundlessness” (1905) by Russian existentialist philosopher Lev Shestov. Firstly, the link between the importance of literary tradition, literary experience and Shestov’s philosophy is explained. Secondly, the usage of rhetorical questions is analysed in relation to the philosophy of scepticism. Thirdly, the fragmentary form of the text is studied in relation to the absence of unity. Then, the role of plots is analysed as a final component which gives the text its artistic nature.
4

MAX DVOŘÁK BETRACHTET TINTORETTO ODER ŰBER DEN MANIERISMUS

75%
Bałus W.
ARS
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2011
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vol. 44
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issue 1
26-44
EN
The article deals with Max Dvořákk’s handling of Mannerism, exemplified on Tintoretto’s “Crucifixion” in Scuola Grande di San Rocco in Venice. In Mannerist pictures, he found ruptures, symptoms and disturbing traits. To him, all artefacts of this artistic style originated as embodiments of the pure spirituality. He didn’t regard the Mannerist era as an epoch of crisis (as did Alois Riegl and other philosophers and art historians), but as an epoch of subjectivism.
5
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Uwagi do rozprawy Tatarkiewicza O bezwzględności dobra

63%
Godlewski R.
Filo-Sofija
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2011
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vol. 11
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issue 2-3(13-14)
643-662
EN
The article consists of explanatory and critical remarks to Tatarkiewicz’s „O bezwzględności dobra” (“On Absoluteness of Good”). Firstly the author considers the Tatarkiewicz’s concept of good. Acceptance with no proof for theses of undefinability and unconcludability from facts is criticized. Tatarkiewicz’s concepts like “relativism” and “subjectivism” are analyzed. It is pointed out that the thesis on absoluteness of good is doubtful because Tatarkiewicz’s examples are highly connected with human beings. Moreover good is not separable from emotions, so its emotionlessness and unutilitarianity is questioned. Finally the author analyzes Tatarkiewicz’s thesis that establishing rules of rightful action in concrete cases does not belong to science. He claims that Tatarkiewicz did not considered the idea of rightful actions engineering that would not be giving solution for every particular case but the rules of Obtaining solutions in given conditions.
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