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1

Zrození moderního umělce a kritika v Čechách: umění, věda a objevení času

100%
Andel J.
Teorie vědy (Theory of Science)
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2008
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vol. 17/30
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issue 2
133-147
EN
In his article, the author traces the changes that took place in both art and science in the Czech Lands in the course of the 19th century. In the works and commentaries of such painters as Karel Purkyne or Sobeslav Pinkas, he finds early signals of the emergence of modern art. Even the scientific findings of Karel Purkyne's father, J. E. Purkyne, a renowned natural scientist of his era, divulge links to modern art-forms, such as cinematography. The exchange between art and science is apparent, for example, in the geological inspiration for Adolf Kosarek's paintings. What is particular about such works and scientific endeavors is their disruption of the static imagery and emphasis on the flow of time. The rise of urbanism and, consequently, of individualism, brought the passing and linear conception of time to the fore. Andel claims that this 'discovery of time' was a crucial element in constituting both the modern artist and critic.
2

OBRAZ V PŘÍBĚHU – EKFRÁZE VE VYPRÁVĚNÍ. PŘEDBĚŽNÉ NÁVRHY K ROZLIŠENÍ POPISNOSTI A VIZUALITY

100%
Jedličková A., Fedrová S.
Slovenská literatúra (Slovak Literature)
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2010
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vol. 57
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issue 1
29 – 59
EN
The term visualisation belongs in the last decades to the most frequent expressions in discussions about culture. A contrastive example of quite a recent novel Miloš Urban: (Lord Mord, 2008) and a fiction fits in the narrative tradition of the 19th century Jakub Arbes: Saint Xaverius (Svatý Xaverius, 1873) show disproportional attention, which is paid to visual qualities of the text in the interpretation, and also to swapping the terms visualisation and descriptiveness. The study therefore submits classification of descriptiveness just in a form of work, in which like a decisive parameter the measure of visualisation is chosen. There is a distinction between visualisation as a quality of verbal experience supported by a concrete text and visualisation as a potential effect of particular qualities of the text. Based on the criteria there are determined descriptions in the study such as fully informational, illustrational with symbolic function, suggestive description of the setting evoking atmosphere, “visual“ description, which means visually well-grounded in the textual level and directing the reader to visualisation of a described subject and – in a gradational order description – to ekphrasis. In the examples of a specific literary genre – ekphrasis predominately deals with ways of its dynamizing; that means involving into narration both the microstructure of an action, as well as macrostructure of a story. Pursuant the level of involvement it is possible then to follow up the full scale of options within simple ekphrasis allusion of a picture and ekphrasis fully constructed through epic, including e.g. ekphrasis connected with gradually built up interpretation of a picture, that is a key for the interpretation of psychology of either characters or the entire story in the novel by Jaroslav Maria Saintesses, Ladies and Sluts (1927). Here and also in Arbes´ Saint Xaverius (Svatý Xaverius) there is a possibility to apply of interpretational art-historical methods for literary scholarship shown, in cases if iconographic analysis of the picture depicted in the story makes easier comprehension of the symbolic projection in reflexive element of narration. Differentiation between involvement of a “picture into the story“ and “ekphrasis in the text of narration“ seems to be heuristically useful, but most of the times also ontologically necessary.
3

Aura Reconsidered. Benjamin and Contemporary Visual Culture

100%
Koepnick L.
Kwartalnik Filmowy
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2008
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issue 64
25-44
EN
The author argues that Benjamin's concepts concerning the auratic and postauratic art (as expressed in his essay about the artwork in the era of mechanical reproduction) cannot be uncritically applied to the contemporary, postmodern culture. The reality depcited by Benjamin in the 30s seems to be radically different from the one we experienced at the end of XX century. Postmodern culture, with its centrality of visual experiences and virtual gazes, with the multiple and heterogeneous forms of spectatorship and its positions, with the despatialized and detemporalized viewing subject has to be analyzed from a new perspective. He points out, that Benjamins thesis concerning aestheticization of politics and its connection to fascism lost the actuality in the post-fordist society and its cultural environment. Using the theories by Theodor Adorno, Patrice Petro and Miriam Hansen, and analyzing the project 'Wrapped Reichstag' by Christo, the author criticizes some points of Benjamin's thoughts. In the same time he tries to answer the question what can be redeemed of Benjamin (and Adorno) for our own times and how we can envision his role under the postmodern conditions.
4

SUSAN SONTAG AND ETHICS OF PICTURE

100%
Leszkowicz P.
Rocznik Historii Sztuki
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2007
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vol. 32
185-208
EN
The text is dedicated to the last book by Susan Sontag 'Regarding the Pain of Others', from 2003 and her last essay 'Regarding the Torture of Others' from 2004. Her ruminations on the war photography are presented in the context of her biography, history of her reflection on photography and American imperialism, as well as her involvement in the fight for human rights. Susan Sontag ruminated on photographic representations of violence and human suffering in reference to the modern media culture. Her analyses pertained to the history of war report, photographs of lynch mobs, photographic evidence of the World Trade Center attack and photographs of tortures from Abu Ghraib. The authoress contemplated the ethical impact of photographic images of suffering. The article presents the various doubts of Susan Sontag as to impingement of such representations. It was emphasised that Sontag departed from her early scepticism: photography expressed in her book 'On Photography'. In her last reflections on photography she stressed its role played in protest against violence and its ability to mirror and convey the truth about the reality of war. For Sontag photography plays also a role in disclosing the truth about the dark side of human nature. The ruminations of Susan Sontag on the violence images are situated in the context of using violence by the media as the weapon in the present 'war against terrorism' and of the art by Alfredo Jaar pertaining to the alternative presentations of genocide. The essay emphasises an ethical approach to photography and relationship between visuality and human rights. It is supplemented by an outline of a history of war photography.
5

Obrazy w procesach negocjacji swiatów spolecznych

100%
Frackowiak M., Rogowski L.
Przegląd Socjologii Jakościowej
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2011
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vol. 7
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issue 1
42-56
EN
The aim of this article is to incorporate visuality into the theory of the social world as it was proposed in the interpretative sociology. The text consists of three parts. In the first, the authors present basic assumptions of the social world phenomenological theory. The second, elucidates the concept of visuality - the underpinnings of the chosen contexts of building and unifying the social worlds' visual aspects that are presented in the foregoing article. The last, opens to scrutiny the examples of processes in which the visuality becomes a pretext for gainsaying the intersubjectivity of social worlds and therefore, relates to the opposite phenomenon. The theoretical and exemplifying endeavors undertaken in the article may constitute an introduction to further, more complex analyses.
6
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(„Wędrujące pojęcia”. Koncepcja Mieke Bal – przykład inter- czy transdyscyplinarności?

88%
Tabaszewska J.
Studia Europaea Gnesnensia
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2013
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issue 8
113-130
PL
The notions of inter- and transdisciplinarity represent categories which the humanities frequently resort to in the discourse, but which remain difficult to define.  The attempts to do so are most often associated with subscribing to one of the possible models of interpreting relationships between individual disciplines of science. Mieke Bal’s concept of transdisciplinarity, which this paper discusses, envisages a framework where the privileged form of formulating scientific concepts would be in research practice that is rooted not only in the methodologies of individual sciences but most of all in the everyday practices and experiences.   
7
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MEDZI IZOLOVANÝM A FENOMENALIZUJÚCIM SUBJEKTOM: MELANCHÓLIA AKO ESTETICKÁ KVALITA V (SPIRITUÁLNEJ) POÉZII ERIKA JAKUBA GROCHA

88%
Juhásová J.
World Literature Studies
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2020
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vol. 12
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issue 3
40 – 53
EN
Clashing tendencies of despair, sadness and spiritual yearning can be observed in the work of the leading Slovak spiritual poet Erik Jakub Groch. The disturbing preponderance of the strained motives in the author´s recent collections leads to reflections on the nature of religious melancholy and its possible integration within the spiritual path and personal growth. The author of the study attempts to give more engaged solutions through the analysis of his viewpoint, since visualisation plays an essential role in the synthetic consciousness of this Slovak poet. In her search for answers, she relies mainly on Soren Kierkegaard´s reflection on despair, the concept of the dark night of St. John of the Cross, and the reversible visuals of Maurice Merleau-Ponty.
8
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TEÓRIA UMELECKEJ ILUSTRÁCIE A METAFORA

88%
Benyovszky K.
World Literature Studies
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2018
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vol. 10
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issue 3
129 – 141
EN
The study examines metaphor and metaphoricity in the context of typological and receptive questions of illustrations. It presents a confrontational analysis of the works of Michal Tokár, Emőke Varga and Jan Klimeš, in order to uncover the various metaphorical contexts within the theoretical discourse on artistic illustration. The following process can be productive for both of the compared research areas: metaphor will help us understand certain media specificities of the artistic illustration, the process of creation and reception of the illustration is again confronting us with the limitations of the pictoriality of the language and the verbal metaphor. In the reflected literature about illustration, the terms “metaphor” and “metaphoricity” are used primarily as qualifying names to denote a certain type of relationship between image and text, and image and reality. They further indicate a common aesthetic quality, albeit realized by different means, and, finally, a certain way of perceiving the illustrated literary work.
9

MIMO LOGIKY REPREZENTÁCIE. PROBLÉM NEREPREZENTOVATEĽNÉHO VO FILOZOFII OBRAZU J. RANCIERA

88%
Fišerová M.
Filozofia (Philosophy)
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2008
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vol. 63
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issue 7
582-591
EN
The paper deals with the problem of representation on the background of J. Ranciere's political philosophy, in which he rejects the concept of the unrepresentable. The resolution of the problem follows from the confronting of two conceptions of the unrepresentable: that of the aesthetics of the sublime in Kant and Lyotard and of the politics of prohibition in Foucault on one hand and Ranciere's understanding of sharing the perceptible on the other hand. This discussion leads the authoress to the problem of visuality conceived as a set of the visual representations, which in a historically given period are legitimately visible. This definition of visuality returns the representation and the unrepresentable back into the political conception of image.
10

MEDIEVAL NARRATIVE STRUCTURES AND VISUAL TIME (A HISTORIOGRAPHICAL OUTLINE)

88%
Gerát I.
ARS
|
2024
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vol. 57
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issue 1
3 - 20
EN
For decades, thinking about structures within the Viennese School of Art history has continued without comprehensively embracing and rethinking Wickhoff ’s reflections on pictorial narrative and time. Sedlmayr’s notion of structure was associated with the author’s authoritarian emphasis on abandoning “vulgar time” and achieving a connection with timelessness, which limited his ability to understand the historical formalism established by Riegl. Otto Pächt shifted the focus of his thinking to the problem of visual language and its historical contexts. Creatively developing ideas of Viennese thinkers, Wolfgang Kemp elaborated notion of narrative structures, whose historical anchoring in the analysis of systems of reasoning and representation makes it possible to productively describe the hermeneutic paradoxes associated with developing a visual grammar of pictorial narrative.
11
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PATHS OF THE TEXT: FROM INTERMEDIALITY TO VISUALITY (Cesty textu: od intermediality k vizualite)

75%
Suwara B.
World Literature Studies
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2010
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vol. 2 (19)
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issue 2
56-69
EN
The sceptics argue that a border persists between the textual and the visual in the new hypertext art. This critical position results not only from the empirical experience of a perceptive user of hypertext, but also from the need to promptly and at least partially address the problem of interpretation of textual and visual segments of literary projects received in an electronic environment without the authority of the traditional dichotomy between the textual and the visual. It seems problematic to ask whether the reader/user perceives textual segments in the new digital medium according to the conventions received from the culture of printed text and the visual segments according to the tradition of visual art, or differently. We could ask whether there exists an assumption according to which a reflective user could achieve 'high focus' on perceived textual and visual segments. Our working explanation of 'high focus' is based on the idea that 'high focus' results from the cooperation of information received at the same time by verbal and visual information channels. The authoress demonstrates the phenomenon of 'high focus' in fine art in the context of 'ecphrasis' and 'subversive ecphrasis' in the work with 'semantic enclave' (Snezna sova by Purkyne) by building on the project Shredder by M. Napier. The analysis confirms the argument by Didi-Huberman that visuality is a phenomenon that complicates the epistemological status of an image.
12
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“AUGENMUSIK”: SYNAESTHESIA AS A TECHNIQUE IN THE EARLY AVANT-GARDE

75%
Ondroušková S.
World Literature Studies
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2015
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vol. 7 (24)
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issue 4
13 – 25
EN
The article draws attention to the study entitled Expressionismus (1916) written by Austrian author and literary critic Hermann Bahr. The main objective is to present and analyse its crucial concept of “Augenmusik” which Bahr suggests in connection to novel techniques of the young generation of avant-garde authors. As a substantial part of Bahr’s text is dedicated to vision and eye, the prevalence of the visual domain is dealt with first; further explored is why Bahr regards expressionist works as unprecedented with an obvious intention to foreground their situatedness outside of historical time; the final part considers the syneasthetic aspect of “Augenmusik”. Inspiration by synaesthesia, the blending of senses and its application in art reach far beyond the avant-garde. Already it was well-known in ancient Greece where poems were believed to be transferred in the sweet sound of singing Muses. However, it was only in the late 19th century with the advancements in the field of medicine and psychology when synaesthesia came into focus of artists in relation to perception and cognition. Thus synaesthesia in theoretical writings of avant-garde authors demonstrates itself on several levels: neurological, textual (metaphoric), and medial. The article summons arguments in favour of the idea that the main reason why the avant-garde authors started to contemplate synaesthesia was their yearning for an authentic experience, which in the context of this article might be translated as experiencing internally through affects and instincts.
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