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Lecturer(s)
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Řebíková Barbora, Mgr. Ph.D.
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Course content
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Garant: Mgr. Barbora Řebíková, Ph.D. Teacher: doc. M.Sc. Michaela Fišerová, M.A., Ph.D. Contact the teacher: michaela.fiserova@ujep.cz Schedule of lectures 1. Introduction to art theory and teaching organization - 2. Seeing and recognizing art. Aumont, Image. H. Visual Literacy. J. Elkins and Emotion in Art. T. Bullet and emotional blackmail kitsch. 3.-4. The "aura" of the original and the question of the authenticity of the work of art. Falzum by W. Benjamin and T. Kulka. 5. Art in totalitarian regimes. E. Michaud and "art for eternity. Frankfurt School aesthetics - criticism of mass taste in T. W. Adorno and S. Kracauer - text for the paper: E. Michaud (2015): Barbarian Invasions. Cambridge The MIT Press. 6. Belief in the image and prohibition of display. B. Latour and Iconoclash: the triple construction of the image as a representation of the world. - text for the report: Willem van Asselt Paul van Geest Daniela Müller Theo Salemink (2007): Iconoclasm and Iconoclash Struggle for Religious Identity. Leiden: Brill. 7. Visual culture. W. J. T. Mitchell and the Turn to Image. Image-text and Metaimage. Belting: the end of art history, the anthropology of the image. - text for the report: Mitchell, W. J. T. (2005): What do Pictures Want?. Chicago: University of Chicago Press. 8. Preconceptions and limits of understanding. S. Worth and the Limits of Image Anthropology. Media fury. O. Toscani and outrage over the mixing of genres - 9. Visual stylization in the art of J. Berger and the social construction of the view. N. Bryson: what is visuality? M. Jay: visual modes and art styles. - 10. The relationship between the image and the "soul". R. Barthes and N. Mirzoeff on the artistic portrait and self-portrait. - text for the paper: Mirzeoff, N. (2011): The Right to Look. A Counterhistory of Visuality. Duke University Press. 11. The relationship between image and time. M. Merleau-Ponty and T. de Duve: the different temporalities of painting and photography. Metaphor and metonymy of time in art. - 12. Temporality and historicity of images. G. Didi-Huberman: ahistoricity and anachronism of artistic images. - 13. Final rehearsal
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Learning activities and teaching methods
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unspecified, unspecified, unspecified
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Learning outcomes
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The course is focused on the introduction of main theories of art and getting and overview about division of aesthetic issues on general aesthetics and general theory of art. Students will receive the overview in main categories of aesthetic thinking and especially in aesthetic exploration of the art. The course will introduce main conceptions of aesthetic exploration of the art and compare them with other theoretical approaches to the art on which is focused the general theory of art. It will also focus on issues of aesthetic experience of current art work and the topic of the contemporary visual art.
A student will gain the overview in main aesthetic theories. He/she will develop the term basis needed for understanding of aesthetic sciences. He/she will be capable of independent argumentation. He/she will develop the ability to understand the texts and discuss and think independently within aesthetics.
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Prerequisites
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None
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Assessment methods and criteria
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unspecified
The student will receive credit for carefully reading one of the selected texts and for processing its interpretation in the form of a report, which will be presented in the relevant seminar class. The length of the report is 30 minutes. The report of 6 standard pages will be handed in by the teacher on the day of the presentation of the report in the seminar. FIŠEROVÁ, M. (2015): Obraz a moc. Rozhovory s francouzskými mysliteli. Praha: Karolinum. AUMONT, J. (2010): Obraz. Praha: AMU. MITCHELL, W. J. T. (1994): Picture Theory. Essays on Verbal and Visual Representation, Chicago: The University of Chicago Press WORTH, S. (1991): Obrazy nemohou říkat ne. In: Sborník filmové teorie. Angloamerické studie, Praha: ČFÚ Bryson. N. (1989): The Gaze in the Expanded Field. In: FOSTER, H. (ed.) (1988): Vision and Visuality. Seattle: Bay Press LATOUR B., Iconoclash. Is there a World Beyond Image Wars?. In: Latour, B., Weibel, P. (2002): Iconoclash. Beyond the Image Wars in Science, Religion and Art. Cambridge: The MIT Press MERLEAU-PONTY, M. (1971): Oko a duch. Praha: Obelisk DIDI-HUBERMAN, G. (2003): Invention of Hysteria. London: The MIT Press. Berger, J. (2009) : O pohledu. Praha: FRA. Berger, J. (2016): Způsoby vidění.Praha: Labyrint. Worth, S. (1991): Obrazy nemohou říkat ne. In: Sborník filmové teorie. Angloamerické studie, Praha: ČFÚ. Belting, H. (2000): Konec dějin umění. Praha : Mladá fronta. Jay, M. (1989): Scopic Regimes of Modernity. In : Foster, H. (ed.) : Vision and Visuality. Seattle: Bay Press. Mirzoeff, N. (2018): Jak vidět svět. Praha : ArtMap. Mirzoeff, N. (2012): Úvod do vizuální kultury. Praha: Academia. Barthes, R.(2005): Světlá komora. Praha: Fra. De Duve, T. (2004): Póza a momentka. In: Císař, K. (ed.): Co je to fotografie? Praha: Herrmann a synové. Didi-Huberman, G. (2012): Images Inspite of All. Chicago: University of Chicago Press. Mitchell, W. J. T. (2005): What do Pictures Want?. Chicago: University of Chicago Press. KESNER, L. (ed.) (1997): Vizuální teorie. Současné angloamerické myšlení o výtvarných dílech. Praha: H & H. MIRZOEFF, N. (ed.) (1998): The Visual Culture Reader. Routledge, London. POSPISZYL, T. (ed.) (1998): Před obrazem. Antologie americké výtvarné teorie a kritiky. Praha: OSVU. SARTRE, J.-P. (2010): The Imaginary: A Phenomenological Psychology of the Imagination. London: Routledge. RODIN, A. (1951): L'art. Entretiens réunis par Paul Gsell, Paris: Grasset. NELSON, R. S. (ed.) (2000): Visuality before (and beyond) the Rennaissance: seeing as others saw. Cambridge: Cambridge University Press. DIDI-HUBERMAN, G. (2006): Pred časom. Dejiny umenia a anachronizmus obrazov. Bratislava: Kalligram. DIDI-HUBERMAN, G. (2005): Confronting Images. Pennsylvania: The Pennsylvania State University Press. DIDI-HUBERMAN, G. (2002): L'image survivante. Histoire de l'art et temps des fantômes selon Aby Warburg. Paris: Minuit. DIDI-HUBERMAN, G. (2008): La ressemblance par contact. Archéologie, anachronisme et modernité dtanke l'empreinte. Paris: Minuit. LATOUR, B. (2003): Nikdy sme neboli moderní. Bratislava: Kalligram. LATOUR, B. (2005): Reassembling the Social. An Introduction to Actor-Network-Theory, Oxford: Oxford University Press. LATOUR, B., WOOLGAR, S. (1986): Laboratory Life. The Construction of Scientific Facts. Princeton: Princeton University Press. HARMAN, G. (2009): Prince of Networks. Bruno Latour and Metaphysics. Melbourne: Re Press. Elkins, J. (2009): Visual Literacy. London: Routledge. Elkins, J. (2001): Pictures and Tears. London: Routledge.
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Recommended literature
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BENJAMIN, Walter. Dílo a jeho zdroj. Praha, 1979.
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GOMBRICH, Erich. Umění a iluze. Praha, 1985.
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Goodman, Nelson. Jazyky umění. Nástin teorie symbolů. Praha: Academia, 2007..
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HENCKMANN, Wolfhart, LOTTER, Konrad. Estetický slovník. Praha: Svoboda, 1995. ISBN 80-205-0478-8.
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JANKOVIČ, Milan. Dílo jako dění smyslu. Praha, 1992. ISBN 80-7110-060-9.
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KULKA, Tomáš. Umění a falzum: monismus a dualismus v estetice. Praha: Academia, 2004. ISBN 80-200-0954-X.
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Kulka, Tomáš. Umění a kýč. Torst, Praha, 1994. ISBN 80-85639-17-3.
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LIESSMANN, Konrad. Paul. Filozofie moderního umění. Olomouc, 2000. ISBN 80-7198-444-2.
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LOTMAN, Juraj, Michajlovič. Štruktúra umeleckého textu. Bratislava, 1990. ISBN 80-222-0188-X.
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MOKREJŠ, Antonín. Umění ? a k čemu?.. Praha, 2002. ISBN 80-7254-199-4.
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PROKOP, Dušan. Obecná uměnověda. Stručný přehled a úvod. Praha, 1994. ISBN 80-85829-04-5.
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ZICH, Otokar. Estetika dramatického umění. Praha, 1986. ISBN 3-7778-0155-0.
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