Thesis (M.F.A.)--Rochester Institute of Technology, 2009. / Typescript. Includes bibliographical references (leaf 28).

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This work is an attempt of interpretation of philosophical views on art of Czech philosopher Jan Patočka, as outlined in its raw form in philosophical writings so called strahovská heritage. Strahovská heritage is a collection of so far unpublished philosophical writings, written approximately in the period of 1939 to 1945. These have never been submitted for publication. Philosopher Jan Patočka - in Czech as well as abroad is generally known mainly as a thinker developing thoughts of his famous teachers Edmund Husserl and Martin Heidegger - in the framework of heritage only refers to dilemma of art in a secondary way. Despite this, some referrals to art, which can be found within the framework of this heritage, contain a great potential for further interpretation. Interpretation of these Patočka references to art are required to be put into the wider context of Patočka's thinking and especially adds to understanding of evolution of Patočka's philosophy of art. Patočka's philosophy of art was only fully extended in his later works, namely 1960's of XX. century.

This work retrieves an conception of musical semantics in the work of Vladimír Karbusický. It consists of three parts. The first one focused on Karbusický's works Beethovenův list "An die unsterbliche Geliebte" a jeho hudební dílo [Beehtoven's letter "An die unsterbliche Geliebte" and his musical work] from the year 1969 and Podstata umění [The essence of art] published in the same year, which presents characteristics of four components of arts situated into an quadripolar ontological model of arts. This model is motivated by the structuralism of Jan Mukařovský and by an asemantic nature of musical forms. The poles of this model represent a subject, an object, a material and a society, and create a web of relations between each other. This way they create a field of interaction governed by dynamical and energetic forces. The respective components arise from the relation of a subject to the other poles, and they are divided into semantic and asemantic ones. Among the semantic components we put a picture, an expression and a symbol; the asemantic components are defined by a game and a construction. The second part deals with Karbusický's critical attitudes to a theory of reflection, to an application of a one-sided semiotics to music, and to considering music and language the same. The theory of...

Thesis (M.A.)--Trinity Evangelical Divinity School, 2003. / Abstract. Includes bibliographical references (leaves 136-140).

Mémoire (M.A.)--Université du Québec à Chicoutimi, 1997. / Ce mémoire a été réalisé à l'Université du Québec à Chicoutimi dans le cadre du programme de maîtrise en arts plastiques de l'Université du Québec à Montréal extentionné à l'Université du Québec à Chicoutimi. CaQCU Document électronique également accessible en format PDF. CaQCU

Thesis (M.A.)--Trinity Evangelical Divinity School, 2003. / Abstract. Includes bibliographical references (leaves 136-140).

Thesis (M.A.)--Trinity Evangelical Divinity School, 2003. / Abstract. Includes bibliographical references (leaves 136-140).

Thesis (M.F.A.)--Rochester Institute of Technology, 2005. / Typescript. Includes bibliographical references (leaf 31).

Em meio às distintas orientações que atribuem ao termo paisagem um variado conjunto de acepções, este trabalho disserta sobre a paisagem como experiência estética da natureza e tem como objetivo promover a identificação desta associação em um contexto específico, a obra Viagem pelo Brasil, de Carl Friedrich von Martius e Johann Baptiste von Spix, naturalistas que integraram a Missão Austríaca e percorreram o território brasileiro entre os anos de 1817 e 1820. Baseada em conceitos teóricos que compreendem a paisagem enquanto vivência e representação sensíveis da natureza, esta pesquisa versa sobre os parâmetros que justamente permitem compreender a experiência paisagística no âmbito da sensibilidade, ocupando-se, durante o trajeto que nos conduz ao texto de Martius e Spix, de demais questões sintonizadas com o ideário dos viajantes e, sobretudo, com a experiência estética da natureza. Neste caso, igualmente discorremos sobre a paisagem enquanto gênero pictórico, o pensamento estético-científico e demais aspectos relativos às questões propriamente estéticas vigentes entre os séculos XVIII e XIX, estendendo tanto a compreensão sobre a maneira como consideramos a paisagem no presente estudo quanto sua expressão no referido relato de viagem. Finalmente, destacamos que este trabalho não somente oferece subsídios ao entendimento da paisagem como um acolhimento sensível da natureza, mas também evidencia os desdobramentos dessa relação, tangenciando a essência da experiência paisagística circunscrita nos domínios da estética, relacionada à conformação de unidades que, contudo contidas em limites precisos, irrompem nas dimensões ilimitadas do mundo natural. / Among the different orientations that attach to the term landscape a diverse set of meanings, this work discusses the landscape as aesthetic experience of nature and aims to promote the identification in a specific context, the book Journey in Brazil written by Carl Friedrich von Martius and Johann Baptiste von Spix, naturalists who joined the Austrian Mission and traveled along the brazilian territory between the years 1817 and 1820. Based on theoretical concepts that comprise the landscape as a sensitive living and representation of nature, this research runs upon the parameters that allow us to understand the landscape experience in the field of sensibility, occupying, during the course that leads us to the text of Martius and Spix, with other issues that deal with the ideas of travelers and mainly the aesthetic experience of nature. In such case, we also describe the landscape as a pictorial genre, the aesthetic and scientific thought and different aspects related to other themes valid between the eighteenth and nineteenth centuries, extending the understanding of the way we consider the landscape in this study and its expression in the selected travel report. Finally, we emphasize that this work not only contributes to the understanding of the landscape as a sensitive host of nature, but also highlights the consequences of this relationship, touching the essence of the landscape limited in the fields of aesthetic experience, related to forming units which, however contained in precise limits, erupt in unlimited dimensions of the natural world.