Czech

Not applicable.

After completing the course students should be able to classify a philosophical text by its theme (what is it about, by whom the text may also have been written). Philosophical problems are welcome as objects for thorough independent thinking. Students are to be explain why philosophy is essential for discussion of art.

Without.

Not applicable.

Teaching methods depend on the type of course unit as specified in the article 7 of BUT Rules for Studies and Examinations..

Credit is given to all who are succeed in written test. Maximally 30 points can be earned (1 rithtly answered question = 1 point). Marking:
30-26 points: A
25-20 points: B
19-14 points: C
13-10 points: D
9-6 points: E
5-0 points: F (not passed).

1. Theories of truth.
2. Marxism and anarchism.
3. Positivism.
4. Analytic philosophy.
5. Psychoanalysis.
6. Good and evil.
7. Beauty and ugliness.
8. Intelectuals.
9. Romantism in general and in philosophy.
10.Classicism in general and in philosophy.
11. Postmodern philosophy and postmodernism as an intellectual movement.
12. Sokal´s affair.
13.A relevant film presentation.

Not applicable.

Th egoal is deepening and/or extending of topics which have been discussed durinf previous term. So again: wider philosophical termoinology, methods used by philosophy in more details and perhaps even in a polemic way.

Lectures are optional.

Not applicable.

Gordon GRAHAM, Filosofie umění, Brno: Barrister & Principal 2000
Konrad Paul LIESSMANN, Filozofie moderního umění, Olomouc: Votobia 2000

Alexander ALBERRO – Blake STIMSON (eds.), Conceptual Art. A Critical Anthology, Cambridge, MA: MIT Press 1999, zejména následující texty z antologie: Sol LEWITT, „Paragraphs on Conceptual Art“; Sol LEWITT, „Sentences on Conceptual Art“; Lucy R. LIPPARD – John CHANDLER, „The Dematerialization of Art“; Joseph KOSUTH, „Art after Philosophy“, http://uloz.to/xFWnosv/ebooksclub-org-conceptual-art-a-critical-anthology-pdf
Hans-Georg GADAMER, Aktualita krásného. Umění jako hra, symbol a slavnost, Praha: Triáda 2003 nebo Aktualita krásneho. Umenie ako hra, symbol a slavnosť, Bratislava: Archa 1995
Jan MUKAŘOVSKÝ, „Umění jako sémiologický fakt“, in: Studie, sv. 1, Brno: Host 2007, http://uloz.to/xbvVNwK/mukarovsky-umeni-jako-semiologicky-fakt-pdf
Nelson GOODMAN, Jazyky umění. Nástin teorie symbolů, Praha: Academia 2007
Peter BÜRGER, „Negace autonomie umění v avantgardě“, Sešit pro umění, teorii a příbuzné zóny, 2007, č. 1–2, http://ulozto.cz/xMpf4QW/buerger-negace-pdf
Terrence HAWKES, Strukturalismus a sémiotika, Brno: Host 1999
Walter BENJAMIN, „Autor jako producent“, in: Agesilaus Santander. Výbor z textů, Praha: Herrmann & synové 1998
Walter BENJAMIN, „Malé dějiny fotografie“, in: Karel CÍSAŘ (ed.), Co je to fotografie, Praha: Herrmann & synové 2004
Walter BENJAMIN, „Umělecké dílo ve věku své technické reprodukovatelnosti“, in: Dílo a jeho zdroj, Praha: Odeon 1979 nebo Literárněvědné studie I, Praha: OIKOYMENH 2009, http://ulozto.cz/xWRWWyJ/benjamin-umelecke-dilo-pdf