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Lecturer(s)
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Maňasová Hradská Helena, Mgr. Ph.D.
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Course content
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1. Interpretation as a human reading of the world and interpretation as a discipline 2. Type of visual representation - genre, role, medium 3. Areas of visual culture (monuments, artworks, other (audio-)visual representations) 4. Issues of intention, institutions (institutional frameworks, transposition, appropriation, post-production, nature of the medium (M. McLuhan, H. Belting) 5. What do we see/what does the interpreted work refer to in our experience? (own/mediated),Gombrich's "seeing" 6. Human conditioning of interpretation (unchanging and learned responses of the organism) 7. Barthes' punctum 8. Baudrillard's "simulacrum", post-internet experience 9. The question of mastery: composition, story, colour, craft vs. author 10. Formal analysis, neo-formalist interpretation, the author's "manuscript" ("zero degree manuscript", "death of the author") 11. Understanding (cultural education, iconography) vs. experiencing (emotion, aesthetics, response) 12. Self-correction in interpretation: iconology, iconography, 13. Baxandall's "period eye", cultural settings (globalization of the artwork)
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Learning activities and teaching methods
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Lecturing, Dialogic (Discussion, conversation, brainstorming)
- Participation in classes
- 13 hours per semester
- Home preparation for classes
- 30 hours per semester
- Preparation for examination
- 32 hours per semester
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| prerequisite |
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| Knowledge |
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| Prerequisities are not set |
| Prerequisities are not set |
| Skills |
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| Prerequisities are not set |
| Prerequisities are not set |
| learning outcomes |
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| Knowledge |
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| The student is able to practically apply the acquired advanced knowledge, critically review and formulate theoretical concepts. |
| The student is able to practically apply the acquired advanced knowledge, critically review and formulate theoretical concepts. |
| will be acquainted with the laws of perception of visual representation |
| will be acquainted with the laws of perception of visual representation |
| will be familiar with the human condition of interpretation of visual representations |
| will be familiar with the human condition of interpretation of visual representations |
| know the possibilities of reading, interpreting and/or framing a work of art |
| know the possibilities of reading, interpreting and/or framing a work of art |
| be familiar with the key/exemplar texts of the discipline |
| be familiar with the key/exemplar texts of the discipline |
| Understand the breadth of issues of authorship, mastery, manuscript, and the image as a trace |
| Understand the breadth of issues of authorship, mastery, manuscript, and the image as a trace |
| Skills |
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| Learners will be able to distinguish between different levels of reading visual representations, particularly works of art |
| Learners will be able to distinguish between different levels of reading visual representations, particularly works of art |
| reflect on the intentional, latent, and persuasive communicative strategies of the image, taking into account the temporal, local as well as cultural anchoring of the artwork. |
| reflect on the intentional, latent, and persuasive communicative strategies of the image, taking into account the temporal, local as well as cultural anchoring of the artwork. |
| Gain the ability to interpret or present an artwork for the purposes of their future curatorial or managerial work. |
| Gain the ability to interpret or present an artwork for the purposes of their future curatorial or managerial work. |
| teaching methods |
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| Knowledge |
|---|
| Dialogic (Discussion, conversation, brainstorming) |
| Dialogic (Discussion, conversation, brainstorming) |
| Lecturing |
| Lecturing |
| assessment methods |
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| Oral examination |
| Oral examination |
| Analysis of educational material |
| Analysis of educational material |
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Recommended literature
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BARTHES, Roland. Světlá komora. Poznámka k fotografii. Praha: Fra, 2005. ISBN 978-80-86603-28-.
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BARTLOVÁ, Milena. Reprezentace a podobnost. in: táž. Skutečná přítomnost. Středověký obraz mezi ikonou a virtuální realitou. Praha: Argo, 2012. ISBN 978-80-257-0542.
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BAUDRILLARD, Jean. Dokonalý zločin. Dokonalý zločin, 2001. ISBN 80-902836-7-5.
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BAXANDALL, Michael, BARTLOVÁ, Milena (ed.). Inteligence obrazu a jazyk dějin umění. UMPRUM, 2019. ISBN 978-80-87989-31-1.
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BELTING, Hans. An Anthropology of Images: Picture, Medium, Body.. Princeton University Press, 2014. ISBN 9780691160962.
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BELTING, Hans. Konec dějin umění. Praha: Mladá fronta, 2000. ISBN 80-204-0856-8.
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BERGER, John. Způsoby vidění. Praha: Labyrint, 2016. ISBN 978-80-87260-78-4.
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Bourdieu, Pierre. Pravidla umění : geneze a struktura literárního pole. Vyd. 1. Brno : Host, 2010. ISBN 978-80-7294-364-7.
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BOURDIEU, Pierre. Teorie jednání. Praha: Karolinum, 1998. ISBN 80-7184-518-3.
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Bourriaud, Nicolas. Postprodukce : kultura jako scénář: jak umění nově programuje současný svět. Vyd. 1. Praha : Tranzit, 2004. ISBN 80-903452-0-4.
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DANTO, Arthur. Svět umění. ALUZE 1? Revue pro literaturu, filozofii a jiné. 2009.
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Gombrich, E. H. Umění a iluze: studie o psychologii obrazového znázorňování. Praha: Argo, 2019. ISBN 978-80-257-3031-7.
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Hoffman Jens. Show Time: The 50 most influental exhibitions of contemporary art. D.A.P. / Distributed Art Publishers, Inc., 2014. ISBN 9780500239117.
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Jarošová, Helena. Současná česká móda. Vyd. 1. Praha : Allcore, 2002. ISBN 8090315100.
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Kol. autorů. Od Kabaly k Titaniku. Deset studijí nejen z dějin umění. Praha: ÚDU AV ČR, 2013. ISBN 978-80-86890-58-6.
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MIRZOEFF, Nicholas. Úvod do vizuální kultury. Praha: Academia, 2012. ISBN 978-80-200-1984-4.
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ONIANS, John. Neuroarthistory: From Aristotle and Pliny to Baxandall and Zeki. Yale University Press, 2008. ISBN 10-0300126778.
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PANOFSKY, Erwin. Význam ve výtvarném umění.. Praha: Academia, 2013. ISBN 978-80-200-2236-3.
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Přílučík, David, Remešová, Anna. Umění antropocénu. 2020.
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Thompson, Don. Jak prodat vycpaného žraloka (za 12 miliónů dolarů). Zlín, 2010. ISBN 978-80-87162-58-3.
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