Pub Date : 2023-06-23DOI: 10.14712/24647055.2023.12
Tomáš Kubart
A group of “Viennese Actionists” was formed in Austria around 1961, ceasing to be active in 1970. One decade of their collaboration comprised creation of a series of multimedia artistic works, often in the form of provocative actions using the so-called Schweinvocabular (“nasty vocabulary”): fake violence, vulgarity, explicit sexuality, profaning state and church symbols, etc. The aim of such aesthetics was not a dull provocation; it was rather an artistic means by which the first generation of post-war artists, who personally experienced the horrors of World War II and the reverberations of the first, responded to the lack of denazification and the internal conflicts in the Austrian society. The paper will present the thesis that the designation of the group as “Viennese Actionism” is probably not derived from the noun “action”, but it is a reference to the current in behavioral psychology called sensomotoric actionism, which originated in the early 20th century and emphasized physical and performative coping with the trauma the Actionists experienced in young age (pain, suffering, loss of loved ones, mass scale of murders, etc.); sensomotoric actionism as a metaphor of artistic response to social trauma. One of the main impulses for the Actionists was thus the war trauma, both on an individual and socio-cultural level. The aesthetic means they employed were based on the actual contemporary methods of treating trauma. Using repulsive “images” that presented the horrors of war, the Actionists “forced” their audience to confront them and, if possible, go through social catharsis, giving back to the theater its ritual function it had in the society of the Classical Athenian polis.
{"title":"„Děti, děti, z toho kouká buď blázinec, nebo vězení!“ Vídeňský akcionismus jako reakce na válečné, osobní i společenské trauma","authors":"Tomáš Kubart","doi":"10.14712/24647055.2023.12","DOIUrl":"https://doi.org/10.14712/24647055.2023.12","url":null,"abstract":"A group of “Viennese Actionists” was formed in Austria around 1961, ceasing to be active in 1970. One decade of their collaboration comprised creation of a series of multimedia artistic works, often in the form of provocative actions using the so-called Schweinvocabular (“nasty vocabulary”): fake violence, vulgarity, explicit sexuality, profaning state and church symbols, etc. The aim of such aesthetics was not a dull provocation; it was rather an artistic means by which the first generation of post-war artists, who personally experienced the horrors of World War II and the reverberations of the first, responded to the lack of denazification and the internal conflicts in the Austrian society. The paper will present the thesis that the designation of the group as “Viennese Actionism” is probably not derived from the noun “action”, but it is a reference to the current in behavioral psychology called sensomotoric actionism, which originated in the early 20th century and emphasized physical and performative coping with the trauma the Actionists experienced in young age (pain, suffering, loss of loved ones, mass scale of murders, etc.); sensomotoric actionism as a metaphor of artistic response to social trauma. One of the main impulses for the Actionists was thus the war trauma, both on an individual and socio-cultural level. The aesthetic means they employed were based on the actual contemporary methods of treating trauma. Using repulsive “images” that presented the horrors of war, the Actionists “forced” their audience to confront them and, if possible, go through social catharsis, giving back to the theater its ritual function it had in the society of the Classical Athenian polis.","PeriodicalId":158647,"journal":{"name":"AUC PHILOSOPHICA ET HISTORICA","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131122685","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-23DOI: 10.14712/24647055.2023.7
Anna Strnadlová
The period after February 1948 meant great change for the cultural sphere in Czechoslovakia. The art groups and clubs were dissolved; artists who did not want to squeeze into the limits of socialist realism had no choice other than to close themselves in the privacy of their homes and studios. However, after 1950, a group of friends formed around Jiří Kolář in Prague, having shared the same views on political and cultural development and, despite various artistic orientations, captured everyday experience in pictures or texts. This article focuses on the friendship of Jiří Kolář, Vladimír Fuka, Eva Fuka, Zdeněk Urbánek, Jan Rychlík, Kamil Lhoták, Jan Hanč, Josef Schwarz-Červinka, Emanuel Frynta, and others, and tries to portray this period of time, their mutual inspirations and relationships, and especially the extremely creative atmosphere, which was originated in this friendly circle. This thesis is based on diary entries, drawings, collages, poems, and literary texts which they created together and for each other in this unique, free, and inspiring environment.
1948年2月以后，捷克斯洛伐克的文化领域发生了巨大变化。艺术团体和俱乐部解散了;那些不想被社会主义现实主义束缚的艺术家们别无选择，只能把自己关在家里和工作室里。然而，1950年后，一群朋友在布拉格的Jiří Kolář周围形成，他们对政治和文化发展有着相同的看法，尽管艺术取向不同，但他们用图片或文字捕捉日常经验。本文以Jiří Kolář， Vladimír Fuka, Eva Fuka, zden k Urbánek, Jan Rychlík, Kamil Lhoták, Jan hannik, Josef Schwarz-Červinka, Emanuel Frynta等人的友谊为重点，试图描绘这段时间，他们相互的灵感和关系，尤其是在这个友好的圈子里产生的极具创造性的氛围。这篇论文是基于他们在这个独特、自由、鼓舞人心的环境中共同创作的日记、绘画、拼贴画、诗歌和文学文本。
{"title":"Tichá přátelství: Vladimír Fuka, Eva Fuková, Jiří Kolář, Zdeněk Urbánek, Jan Rychlík, Kamil Lhoták, Josef Schwarz-Červinka, Jan Hanč a Emanuel Frynta","authors":"Anna Strnadlová","doi":"10.14712/24647055.2023.7","DOIUrl":"https://doi.org/10.14712/24647055.2023.7","url":null,"abstract":"The period after February 1948 meant great change for the cultural sphere in Czechoslovakia. The art groups and clubs were dissolved; artists who did not want to squeeze into the limits of socialist realism had no choice other than to close themselves in the privacy of their homes and studios. However, after 1950, a group of friends formed around Jiří Kolář in Prague, having shared the same views on political and cultural development and, despite various artistic orientations, captured everyday experience in pictures or texts. This article focuses on the friendship of Jiří Kolář, Vladimír Fuka, Eva Fuka, Zdeněk Urbánek, Jan Rychlík, Kamil Lhoták, Jan Hanč, Josef Schwarz-Červinka, Emanuel Frynta, and others, and tries to portray this period of time, their mutual inspirations and relationships, and especially the extremely creative atmosphere, which was originated in this friendly circle. This thesis is based on diary entries, drawings, collages, poems, and literary texts which they created together and for each other in this unique, free, and inspiring environment.","PeriodicalId":158647,"journal":{"name":"AUC PHILOSOPHICA ET HISTORICA","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123056917","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-23DOI: 10.14712/24647055.2023.15
Jan Šteffl
This article focuses on the concepts of pain at different times and in different disciplines. It presents approaches to understanding both within hermeneutics and in the field of ethics. These points are further connected, which shows us how through empathy we can understand the pain of another person, but also his emotions. The aim of the article is to present not only different approaches, but also a common interest, namely a common interest in another person, to show how different fields in this field can be connected. Both neurology and philosophy are reflected in the mentioned approaches. Among the philosophers, for example, the approaches of Descartes, Foucault, Habermas or Smith are reflected.
{"title":"Rozumění bolesti druhého člověka mezi hermeneutikou a zrcadlovými neurony","authors":"Jan Šteffl","doi":"10.14712/24647055.2023.15","DOIUrl":"https://doi.org/10.14712/24647055.2023.15","url":null,"abstract":"This article focuses on the concepts of pain at different times and in different disciplines. It presents approaches to understanding both within hermeneutics and in the field of ethics. These points are further connected, which shows us how through empathy we can understand the pain of another person, but also his emotions. The aim of the article is to present not only different approaches, but also a common interest, namely a common interest in another person, to show how different fields in this field can be connected. Both neurology and philosophy are reflected in the mentioned approaches. Among the philosophers, for example, the approaches of Descartes, Foucault, Habermas or Smith are reflected.","PeriodicalId":158647,"journal":{"name":"AUC PHILOSOPHICA ET HISTORICA","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133733391","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-23DOI: 10.14712/24647055.2023.10
Eliška Špálová
This thesis studies the work of artist Běla Kolářová in the context of gender. This aspect of her work has not been fully analysed yet. Although often being associated with the socalled ‘female essence’, Kolářová’s work is very diverse in terms of style and content. While she works predominantly with everyday objects which have traditionally been connected to women’s activities such as sewing, cooking or applying make-up, she also uses tools as well as gender neutral objects in her material assemblages. This thesis deals with the diverse nature of Kolářová’s work and argues against the one-dimensional view that her work only addresses an antiquated image of feminine character
{"title":"Genderové kontexty tvorby Běly Kolářové","authors":"Eliška Špálová","doi":"10.14712/24647055.2023.10","DOIUrl":"https://doi.org/10.14712/24647055.2023.10","url":null,"abstract":"This thesis studies the work of artist Běla Kolářová in the context of gender. This aspect of her work has not been fully analysed yet. Although often being associated with the socalled ‘female essence’, Kolářová’s work is very diverse in terms of style and content. While she works predominantly with everyday objects which have traditionally been connected to women’s activities such as sewing, cooking or applying make-up, she also uses tools as well as gender neutral objects in her material assemblages. This thesis deals with the diverse nature of Kolářová’s work and argues against the one-dimensional view that her work only addresses an antiquated image of feminine character","PeriodicalId":158647,"journal":{"name":"AUC PHILOSOPHICA ET HISTORICA","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114215178","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-23DOI: 10.14712/24647055.2023.4
Kryštof Loub
This article aims to introduce and intestigate the Kitzinger family of sculptors, who created sculpture art in Litoměřice, Milešov, Děčín and other places. Based on both archival sources and critical view at their art in Milešov, we can see in much clearer shapes how this family, including father Abrahám (I.) and two sons Mikuláš and Abrahám (II.) Felix, operated in this region for decades between 40s to 80s of 17th century. Until nowadays we can observe their work in both Milešov castle and parish church, Litoměřice Plague Column and Děčín Castle Garden. From these preserved works it is clear that they not only represented the style of leading Prague sculptor Johann Georg Bendl, but according to author’s opinion the father or also both his sons precised their skills in one of the Saxony sculptor families such as the Böhme family, Christoph Dehne or the Walther family. Next to the wide range of different commissions and high social status of their patrons and commissioners what is even more fascinating is the time, when these works were created, i. e. 70–80’s 17th century, when they appeared on the regional scene with highly advanced style, which can be by its quality compareable only within whole Czech Kigdom, if so.
{"title":"Sochařská dílna rodiny Kitzingerů v Milešově","authors":"Kryštof Loub","doi":"10.14712/24647055.2023.4","DOIUrl":"https://doi.org/10.14712/24647055.2023.4","url":null,"abstract":"This article aims to introduce and intestigate the Kitzinger family of sculptors, who created sculpture art in Litoměřice, Milešov, Děčín and other places. Based on both archival sources and critical view at their art in Milešov, we can see in much clearer shapes how this family, including father Abrahám (I.) and two sons Mikuláš and Abrahám (II.) Felix, operated in this region for decades between 40s to 80s of 17th century. Until nowadays we can observe their work in both Milešov castle and parish church, Litoměřice Plague Column and Děčín Castle Garden. From these preserved works it is clear that they not only represented the style of leading Prague sculptor Johann Georg Bendl, but according to author’s opinion the father or also both his sons precised their skills in one of the Saxony sculptor families such as the Böhme family, Christoph Dehne or the Walther family. Next to the wide range of different commissions and high social status of their patrons and commissioners what is even more fascinating is the time, when these works were created, i. e. 70–80’s 17th century, when they appeared on the regional scene with highly advanced style, which can be by its quality compareable only within whole Czech Kigdom, if so.","PeriodicalId":158647,"journal":{"name":"AUC PHILOSOPHICA ET HISTORICA","volume":"96 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127631928","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-23DOI: 10.14712/24647055.2023.9
Veronika Soukupová
The paper is a part of bachelor’s thesis entitled Tendencies Towards Pictorial Expressions in the 1960s Czechoslovak Textile Art. It deals with Czechoslovak textile art of the 1960s with a focus on woven tapestry. Against the background of the work of individual artists and contemporary theoretical reflections, it follows the parallels between the tendencies of fine art and textile art and the ever-increasing autonomy of textile expression related to the authors’ creative approach and the abandonment of the principles of applied art or decorative art. The work deals with artist-creator tapestry, also referred to as art fabric or new tapestry, as a distinctive artistic expression, which is based on one’s feelings, responds to external stimuli, and naturally becomes a part of the structure of fine art. It also deals with the issue of its categorization and terminology, which has proved to be problematic in these circumstances. The reassessment of the current view of the field of tapestry forms an important part of contemporary theoretical discourse.
{"title":"Tapiserie nebo nové umění? Proměny československé tapiserie v průběhu šedesátých let","authors":"Veronika Soukupová","doi":"10.14712/24647055.2023.9","DOIUrl":"https://doi.org/10.14712/24647055.2023.9","url":null,"abstract":"The paper is a part of bachelor’s thesis entitled Tendencies Towards Pictorial Expressions in the 1960s Czechoslovak Textile Art. It deals with Czechoslovak textile art of the 1960s with a focus on woven tapestry. Against the background of the work of individual artists and contemporary theoretical reflections, it follows the parallels between the tendencies of fine art and textile art and the ever-increasing autonomy of textile expression related to the authors’ creative approach and the abandonment of the principles of applied art or decorative art. The work deals with artist-creator tapestry, also referred to as art fabric or new tapestry, as a distinctive artistic expression, which is based on one’s feelings, responds to external stimuli, and naturally becomes a part of the structure of fine art. It also deals with the issue of its categorization and terminology, which has proved to be problematic in these circumstances. The reassessment of the current view of the field of tapestry forms an important part of contemporary theoretical discourse.","PeriodicalId":158647,"journal":{"name":"AUC PHILOSOPHICA ET HISTORICA","volume":"66 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121713519","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-23DOI: 10.14712/24647055.2023.6
Pavla Vojtová
The study is focused on work and cooperation of five young stage designers/architects with director E. F. Burian in the avant-garde theatre of Divadlo D in its beginnings in early 1930s, namely César Grimmich, Miroslav Kouřil, Jiří Novotný, Karel Poličanský, and Josef Raban, and then mainly the trio KNR. The main part depands on presentation theirs working methods and themes, which reflect new techniques of visual art, focused on light experiments, photography, film and raw materials. Their methods are also confronted with work and experiments of László Moholy-Nagy
{"title":"Scénografie v počátcích Divadla D","authors":"Pavla Vojtová","doi":"10.14712/24647055.2023.6","DOIUrl":"https://doi.org/10.14712/24647055.2023.6","url":null,"abstract":"The study is focused on work and cooperation of five young stage designers/architects with director E. F. Burian in the avant-garde theatre of Divadlo D in its beginnings in early 1930s, namely César Grimmich, Miroslav Kouřil, Jiří Novotný, Karel Poličanský, and Josef Raban, and then mainly the trio KNR. The main part depands on presentation theirs working methods and themes, which reflect new techniques of visual art, focused on light experiments, photography, film and raw materials. Their methods are also confronted with work and experiments of László Moholy-Nagy","PeriodicalId":158647,"journal":{"name":"AUC PHILOSOPHICA ET HISTORICA","volume":"66 8","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134412451","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-23DOI: 10.14712/24647055.2023.11
Tereza Havelková
The concept of cruelty as an artistic principle touches on the problem of violence, bodily presence and physical expression in art. By examining this aspect in the art and texts of four important figures of Western modern culture I attempt to cover a small part of this topic, which points to the existential crisis experienced around the World War II. I would like to suggest that the cruelty reflected in their texts and paintings, which is often associated with the symbol of sacrifice, exposes something fundamental about the modern man. On these four examples I will show how the way of thinking about the violence and cruelty in art shifted after the experience of war
{"title":"Krutost jako umělecký princip","authors":"Tereza Havelková","doi":"10.14712/24647055.2023.11","DOIUrl":"https://doi.org/10.14712/24647055.2023.11","url":null,"abstract":"The concept of cruelty as an artistic principle touches on the problem of violence, bodily presence and physical expression in art. By examining this aspect in the art and texts of four important figures of Western modern culture I attempt to cover a small part of this topic, which points to the existential crisis experienced around the World War II. I would like to suggest that the cruelty reflected in their texts and paintings, which is often associated with the symbol of sacrifice, exposes something fundamental about the modern man. On these four examples I will show how the way of thinking about the violence and cruelty in art shifted after the experience of war","PeriodicalId":158647,"journal":{"name":"AUC PHILOSOPHICA ET HISTORICA","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130701410","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-23DOI: 10.14712/24647055.2023.8
Petra Polláková
In this study, based on my dissertation thesis, I focus on the issues of circulation and various methods of appropriating calligraphic practices within the framework of transnational art history, predominantly in the context of the post-war European and North American art scenes. Due to the multi-layered and intermedia nature of the topic of calligraphic inspirations, I have chosen the motif of the circle as a certain unifying element, through which I attempt to reflect the given issue within two distinct circles. The first topic is the examination of the possibilities of artistic or philosophical expression of the ontological meaning of corporeality and the circularity of the body in the process of creation. The circle also reflects the issue of periodic renewal and regeneration of mythical and historical time. I examine the issue of the cyclical nature of time in the context of post-war art, when the necessity of a new beginning arose, which would not only enable a deeper intercultural dialogue, but also strengthen the need to re-examine the original artistic roots and sources.
{"title":"Intermedialita kaligrafických inspirací v poválečném umění a filosofickém diskursu","authors":"Petra Polláková","doi":"10.14712/24647055.2023.8","DOIUrl":"https://doi.org/10.14712/24647055.2023.8","url":null,"abstract":"In this study, based on my dissertation thesis, I focus on the issues of circulation and various methods of appropriating calligraphic practices within the framework of transnational art history, predominantly in the context of the post-war European and North American art scenes. Due to the multi-layered and intermedia nature of the topic of calligraphic inspirations, I have chosen the motif of the circle as a certain unifying element, through which I attempt to reflect the given issue within two distinct circles. The first topic is the examination of the possibilities of artistic or philosophical expression of the ontological meaning of corporeality and the circularity of the body in the process of creation. The circle also reflects the issue of periodic renewal and regeneration of mythical and historical time. I examine the issue of the cyclical nature of time in the context of post-war art, when the necessity of a new beginning arose, which would not only enable a deeper intercultural dialogue, but also strengthen the need to re-examine the original artistic roots and sources.","PeriodicalId":158647,"journal":{"name":"AUC PHILOSOPHICA ET HISTORICA","volume":"118 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121357456","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-23DOI: 10.14712/24647055.2023.13
Josef Řídký
The text deals with possible approaches towards the representation of pain in architecture, especially among monuments and memorials. Pain is approached as a historical event, having its own orientation towards the past, present, and future. Conceived as such, pain can also stand for our (collective) memory. While the dominant mode of representation consists of straightforwardly reminding people of past traumas, a strategy that can easily be weaponized for a political agenda and is still harder to experience authentically, a new generation of monuments takes different approach: instead of relying on historical context and an a priori knowledge, it mediates the experience of pain as such.
{"title":"„Mít oči k vidění i k pláči“ aneb jak tlumočit bolest minulosti","authors":"Josef Řídký","doi":"10.14712/24647055.2023.13","DOIUrl":"https://doi.org/10.14712/24647055.2023.13","url":null,"abstract":"The text deals with possible approaches towards the representation of pain in architecture, especially among monuments and memorials. Pain is approached as a historical event, having its own orientation towards the past, present, and future. Conceived as such, pain can also stand for our (collective) memory. While the dominant mode of representation consists of straightforwardly reminding people of past traumas, a strategy that can easily be weaponized for a political agenda and is still harder to experience authentically, a new generation of monuments takes different approach: instead of relying on historical context and an a priori knowledge, it mediates the experience of pain as such.","PeriodicalId":158647,"journal":{"name":"AUC PHILOSOPHICA ET HISTORICA","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116117771","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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