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1

BLURRED BOUNDARIES: FRANCIS BACON’S PORTRAITS

100%

Lelik T. A.

World Literature Studies

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2019

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tom 11

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nr 4

84 – 96

EN

In his oeuvre Francis Bacon hints at the fact that portraiture sacrifices the subject for the sake of representation. For this reason, portraiture as a genre needs to re-determine the conditions that originally shaped it. Through an analysis of the manner in which Bacon depicts his subjects I will argue that his portraits blur the boundaries between object and subject, portrait and viewer, in order to remodel conventional notions of portraiture. Through Gilles Deleuze’ s theory on Francis Bacon, I will reinterpret Bacon ’s works through the prism of Buddhism, arguing that understanding the works through Buddhist practices opens the possibility of a complete transformation of pre-existing concepts which traditionally shaped portrait making.

2

ROLE REPREZENTACE V DELEUZOVE MYSLENÍ O MALBĚ

88%

Sluková T.

Filozofia (Philosophy)

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2014

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tom 69

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nr 1

77 – 88

EN

Deleuze’s critical reading of Bacon foregrounds the relationships between representation and interpretation, thus making Deleuze’s concepts applicable to the philosophical reflexion of the theory of painting and its communication potential. Therefore, the chief objectives of the paper are to understand the rhizomatic thinking in the perception of the artwork and to emphasize the problem-riddled nature of the relationship between representation and interpretation in the works of Gilles Deleuze. The comparison of two actual texts should demonstrate that Deleuze’s efforts to use the rhizome concept in order to transcend representation are doomed when limited to the level of immanence. Thus a far more fundamental topic appears – that of the relationship between the level of immanence and the level of consistence.

3

TEXT, KTORÝ ROZVRÁTIL PORIADOK SVOJHO SVETA

75%

Fišerová M.

Filozofia (Philosophy)

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2011

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tom 66

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nr 7

667 – 682

EN

Through Deleuze’s conception of truth as becoming the paper discusses his relationship to Platonism. In his analysis Deleuze focuses on Plato’s Sophistes, in which Plato unwillingly subverts the very hierarchy of the world order, which he himself created. Deleuze sees the Platonic search for truth as taking place in the sphere of immanence. In the person of a sophist he goes after the simulacrum, i.e. an appearance, which subverts the rigorous hierarchy of the Platonic world. In his Logique du sens Deleuze suggests that following Plato the other searchers for truth are also traveling in the sphere of immanence. Thus the truth found in the “logic of surface” is their becoming others. The paper examines the reasons, why Deleuze attaches importance to this becoming, which subverts the hierarchy of the “logic of depth” inaugurated by Platonism.

4

GILLES DELEUZE, FELIX GUATTARI A PROBLÉM MESTA

75%

Gogora A.

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2009

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tom 64

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nr 4

362-368

EN

The paper tries to shed light on the philosophical consequences of the concept of rhizome, employed by G. Deleuze and F. Guattari. At the same time it shows that the concept could contribute to the philosophical discussion of the city, architecture and urbanism problematic.

5

CINEMA SURFACE DESIGN (Projekt powierzchni kina)

75%

Lippit A. M.

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nr 65

30-47

EN

The author analyses the matter of the surface: the surface of cinema and of the screen, a space that seems to be flat but at the same time hides and reveals a strange depth, a folded volume. Looking at the first films of the brothers Lumiere and other examples of early cinema, and using Tom Gunning's metaphor of 'absorption' and 'swallowing', the author attempts to describe the strange moment of collision between the spectator and the energy of film, the space of cinema. The gesture of this contact is like a swallowing. What awaits the spectator at the projected point of collision is an imaginary depth that opens from the other side of the screen. He explores the question of the cinema as bilateral reality, where the surface is the border between inside and outside. In his analysis he refers to the concepts and theories of Maurice Merleau-Ponty, Gilles Deleuze, and Sigmund Freud. What we get is a fascinating psychology (or maybe rather psychoanalysis) of cinema, of its movement. The early cinema being the forgotten, but important trace.

6

ČLOVEK, KTORÝ VYNACHÁDZA SÁM SEBA: AMERICKOSŤ A OSTROVNOSŤ V DIELACH JONASA MEKASA A BEATRICE GIBSONOVEJ

75%

Nicholas C.

ARS

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2020

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tom 53

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nr 1

82 – 89

EN

Two artworks concerning exile and New York, world city and archipelago: Walden by Jonas Mekas (1969) with reference to Henri David Thoreau (1854); and A Necessary Music by Beatrice Gibson (2009) according to The Invention of Morel by Adolfo Bioy Casares (1940). Are these artworks a recreation by the separation achieved by the desert island as described and conceptualized by Gilles Deleuze? But here, the desert island is also a new world, the possible space to new human being, to humans who are inventing themselves by the geographical distance from the Ancients, from Europe and Africa: America.

7

PERCEPTION AND APPERCEPTION IN TERMS OF LEIBNIZ PHILOSOPHY OR THE NATURE OF CINEMATOGRAPHIC SUBJECTIVISATION (Percepcia a apercepcia z hladiska Leibnizovej filozofie alebo povaha kinematografickej subjektivizacie)

63%

Paluch M.

Slovenské divadlo (Slovak Theatre)

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2009

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tom 57

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nr 4

306-313

EN

The philosophical concepts by Gottfried Leibniz, Henri Bergson and Gilles Deleuze, and especially parts that contributed to the development of theoretical thinking about film became the inspiration for writing this study. Leibniz writes about perception and apperception as two fundamental moments of cognition of the external (object) and the internal (subject). Identification occurs during the impact of film illusion on perception that is identification of perception of sentient (viewer) and perceived projection (film images). Due to the identification with film, a viewer is able to respond to the film content authentically and realistically. Extent of identification, which is the essence of film experience, is one of the ways how to approach the understanding of film reality. The second way is the realization of this relationship as something unreal and illusive. This knowledge takes place in the act of apperception, when we recollect our original identity. The film is depleted of the basic assumption of experience if it does not offer adequate forms of subjectivisation and it is not seen as the game with identification. Subjectivisation is a basic condition of recognition of film work. It is created around the chronological image-concept (main character). It is essential for the perception of film as it extends into the affects and subordinate consciousness and brings sensational colourfulness into the experience of the film's story.