Vytýkací konstrukce v odborném stylu: diachronní vývoj frekvence a funkcí v přírodních a humanitních vědách

Tématem této diplomové práce je historický vývoj frekvence a funkcí vytýkacích konstrukcí v akademických textech z oblasti humanitních a přírodních věd v letech 1800-2019. Biber a Grayové (Biber & Gray 2016) poukázali na změny ve vývoji gramatické komplexity v odborném stylu, jmenovitě na vztah mezi gramatickou komplexitou v rámci klauze a substantivní fráze ve vztahu k explicitnosti. Na těchto poznatcích je založena hypotéza diplomové práce, že frekvence výskytu vytýkacích konstrukcí bude v průběhu 20. století klesat jak v humanitních, tak přírodních vědách, s tím, že rychlejší a znatelnější bude tento pokles v rámci věd přírodních. Teoretická část práce obsahuje obecný popis vytýkacích konstrukcí ze syntaktického a sémantického hlediska, společně s popisem aktuálního členění větného a rozdílu mezi kontextově nezapojenou a zapojenou částí výpovědi, protože dalším cílem práce je zkoumat historický vývoj funkcí vytýkacích konstrukcí. Empirická část se zabývá analýzou korpusu sestávajícího ze 170 textů, které reprezentují období mezi lety 1800-2019. Empirická část je rozdělena do sekcí podle toho, jak se data z daného období podobají, co se týká frekvence vytýkacích konstrukcí. Analýza dat potvrzuje, že očekáváný pokles frekvence vytýkacích konstrukcí je zjevný v případě přírodních věd, avšak ve...This diploma thesis maps the diachronic tendencies in the frequency and functions of it-cleft sentences in two sub-registers of academic prose, humanities and natural sciences, from 1800 to 2019. Biber and Gray (2016) showed changes in grammatical complexity in academic writing, namely the shift between phrasal and clausal grammatical complexity and explicitness, which motivated the hypothesis of this thesis, i.e. that the frequency of it-clefts is expected to decrease in the course of 20th century in both sub-registers with the development being faster and more salient in natural sciences. General description presents the syntactic and semantic properties of it-clefts together with discussion about FSP and the distinction between new and given information, as the objective of the thesis is also to study the development of the functional types of clefts. The empirical part analyses a corpus of 170 academic texts, covering the time period under study. It is divided into sections based on time periods displaying similar features concerning the frequency of it-clefts in natural sciences and humanities. The analysis confirms that the expected decrease in the frequency of it-clefts is clearly notable in the case of natural sciences, while in humanities the frequency of it-clefts in individual texts...Ústav anglického jazyka a didaktikyDepartment of the English Language and ELT MethodologyFilozofická fakultaFaculty of Art

The transformative nature of networks within contemporary art practice

Since the introduction of the World Wide Web in 1991, it has had a significant impact on contemporary art. As a consequence, however, networks are almost exclusively considered as technologically determined, art produced is digital, refers to the internet and is more often than not specifically web-based. This research redefines the role of networks in contemporary art. It proposes that networks are not a specific technology that provides a means for art practice to occur but are a concept that transforms practice and enables a networked art. Networked art is a continuation of twentieth century developments in art including cybernetic art, systems aesthetics, new media art and relational aesthetics. The research discusses these and considers how practice became systemised through strategies such as the dematerialization of art as object (Lippard, 1997) and the renouncement of objecthood (Fried, 1998). Equally important is the emergence of cybernetics and systems theory that explained concepts such as process and behaviour frequently employed in art practice. By defining a network as a type of system, networked art is foremost concerned with connections or links and considers the resulting behaviours that occur. Networked art is therefore not centred on networks as form. It can adapt as technologies evolve over time and as such is considered post specific technologies and the disciplines connected with them

The transformative nature of networks within contemporary art practice

Since the introduction of the World Wide Web in 1991, it has had a significant impact on contemporary art. As a consequence, however, networks are almost exclusively considered as technologically determined, art produced is digital, refers to the internet and is more often than not specifically web-based. This research redefines the role of networks in contemporary art. It proposes that networks are not a specific technology that provides a means for art practice to occur but are a concept that transforms practice and enables a networked art. Networked art is a continuation of twentieth century developments in art including cybernetic art, systems aesthetics, new media art and relational aesthetics. The research discusses these and considers how practice became systemised through strategies such as the dematerialization of art as object (Lippard, 1997) and the renouncement of objecthood (Fried, 1998). Equally important is the emergence of cybernetics and systems theory that explained concepts such as process and behaviour frequently employed in art practice. By defining a network as a type of system, networked art is foremost concerned with connections or links and considers the resulting behaviours that occur. Networked art is therefore not centred on networks as form. It can adapt as technologies evolve over time and as such is considered post specific technologies and the disciplines connected with them. Emerging out of my ongoing art practice this practice-led research makes an original contribution to knowledge in the field of contemporary art in three ways. Firstly, it demonstrates how networks in contemporary art do not have a basis in a specific technology since they have been employed before current technologies. Secondly, the research explains networked art through the development of a framework and practice as research that informs each other. Thirdly, the research discusses emergent processes, themes and content and clarifies how networked art positions itself within current contemporary art discourse as a post-disciplinary practice

Mirror Affect: Interpersonal Spectatorship in Installation Art since the 1960s

This dissertation traces the genealogy of interpersonal spectatorship in contemporary installations that encourage viewers to affectively relate to one another by watching themselves seeing and acting individually or as a group. By incorporating reflective surfaces, live video feedback, or sensors in their works, contemporary artists around the world have been challenging what had come to be a binary relation between the beholder and the art object, thereby, heightening viewers' awareness of the social and spatial contexts of aesthetic experience. Starting with the 1960s there has been not only an increasingly sharp departure from the autonomy of the art object on the part of artists, but also a rejection of prevailing self-focused and private modes of art spectatorship on the part of viewers of art. Situated between theories of relational aesthetics and new media theories of interactivity, my dissertation examines the social, cultural, and technological factors that have contributed to the production of installations that act as affective interfaces between multiple viewers. I argue that contemporary artworks with mirroring properties have triggered a shift towards increasingly public and interpersonal forms of art spectatorship that are consonant with the emergence of new modes of perception and sociability shaped by enhanced surveillance, unavoidable multitasking, and online networking