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1
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ESTETICKÁ NORMA ARTEFAKTOV TRÁCKO-SKÝTSKEHO HORIZONTU NA SLOVENSKU

100%
Makky L.
ESPES
|
2012
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vol. 1
|
issue 1
65 – 73
EN
The role of aesthetics as a science is to examine any expression of aesthetic thinking, evaluate perception and interpretation of created artefacts and analyse options of aesthetic research of the rest of the society and objects commonly on the edge of the interest. Given paper turns the interest on the period of Slovak prehistory (Iron Age) when the development of Europe was dictated by the countries of antic Greece and later by antic Roma, specifically about the period when Thracians and Scythians broke into our space. The aim of the paper is an aesthetic interpretation of chosen objects of this period focusing on analysis of aesthetic norm and evaluation of the consequences of its application in practice and on the final form of the objects. It is also connected with aesthetic function, which is necessarily present in objects retaining on aesthetic norm and generally, it could be identified in any objects.
2
Content available remote

WHAT MAKES THINGS BANAL

100%
Makky L.
ESPES
|
2020
|
vol. 9
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issue 2
94 – 104
EN
In this paper, I investigate the origins of banality and the reasons why some phenomena appear banal to us. I discuss the issue by analysing three interrelated areas of aesthetic investigation: artworks, everyday objects, and banal things. By identifying the source of banality, my goal is to understand what makes banal things different from other kinds of things. I consider the following questions: 1) when, why, and how does an object become banal?; 2) what happens when something becomes banal?; 3) are banal things aesthetically appealing? Drawing on Wolfgang Welsch’s notion of anesthetization and Walter Benjamin’s account of aura, I argue that banality consists in the absence of both an ontological and an axiological character in objects, which makes them appear trivial or insignificant to us. I conclude by showing that although art, everydayness, and banality represent different aesthetic dimensions, objects constantly move from one of these dimensions to the other.
3
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KRITICKÁ ANALÝZA EXISTENCIE (POJMU) „PRAVEKÉHO UMENIA“

100%
Makky L.
ESPES
|
2013
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vol. 2
|
issue 1
36 – 45
EN
For a person as a human being, is important knowledge, true and at last but not least the ability to create. For the survival of human kind in the past, it was needed to assimilate and to adapt/reshape and so to create the environment. With this need/desire to create is connected a component of culture, which is in present called (fine) art. Because of its uniqueness it was always in the spotlight of human thinking. Theoretical grasp of art and attempt at definition and delimitation of this term represent a problem, which has been during the history repeatedly in the spotlight. This problem complicates, when the attention is turned to the prehistory, what is first of all caused by shape and context of creating and usage of studied objects, and if the necessity of determining their status appears. The aim of given issue is to morphologically and terminologically affect the artistic expressions of Slovak prehistory, in concrete, the artefacts of the Iron Age with the claim to universal validity.
4
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POZNÁMKY K PRAVEKÉMU UMENIU: VÝCHODISKÁ A MOŽNOSTI DEFINÍCIE

100%
Makky L.
ESPES
|
2015
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vol. 4
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issue 1
26 – 38
EN
The twentieth century shows that the interest in fine art did not mitigate despite the radical changes in its form and content and the problem of his definition represents live and dynamic (complicated too) issue which has brought broader possibilities of looking at the art regarding the anti-essentialist tendencies. Determination of the status of non-European (in the understanding of tradition) or other artistic production presents a specific place in the analysis and is the problem itself. Even prehistoric articles of European artistic production paradoxically belong to the artistic sphere of non-European tradition and occupy special place in the specific sphere of fine art, and present the challenge for theoreticians and recipients. The aim of analysis is to review relative contemporary approaches and their critical application to the environment of prehistoric art, which shows significant specifications perplexing the use of the notion of fine art. The author does not strive for setting the definition of prehistoric art, but to point out the possibilities and the methods of how to get an integrated thesis on the artistic production of the oldest European period.
5
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INTERPRETÁCIA AKO PRÍČINA, ALEBO RIEŠENIE KONFLIKTU V KULTÚRE A UMENÍ

100%
Makky L.
ESPES
|
2016
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vol. 5
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issue 2
13 – 24
EN
Fine art is complicated phenomena which often holds different issues and resolves different problems. Fine art is also on the brink of “misunderstanding” and is often replaced in the perception by not so complex artistic – cultural objects. Therefore the main aim of the artwork should be to provide an environment or a possibility of intercultural, inter-media and interpersonal communication, and to offer a way how to express inner and cultural contents to different persons or cultures. There would be often a discussion about the importance of fine art, especially in present time, but also there would often be different ways how to understand each and one artwork, and which issue is crucial in the aesthetic perception of art. Present paper tries to analyse the main issue which could be understood as the origin of the misunderstanding of fine art: aesthetic interpretation. Even though, it looks like the act of interpretation is the one responsible for different meaning and countless readings of artworks, this paper would like to analyse the real impact of interpretation and its connection to the misreading of fine art, and everyday communication as well. The main aim is to demonstrate the relation between interpretation and quality of cultural phenomena, and to illustrate how an aesthetic interpretation could remove caused interpersonal and social misunderstandings.
6
Content available remote

DILEMA (NE)DEFINOVATEĽNOSTI UMENIA

100%
Makky L.
ESPES
|
2019
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vol. 8
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issue 1
7 – 19
EN
The current form and transformation of artistic practice in the 20th and the 21st century caused some estrangement of the recipient and the art. The current discourse is therefore dominated by some distrust in defining the criteria of (not only) contemporary art, or even the dilemma of whether or not art has to be defined at all, mostly under the influence of Morris Weitz. Arthur Danto very aptly reminds that there is currently no way to distinguish art from objects that are not art, even though many theorists have tried to come up with a (normative) solution. The need to distinguish different objects in order to carry out the theoretical examination or to have a functional defining apparatus for criticism, or the exhibition practice is not necessary only on the semantic level. The aim of the submitted paper is therefore to offer a brief cross-section of theories, which, over the past sixty years, dealt with the problem of the definition of art and (re)appreciate/re-think the need for a functional definition of art as the determinant of adequate aesthetic theory.
7
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IKONOGRAFICKÁ A ŠTRUKTURALISTICKÁ ANALÝZA AKO DVE MOŽNÉ VÝCHODISKÁ ESTETICKEJ INTERPRETÁCIE PRAVEKÉHO UMENIA

100%
Makky L.
ESPES
|
2016
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vol. 5
|
issue 1
13 – 32
EN
The most often and discussed issue in the analysis of prehistoric art is the problem of interpretation and the problem of understanding of prehistoric artistic artefacts. There are a lot of approaches, but the most popular from the aesthetic and artistic point of view is the interpretation of meaning of prehistoric art. In the present paper we would like to discuss the productivity of iconological and structuralism approach, especially in the interpretation of Celtic art from the area of Slovakia (Slovenská Nova Ves) with application on the statue of a boar. The main problem is the existence of Celtic myth in the written form, which allows us to understand mythological meaning, but also confuses us because of the apocryphal characteristics of this “tales”.
8
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NÁČRT DEJÍN BAROKOVEJ ŠKOLSKEJ HRY SPOLOČNOSTI JEŽIŠOVEJ V PREŠOVE II.

100%
Makky L.
ESPES
|
2013
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vol. 2
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issue 2
51 – 60
EN
The aim of the author ́s paper is the issue of the history of Jesuit school theatre, that was developing during the years 1673 to 1773 in the highly protestant environment in the one of the most important reformation centres in Upper Hungary, namely in the independent royal city Prešov. The paper is focus on the history of Jesuit school play in Prešov in background history of Lutheran college in Prešov, that mostly in its first historical stage (1666 – 1711) reflected stormy struggle between Hungarian Habsburg absolutism and the estates company, that is mainly the struggle between catholic and protestant church. Immanent part of the paper is differentiation of one hundred and twenty Jesuit school plays according to individual periods of development of baroque – dramatic theatre production of Jesuits in the city of Prešov and its characterization along the lines of historical records of Jesuit chroniclers as well.
9
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KOMUNIKAČNÉ KOMPETENCIE PRAVEKÝCH ARTEFAKTOV

100%
Makky L.
ESPES
|
2013
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vol. 2
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issue 2
41 – 50
EN
The main issue of this paper is to present the communication in the broader context as natural activity and the process of intervention of the meaning through interaction between the creator and the recipient. In narrower sense, the work researches the possibilities and the competences of material objects, particularly prehistoric artifacts, entities within the frame of reference and their abilities to integrate into the communication process. The article puts paradoxical approach of art theorists, aestheticians and semioticists looking for the “language” of arts in contradiction through the parallels and continuities to structure of verbal language, at the expense of disinterested research of expression means of selected arts.
10
Content available remote

NESMRTEĽNOSŤ, MOC A DÉMONICKÉ SILY

100%
Makky L.
ESPES
|
2014
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vol. 3
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issue 2
52 – 60
EN
The story of Faust is a part of European culture and mythology for five centuries and modified and reflected looking of the society upon some key questions in various transformations. Faust has never been alone in his effort to reach an absolute knowledge and power, even at the expense of his own execration. Other iconic beings of folk literature or folk imagination and fiction following their own ambitions were ahead of him and followed him. The aspect of power as a dominant determinant of not only Faust’s effort became determining element of investigation in submitted article. The author accesses the problem of power in wider social-cultural contexts and looks for matter, origin and symptoms of its attraction following its transformation and possible aesthetical influence on the individual in the work reception and even in personal acting and creating of aesthetical preferences of the recipient.
11
Content available remote

MIESTO PRAVEKU V DEJINÁCH A TEÓRII VÝTVARNÉHO UMENIA 20. STOROČIA V STREDOEURÓPSKOM PRIESTORE

100%
Makky L.
ESPES
|
2015
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vol. 4
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issue 2
27 – 46
EN
The artistic production of prehistoric man takes very special status and place in the history and theory of art. Ever since the appearance of the first grand work and small sculptures, experts expressed interest in the understanding of prehistoric art. Its integration as a full artistic development period, however, was arduous and the most of magnificent artistic production stood at the threshold of the 20th century on the edge of acceptance and rejection. The effort to include a diverse prehistoric production to well-established and "traditional" concepts of art fails and become a problem in reflection and evaluation of prehistoric artefacts themselves. This article follows the theoretical art-historical literature of the Central European space describing prehistoric artefacts. The objective and the main effort of the author of this article, is to dissect and define the chronological phases of perception of prehistoric art and prehistoric production in the context of art history, to describe his place in art history, but also to evaluate the real degree of art-historical approach to the prehistoric artefacts. Given the diversity of artistic production, it will be necessary to monitor Central European context (even in a subject, even in the origin of individual texts) with an emphasis on the form of the cultural image of Slovakia and the chronically known theorists (J. Volko-Starohorský, B. Svoboda, K. Šourek, V. Wagner, V. Krička J, Dekan, K. Pieta, J. Eisner, M. Szabo, I. Hunyady, J. Chochorowski) complemented with the analysis of less well-known domestic and foreign works (F. Kubišťa, M. Vančo, A. Matejček, J. Kostrzewski etc.).
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