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1

SAKRÁLNÍ ARCHITEKTURA 16. A 17. STOLETÍ NA MORAVĚ. MEZI HISTORISMEM, MODERNISMEM A ANACHRONISMEM

100%
Jakubec O.
ARS
|
2024
|
vol. 57
|
issue 1
35 - 53
EN
The study provides a new analytical model for interpreting early modern sacral architecture. The example of selected buildings from Moravia at the turn of the 16th and 17th centuries shows the possibilities of applying the „anachronistic model“, an alternative to linearly defined autonomist art history, especially in the case of Renaissance studies. In contrast, the buildings under study present themselves as objects with a specifically heterogeneous temporal identity that simultaneously applies the principles of historicity and modernity to the buildings in question.
2

IDYLICKÉ AKO SYMPTÓM (V NARATÍVNEJ ŠTRUKTÚRE TEXTOV SLOVENSKÉHO LITERÁRNEHO REALIZMU)

86%
Kendra M.
Slovenská literatúra (Slovak Literature)
|
2018
|
vol. 65
|
issue 2
116 — 129
EN
The study aims to approach the idyllic within the context of realistic representation not as a category represented by strictly specified group of idyllic means of expression but rather a stylistic layer in which variability of expression plays a major role. The study focuses on particular examples of authorial metalepsis and intrusions of extradiegetic narrator which undermines mimetic illusion of realistic narrative and, as a result, the inventiveness of the story and the idyllic nature of the narrative are foregrounded. Several examples extracted from various genres (a travelogue, a short story, a sketch) and authors (G. K. Zechenter-Laskomerský, M. Kukučín and S. H. Vajanský) of Slovak literary realism are given to demonstrate the shifts from the realistic to the idyllic caused by the metaleptic quality of narrative embedding. The communicative value and the effect of the idyllic are determined by the technique how the narrative is integrated into the context of complex literary expression. The change of functional perspective from the realistic to the idyllic in the fiction concerned is signalled by the symptom of anachronism considered illegitimate in temporal and causal system of realistic depiction. The symptom challenges its epistemological and educational function and in the study it is evaluated as the expression of desire for transgression of relations of successiveness and equivalence, logic and causality of objective, external necessity typical of literary techniques of the period.
3

FORMULA EXTATICKÉHO PÁTOSU VO VYOBRAZENIACH LUDOVIKY V TVORBE VERONIKY RÓNAIOVEJ

86%
Ihringová K.
ARS
|
2024
|
vol. 57
|
issue 1
54 - 66
EN
The study contributes to interpreting the depiction of Blessed Ludovica Albertoni, which has become an identifying feature of Veronika Rónaiová’s work. The depiction of Ludovica has its formal and semantic antecedents in the work of the Baroque sculptor G. L. Bernini. Since 1988, she has appeared regularly in Rónaiová’s paintings, drawings on paper, on the wall, and her body. This study looks at these depictions from the perspective of the concept of Nachleben and Pathosformeln developed by Aby Warburg and followed up by Georges Didi-Huberman with his theory of anachronism. The concept of Nachleben draws attention to those forms that survive and return in art as if in the eternal return, and in this way, survive, like Rónaiová’s Ludovika. The formula of ecstatic pathos, which is emphasized in the text, draws attention to the emotive gestures or emotional experiences that leave an artistic trace in subsequent artistic epochs. Rónaiová’s depictions of Ludovica are interpreted in terms of the formula of ecstatic pathos generated by Baroque sculpture and emerging in contemporary artistic discourse.
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