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1

NOVÉ FORMY ŽIVOTA? FILOZOFICKÉ REFLEXIE SYNTETICKEJ BIOLÓGIE

100%
Tomašovičová J.
Filozofia (Philosophy)
|
2018
|
vol. 73
|
issue 6
437 – 448
EN
The contribution´s focus is primarily on ontological and anthropological issues which appear in a new research field, namely synthetic biology. Since one of the objectives of the latter is creating new forms of life, it is the criteria for defining the ontological status of synthetically created organisms as well as for differentiating between complex living organisms and artefacts that become prominent. It is paid also attention to the question to what extent the new information unveiled by synthetic biology could bring about a change of the anthropological concept of a human being or his/her self-understanding. The interpretations of a human being are based not only on cultural-historical, but also on scientific knowledge. Therefore, it is reasonable to consider the consequences of new scientific knowledge for the anthropological concept of a human being. In conclusion the article shows the possible practical applications of synthetic biology as well as possible related threats.
2

RAŊITOKI (RANGITOKI) BARK-CLOTH PIECE: A NEWLY RECOGNIZED RONGORONGO FRAGMENT FROM EASTER ISLAND

75%
Schoch R. M., Melka T. S.
Asian and African Studies
|
2019
|
vol. 28
|
issue 2
113 – 148
EN
RAŊITOKI (RANGITOKI) BARK-CLOTH PIECE: A NEWLY RECOGNIZED RONGORONGO FRAGMENT FROM EASTER ISLAND
3
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AKO NÁM V ONTOLÓGII UMENIA POMÔŽE ODLÍŠENIE DIELA A OBJEKTU? (LAMARQUE O FYZIKÁLNYCH A KULTÚRNYCH OBJEKTOCH)

75%
Hrkút J.
ESPES
|
2018
|
vol. 7
|
issue 1
2 – 9
EN
Diverse and extended philosophical approaches to the art cover also the ontological questions. There are plenty authors who are doing their research to explore the question on the nature of the existence of works of art. What is challenging on the existence of works of art? Artworks are basically things, but necessarily artefact, products of human intentional activity. But from the other point of view, they are just objects, sometimes strange, sometimes old, but (physical) objects. Nobody denies particular function and value of artworks. Nevertheless, this function and value of artworks is hidden in very interesting way. Someone who is not familiar to the work could miss artistic meaning of the work at all. Therefore, we can argue there are not explicit artistic properties in art. On the other hand, physical configuration of the artwork-object offers magnificent and enormous source of meaning, pleasure and content. But there are no other properties then physical. So, philosophers of art should explain how artworks exist in contrary to the nature existence of others entities or artefacts. The text examines the hypothesis of the physical object and R. Wollheim's arguments against this hypothesis. He put the robust argumentation in his famous ‘Art and its objects’. But, the core of the article is the reconstruction of P. Lamarque's approach. Lamarque in his book ‘Art & Object’ distinguishes two elements: work and object. He considers this as a key to explain how works of art exist. The object is considered to be a medium, and work is entity depending on cultural and institutional contexts. Lamarque argues that art occurs where there is specific cultural and institutional background and understanding of objects as works of art. Pure existence of object (physically similar to artwork) does not guarantee existence of artworks. Surprisingly, identical entity could be and could not be artwork in the same time. The difference is in the presence of absence of appropriate cultural and institutional contexts.
4

GRADUATES OF THE HIGHER WOMEN’S (BESTUZHEV) COURSES IN THE SERVICE IN THE STATE HERMITAGE (LATE 1910-1970-IES)

75%
Vakhromeeva O.
Muzeológia a kultúrne dedičstvo
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2019
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vol. 7
|
issue 2
95 – 107
EN
The article is devoted to the professional activities of graduates of the Higher Women’s (Bestuzhev) Courses in the State Hermitage Museum. They made a great contribution to the Soviet museum building, they were engaged in the restructuring of the Imperial Hermitage, scientific and exhibition work, and mastered educational field. The article is based on materials from the personal archive of N. V. Blagovo (materials Mel’nikova) and the graduates’ memories. In addition, biographies of 23 employees of the Hermitage, graduates of Courses who worked there from 1914 to 1975, are given for the first time.
5

LEGISLATÍVNA OCHRANA KULTÚRNEHO DEDIČSTVA V ČESKOSLOVENSKEJ REPUBLIKE V ROKOCH 1918-1939

63%
Orosová M.
Muzeológia a kultúrne dedičstvo
|
2013
|
vol. 1
|
issue 2
19 – 36
EN
This paper analyses laws and regulations governing the protection of cultural heritage (whether original measures or measures inherited from the legal systems of Austria and Hungary) adopted by the Czechoslovak republic in the period between the two world wars. It focuses on laws and regulations in force in Slovakia, comparing them to corresponding measures in national or Czech legal frameworks and finding that the primary purpose of such legislation was to prevent the export of movable cultural artefacts and that the legal framework of protection of cultural heritage in Slovakia was equivalent to that adopted in the Czech lands. In practical terms, however, both frameworks were of ad hoc and provisional nature and remained so until the beginning of the World War II with the lack of political as the main reason for the failure to implement a truly national and comprehensive legal framework of protection of cultural heritage.
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