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INTERPRETÁCIA AKO PRÍČINA, ALEBO RIEŠENIE KONFLIKTU V KULTÚRE A UMENÍ

100%
Makky L.
ESPES
|
2016
|
vol. 5
|
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.
2
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FUNKCIA A VÝZNAM NAIVNOSTI VÝRAZU PRE OFICIÁLNE VÝTVARNÉ UMENIE „ČASU NESLOBODY“ NA SLOVENSKU

100%
Migašová J.
ESPES
|
2016
|
vol. 5
|
issue 2
25 – 37
EN
The study researches and outlines one of the possible views on the relationship of practice and theory in fine art with political doctrine of socialism in Slovakia between 1949 and 1989. The paper points out (on the basis of domestic as well as foreign literature) the meaning and functional expressive quality of naivety for aesthetical doctrine of socialist realism. Main aim of the paper is to point out the importance of relation of aesthetics, politics, artistic freedom and problem of “truth” in art.
3

RESONANCES OF CUBISM IN SLOVAK FINE ART

100%
Bartošová Z.
ARS
|
2016
|
vol. 49
|
issue 2
93 – 112
EN
Looking back at the recognition of cubisation in three decades of Slovak fine art, different levels of the resonance emerge: direct link to Paris as a place, where cubism was born, promotion of cubisation in the artistic environment in Budapest and Prague, and again the link to Paris, this time as a place of Picasso’s followers applying cubisation in their works. The present study focuses on resonances of cubism in Slovak fine art, particularly in painting, in the first half of the 20th century, specifically in the period between the end of WWI and the establishment of Communist dictatorship in 1948.
4
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PRAMENE A FORMY PRIMITIVIZMU VO VÝTVARNOM UMENÍ PRVEJ POLOVICE 20. STOROČIA NA SLOVENSKU

100%
Migašová J.
ESPES
|
2012
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vol. 1
|
issue 1
49 – 59
EN
The study deals with a phenomenon of primitivism in fine art of the first three decades of 20th century in Europe and Slovakia. The Slovak after-war fine art stylistically stemmed from two remarkable centres – from Budapest academic environment and from Prague cultural environment. On the basis of examining contemporary documents, the paper therefore proves Hungarian and Czech intellectual environment served the ideas of primitivism into Slovak fine art practice and science. The paper is based on the knowledge, that primitivism is a dynamic phenomenon and artistic expressions of primitivism come into Slovakia only it is second development stage – in 1920’s. This fact significantly influenced character of fine art modernity in Kosice and folk-oriented modernity of Prague school.
5
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HESSE V ARKÁDII (CHARAKTERISTIKA VÝTVARNEJ ČINNOSTI LITERÁTA HERMANNA HESSEHO)

100%
Migašová J.
ESPES
|
2015
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vol. 4
|
issue 1
39 – 46
EN
The paper deals with the auxiliary field of Hermann Hesse work – fine art. Particular parts of the text map, analyse and interpret his fine art expressions. They are interpreted in the context with contemporary, developing German expressionism as well as in comparison with his literary language. Methods chosen for interpretation of his work are iconography analysis and psychology of depiction.
6
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UMENIE AKO (NE)DOROZUMENIE

88%
Sošková J.
ESPES
|
2016
|
vol. 5
|
issue 2
38 – 45
EN
The author considers arts (on the axis between the author-work-perceiver) as various forms of understanding and misunderstanding at the same time. The misunderstandings have several causes (cultural, religious, political, social, personal, artistic, aesthetic) and complicate or transform the way of perception and understanding of artworks and produce what the author calls "hushing" or shading aesthetic and artistic qualities of the work. The inability of recognize aesthetic qualities of an artwork complicate its aesthetic effect on the recipient and causes various forms of hostility towards art as a creation and against specific works of art and their authors.
7
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ERNST HANS GOMBRICH: JEHO KONCEPCIA DEJÍN UMENIA, METODOLOGICKÉ VÝCHODISKÁ A PRÍSPEVOK K CHÁPANIU MODERNÉHO VÝTVARNÉHO UMENIA

88%
Migašová J.
ESPES
|
2017
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vol. 6
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issue 1
29 – 39
EN
The paper is the contribution approach to interpretations of Ernst Gombrich’s contribution to the understanding of modern fine art. The basis of the paper stems out from knowledge of domestic and foreign interpretations of Gombrich’s art history concept (Bakoš, Mikš, Kesner, Hříbek, Elkins etc.). The main hypothesis of the paper is idea that Gombrich’s posthumously published work The Preference for the Primitive (2002) is, in spite of legitimate critiques on the part of contemporary art historians, not solely contribution to the primitivism phenomenon, but also to the understanding of modern art by its own historical perspective.
8
Content available remote

Spór o szaleństwo

88%
Drabarek A.
Zagadnienia Naukoznawstwa
|
2011
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vol. 47
|
issue 4(190)
647-657
EN
In the paper, the analysis of M. Foucault’s account of madness is presented on the background of Descartes’ views on rationality. In contradiction to M. Foucault, J. Derrida argues that Descartes did not exclude the mad from thinking persons since – according to him – “the act of cogito is valid even when I am mad.” However, the important advantage of Foucault is proving that analytical approach to madness, so attempt at its objectification, leads as a consequence to many contradictions which cannot be solved even by the development of medicine, psychology and psychiatry. At the present time, some cultural permission to a kind of madness is present. A. Breton may be seen as an example of an artist who transformed madness into main subject and source of inspiration. Mad and shocking art of surrealists, due to focusing on special interrelation of opposites, shown in new light and in new way, presents different, new, and perhaps more true aspects of reality.
9
Content available remote

DILEMA (NE)DEFINOVATEĽNOSTI UMENIA

88%
Makky L.
ESPES
|
2019
|
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.
10
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Content available

CULTURE AND EDUCATION IN LVIV DURING THE GERMAN OCCUPATION

75%
Krasiwski O.
Studia Europaea Gnesnensia
|
2013
|
issue 7
33-45
EN
This paper analyses the basic principles of German occupation policy in the Ukrainian lands, attitude of the occupying power to local people, investigates governing methods in occupied territories, the government policy on culture and education. 
11

MEDZI PARÍŽOM A BRATISLAVOU II. FRANCÚZSKO-SLOVENSKÉ A SLOVENSKO-FRANCÚZSKE VZŤAHY VO VÝTVARNOM UMENÍ POČAS SEDEMDESIATYCH A OSEMDESIATYCH ROKOV 20. STOROČIA (2. ČASŤ – SEGMENT)

51%
Bartošová Z.
ARS
|
2021
|
vol. 54
|
issue 1
73 – 97
EN
The study focuses on the events in the period of so-called normalisation, specifically between 1972 and 1989. During this period, Alex Mlynárčik continued to cooperate with French artists and art critics, notably Pierre Restany. The study points out the importance of this leading personality of Parisian New realism in terms of the presentation of Jozef Jankovič, Robert Cyprich, Jana Želibská and the White Space in White Space project in Paris. It also focuses on lesser-known publications by Geneviève Bénamou, a French art critic whose thesis was based on research conducted during her stay in Czechoslovakia. As an editor, Bénamou also prepared a book on visual artists of Czech and Slovak’s origin living outside Czechoslovakia, including Vladimir Ossif. Another personality who considerably contributed to shaping the French-Slovak relations was a young philosopher Etienne Cornevin. Over the decade he spent in Slovakia as a French language teacher, he met the circle of visual artists of his generation, members of the unofficial art scene.
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