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KRITICKÁ ANALÝZA EXISTENCIE (POJMU) „PRAVEKÉHO UMENIA“

100%
Makky L.
ESPES
|
2013
|
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.
2
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POZNÁMKY K PRAVEKÉMU UMENIU: VÝCHODISKÁ A MOŽNOSTI DEFINÍCIE

80%
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.
3

LITERARY TERMINOLOGY OF BOHUSLAV TABLIC I. DIFFERENTIATION OF THE CONCEPT OF THE 'ART OF LITERATURE' (Literarne pojmoslovie Bohuslava Tablica I. Obsahova diferenciacia pojmu 'literni umeni' (literne umenie))

61%
Riskova L.
Slovenská literatúra (Slovak Literature)
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2010
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vol. 57
|
issue 5
415-428
EN
The art of literature - both in the written and in oral form is a basic mean for transmitting of information. In the both meanings, referring to either to books or the book culture and also in the abstract meaning referring to education and knowledge, it should primarily mobilize effort to improve life condition of people and to be involved in the process, contributing to stabilization of ethical and religious norms in the social consciousness. Its meaning was increased in relation of the mean for stimulation of language and cultural consciousness of the ethnic and national groups. Research of the Tablic´s understanding of the art of literature in its complexity includes searching the material and his statements in the both poetic texts and fictions or in the commentaries and additional supplements of his editions or translations. He seems to make clear differentiation of particular types of literary expression. He differentiated informative texts from the texts with aesthetic function.
4
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Folklór z hľadiska estetických kategórií

61%
Hamar J.
Národopisná revue (Journal of Ethnology)
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2012
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vol. 22
|
issue 4
239 – 245
EN
In the last decades, a lot of scientific disciplines have dealt rather with the folklore poetics than the folklore aesthetics. Such ideas were represented especially by literary scientists, ethnologists, linguists, and philosophers from the environment of the Prague Linguistics Circle, the Russian formalists and the Tartu School. In folklore, the presence of antique aesthetic tradition has been evident until today. The aesthetics of folklore is based on the archetype essence of folk art, which is symptomatic especially for literary folklore. For example, the space, the characters, the stories etc. dispose of predestined trajectories that are forming the entire theme and action and the topics and metaphoric of the story, the place, the characters, and their behaviour. This is simile to the aesthetic categories in folklore. Within folk environment, the aesthetic function plays an important role when the facts are adopted through cognition and feelings of beauty. Nowadays, folklore is losing the natural conditions of its existence, which directly endangers the syncretism nature of folk art.
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