Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 13

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  ARTS
help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1

CURIOUS THOUGHT ON THINGS LIKE LITERATURE - WHAT IS IT FOR ?

100%
Janousek P.
Slovak Review. A Review of World Literature Research
|
2005
|
vol. 14
|
issue 1
78-89
EN
The article gives consideration to the question of humane thinking in the context of what is usually perceived under the notion of science. Its argumentation rises from a linguistic paradox: the word 'science' is in nowadays Czech (but as well in other languages) used so to speak entirely in singular - despite the fact that the single/uniform de facto does not exist and the word 'science' is just an abstract notion, which hides a lot of very diverse 'sciences'. The polemic thorn of the reflection points against mechanic identification of all the sciences only with certain scientific branches and against the idea that approaches, methods, customs and criteria used by these sciences have obligatory value for the whole 'science', while the approaches, methods, customs and criteria used by other sciences are unscientific, or at least suspicious. The article gives notice of the fact that in other disciplines common ideas about the science as a synonym for the new discoveries, technologies, approaches, goods or therapeutic methods are not valid. On the example of the thinking on literature points that there exist 'curious' sciences that do not directly change the world of man but they 'just' explain it, for they are devoted to the sphere of human existence, which is practically impossible to reduce to mathematical models. Key words for these sciences are not words as 'exactness, empiricism, experiment and statistics' or words like 'progress and development' but collocations 'creative memory'. It is their own reason, purpose to preserve the awareness of the given society of itself and its ability of creative thinking - leading a ceaseless dialogue with itself and its environment. Another fact arises from this: while in common mechanic concepts 'science' has global dimension, 'curious' sciences are local and are existentially connected with a quite concrete collective, be it defined by nation, language of territory. Without this collective they would not exist - and on the contrary, these collectives would lose constituent part of their identity, which they are distinguished by. Other specific qualities of 'curious' sciences and different ways of their functioning grow from the described features, and these are analyzed in the major part of the article.
2

KONVERZÁCIA AKO PREDMET INTERDISCIPLINÁRNEHO VÝSKUMU

100%
Bžoch A.
Slovenská literatúra (Slovak Literature)
|
2014
|
vol. 61
|
issue 5
349 – 371
EN
The paper aims to map the field of interest in conversation as a phenomenon in various arts (cultural history, social science, linguistics) in the last few decades, assuming that the field was established in order to differentiate it from other similar notions such as a dialogue. What has become the centre of attention is the acknowledgement of conversation as a social, cultural and linguistic phenomenon, the main function of which in different periods of time and social environments has been that of social stabilization, and the various forms of which can be studied using as sources the oral as well as written records, which enables access to the historical forms of conversational culture. The writer offers a mutual confrontation between several attempts at defining conversation and formulates competences and certain tasks which can be faced by literary research on conversation.
3

Thresholds and borderlines of experience of/in modernity

100%
Zeidler-Janiszewska A.
Teksty Drugie (Second Texts)
|
2006
|
issue 3(99)
11-23
EN
These so named 'thresholds' and 'borderlines' have been approached as two forms in which experience is structuralised. By making a reference to Victor Turner's findings, 'thresholds' may be related to the 'affective' path of experience and 'borderlines', to the cognitive path. Whereas early modernity, motivated by the project aiming at 'disenchanting' the world, has made borderlines privileged over thresholds, in the second stage of its development, the process of transformation of borderlines into thresholds follows, alongside a clearly distinct revalorisation of 'threshold' experiences. Performative artistic practices of the second half of the twentieth century took an active part in this latter process.
4

LOOKING FOR THE CONCEPT OF STYLE (1753 – 1953)

100%
Bakoš J.
ARS
|
2020
|
vol. 53
|
issue 2
99 - 111
EN
A number of authors have written about the history of the concept of style, one of the key formulating concepts of art history. Those deserving special mention here are Jan Białostocki (‘Styl’, in: BIAŁOSTOCKI, J.: Historia sztuki wśród nauk humanistycznych. Wrocław-Warszawa-Kraków-Gdańsk 1980, pp. 36-55), Willibald Sauerländer, (‘From Stilus to Style: Reflections on the Fate of a Notion’, in: Art History, 6, 1983, no. 3, pp. 253-270), Carlo Ginzburg, (‘Stil. Einschließung und Ausschließung’, in: GINZBURG, C.: Holzaugen. Über Nähe und Distanz. Berlin 1999, pp. 168-211), and Robert Suckale (‘Stilgeschichte’, in: Kunsthistorische Arbeitsblätter, 11, 2001, pp. 17-26). The present study is an attempt to map in greater detail the efforts of several generations of scholars to define style, starting with the ‘discovery’ of the history of style in the mid-eighteenth century and ending with the crisis that ensued after the end of the Second World War.
5

IN TRANSITION: SUDANESE STUDENTS’ RESETTLEMENT, PEDAGOGY AND MATERIAL CONDITIONS

75%
Harris A.
Pedagogický časopis (Journal of Pedagogy)
|
2013
|
vol. 4
|
issue 1
79 – 97
EN
For Asante our “battle is intense, the struggle we wage for status power is serious and we cannot communicate as equals when our economic position is that of servants” (2008, p. 49), words that resonated with the author throughout her research with Sudanese Australian young women about their educational experiences, as captured in co-created short films. While the work moved between social science and arts-based research the author questioned the basis of her relationship with the co-participants, and the possibility of fluid status positions within educational contexts. This paper interrogates the impossibility within neoliberal secondary school contexts for activist educational research (Giroux, 2005) to be the kind of the ‘interchange’ of which Asante speaks, a source of creative understanding for researchers and co-participants, if it cannot address co-participants’ (and teacher/student) unequal material conditions. In the case presented in this article, materially-influenced communication challenges reflect current curricular and pedagogical tensions, especially for refugee-background students. Where racial, cultural and socio-economic marginalities intersect, pedagogical and curricular possibilities are sometimes foreclosed before students even enter ‘neoliberal’ classrooms.
6

NAME OF FABERGE AT THE CROSSING OF PHILATELY AND JEWELRY ARTS

75%
Bakayutova L. N.
Muzeológia a kultúrne dedičstvo
|
2018
|
vol. 6
|
issue 2
19 – 29
EN
This study analyses the historical connection between philately and jewellery art, which is expressed in the peculiarities of the work of the artists and in techniques used by them, and which was embodied in the creation of new trends in collecting. The Fabergé family found itself at the crossing of these trends. This family attained great success and their family name was forever preserved in art, culture and entrepreneurship activity of Russia at the turn of the 20th century.
7
Content available remote

MILOŠ KARÁSEK – ČLOVEK MANIFESTOV

75%
Mistrík M.
Slovenské divadlo (Slovak Theatre)
|
2011
|
vol. 59
|
issue 3
218 – 234
EN
Miloš Karásek is a Slovak artist active in several fields of arts, i.e. in stage design and stage direction, drama production, and also in painting and sculpture. He is the author of several manifestos, which are deliberately provocative and frame the various stages of his creation: theatre production in Prešov, Trnava and Bratislava (Stoka Theatre Company), parallel creation of mythical bronze statues, the so-called post theatre, which was a project of rhythmycising the sending of postal envelopes, with the climax being an experimental theatre performance, and dramatic creation for his own theatrical productions. One of his plays – Život na mieru (Customised Life), staged by Alexander Duchnovič Theatre in Prešov, under Karásek’s direction and with his stage design, may be regarded as a unique form of a manifesto, in which his ambition to be ahistorical, hedonistic, and sceptical is declared.
8

SPIRITUAL ASPECTS OF THE ORTHODOX ICON (Duchovnite aspekti na pravoslavnata ikona)

75%
Virbakov B.
Slavica Slovaca
|
2010
|
vol. 45
|
issue 1
20-32
EN
The aim of the present article is to examine the spiritual aspects of the orthodox icon, i. e. of Byzantine figurative art. Based on the dogmatic formulation (Seventh Ecumenical Council, AD 787, Nicaea) of the nature and significance of the holy images, we will first turn our attention to their aesthetic influence, not from an artistic standpoint, since numerous works have already been written on the subject, but in regards to the category of beauty in terms of the theological thought. Second, we will examine the spiritual aspects of the icon, viz. historical, liturgical and dogmatic-canonical and morally edifying. One of the concerns of the discussion will be also the issue of the rightful understanding of the concept of Byzantine art, since Byzantine is oftentimes erroneously perceived as Greek, and not as east orthodox, especially by connoisseurs of classic orthodox icons. This misconception will be refuted in what follows below. With this conclusive view, and in order to make things fully clear, we will carry out a retrospective examination of the development of Christian art during the ages since the founding of the church in the first century AD, until the beginning of the Neo-Byzantine period in ecclesiastical art in the 15th century.
9

Z NOVÝCH VÝSKUMOV HISTORICKÝCH ORGANOV STREDNÉHO GEMERA

75%
Štafura A.
Musicologica Slovaca
|
2010
|
vol. 1 (27)
|
issue 1
80-121
EN
Positive organs in the past belonged to the most common small instruments built namely in churches of little towns and villages in Slovakia. The submitted study presents the results of an organ research on a positive organ coming from 1698, built in the Roman-Catholic church of the Visitation of the Blessed Virgin Mary in Mokra Luka in the region of Central Gemer. This instrument is one of the oldest completely preserved historical organs in Slovakia. It is distinguished by a rich beautiful sound resulting from the specification of the instrument comprehending an organ stop very unique for the time, (Heltig) Quinta 2 2/3', with pipes completely made of wood and lacking any breaks. Pipes of organ stops made of pipe metal include a significant portion of tin; 88.42 % in pipes of organ front and 72.67 % of tin in inner pipes.
10

LETÁKOVÉ TLAČE AKO PRAMEŇ MARIANSKÝCH LEGIEND. K DVOM PIESŇOVÝM TYPOM Z ÚSTNEJ TRADÍCIE

75%
Urbancová H.
Musicologica Slovaca
|
2010
|
vol. 1 (27)
|
issue 1
122-145
EN
The study of Marian legends has proven that song sheets served as a model for several song types known from the oral tradition. The two so far unknown Marian song-legends documented only in one village in Slovakia (Zablatie by Trencin - Povazie region) could be incorporated into the Slovak repertory thanks to their models – song sheets, the products of the domestic printing works from the second half of the 19th and first half of the 20th century (Skalica, Banska Bystrica, Levoca). The song types from the local tradition of this village bring two new topics (“Death of Mary and Assumption”, “Revelation of Mary to orphans”), thus widening the Marian cycle of legend songs reconstructed in the Slovak traditional singing to 18 topics. The existence of printed song sheets demonstrates a wider territorial spreading of the song type than originally proven by the number and localization of records from the oral tradition, being dependent of the collector’s concept.
11
Content available remote

Action Research in Translation Studies Self‑reflection in translation research training

71%
Piotrowska M.
Między Oryginałem a Przekładem
|
2013
|
vol. 19-20
153-167
EN
Demonstrating a diversity within TS research, the study enquires into ARTS as a new methodology. The aim of the paper is to define ARTS, localize it among major TS research models, present its components and characteristics and argument for its usefulness and relevance in translator training. Basic assumptions of this methodology are illustrated on the chosen example of an M.A. project, namely translation action with critical reflection, implementing the practitioner‑researcher’s knowledge and experience, and strategic translating in a cyclic process. Implementing ARTS in translator education is a methodological response to a greater professionalization of the discipline and Kiraly’s modern educational model with student being an active participant‑‑ translator in the process of training.
PL
Ukazując zróżnicowanie w badaniach przekładoznawczych, na ich tle artykuł ukazuje stosunkowo nową metodologię ARTS. Celem jest jej zdefiniowanie i zlokalizowanie w kontekście modeli przekładoznawczych, ukazanie jej komponentów i cech charakterystycznych oraz argumentacja na rzecz jej przydatności w kształceniu tłumacza. Na wybranym przykładzie zastosowania ARTS w projekcie magisterskim przedstawiona jest realizacja podstawowych założeń tej metodologii: działanie tłumaczeniowe z krytyczną refleksją, wykorzystanie wiedzy i doświadczenia badacza‑‑ tłumacza oraz tłumaczenie strategiczne w procesie cyklicznym. Wykorzystanie ARTS w procesie kształcenia tłumacza jest metodyczną odpowiedzią na wymóg profesjonalizacji przekładoznawstwa i realizacją nowoczesnego modelu edukacyjnego Kiraly’ego, w którym uczenie odbywa się przez działanie, a student jest aktywnym uczestnikiem‑‑ tłumaczem procesu dydaktycznego.
12
Content available remote

Studying the early modern landscape in the Czech Republic

63%
Chodějovská E.
Historická geografie (Historical Geography)
|
2012
|
vol. 38
|
issue 1
63-98
EN
The study surveys the current state of Czech research in historical landscape across academic disciplines in the early modern period in the Czech lands (16th to 18th century). It notes the most important lists and editions of cartographic and iconographic material as well as periodicals and monographs, which are devoted to the study of individual sources. It also mentions research into historical landscape in the focused period and also on-going projects.
13

NOTATIO STRIGONIENSIS – OSTRIHOMSKÁ NOTÁCIA NA SLOVENSKU

63%
Veselovská E.
Musicologica Slovaca
|
2010
|
vol. 1 (27)
|
issue 1
46-79
EN
Esztergom notation is an achievement of medieval Hungarian scriptoria. Two codices (Bratislava Missal I, Nitra Gradual) and several tens of fragments coming from 12th-18th centuries have been preserved proving the presence of the Esztergom notation on the whole territory of Slovakia. However, it is not a dominating notational system of the medieval materials. The preserved sources document much more margin use of this medieval notational system in Slovakia. The Estergom notation is originated as an independent product of the scriptorium of the main church centre of the medieval Hungary-Esztergom.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.