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1
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HUDOBNÉ KONTEXTY ROMÁNU THOMASA MANNA DOKTOR FAUSTUS A JEHO REFLEXIA V SLOVENSKOM HUDOBNOM PROSTREDÍ

100%
Pirníková T.
ESPES
|
2014
|
vol. 3
|
issue 2
61 – 70
EN
A well-known novel Doctor Faustus written by Thomas Mann is situated in social and artistic environment of first half of the 20th century. It primarily concentrates on the particularity of the development of musical medium and inspires to rich reflections. The author of the paper tries to summarize, compare and closely specify opinions of Slovak music theorists, aestheticians and composers. One of first thinkers who introduced the nature of Mann’s novel as mirrored by its era was Ján Albrecht. Rudolf Brejka aimed to concentrate on description of the essence of artistic portrayal of presented problem. He drew attention to the fact that twelve-tone technique in this work of art is different from thinking and work of Schönberg. Vladimír Fulka dealt with a summarization of frequency of quotes and influence of Adorno’s texts on the diction of passages in the novel connected with problems of music. Vladimír Godár contributed to discussion about importance and contents of the novel by a detailed summary of all poetic inspirations which were used in the fictitious work of protagonist of the novel – composer Adrian Leverkün – and were really set to music by other composers. Last but not least, Juraj Hatrík presented stigmatisation of symbolic of evil in Alfred Schnittke’s cantata, directly related to Mann’s description of fictitious works. At the same time he pointed out connections of Thomas Mann’s Doctor Faustus in relation to another work of a German author – novel The Glass Bead Game by Hermann Hesse. In the last part the author thinks about cultural and social-political climate and dispositions of composed music in Slovakia thanks to which composition principles of Second Viennese School have not been fully expressed.
2
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DIVADELNÝ TEXT A JEHO HLASY. ÚVAHA O NIEKTORÝCH ASPEKTOCH VZŤAHU MEDZI DIVADELNÝM TEXTOM A JEHO INSCENÁCIOU

100%
Michalovič P.
Slovenské divadlo (Slovak Theatre)
|
2022
|
vol. 70
|
issue 4
317 - 330
EN
This study deals with certain aspects of the relationship between dramatic text and its staging. The dramatic text itself cannot be viewed as a kind of supra individual set of instructions left by the author in a textual form to those who decide to carry out staging and performances based on them. This is partly because the very form of the dramatic text changes, for example when a manuscript is transcribed, to a form that corresponds to the actually valid conventions for the updating transcription of a language. The purpose of the transcription is to update the original language of the dramatic text to make it comprehensible and acceptable for another audience and to enable it to function even as an autonomous literary work. Although the transcription may change the original text to the minimum, even these minimal interventions lead to a change in the essence of the dramatic text. Another factor of change is the transfer of the written text into speech, while a significant role in this transfer is played by intonation, which forms the focus of the second part of this study.
3

POZNÁMKY K VIZUÁLNEJ TOPIKE STREDOVEKÝCH OBRAZOV MARTÝRII NA SLOVENSKU

75%
Gerát I.
ARS
|
2011
|
vol. 44
|
issue 2
159-181
EN
The article offers a brief review of the ideas associated in older and more recent literature with the repeated compositions and motifs of martyrdom, the original understanding of them and their historical functions. The first part considers general ideas, while the second part is more directly concerned with visual analysis of the medieval pictures from selected locations in Slovakia.
4

FUNKCIA ŽENSKÝCH A MUŽSKÝCH POSTÁV V EPICKEJ ŠTRUKTÚRE KRÁTKYCH PRÓZ JÁNA ČAJAKA

75%
Hajdučeková I.
Slovenská literatúra (Slovak Literature)
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2015
|
vol. 62
|
issue 3
190 – 211
EN
The author of the paper focuses on the dynamism of the female and male characters in short proses by Ján Čajak in order to reveal the use of gender relations in the epic line of syuzhet in terms of semantics and composition. The subsequent comparison of the gender aspect in proses by Martin Kukučín helps her address the issue of artistic criteria when classifying the writer in the context of Slovak literature.
5

SUZANNE OF BABYLONIA - TABLIC'S LITERARY EXPERIMENT? (Zuzana Babylonska - Tablicov literarny experiment?)

75%
Riskova L.
Slovenská literatúra (Slovak Literature)
|
2009
|
vol. 56
|
issue 4
249-270
EN
Suzanne of Babylonia is poetic composition, a kind of occasional poetry. We recognize in inspectional reading that the poet breaks traditional scheme of occasional poems of felicitation type. We consider the poem as an artistic jewel in the Slovak literature from the turn of the 18th - 19th centuries. It shows a mosaic of number of detailed artistic artefacts in both figurativeness and non traditional composition. Tablic made an experiment with structure, composition, and also with a poem length. He used unusual motifs and pictures and non traditional verse and rhythmic scheme. His auctorial approach is remarkable in many ways. Tablic's auctorial strategy is mapped in the text and it could help to get a deeper insight into textual meaning as well as into a kind of influence on further development of Slovak literature in the period of the turn of the 18th - 19th centuries. It is possible that just this sort of writing made space for Tablic to use specific, in our literary context still non traditional literary methods, although they were quite common in the western European countries in that time.
6
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Utvářenost slov vstupujících do pomístních jmen na Moravě a ve Slezsku

63%
Šlosar D.
Acta onomastica
|
2010
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vol. 51
|
issue 1
314-338
EN
Formation of Words Entering Moravian and Silesian Anoikonyms – Minor Place Names The article explores the formation of nouns and adjectives entering the anoikonyms of Moravia and Silesia. The presented survey is based exclusively on the headword-book containing 33 000 headwords, which was processed at the Department of Dialectology of the Academy of Science of the Czech Republic in Brno. It gives the word-formative forms of individual names according to the formants and the connectivity of the formants with the bases of certain parts of speech, possibly the connectivity of components in compounds. The geographical differentiation of the observed forms was not considered. The aim is to state how the respective wordformative forms participate in the resulting meaning of the anoikonyms.
7
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„Vícehlasí“ v českých lidových písních: několik textovělingvistických sond do jejich textury

51%
Daneš F.
Slovo a slovesnost: časopis pro otázky teorie a kultury jazyka (Slovo a slovesnost: A journal for the theory of language and language cultivation)
|
2012
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vol. 73
|
issue 4
312-324
EN
This paper demonstrates the mutual relations between the various “voices” in Czech folk songs and the way in which these voices can be identified. The introductory section characterizes the specific features of the songs: the concision and condensation of their structure, as well as their emotionality of expression. The second section is devoted to the analysis of a selected corpus of folk songs from the perspective of heteroglossia. Their texture appears as a net of relations and functions which operate on different levels, stand in mutual complementarity, partly overlapping, and show differing relevance. Using methods of text linguistics, the author concentrates on two relations and functions – speech acts and compositional functions – as well as personal attitudes. The analysis focuses on utterances with the communicative function of appeal, i.e. on the interrogative and addressing turns which are quite frequent in Czech folk songs, on their interactive structure and modes of direct and indirect speech. The author shows that the song genre has two faces: it is a compact combination of verbal text and its musical part (the tune) which may appear to be uneven in their mutual relations. The last section deals with the phenomenon of intertextuality in the song structure.
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