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1

K NEPRÍTOMNOSTI OTCA V TVORBE VERONIKY ŠIKULOVEJ

100%
Majerčáková M.
Motus in verbo: časopis mladej vedeckej generácie
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2014
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vol. 3
|
issue 1
57 – 63
EN
On the basis of analysis and interpretation of Veronika Šikulová’s prosaic authorship, the attention in the study is concentrated on the motif of absence of the father. Šikulová works with this motif in original way (in sequence to her former authorship). We can see some steady features in her author’s handwriting through the depicting of this motif. From these features, the most frequent are sensual perception of the reality and the using of the imagery (conspicuous symbolism) of the tongue. Sovereignty of the person of father in Šikulová’s texts is manifesting also because of the consistent work of the author with the literary space. The study primary comes out mainly from the titles Domček jedným ťahom (2009) and Miesta v sieti (2011), but she also takes into consideration author’s works Odtiene (1997), Z obloka (1999), Mesačná dúha (2002) and Diera do svetra (2012). Secondary, the study is grounded on the literary theoretical publication of Stanislav Rakús called Poetika prozaického textu (1995).
2
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Tendence ve vývoji dětských her divadelního charakteru

88%
Bittnerova D.
Národopisná revue (Journal of Ethnology)
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2010
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vol. 20
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issue 3
162-171
EN
The essay dedicated to children's dramatic games queries the similarity between the content of dramatic intrigue and its presentation in the past and in the present. Considering the trends in repertoire development, the essay draws upon Stepan Backora's collections to describe the status in the mid-19th century; to analyze the contemporary children's games the essay takes advantage of the research among pupils in the elementary schools in Prague. Based on comparison of both game levels as regards content (1. thematic field within which the player accepts his/her new gaming identity; 2. structural motifs taking share in the construction of a dramatic intrigue story), the essay comes to several findings: as to the thematic point of view, the games referring to agricultural culture and the Christian faith have disappeared; the games concerning the choice of partner are passing through transformation; on the contrary, the theme of social bullying has been strengthened. The aforementioned trends are determined by economic development, transformation of social relations within local societies, and, of course, by mass media. As to the structural motifs, they tend to reductions both in their quantity used for construction of a concrete dramatic intrigue, and in their form. In-line-putting of structural motifs as well as their form influence the contemporary dramatic games. Games with simple and anticipatable construction as well as easy-to-remember verbal and motion parts manageable for a great number of players 'playing not well together' have gone through. Such trends are determined by limitation of opportunities suitable to realize a game, by instability of players' groups, their age homogeneity and related absence of relevant 'experts', especially teenagers.
3

POZNÁMKY K VIZUÁLNEJ TOPIKE STREDOVEKÝCH OBRAZOV MARTÝRII NA SLOVENSKU

75%
Gerát I.
ARS
|
2011
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vol. 44
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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

NIKLAVS STRUNKE (Niklavs Strunke)

75%
Silins J.
Materiali Latvijas makslas vesturei
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2001
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vol. 2
142-171
EN
Both the subject of this article, the artist Niklavs Strunke (1894-1966), and the author of the piece, art historian Janis Silins (1896-1991), are of importance in the history of Latvian art. Silins was one of the most active authors in the field of art criticism in the 1920s and 1930s. After World War II he lived in the United States and wrote a several volume treatise, 'Latvian Art', which was published in Stockholm in the 1980s. This previously unpublished article about Niklavs Strunke was written by Silins in 1942 on the basis of a commission from artist Ludolfs Liberts, who at that time was working as the director of the National Securities Printing Bureau. Because of the war, the paper was never published. In this version Silins' text has been preserved exactly as written, although, judging from the handwriting on the manuscript, his wife Elza Silina did some corrections on the work. In the first part of the article the author reviews Niklavs Strunke's biography, looking at the lives of his parents, his childhood and his education. The story ends at the time when the article was written - the early 1 940s. Silins reports various humorous incidents from Strunke's career, as well as facts about the artist's life which had not been known publicly before then. Silins has said that he had planned to end the article with just this first part, but Liberts insisted that a second part be written so that Silins could review Strunke as an artist. In the second section, which is subtitled 'The Shapes of Art', Silins points to Strunke's special, 'non-academic' place in Latvian art, discussing the artist's emphasis on stylization, symbolism and archaic elements. The author points out Strunke's 'motor-like perception' and 'rhythmic, mimicking composition' as peculiar features of the artist's work The article also discusses Strunke's great love for Italian art, but because it does not, of course, cover the artist's life after the war, readers of this piece alone will not know that Strunke emigrated to Sweden, but continued to consider Italy as his 'second motherland'. After his death in 1966, he was buried in Rome.
5

MOTÍV PALÁNKU V POETIKE BALLEKOVÝCH AGÁTOV

63%
Krnová K.
Slovenská literatúra (Slovak Literature)
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2012
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vol. 59
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issue 1
29 – 41
EN
The study deals with a partial subject of poetics, which Ladislav Ballek applied in his artistically most interesting work Agáty (1981, Black Locusts). It focuses on the transformation of space time (the town of Palánk), in terms of genre a varied epic reality, which develops a personal element (a town as a protagonist). The function change of the mentioned elements of Agáty´s motif structure is regarded as a result of a long-term process, which is obvious from the analysis of the poetics typical of the novella collection Južná pošta (1974, Southern post) and the novel Pomocník (1977, Assistant), which are both related to Agáty through their space time settings and migration of the characters. The summary of the original literary-critical findings, responding to Ballek´s novel poetics metamorphoses, is extended by both poet logical analysis of the titles and chapter titles found in the Palánk series (primary signals of the outlined process) and identification of a pattern-like nature of the space time organization of the prose Palánk – štvrť mačiek (Cat quarter, part 1 in the novel Agáty), which is applicable throughout the opus. This example is used to demonstrate ambivalence and dynamic nature of spatial parameters as well as the use of them in the motif axes of characters (personification) or space time is predetermined by the narrative strategy. It presents personification mechanisms in Pomocník and Agáty and the semantic results showing the artistic variety of both authors´ contexts and the prose in the 1970s and 1980s as a whole.
6

USE OF RELIGIOUS MOTIFS IN TEACHING LITERATURE AT HIGH SCHOOLS AND UNIVERSITIES IN BULGARIA

63%
Pileva M.
Motus in verbo: časopis mladej vedeckej generácie
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2017
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vol. 6
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issue 1
30 – 38
EN
This paper addresses the importance of the thematic criticism and recovery of the place of the religious motifs in the literary analysis. The objective of the presented paper is, first, to identify some key aspects in the development of motif theory based on the achievements of well-known researchers in the field of thematology. Furthermore, the paper addresses the issue of the partial disregard of Biblical motifs in Bulgarian educational materials after 1989 as a result of communist heritage. The research question concerns the effect of introducing the Biblical imagery and motifs on the learners’ literary interpretive competences. It also tries to point out possible strategies for improving the reception of such motifs and offers an innovative way of introducing such textual elements. Since the motifs are not explicitly formulated in the original authors work, every lecturer must be able to identify them and to determine their place in the structure of that work. The paper argues that teaching should focus only on the study of the original Biblical texts but on pointing to the way certain Biblical elements function and on drawing the learners’ attention to the fact that their meaning can change depending on the context. The paper emphasizes the need for including religious motifs in the textbooks and instruction materials for learning and teaching literature, as well as the importance of Biblical knowledge for cultural growth and shaping aesthetic taste.
7

A MOTIF AND ITS BASAL LAYER. THE HAEMORRHOISSA (MARK 5.24-34) AND THE INTERPLAY OF ICONOLOGICAL AND ANTHROPOLOGICAL RESEARCH

63%
Kusters L., Sidgwick E.
ARS
|
2011
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vol. 44
|
issue 2
144-158
EN
The essay presents a factual example of how the synergy of iconological and anthropological research can be harnessed in relation to the motif of the Haemorrhoissa, the Woman with an Issue of Blood, which is to be found in texts and images from the early Christian period onwards. The authors – keeping in mind the porous boundaries – put forward an iconological reading and an anthropological reading, and then trace their interconnections and exchanges.
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