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1
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KONIEC DEJÍN A POSLEDNÁ INSCENÁCIA?

100%
Babiak M.
Slovenské divadlo (Slovak Theatre)
|
2015
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vol. 63
|
issue 2
153 - 159
EN
The text ponders the possibilities of seeking new theatrical interpretations through the prism of the “end of history” thesis, which has been brought to social discourse by Francis Fukuyama. The text points to the direct link between Fukuyama’s thesis and the ideological and philosophical premises of postmodernism: both concepts suggest the end of the program of modernist search (both for a new political arrangement and cultural paradigm). However, they pose a serious problem for new theatre performances because the act of staging is based on discovering new interpretations. What is theatre going to speak about if we have – hypothetically – already discovered all possible interpretations (as Fukuyama and the philosophy of postmodernism suggest)? If theatre is supposed to be a mirror of its time (Shakespeare), is its role only to witness this end, the end of the program of modernist search?
2

HUMAN CAPITAL, INVESTMENTS AND PERFORMANCE OF SMALL AND MEDIUM ENTERPRISES (Kapital ludzki a inwestycje i wyniki ekonomiczne malych i srednich firm.)

100%
Szczepaniec M., Jurkiewicz T.
Pieniądze i Więź
|
2009
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vol. 12
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issue 4(45)
119-133
EN
The purpose of this article is to provide empirical quantitative evidence concerning the relationship between human capital (embodied in business owner), investments and performance of SMEs. The article provides analysis of the key findings of the survey which was conducted (in 2009) among 1346 small and medium sized enterprises in the private sector in Poland. The findings highlight the important role played by human capital in investment activity. Human capital has also positive effect on performance of SMEs. The results should be of interest to economic policy makers and bankers.
3
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INTERAKTIVITA A INSCENOVANÉ SVETY (S DÔRAZOM NA OTÁZKY SIMULÁCIE A INSCENÁCIE VO VIDEOHRÁCH)

100%
Búry J.
Slovenské divadlo (Slovak Theatre)
|
2019
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vol. 67
|
issue 2
145 – 157
EN
The text implicitly compares the principles of the production, especially the theatrical, with the principles of creating a narrative conflict in video games. It explicitly focuses on the processes of video game simulation. It‘s carried out through the optics of two approaches to video game theory. The first is the aspect of professional discourse in which it uses already established professional terminology from theatrical theory and tries to identify aspects of video games that correspond with it. In doing so, the author of the text suggests that there are two basic video-game principles – competitiveness and interactive narration. Those principles oppose each other while focusing on the second. So the author understands the production as a kind of simulation and argues why this storytelling principle also appears in video games. The second principle of thinking about video games is thinking from the perspective of the players. In this context, the author seeks arguments to confirm his thesis. In the unstable terminology of video games, he reveals basic thinking in opposition to competitive playing and role-playing. Ultimately, he describes the relationship between the production and simulation in the context of video games as a narrative medium.
4
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A TEARFUL PLAY BY JOZEF PODHRADSKY: HOLUBY AND SULEK. ONLY ONE-TIME PRODUCTION? (Klasika na jedno pouzitie? (Smutnohra Josefa Podhradskeho Holuby a Sulek))

100%
Cavojsky L.
Slovenské divadlo (Slovak Theatre)
|
2011
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vol. 59
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issue 1
37-63
EN
During his long life, the priest and educator Jozef Podhradsky (1823 - 1915) was also a writer, especially a playwright. He started as a romantic and ended as a messianist and symbolist. He wrote a lot, but his plays were hardly performed on stage at all. Anyway, he was very responsive and actual in his early work. He wrote a Shakespearean drama Holuby a Sulek (1850) as a personal testimony on struggle of Slovak people for civil, national and social rights in the revolution in 1848. It became a historical play even when staged for the first time, although it had been written as a contemporary piece. However, literary experts praised his poetic and documentary value. It took 131 years to premiere this play (1981, Slovak National Theatre in Bratislava). The production was a great social and artistic success, but withdrawn from the repertoire due to the political pressure. It was performed by the students of the Academy of Arts in Banska Bystrica for the second time in 2010. The play was directed and adapted for modern-days Slovak theatre by Matus Olha, who uses dramatized prose and old plays in their original language to create a specific form of contemporary professional and amateur theatre. He shows that it is possible to stage the plays by authors who were forgotten and translates classics into the contemporary language of theatre.
5
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DRUHÝ PILIER STAROBNÉHO DÔCHODKOVÉHO SPORENIA V SLOVENSKEJ REPUBLIKE A JEHO VÝKONNOSŤ V ROKU 2019

100%
Geffert R.
Annales Scientia Politica
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2020
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vol. 9
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issue 2
16 – 29
EN
The issue of old-age pensions is a sensitive topic in every country and at any time, as it concerns one of the most vulnerable social groups, namely old-age pensioners. In every politically advanced and democratic rule of law there is a different model of the old-age pension system that is implemented in relation to its population. The aim of the paper is to identify efficiency of second pension pillar of old-age pension savings in the calendar year 2019 in the Slovak Republic.
6

ANALYSIS OF REAL ESTATE MUTUAL FUNDS IN POLAND - ASSETS AND PERFORMANCE (Analiza funduszy inwestycyjnych w Polsce inwestujacych w rynku nieruchomosci - aktywa i efektywnosc)

100%
Sarnowski K. A.
Pieniądze i Więź
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2011
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vol. 14
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issue 3(52)
75-89
EN
The purpose of this article was to assess the impact of the size and efficiency of assets, held by the funds, on the state of development of the Polish investment funds' market, which invest in real estate. The size of accumulated assets is an important factor that affects the possibility for investment funds to invest in investment projects of different sizes. The effectiveness of the funds has been tested on the basis of stock exchange investment certificates, as well as their quarterly valuations. The study has also carried out an analysis of the liquidity of investment certificates listed on the Warsaw Stock Exchange, and the costs borne by investors wanting to invest in real estate funds.
7
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HRY O STAROBE AKO ESENCIA DIVADLA NÓ

100%
Hlaváčová A.
Slovenské divadlo (Slovak Theatre)
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2013
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vol. 61
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issue 2
123 - 134
EN
The study examines the issue of aging as reflected in the repertoire of Noh theatre. The analysis of the “old women plays” is based on the aesthetic concept of beauty of old age (rojaku) as particularly rare form of vanishing. Another question raised in the study is the beauty of performance of an aging actor. The author of this study applies conceptual approach to explain the fact that the theme of old poet stands in the centre of actually three of the five plays on her. The by-product of the study is the revelation of morphological proximity of two plays, Sumidagawa and Sotoba-Komachi, which may have an impact on dating and clarification of the authorship.
8

THE IMPACT OF RESTRUCTURING ON THE AIRLINE PERFORMANCE: THE CASE OF GARUDA INDONESIA

100%
Akyuwen R.
Communication Today
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2011
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vol. 2
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issue 1
112-132
EN
Garuda Indonesia is an airline company owned by the Indonesian Government. The airline has been vastly developed since being established in 1950. Remarkable growth has been achieved mainly due to the fact that in the early years there was minimal competition in the airline industry in Indonesia. Being the first Indonesian airline, Garuda Indonesia monopolised the commercial air transportation services. This situation allowed more than reasonable company performance for many years. However, since the government introduction of an open domestic airline industry in 1990, Garuda Indonesia started to face difficulties. Garuda competed against a number of private airlines, which possessed expansive strategies in developing routes as well as increasing the number of aircraft. The performance of Garuda Indonesia gradually decreased to a low when operational profit and cash flow reached negative figures during the period 1993 to 1997. Further, the seat load factor and on time performance were also worsening. To overcome these problems, restructuring was first undertaken during 1998 to 2001. The first restructuring was quite successful in reinventing the performance of Garuda Indonesia, indicated by positive operational profit and improved cash flow. Unfortunately, Garuda Indonesia's performance decreased once again after the appointment of new management in 2002. The new management tended to be inconsistent in implementing company business strategies. Operational profit gradually decreased from 2003 and this continued to 2005. By 2005, the financial and operational conditions of the company were considered to be worse than the previous problems faced in 1997. To improve the performance, new management was appointed again in 2005. This new management then started the second restructuring of Garuda Indonesia. The effort was once again quite successful in bringing Garuda Indonesia to a turnaround phase in 2007. Since then, company performance has gradually improved until today. The purpose of this research paper is to analyse the internal and external factors influencing the success of Garuda Indonesia in improving its performance through two restructuring processes. Both primary and secondary data were used in the analysis. 185 of 385 managers (57%) were selected from Garuda Indonesia businesses. Interviews and focus groups were conducted with 35 respondents, 23 were from the top management and 12 from the selected respondents. Structural equation modelling (SEM) was employed. The findings suggest that both external and internal factors have significantly influenced the performance of Garuda Indonesia. The most appropriate indicator to represent the performance of Garuda Indonesia is the improvement of operation management followed by the improvement of corporate culture and costumer relation. The economic condition is considered to be the most valid variable of external factors in influencing Garuda Indonesia's performance. The next most valid variables are competition among airline companies and fuel prices. As for internal factors, it is found that the strategic fit, leading change, and entrepreneur orientation are the three variables which had the biggest impact on the performance of Garuda Indonesia. The most valid indicator in representing the strategic fit variable is the company positioning indicator followed by environment adjustment and company value improvement indicators. The leading change variable is represented by the motivated leader, anticipatory leader, and inspirational leader. The most valid indicator to represent the entrepreneur orientation variable is the capacity to manage risks and problem solving. The second most valid indicator is the initiative capacity and risk taking bravery behaviour, while the last indicator was the self confidence and working spirit.
9
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PLAY AS AN ART OF SURVIVAL

100%
Čiripová D.
Slovenské divadlo (Slovak Theatre)
|
2018
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vol. 66
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issue 3
296 – 310
EN
The study explores the art of performance and happening in Slovakia from the 1960s, and its influence on theatre. Given its interdisciplinarity, the first part is dedicated to the vantage points of performance in Slovakia: action art and related names. The action art had significant influence on later theatre performative forms. The second part focuses in detail on actions and performances by the company Temporary Society of Intense Experience, Balvan Theatre and on the artist Miloš Karásek.
10

THE ROLE OF IMPULSIVITY AND STRESS ON PERFORMANCE

100%
Sandhu B. S., Rana M., Dogra B., Sharma A., Malhotra D.
Studia Psychologica
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2007
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vol. 49
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issue 3
201-213
EN
The present investigation was undertaken to resolve the controversy regarding clouding of results on the dimension of extraversion and performance. Hence the impulsivity component of extraversion was separated from sociability to see its effect on performance in terms of letter cancellation task and Anagram task under instructionally induced stress in the two sexes. The general pattern in three factor interaction reveals that high impulses coupled with stress performed less efficiently than their counterparts in both the sexes.
11
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ORDINARY SENSIBILIA

100%
Formis B.
ESPES
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2021
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vol. 10
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issue 2
118 – 133
EN
In this paper, I propose some philosophical reflections arising from the encounter with a work of art, namely the Squatting Aphrodite, which is one of the Roman copies that is held in the same room as the Venus de Milo in the Louvre Museum in Paris, France. From the description of this artwork and the effect it has on the spectator, I draw three main consequences: the conceptual difference between ordinary sensibility and everyday aesthetics; the criticism of aesthetic conformity, and the political implications of adopting an ordinary perspective towards aesthetic experience.
12
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GROWING OLD TOGETHER: A SHARED ACHIEVEMENT

100%
Carvalho J.
ESPES
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2023
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vol. 12
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issue 1
42 – 55
EN
In this essay, I account for what we mean by old, what it means to grow old, and what we might mean by a shared achievement in the case of growing old together. I turn to the phenomenology of Alfred Schutz for some early insights on the shared time embodied in growing older together and how a ‘we relationship’ shored up by this temporal structure is the foundation for constituting the social world. I follow Schutz’s attempt to use this temporality to describe the case of making music together and conclude that what Schutz calls growing older together is not the same as growing old together which is necessarily embodied in a way his account of making music together is not. I give an embodied, activist account of making music together as a performance and, drawing on recent work by Shaun Gallagher, offer aesthetics of growing old together as a performance enacted by individuals whose intimate engagements in that performance accomplish the shared achievement of growing old together.
13
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OD ESTETIKY DIELA K ESTETIKE PERFORMATIVITY

100%
Hučko Pašteková M., Brezňan P.
Slovenské divadlo (Slovak Theatre)
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2023
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vol. 71
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issue 1
26 – 41
EN
The performative turn brings about the concept of a work of art as a unique, ephemeral event, which is created during its course by all the participants (artists and spectators) together. This disrupts the overall understanding of a work of art as a finished, fixed artefact intended for aesthetic contemplation. The performative turn thus simultaneously implies serious changes to the nature of artistic practice and has even influenced it significantly in the last few decades. In an attempt to respond to these developments in art, the German theatrologist Erika Fischer-Lichte points out the need to formulate the aesthetics of performativity that, unlike the aesthetics of works of art, would adequately reflect the constitutive elements of performative art. Drawing on the outlined issues, our paper draws attention to the crucial differences between the aesthetics of works of art and the aesthetics of performativity, which enable us to trace the extent of the changes brought about by the shift from the aesthetics of works of art to the aesthetics of performativity. At the same time, it tries to show that the aesthetics of performativity, constituted as a primarily interdisciplinary theory, allows us to extend the field of action of aesthetics even towards everyday social practice, precisely because of the importance of its performative aspects. We have demonstrated these claims on a concrete example – an on-site durational performance by the GUIDES Art Collective.
14
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SACRUM V PRAGMATICKOM SVETE – DIVADLO V CHRÁMOVOM A PREDCHRÁMOVOM PRIESTORE A V TICHU

88%
Hlaváčová A.
Slovenské divadlo (Slovak Theatre)
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2013
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vol. 61
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issue 3
231 - 249
EN
The author of this paper examines the development of theatrical forms connected to liturgical space and the liturgical year. The author brings a testimony about a project which was started before the fall of socialism: The initiative of a group of Bratislava students staging The St. John Passion Play was not a generational theatre but a return to the discarded. The production in Bratislava’s Trinity Church was characterized by a fascinating modern dance expression presented against the background of Gregorian chant. The production was accompanied by the singing of a teachers’ choir Cantus and was shown in the Trinity Church in 1988, 1989 and 1990 and in St. Martin’s Cathedral in 1992. Then the author analyses a production by the Brno theatre. She also focuses on two projects by Slovak artists. Confronting stone and the body, Anna Sedlačková and Ľuboš Kľučár created a dance performance entitled De Profundis (27 – 29 Oct. 1992). Besides the stone statues of Viliam Loviška and Andrej Rudavský, the De Profundis production also worked with candles, water and clay. The space of the Cum Angelis production was delineated by two lines of Viliam Loviška’s peculiar polychrome and gilded angel heads which incorporated fragments of old disintegrated stone sculptures. The later work of the ensemble moved away from the theatre production principles verging on installation. It relied on integrating the sculptural principle and motion – deriving the production form from a facial mask á la Japanese Noh theatre. Anavim, which means “to the poor” in Hebrew, is a reference to Brook’s concept of a poor theatre. Similarly, Veni, the name of a music band, is actually the shortening of Veni Sancte Spiritus. From the viewpoint of dramaturgy, they were extensions of passion plays that could not be played under socialism. However, in retrospect, both “chapel projects” can be viewed as preliminary studies for outdoor passion plays under the title Passio produced a decade later on the Main Square in Bratislava. It was not meant to be a film-like realistic rendering of the passion plays. On the contrary, it can be characterized as fragmented, analytical and sculptural, with every motion representing a certain idea or movement of the heart.
15
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„JEDEN VEĽKÝ KOLEKTÍV”. FOLKLÓR AKO VYSTÚPENIE A ORGANIZÁCIA

88%
Feinberg J. G.
Sociológia (Sociology)
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2016
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vol. 48
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issue 4
357 – 376
EN
Based on an ethnographic study of folklore performance in contemporary Slovakia, this paper critically engages with „performance theory”, arguing that sometimes performance can be best understood by looking beyond moments of performance to the long, often arduous work of preparing for performance and reflecting on performances past. The author proposes studying folklore (and art more generally) not only as performance but also as „organization”, that is, as a set of enduring yet always shifting social relations. This approach enables us to see the modes of collectivity that emerge out of the social experience of art and, specifically, folklore.
16
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SLOVAK DRAMATIC ART AT THE TURN OF THE CENTURIES - A DEPARTURE FROM THE MIMETIC PRINCIPLE OF THE THEATRE PRODUCTION (Slovenske herectvo na prelome storoci - odklon od mimetickeho principu divadelnej tvorby)

88%
Matasik A.
Slovenské divadlo (Slovak Theatre)
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2010
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vol. 58
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issue 2
139-149
EN
Over the 20th century, Slovak professional acting, in sense of conscious and purposeful dramatic work, undergone enormous development. The theatre production was carried by amateur acting companies, trying to imitate the performances known from their visits to big cities of the monarchy or touring professional 'comedians', mostly of Hungarian but also Czech and German origin. According to convinced follower of psychological realism and the founder of Slovak professional theatre Jan Borodac, the artistic supreme objective was to teach an actor to understand the inner world of depicted character, use the talent available and the expression of actors to create individualized dramatic character. Borodac's successors, the directors Jan Jamnicky and Ferdinand Hoffmann exceeded these limits of psycho-realistic theatre and further experimented with stylization, pathos of musical language and speech. In the sixties and seventies the Slovak theatre underwent the period of considerable interest in work in experimental conditions of experimental studio theatre where the audience became a contact eyewitness of the act of transformation of an actor. At the end of the 20th century, the rapid modernization of means of dramatic expression, showing a maximum concentration on detail, authenticity and spontaneity took place in the Slovak theatrical context. No longer the actor represents only the assigned role, but performs it anti-illusively and brings his own opinions into the interpretation puts and thus participates in dramaturgic and directorial concept of the production. The author of the study perceives this development as contradictory. He draws attention to the risks arising from this fashion acquired even by those actors who are not able to be the intellectual partners of an author, dramatic adviser and director and in such cases their authorial inputs are rather forced and unsubstantial.
17

POZNÁMKY K TYPOLÓGII SAKRÁLNEJ HUDBY (OD PIESNÍ ĽUDU K FIGURÁLNEJ HUDBE)

88%
Múdra D.
Musicologica Slovaca
|
2020
|
vol. 11 (37)
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issue 1
5 – 33
EN
In researching the culture of sacred music (of the Roman Catholic Church, the major denomination) during the period of classicism on the territory of present-day Slovakia, we have reached a new stage of knowledge, enabling us by novel means to reassess the received image of how that culture was nurtured in our land. The new findings concern places where the musical art was cultivated (which can now be connected in the form of a musical network), musicians and musical families, the instrumentarium (organs and other instruments), and the repertoire. The creation of a musical network has been made possible by an exceptionally rich new factography with a powerful argumentative force, and also by a new typology based on criteria of a supremely musical nature (and secondarily, of a universal cultural nature). The decisive criterion was the character and level of performance practice, as applied in the given period.
18

RECENT DEVELOPMENTS IN THE GLOBAL BUSINESS ENVIRONMENT

88%
Blahová M., Pálka P., Hrabec D.
Ekonomický časopis (Journal of Economics)
|
2019
|
vol. 67
|
issue 3
307 – 328
EN
This paper investigates recent trends and developments in almost 200 businesses located worldwide, mainly in the fields of strategic management and corporate performance using a qualitative research method. The research involves assembling key academic and other literature on the given subject as well as semi-structured interviews with managers in “Western” and Asian companies located all over the world to identify current business trends. Six hypotheses are formulated and statistically tested. The reliability is studied through Cronbach’s α. Furthermore, the paper describes selected business trends in detail, including quotes from managers. It concludes by noting the limitations of the study and suggesting areas for further research.
19
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MEI LAN-FANG AND THE EUROPEAN AVANT-GARDE (Mej Lan-fang a europska avantgarda)

88%
Mistrik M.
Slovenské divadlo (Slovak Theatre)
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2010
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vol. 58
|
issue 4
549-564
EN
From the early 20th century, the West became much more intrigued by oriental theatre cultures. In some cases they became a source of inspiration for avant-garde stage directors. For the proponents of avant-garde drama the theatre performances originating in Bali, China, Japan and India gave credence to their own artistic way. Mei Lan-Fang, one of the premiere performers of Beijing Opera, belonged among the theatre professionals having a profound impact upon the European avant-garde. His guest performances in the USA (1930) and the Soviet Union (1935) were received with great enthusiasm by Stanislavsky, Meyerchold, Eisenstein, Brecht, Chaplin, and the others. We have been left with their testimonies of appreciation of his art and mention of the profound impact that had upon heir own creation. In several cases, notably in Soviet Russia, Mei Lan-Fang's performances served as a model example of the existence of the metaphoric, sign and poetic theatre alongside the official socialist realism.
20

SACRIFICE AND THE LUDIC STANCES REFLECTED THROUGH THE THEATRE PRACTICE OF THE 20th CENTURY

88%
Koubová A.
Filozofia (Philosophy)
|
2017
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vol. 72
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issue 6
451 – 462
EN
One of the basic concerns of the philosophy and the humanities after the performative turn in the 20th century became thinking afresh about the status of the subject. How to conceive of subjectivity, if we abandon the essentialist idea of an autonomous, self-transparent, and rationalistic individual? The article investigates two different attitudes towards this situation: the stance of sacrifice and the ludic stance. In order to study the problem of the two stances coherently, the paper draws on the theatre practice of the 20th century and its understanding of the actor’s attitude to her role. It concludes that whereas the sacrificing attitude traps an individual in a vicious loop that does not allow for handling the new situation, the ludic subjectivity offers tools for developing effective strategies that not only allow for handling the human condition but even enable agents to profit from it and rejoice in it.
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