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VÝSLEDKY ARCHEOLOGICKÉHO A ARCHITEKTONICKOHISTORICKÉHO VÝSKUMU KOSTOLA SV. MARTINA V HONTIANSKEJ VRBICI V ROKOCH 2014-2015

100%
Fottová E., Smetanová P., Bóna M., Matejka M.
Študijné zvesti
|
2016
|
issue 60
157 - 192
EN
The submitted article presents results of the archaeological and architectonic-historical investigation of the Church of St. Martin in Hontianska Vrbica, Levice district. The beginnings of the church had been dated to the 15th century. The archaeological investigation and architectonic-historical analysis of uncovered architecture moved the date of its origin to the late 12th – early 13th century. Remains of an extinct Romanesque church with a three-quarter-cylindrical apse and its younger early-Gothic addition in the south have been identified there. Thanks to the investigations, we have obtained new information on the structural development of the church in the high Gothic, late Gothic and Baroque periods. The contribution analyses 17 burials from the adjacent uncovered church cemetery and their finds. Special attention is paid to two Baroque tombs discovered inside the church. We obtained well preserved remains of Baroque male clothes of a so-far unknown local thane from one of the tombs.
2

TOWARDS THE LOCALIZATION OF THE METHODIUS' TOMB (POHRANICE) (K lokalizacii Metodovho hrobu (Pohranice))

86%
Pukanec M.
Slovenská reč (Slovak Language)
|
2010
|
vol. 75
|
issue 6
347-354
EN
According to some sources, Saint Methodius has been entombed in the church in the town called Kana-/Kata-/Ka-onna, situated on the river of the same name. The reconstruction of this hypothetical fact is based on the old texts and historical and onomastic assumptions. If one accepts the fact, then, there has been only one river of this name in the former Moravia region. Its present Slavic name is Kadan, possibly derived from Non-Slavic, Celtic Kadona (Kadonna) 'Holy River' (in the same way as Slavic katan comes from Hungarian katona). This river is located near Nitra, the assumed seat of king Svatopluk I., and it flows through the following towns: Stitare, Pohranice, Lapas, Golianovo, one of which should have been the town of Kadan. The name Pohranice must be derived form the ethnonym Pograni 'the Pograns', i.e. the inhabitants of the basin of Gran (Hron). It has been these Pograns who could have changed the name of the town and the name of the river, which was called Kadan as well as Pogran River. Consequently, Saint Methodius could have been entombed in the church in Pohranice, which is one of the oldest in the former Moravia region, being mentioned in 1075.
3

DAS KUNSTWERK TRAUERT – DAS KUNSTWERK FEIERT. GRABMAL UND DENKMAL LUDWIG ANZENGRUBERS IN WIEN IM EUROPÄISCHEN KONTEXT

86%
Körner H.
ARS
|
2020
|
vol. 53
|
issue 1
3 – 34
EN
„Sweat must freely flow“ and without the „blessing … from higher“ it is not possible anyway, but if both are given, the work praises the master. The poetic phrase from Schiller’s “Song of the Bell” could be made visible in the art of monuments and tombs. Works of art praise their creator in a monument, works of art mourn for their creator in a tomb. They belong to the staff of the accompanying figures at the memorial / grave, together with personifications, geniuses and muses. The essay tells the story of this visualization. It focuses on two monuments in Vienna: Ludwig Anzengruber’s grave of honour in the Vienna Central Cemetery (1893) and the Anzengruber monument on Schmerlingplatz, Vienna (1905) – both works by Hans Scherpe. The relationship between the work of art and the mourned / honoured artist is discussed and placed in the European context.
4
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Estetyka współczesnych cmentarzy

72%
Królikowska A.
Opuscula Sociologica
|
2012
|
issue 1(1)
59-72
PL
Współczesne cmentarze przesycone są estetyką o cechach kultury popularnej. Szczególnie znajduje tu zastosowanie kicz jako „sztuka pocieszająca”. Praktyki organizowania wyglądu i estetyzacji grobu zależą od dostępności materiałów i akcesoriów, zasobności, a także kompetencji kulturowych i estetycznych. Obecnie nagrobki w większości przypadków powstają w rękach rzemieślników i są wytworem masowym. Uzasadnione z punktu widzenia estetyki pytanie: „czy cmentarze są ładne”, z punktu widzenia socjologii musi zostać przekształcone w pytania: dla kogo są ładne, jakie funkcje pełni taka a nie inna estetyka, jakie są jej związki z innymi zjawiskami kultury, z cechami społeczeństwa? Dziś ta specyficzna estetyka sprawia wrażenie zastygłej i kulturowo wyizolowanej, nie tylko ze względu na jej funkcje rytualne, łagodzące i dystansujące wobec grozy śmierci, ale także dlatego, że kultura cmentarzy i kultura późnej nowoczesności mówią różnymi językami.
EN
Contemporary cemeteries are characterized by popular culture aesthetics. Particularly, kitsch is used as ‘comforting art’. Practices of organizing the appearance and aestheticization of a tomb depend on the availability of materials and accessories, affluence level, as well as cultural and aesthetic competence. Nowadays tombstones in most cases are made by craftsmen and are mass-produced. From the point of view of sociology, the question whether cemeteries are pretty, wellfounded on the grounds of aesthetics, should be replaced by the following questions: who are they pretty for?, what functions does a given aesthetics fulfil?, what is the relevance of other cultural phenomena and features of a society to it? Nowadays, this specific aesthetics gives the impression of being petrified and culturally isolated, not only because of its ritual and alleviating functions or the function of repressing death anxiety, but also insomuch as the culture of cemetery and the late modernity culture speak different languages.
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