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CHINA AND FILM. CIVILISATION WITH A SPECIAL PAST AND SPECIAL FUTURE

100%
Langerova V.
Slovenské divadlo (Slovak Theatre)
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2006
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vol. 54
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issue 4
616-645
EN
A specialist in Asian cinematography is dealing with the cinematography situation in the world most populated country, in the Republic of China. She is observing that the limitation created by the Chinese culture towards its barbarian neighbors has generated a phenomenon that is most often compared with European nationalism, with the name 'culturalism'. Nowadys many experts have been asking the question on how this phenomenon can cope with the pressure of the 'western global capitalism' , which since 1984, when the Chinese government agreed to start reforms, has been present almost at any level of the social life. A rather symbolic is the fact that the names of the greatest Chinese directors Cchen Kchai-kea and Cang I-moua stayed by the birth of the first breakthrough film, which during the festival in Honkong in 1983, had announced a change in the social climate. Their film 'Yellow Country' was not only a political allegory, but also an evidence of the impact of the Chinese culture and a history essence. Almost none of the subsequent film festivals in Cannes, or other summit events of the world film cannot do without the Chinese film producer's presentation. The prizes together with the world recognition of the Chinese film have been accumulating. The authoress is in her study dealing with the historic development of the Chinese cinematography and introduces the most outstanding personalities who have contributed to the world fame of films produced by the Chinese provenance.
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THE PHENOMENON OF DEATH AND DYING. A MEDITATION ON MY MORTALITY

100%
Cheung C.-F.
Analiza i Egzystencja. Czasopismo Filozoficzne
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2006
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issue 3
139-156
EN
This paper deals with the problem of death and mortality of self. The author considers differences between the Western and Chinese culture regarding the attitude toward death. He contrasts European thought about death, especially that included in Mesopotamian, Greek and Hebrew mythology and Plato's, Theognis', Epicurus', Epictetus', Wittgenstein's, Marcel's or Heidegger's philosophy, with Taoist and Confucian ideas. From Western perspective death seems to make life senseless, whereas Chinese culture perceives mortality as an integral element of nature and life. The author's analysis of 'the uncertain certainty of my death and the unnecessary necessity of my life' leads him to a conclusion that because of existence of love 'death is meaningful and life is therefore worth living'.
3

INTERKULTÚRNE ASPEKTY V TRADÍCII SLOVENSKÝCH A ČÍNSKYCH MIEN

100%
Liang C.
Motus in verbo: časopis mladej vedeckej generácie
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2013
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vol. 2
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issue 1
37 – 44
EN
The aim of this study is to interpret the differences and similarities in Slovak and Chinese given names and surnames from an angle of culture. In author’s opinion, name symbolically represents a nation. It is possible to conclude that name is mirroring the historical and cultural background of each particular nation as well as national approach toward life and the way of living and thinking. The author concentrates on linguistic influence and national traditions to compare names by using concrete name examples, as well as the public opinion poll.
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