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THE STYLE OF CZECH-AMERICAN PERIODICALS AND ITS TRANSFORMATION IN THE MULTICULTURAL AMERICAN ENVIRONMENT OF THE SECOND HALF OF THE 19TH CENTURY

100%
Jaklova A.
Stylistyka
|
2006
|
vol. 15
249-258
EN
The paper outlines the meaning of two terms: culture, both in a general perspective and with a view to the concept of nation - ethnic community, and language style. It then analyses the Czech-American periodical press of the 2nd half of the 19th century, exploring the development of the constitutive means of style, in particular topic and language. The changes discovered are attributed to the continuing assimilation of Czech immigrants in the USA and perceived as the beginning of their Czech-American bilingualism.
2
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COMPONENTS OF INTERCULTURALITY IN OPERA TRILOGY OF PORTRAITS BY PHILIP GLASS (Prvky interkulturality v opernej trilogii portretov Philipa Glassa)

100%
Haskova K.
Slovenské divadlo (Slovak Theatre)
|
2009
|
vol. 57
|
issue 1
40-45
EN
Connection of trends from different cultures takes great place in Philip Glass' creation and is one of the basic pillars to create opera art products. We can find some components of interculturality in opera trilogy of portraits by this composer. The components of Indian theatre Kathakali are the most expressive in this trilogy. Between the most expressive components of kathakali belong mudras (hands motion, body position), which is shown up in some trilogy performances of portraits, further character of narrator - speaker and some musical components, especially expressive using of expanded palette of drums. Of all three operas, components of kathakali are especially in opera Akhnaten and Satyagraha. From the view of musical arrangement there are noticeable expressive components apart from Europe, especially Indian influences, in Glass composition language. Primarily we can find these influences in metro rhythm diameter of creation of art product and also in all musical actions (music as meditation, music as a process, etc.)
3

DURISIN: THE DRIFT TOWARDS INTERLITERARINESS AND PROCESSUALITY FROM THE POINT OF VIEW OF THE WORLD

88%
Koprda P.
Slovak Review. A Review of World Literature Research
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2006
|
vol. 15
|
issue 2
122-147
EN
The objective of the paper is to point at the superficial character of the contemporary sociology and the culture oriented trends in the research of the interliterariness. It has been very often neglected that the object of the literature research is the beauty of literature, as that which causes the changes in the development. There was a Russian-Slovak (and structuralist) chapter in the history of interliterariness. At present it lives as a whole in the world but its findings have been utilized differently. Unfortunately, it appears that the theses of the Russian-Slovak school have been exploited for the utilitarian goals. Instead of the aesthetic essence of a phenomenon in its historical form, which was Durisin's intention, the models of literature subjugated to a cultural interest has become an objective of the research of interliterariness. The paper is also devoted to the various forms in which Durisin is present in the contemporary theory of interliterariness. In this connection, Franka Sinapoli maintains that the hermeneutic value of the history of interliterariness has been increased and that Durisin is the key personality of this encouraging occurrence. Mario Juan Valdés says that interliterariness is the only research project that proves the invalidity of Foucault's episteme theory. It is due to the fact that the hermeneutic value of the history of interliterariness increased after the Russian-Slovak period. The paper also focuses on Earl Miner's theory. Miner maintains that 'comparisons are more stimulating if they place real differences into mutual relationships'. Lotman proves that Durisin found out that a difference in the sign (of a structure) is equally relevant as the difference between the literature of Western Europe and that of Japan. Nowadays, even the thematic criticism (Harry Perkins) holds that literature is based on a difference (distance) of what is actually close. In spite of this, Durisin is conceived of as a founder of the transition of literary research from intraculturality to interculturality, i. e. as a theoretician of 'big differences'. Unfortunately, the idea that only a big difference is a difference, and that only a big difference is worth of examination, and that all minute differences are the forms of identity is so wide-spread that it creates a new situation in the theory of interliterariness in the form of a return to the big literatures, to the big literary phenomena. This idea is dangerous to the Slovak literature, to the Slavonic interliterary community, to the Czecho-Slovak interliterary community, and, generally, to interliterary communities which are a form of existence of the world literature.
4

MULTIKULTURALIZMUS A INTERKULTURALITA. O JEDNOM FENOMENOLOGICKOM ROZLÍŠENÍ

75%
Komel D.
Filozofia (Philosophy)
|
2012
|
vol. 67
|
issue 8
677 – 688
EN
The article tackles the distinction between multiculturalism and interculturality, which evinces a phenomenological relevance as far as it concerns the investigation of the world hood of the world. The first problem arising is that of gaining phenomenological evidence of such distinction. It is necessary to take into account the historical relationship between philosophy and culture. This is evinced in the epochality of opening up of the truth, which proves decisive for the justification of the humanness in history. The discussion of interculturality therefore cannot avoid historical nihilism as the determining cultural disposition of contemporary Europe, which in the meantime grew to planetary proportions. The phenomenological original evidence of the world speaking various languages hereby stumbles upon its historical limit (the controversial announcements of the “end of history”). The lacking evidence of differentiating between multiculturalism and interculturality in the phenomenology of our times is not a sort of theoretical deficit but rather the epochal withdrawal which brings to the fore the conversation and opens up the understanding of interculturality as the culture in conversation.
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