Search results

1

PIESNE LETNÉHO SLNOVRATU NA SLOVENSKU AKO SÚČASŤ SLOVANSKEJ KULTÚRNEJ TRADÍCIE

100%

Urbancová H.

Musicologica Slovaca

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2013

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vol. 4 (30)

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issue 1

137 - 150

EN

The territory of Slovakia belongs to one of those regions of Europe where is an extant repertoire of ritual songs which are associated with the celebration of Midsummer and St. John’s Day. Analysis of the textual and musical components of the Midsummer songs has enabled a reconstruction of the ritual context. It has confirmed assumption that songs with a ritual function conserve many contextual associations of singing, which retrospectively illuminate the vanished forms of ritual. A comparative sounding of the song repertoire of selected Slavonic ethnic groups (Czech/Moravian, Polish, Croatian, Ruthenian, White Russian) has contributed to the study of common elements and semantic analogies in Midsummer rituals. It helps to verify data on the relationship of the “text” (song) and “context” (ritual), acquired by analysis of song material which is territorially/ethnically delimited, as well as to study Slavonic tradition of the celebration of summer solstice.

2

NA RUBE SPRÍTOMŇOVANIA IDEÁLU (MELANCHÓLIA V DISKURZE SLOVENSKÉHO LITERÁRNEHO REALIZMU)

100%

Taranenková I.

Slovenská literatúra (Slovak Literature)

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2015

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vol. 62

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issue 2

81 – 95

EN

The paper is focused on several ways of presenting melancholy in the discourse of Slovak literary realism – in the works by P. O. Hviezdoslav but mostly in the proses by S. H. Vajanský and M. Kukučín. Built on the latest research into the subject matter of interdisciplinary character, it deals with the dual presence of melancholy in the national revivalist narrative, which highlights the fundamental contradiction in Slovak literature of the 19th century oscillating between the ideal and its manifestations, i.e. the deficit of it in empirical experience. Despite the explicit marginalization, melancholy becomes a category showing deeper structural qualities of Slovak culture including Slovak literature in the 19th century, which is related to the nostalgic and utopian moments being the subject of numerous writings. It represents the „negative reality“ (L. F. Földényi), which reflects its efforts, ambitions and contradictions reaching beyond the actual era.

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.

4

IDEOLOGICAL INTERPRETATIONS OF CYRIL AND METHODIUS TRADITION IN SLOVAK HISTORY (Ideologicke interpretacie cyrilo-metodskej tradicie v slovenskych dejinach)

100%

Mulik P.

Slavica Slovaca

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2009

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vol. 44

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issue 2

97-105

EN

The paper is an attempt to describe and explain the tradition of Cyril and Methodius in the arguments of major social structures, representatives of these structures or important figures in Slovak history.

5

LITTLENESS OF THE CULTURE IN THE MIDDLE EUROPE, FOR EXAMPLE 'Slovensko a jeho zivot literárny' (Slovakia and Her Literary Life) by Jozef Miloslav Hurban

100%

Prunitsch C.

Slovenská literatúra (Slovak Literature)

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2005

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vol. 52

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issue 4-5

252-261

EN

'Littleness' appears as relevant for certain culture when it is determined by its own or foreign texts. This determination in an intercultural contact behaves as an explicit or implicit valuing act approached within the positions of superiority, inferiority, identity, alterity, translativity, singularity, as well as ancienity and juvenility. In the specific situation of the Slovak national revival an essay by Jozef Miloslav Hurban 'Slovensko a jeho zivot literárny' (Slovakia and Her Literary Life) is an important text of apologetic legitimating strategy of Slovak culture in the Central European context. Hurban uses mostly the term 'vitality of Slavs', which had been attributed to them since Herder, and in comparison with ancient European cultural nations he creates a picture of a dynamic Slovak young man, smartly walking towards a new epoch. Both an argument of time and an argument of placing were presented to stress the central position of Slovaks in the project of renewing the Central Europe. The argument of placing was usually presented in the glorification of High Tatras. In the changed constellation of the 20th century motivating power of important ideological potential of the essay was weakened. Hurban suggested a concept of future Slovak culture, also outlined with the aim against Czechs and Magyars, resisted only to a very limited extent the pressure coming from the Central European constellation after 1848, as also proved in the final passages of his essay.

6

ALMOST FORGOTTEN PUBLISHER LEOPOLD MAZAC (Takmer zabudnuty nakladatel Leopold Mazac)

88%

Kapralikova M.

Slovenská literatúra (Slovak Literature)

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2011

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vol. 58

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issue 2

143-164

EN

Leopold Mazac Publishing House became once a symbol of the success of young Slovak literature as well as well-established brand. However, after the year1948 the publisher's name almost disappeared from the Czechoslovak book industry history. Although Jan Smrek, the publisher's friend and long-term collaborator, did his best in the 1960s to remind us of Mazac's activities related to Slovak literature, a complex evaluation study has not yet been written in our country. In spite of the fact that Mazac was the very first publisher to dispel the long-lasting myth of Slovak literature being unprofitable and sparked the interest in its new as well as older literary production. The present study is concerned with Leopold Mazac Publishing House foundation, history and contribution to Slovak culture. It presents little-known facts related to the subject mainly relying on archival materials deposited at the literary archive of the Museum of Czech Literature, the National Museum Library Archive in Prague and the Art and Literature Archive in Martin.

7

KULTÚRNE DEDIČSTVO VOJVODINSKÝCH SLOVÁKOV V KONTEXTE SLOVENSKEJ KULTÚRY

88%

Babiak M.

Muzeológia a kultúrne dedičstvo

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2018

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vol. 6

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issue 2

121 – 130

EN

Since its establishment at the end of the 18th century, the culture of the Slovaks from Vojvodina has developed in two ways: the first one reflects their effort to constantly follow the phenomena present in the cultural setting of Slovakia and to have an active dialogue with them. The second one arises from the specific environment of Vojvodina, where these Slovaks landed up. The article is focused on the analysis of this cultural situation, trying to answer the questions to what extent the information about culture of Slovaks from Vojvodina occurs in the cultural context in Slovakia, and to what extent the share of particular cultural phenomena is reflected while having in mind the contribution of Vojvodina´s specifics.

8

MIGRÁCIA TALIANSKEJ KULTÚRY DO SLOVENSKÉHO PRIESTORU

88%

Sabolová-Princic D.

Slovenské divadlo (Slovak Theatre)

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2011

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vol. 59

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issue 4

325 – 342

EN

The Image of Border, Foreign and Foreigner The study Migration of Italian culture into the territory of Slovakia – The Image of Border, Foreign and Foreigner is the final output of the scientific grant program Vega, summarizing a partial research of recent years, concerning the revival and continuation of existing and supressed genetically and typological links between the two cultures after 1990. The output of the research on the development of drama, theatre and literary theory as well as literary translations from Italian prove the parallel existence of several cultural communities during the forty years before 1990: the ideologically constituted Soviet community, the community of Danube cultures and the community of nations of former Austro-Hungarian Monarchy. Given that, Italian culture is situated at the intersection of the latter two communities, it appears that genetic and typological relations were not discontinued completely, although they were not linked to the Soviet cultural community. Noting the routes and diffusion of cultural information, the study has been inspired by Trieste – Istria border community, while it applies the Armando Gnisci theory of decolonization to the situation in Slovakia after 1990. Through the image of foreign and foreigner in the dramatic work by Dario Foa and through the translated works of Antonio Tabucchi (Indian Nocturne) and Alessandro Baricco (City), the study reconstructs the complicated process of acceptance of otherness and wonder rejection tension, which is typical for the culture on the territory of Slovakia regarding acceptance of foreign and foreigner from Italian culture. The literary works brought to Slovakia in Slovak translations have been studied as typical examples of reception of both, foreign and the image of foreigner. Despite the acquired freedom and restoration of the genetic and typological cultural relations, we can observe a relatively low ability to accept foreign elements and otherness. The works dealing with the image of foreign and foreigner have been available in the Slovak receptive territory, but the image of foreigner in them is striking and remains largely misunderstood. Although we longed for freedom during the era of communism, we did not know that freedom would mean „decolonization“ of ourselves from a misunderstanding of attributes that we perceive as foreign and from the complicated acceptance of a foreigner.

9

V ZÁUJME STAROSTLIVOSTI O "NAŠE" AVANTGARDY: ESTETICKÉ, AXIOLOGICKÉ A UMELECKO-TEORETICKÉ POLOHY KRITIČKY A KUNSTHISTORIČKY IVY MOJŽIŠOVEJ

88%

Migašová J.

ESPES

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2015

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vol. 4

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issue 2

60 – 68

EN

The paper represents analytic evaluation of key works of Slovak critic, art-theoretician and art-historian – Iva Mojžišová. The study contains an analysis of its partial problems – the meaning and the function of art-critique in Slovakia in the 20th century and nature of so called “authenticity” as key criterion of critical reflexions of fine art.

10

BYZANTSKO-SLOVANSKÁ TRADÍCIA V STARŠOM OBDOBÍ VÝVINU SLOVENSKEJ KULTÚRY

88%

Žeňuch P.

Konštantínove listy

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2020

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vol. 13

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issue 1

112 - 125

EN

Byzantine culture began to develop in the Great Moravian environment on the Middle Danube and in Slovakia of that period of time. However, the beginning of its expansion is associated not only with the southern and eastern Slavs, where through the Wallachian colonization the Church Slavonic language, liturgy, religiosity and spirituality spread to Slovakia. The important centre of the Byzantine culture was Vyšehrad (hung. Visegrád) on the Danube, especially during the 11th – 13th century, where the Greek liturgy existed. The autochthonous Slovak ethnic group in connection with the application of the Wallachian economic system was also significantly involved in the process of its revival in Slovakia. Evidence of this process is petrified in the language of the Slovak community. It is the language, as a representative of cultural and national identity that preserves all important and historically verifiable cultural-communication traces in its system. The present study thus provides a picture of the earlier period of the development of the Slovak language in relation to the Byzantine-Slavic tradition as a forming component of Slovak national culture.

11

SLOVAKISTIKA V ROSSII: KRATKIJ OBZOR

75%

Valencova M.

Slavica Slovaca

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2013

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vol. 48

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issue 1

61 - 71

EN

The fate of Slavic studies in Russia is complicated and it had its ups (late 19th and early 20th century) and downs (1920s and 1930s), but until now there has been a multidisciplinary tradition of studying all Slavic peoples, their languages, literature, history and culture. The article introduces readers to the Slovak studies in Russia beginning with the first research on Slovaks, which appeared when interest in Slavs in other countries was just emerging in Russia (P. I. Keppen). Further on the works of the first Russian Slavists sent by universities to Slavic lands “with research tasks” are considered. Those scientists (О. М. Bodyansky, I.I. Sreznevsky, P. P. Preys, V. I. Grigorovich and following) gathered knowledge on Slovak (but not only) dialects, folklore and the way of life, culture and history of the people and laid foundation for the studies of the next generation of Slavists ( М. P. Petrovsky, Т. D. Florinsky, А. I. Stepovich, N. V. Yastrebov). The current state of investigations in Slovak language, literature, history and culture is represented by contemporary Slovak studies, which are concentrated in the Institute for Slavic Studies in Moscow, Moscow State University, Saint-Petersburg State University. In the article main researchers and their works and publications are presented. The article is based on general research into the history of Slavic studies carried out by leading Russian scientists (L. P. Lapteva, M. A. Robinson, M. Ju. Dostaľ) and special studies devoted to the history of Slovak studies in Russia (L. N. Smirnov, N. A. Kondrashov and others).

12

THE DEVELOPMENT OF SLOVAK PROFESSIONAL ACTING (Experiment with MARSKA) (K vyvoju slovenskeho profesionalneho herectva (Pokus s Marskou))

75%

Matasik A.

Slovenské divadlo (Slovak Theatre)

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2009

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vol. 57

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issue 4

284-299

EN

The author continues to examine the development of Slovak professional acting. He takes a closer look on the situation after 1920, when the Czech theatre company operated under the name of the Slovak National Theatre in Bratislava and when Slovak actors were seen only gradually on the stage. Management of the theatre who needed to obtain subsidies from the Slovak towns, created in the season 1921/22 a touring ensemble, entitled Rural Dramatic Society of SNT (Marska). It had to promote the idea of the Slovak National Theatre and shows its production in the Slovak towns. The members of this ensemble were e.g. Jan Borodac, Olga Orszaghova, Andrej Bagar, their Czech colleagues Karel Balak, Jan Tumlir, Marie Pochmannova-Sykorova, Viliam Taborsky, Oto Vrba. Vladimir Jelensky, previously the member of the SNT's operetta, became the director of the ensemble. After a single season, the ensemble was dissolved for the poor financial situation and the lack of results. The actors took up civil jobs or founded engagements in other theatres. In the 1923, the Slovak National Theatre was forced almost to shut down since the Prague Ministry of Culture had conditioned the release of grants by the takeover of the theatre from the SND Cooperative to private entrepreneur. In the 1924, Oskar Nedbal as a new director of National Theatre persuaded Jan Borodac to return to the theatre and to take up responsibility for preparing the Slovak repertoire. The first phase of building up the Slovak professional theatre brought certain positives: - the first professional theatre was founded on the territory of Slovakia, which at least declared itself as a national cultural institution - several adepts of performing arts was given an opportunity to test their skills - the Slovak plays, written by earlier and contemporary authors were staged in the professional theatre.

13

SPOMIENKY REDAKTORA (DRUHÁ SPOMIENKOVÁ KNIHA JÁNA SMREKA)

75%

Csiba K.

Slovenská literatúra (Slovak Literature)

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2014

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vol. 61

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issue 2

132 – 159

EN

The study deals with the memoir book by Ján Smrek called Poézie moja láska 2 (Poetry My Love 2, 1989), which is the second part of originally intended multiple volume memoirs. It is also focused on Smrek´s articles published between the years 1930 – 1944 in the magazine Elán, where the poet worked as an editor. Both of the parallel text structures (the study includes articles by other authors published in the contemporary Slovak and Czech print media) feature extending the time period of a certain „historical imagination“, as noted by Paul Ricoeur in the case of various forms of remembering dated events. The memory of the author as the subject finds itself in the centre of the parallel structures, which results in individual chapters of the literary text alternating with comments from the magazine like in a collage. This may be an additional way of restoring the subject´s stances on culture, which are naturally filtered through its own personality. However, the study is primarily based on the reality generated by the chronologically organized memoir prose, which is hypothetically supposed to have tried to capture the history of the particular period of time in writing. The result of it is the interpretation of history reflected on by an individual. What might be useful in this situation is – in my opinion – to examine the issue of an unreliable narrator in autobiographical literature.

14

PRÍBEH SLOVENSKÉHO INTELEKTUÁLA AKO SPOLUTVORCU, NÁSTROJ I OBEŤ AUTORITATÍVNEHO REŽIMU VOJNOVÉHO SLOVENSKÉHO ŠTÁTU

75%

Jaksicsová V.

Historický časopis (Historical Journal)

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2009

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vol. 57

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issue 2

299-327

EN

The study analyses an interesting problem from the point of view of knowledge of the position and direct political engagement of the Slovak cultural elites not only in general, but especially in the conditions of the authoritative regime of the Slovak Republic of the 1939-1945. The authoress does not perceive the cultural-historical reflection of this phenomenon in isolation in the relatively short period of modern Slovak history, but in continuity with the development of the post-revolution period of the First Czechoslovak Republic (1918 - 1939), that is from the period of the establishment of the modern Slovak nation. She also expresses a view on the unteachable repetition of this phenomenon in the subsequent post-war totality communist regime. She also observes that this phenomenon, namely the direct entry of the cultural elites into politics, is especially characteristic for totality regimes, where it usually acquires negative features, by which the participants are placed in insoluble intellectual and moral dilemmas. This marks usually not only their creative work, but also their destiny in life. This gives the problem not only a historiographic character, but also a timeless dimension.

15

REFLECTION ON THE THEORY OF OPERA AND THE COLLECTED ARTWORK BY THE REPRESENTATIVES OF FORM AESTHETICS OF THE 19TH CENTURY (Reflexia teorie opery a suborneho umeleckeho diela u predstavitelov formovej estetiky 19. storocia)

63%

Blahynka M.

Slovenské divadlo (Slovak Theatre)

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2009

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vol. 57

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issue 4

300-305

EN

The study analyzes the view on the opera, musical drama and problem of art fusion issues given by the aestheticians Eduard Hanslick, Otakar Hostinsky and Josef Durdik. The view on Richard Wagner's incentives on the theory of opera, musical drama and collected artwork shows that it is not always the material of art works which is crucial, but also the way they are composed and presented. This position on the aesthetics and art theory was attained by structuralism and based, among other things, on the criticism of the form aesthetics.

16

THE INNER EMIGRATION AS A GESTURE OF FREEDOM (DOMINIK TATARKA AND LUDVIK VACULIK AFTER 1968) ('Vnutorna emigracia' ako gesto slobody (Dominik Tatarka a Ludvik Vaculik po roku 1968))

63%

Batorova M.

World Literature Studies

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2009

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vol. 1(18)

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issue 2

58-75

EN

The fundamental difference between the Slovaks and the Czechs after the political normalization in 1968 and later during the times of consolidation lies in the carriers of alternative culture and their contribution. There were self-educated intellectuals and university-educated scholars in Bohemia such as V. Havel, J. Grusa, L. Vaculik, J. Patocka or M. Machovec. However, these were rather thinkers than artists, who were in minority. In contrast, Slovakia had mainly artists and academics in various fields, to which they often remained confined, as well as catholic intellectuals (J. Korec, F. Miklosko, etc.). They published the results of their free analyses in Samizdat at the end of the 1960s. The only exceptions before 1968 formed discussion groups, which were organized under the name of a socialist institution and which went underground during the time of political consolidation, as well as the candle demonstration for religious freedom in Bratislava in 1988. Dominik Tatarka was the major figure of Slovak dissent. The study focuses on Tatarka's aesthetic and sociological essays about the genesis and history of the nation and on his authentic notes that bear witness to the times he lived in. The study also follows Tatarka's life after 1968. All manifestations of alternative culture in Slovakia have rather the character of artworks than of theories of artistic or political orientation. Although this artistic act had its function and impact, it was not subsequently used as an idea pool. Tatarka, with his 'action art', and using his own person - 'body art', had a great impact on engaging the masses of people, arousing their feelings, and sense of togetherness. The resistance movement against the political powers materialized in the form of an alternative art, in the visualization of thought in the unofficial visual arts. However, in Slovakia the artistic gesture remained without the subsequent interpretations that would verbally grasp the essence of the artistic accomplishment, that would comment on it as a stimulus, as a political action, and thus properly anchor its meaning.

17

VRBACKÝ'S TRANSLATIONS ON THE SLOVAK AND YUGOSLAVIAN STAGES BEFORE 1945 (Vrbackeho preklady na slovenskych a juhoslovanskych scenach pred rokom 1945)

63%

Jankovic J.

Slovenské divadlo (Slovak Theatre)

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2009

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vol. 57

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issue 4

270-283

EN

Although born in the United States, Andrej Vrbacky (1908-1974) came from the Slovak Lowland. His parents returned to Vojvodina shortly after his birth. From his early years, Vrbacky worked on two-way Yugoslavian-Czechoslovak route in two parallel professions - as a journalist and as a translator. He had wide contacts, broad thematic coverage in journalist and translational activities. Vrbacky lived in Yugoslavia, but it was not in the way of his cooperation with Bratislava and Kosice theaters. From 1933 to 1945, he was the main supplier of translations for Slovak professional stages - he prepared translations for 13 productions. The bibliography for the years 1938-1945 contains 54 entries of book translations and professional stage productions, and there are eighteen entries for the name of Andrej Vrbacky, representing 33% of the total production - no other translator was involved in the total production of translations from Croatian and Serbian on such a scale. On the other hand, he translated Ivan Stodola's plays Jozko Pucikk and His Career, Tea at Mr. Senator's, Bankinghouse Kuwich and Comp. into Serbo-Croat. Vrbacky's productivity and basic features of his translation program, or rather translation strategy, are evident throughout the all fields of dramatic arts - the author does not mean only translation of dramas that came out in the press and staged in amateur theatre, but also Vrbacky's pioneering collaboration with the Slovak Radio, which he supplied with many translations and his own adaptations of dramas written by South Slavic authors. After the period presented in this article, Vrbacky still worked as a journalist and a translator and until his late years he was a productive and inventive translator. Ample translational and popularizational work of Andrej Vrbacky is an important pillar of Slovak - Yugoslavian relations of the 20th century and the extraordinary contribution to Slovak culture and the culture of South Slavic nations.

18

K RECEPCII KULTÚRNO-KRITICKÝCH TEXTOV A. MATUŠKU Z TRIDSIATYCH ROKOV 20. STOROČIA V SLOVENSKOM A ČESKOM KULTÚRNOM PROSTREDÍ (TIDO J. GAŠPAR, FERDINAND PEROUTKA)

63%

Bystrzak M.

Slovenská literatúra (Slovak Literature)

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2016

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vol. 63

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issue 2

81 – 103

EN

The present literary historical study focuses on reconstructing the outer circumstances of the cultural life in the first half of the 1930s, which had a significant influence on reception of Alexander Matuška´s early work in the Slovak environment. The study consists of two chapters – the first one deals with an attempt at unifying the Slovak cultural environment on the national basis in the name of the slogan by Tido J. Gašpar „Dajme sa dokopy“ („Let´s get together“), the other one presents Slovak polemics concerning the Czech monthly Přítomnost, which Matuška cooperated with in the 1930s. The material resource of the research is provided by selected society and culture magazines, which were used as a platform for the clashes of world views and were the most influential media of the times. (Přítomnost, Slovenské pohľady, Elán, DAV, Pero, Nový svet, LUK etc.). Against a background of the selected polemics over Alexander Matuška, which also involved Tido J. Gašpar and Ferdinand Peroutka, the author of the study takes account of the ideological clashes in the Slovak cultural life of the 1930s. What becomes the centre of attention is the conflict between the Slovak and the Czechoslovak identities and the confrontation between the modern paradigm of Slovak culture and its traditional form, i.e. arguments between the progressive and conservative parts of the Slovak cultural elites. Matuška´s juvenile critical gesture along with the reactions it triggered is thus interpreted as a part of wider discourse structure – intense contemporary discussions on the cultural dimension of the so called „Slovak issue”.

Refine search results

PIESNE LETNÉHO SLNOVRATU NA SLOVENSKU AKO SÚČASŤ SLOVANSKEJ KULTÚRNEJ TRADÍCIE

NA RUBE SPRÍTOMŇOVANIA IDEÁLU (MELANCHÓLIA V DISKURZE SLOVENSKÉHO LITERÁRNEHO REALIZMU)

INTERKULTÚRNE ASPEKTY V TRADÍCII SLOVENSKÝCH A ČÍNSKYCH MIEN

IDEOLOGICAL INTERPRETATIONS OF CYRIL AND METHODIUS TRADITION IN SLOVAK HISTORY (Ideologicke interpretacie cyrilo-metodskej tradicie v slovenskych dejinach)

LITTLENESS OF THE CULTURE IN THE MIDDLE EUROPE, FOR EXAMPLE 'Slovensko a jeho zivot literárny' (Slovakia and Her Literary Life) by Jozef Miloslav Hurban

ALMOST FORGOTTEN PUBLISHER LEOPOLD MAZAC (Takmer zabudnuty nakladatel Leopold Mazac)

KULTÚRNE DEDIČSTVO VOJVODINSKÝCH SLOVÁKOV V KONTEXTE SLOVENSKEJ KULTÚRY

MIGRÁCIA TALIANSKEJ KULTÚRY DO SLOVENSKÉHO PRIESTORU

V ZÁUJME STAROSTLIVOSTI O "NAŠE" AVANTGARDY: ESTETICKÉ, AXIOLOGICKÉ A UMELECKO-TEORETICKÉ POLOHY KRITIČKY A KUNSTHISTORIČKY IVY MOJŽIŠOVEJ

BYZANTSKO-SLOVANSKÁ TRADÍCIA V STARŠOM OBDOBÍ VÝVINU SLOVENSKEJ KULTÚRY

SLOVAKISTIKA V ROSSII: KRATKIJ OBZOR

THE DEVELOPMENT OF SLOVAK PROFESSIONAL ACTING (Experiment with MARSKA) (K vyvoju slovenskeho profesionalneho herectva (Pokus s Marskou))

SPOMIENKY REDAKTORA (DRUHÁ SPOMIENKOVÁ KNIHA JÁNA SMREKA)

PRÍBEH SLOVENSKÉHO INTELEKTUÁLA AKO SPOLUTVORCU, NÁSTROJ I OBEŤ AUTORITATÍVNEHO REŽIMU VOJNOVÉHO SLOVENSKÉHO ŠTÁTU

REFLECTION ON THE THEORY OF OPERA AND THE COLLECTED ARTWORK BY THE REPRESENTATIVES OF FORM AESTHETICS OF THE 19TH CENTURY (Reflexia teorie opery a suborneho umeleckeho diela u predstavitelov formovej estetiky 19. storocia)

THE INNER EMIGRATION AS A GESTURE OF FREEDOM (DOMINIK TATARKA AND LUDVIK VACULIK AFTER 1968) ('Vnutorna emigracia' ako gesto slobody (Dominik Tatarka a Ludvik Vaculik po roku 1968))

VRBACKÝ'S TRANSLATIONS ON THE SLOVAK AND YUGOSLAVIAN STAGES BEFORE 1945 (Vrbackeho preklady na slovenskych a juhoslovanskych scenach pred rokom 1945)

K RECEPCII KULTÚRNO-KRITICKÝCH TEXTOV A. MATUŠKU Z TRIDSIATYCH ROKOV 20. STOROČIA V SLOVENSKOM A ČESKOM KULTÚRNOM PROSTREDÍ (TIDO J. GAŠPAR, FERDINAND PEROUTKA)