ESPES

6

Authors: Ihringová Katarína

The basic problem of contemporary art theory is a new focus on a image. This emphasis of visuality brings amongst other radical paradigms interdisciplinary impact to the contemporary culture, too. Not only humanity, but also natural scientic disciplines are able to find common fields of his scientific interest. The result is a profiling of new scientific discipline – neuroaesthetics. It's leaders came up with a bold statement that located the beauty center.

8

Authors: Sošková Jana

Based on the analyze of S. K. Langer ́s work, the author points out to her philosophical thinking principles that became the basis of her art concept. This American woman philosopher forms one of the American aesthetics posts. The author is going to depict the connections between Langer ́s philosophy of art and her „aesthetics of art“, being conceptually completed by her students, e. g. N. Goodman, A. C. Danto and others. The author is also going to pay a special attention to Langer ́s understanding of meaning in comparison with E. Cassirer, L. Wittgenstein, Ch. S. Peirce and A. N. Whitehead, who formed the theoretical background of her considerations. Towards the end itself, the author is going to show the possibilities of Langer ́s aesthetics applied on the 20th century art.

9

Authors: Migašová Jana

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

13

Authors: Mergeš Jozef

The paper deals with the visual composition of color and applying it to the art of cinema, highlighting the importance of color as an element in the mise en scène of a cinematographic work. Despite the fact that we live in a world composed of colors and perceive them in an active way, color as an aesthetic means of the film is not often taken as object of interest. It is mainly caused by secondary nature of colors perception of the cinematographic work at the expense of the picture as a whole. Color generally acts in the film realistically, and therefore rarely comes to the fore. A closer look at its function in mise en scène and narratives proves that the motivation of choosing colors in the film is clearly identified as conditional. This paper attempts to identify and summarize the typology of the above outlined motivations.

20

Authors: Makky Lukáš

The artistic production of prehistoric man takes very special status and place in the history and theory of art. Ever since the appearance of the first grand work and small sculptures, experts expressed interest in the understanding of prehistoric art. Its integration as a full artistic development period, however, was arduous and the most of magnificent artistic production stood at the threshold of the 20th century on the edge of acceptance and rejection. The effort to include a diverse prehistoric production to well-established and "traditional" concepts of art fails and become a problem in reflection and evaluation of prehistoric artifacts themselves. This article follows the theoretical art-historical literature of the Central European space describing prehistoric artifacts. The objective and the main effort of the author of this article, is to dissect and define the chronological phases of perception of prehistoric art and prehistoric production in the context of art history, to describe his place in art history, but also to evaluate the real degree of art-historical approach to the prehistoric artifacts. Given the diversity of artistic production, it will be necessary to monitor Central European context (even in a subject, even in the origin of individual texts) with an emphasis on the form of the cultural image of Slovakia and the chronically known theorists (J. Volko-Starohorský, B. Svoboda, K. Šourek, V. Wagner, V. Krička J, Dekan, K. Pieta, J. Eisner, M. Szabo, I. Hunyady, J. Chochorowski) complemented with the analysis of less well-known domestic and foreign works (F. Kubišťa, M. Vančo, A. Matejček, J. Kostrzewski etc.).