ESPES

7

Authors: Kopas Lukáš

The object of the paper is a reflexion of Aristotle ́s concept of mimesis as an artistic imitation of reality in Baroque Jesuit tragedy Trnava provenance called Švehla. The author aims to demonstrate how the personality of Ján Švehla is artistically captured in concerned school drama in historical context. It is based on comparison of Latin periochis of tragedy Švehla and available historiographical period source – the historical source text from the thirty first Bonfini ́s Decades of Hungarian History.

12

Authors: Makky Lukáš

Fine Art is complicated phenomena which often holds different issues and resolves different problems. Fine Art is also on the brink of “misunderstanding” and is often replaced in the perception by not so complex artistic – cultural objects. The main aim of the Artwork should therefore be to provide an environment or a possibility of intercultural, inter-media and interpersonal communication, and to offer a way how to express inner and cultural contents to different persons or cultures. There would be often a discussion about the importance of Fine Art, especially in present time, but also there would often be different ways how to understand each and one Artwork, and which issue is crucial in the aesthetic perception of Art. Present paper tries to analyze the main issue which could be understood as the origin of the misunderstanding of Fine Art: aesthetic interpretation. Even though, it looks like the act of interpretation is the one responsible for different meaning and countless readings of Artworks, this paper would like to analyze the real impact of interpretation and its connection to the misreading of Fine Art, and everyday communication as well. The main aim is to demonstrate the relation between interpretation and quality of cultural phenomena, and to illustrate how an aesthetic interpretation could remove caused interpersonal and social misunderstandings.

9

Authors: Haško Štefan

The main topic of the paper is the analysis of Wittgenstein’s (later) understanding of rules, i. e. their nature in terms of a paradigm of “language games” in the context of Kant’s ideas on the rules of art. The submitted paper is a continuation and elaboration of my research and reflections on Kant’s concept of genius, and partially, on Wittgenstein’s thought, presupposing a mystical aspect of the artistic sphere. The first analyzed connection corresponds with the theme of ineffability of rules as well as affinity of the ideas of both philosophers concerning the issue of the process of understanding rules, i.e. grasping them in practice. In the second, less extensive part I analyze the hypothesis for the dynamics of rules which is a natural consequence of a playful activity in the language use (Wittgenstein) or in creation (and reception) of works of art (Kant).

12

Authors: Bandurová Lenka, Šantová Katarína

The paper deals with the possible parallels between Heidegger's aesthetic thinking and aesthetics of the Bauhaus art and design. The authors examine to what extent could philosophy of given period interfere with the development of modern art, while exploring and analyzing different theses of theorists who have expressed on given subject. Heidegger wrote three key texts (Das Ding 1950, Bauen, Wohnen, Denken 1951, Die Frage nach der Technik 1954), which embraced the theory of design. The authors of the paper examine to what extent could Heidegger theses have an impact on contemporary product design.

20

Authors: Makky Lukáš

The most often and discussed issue in the analysis of prehistoric art is the problem of interpretation and the problem of understanding of prehistoric artistic artifacts. There are a lot of approaches, but the most popular from the aesthetic and artistic point of view is the interpretation of meaning of prehistoric art. In the present paper we would like to discuss the productivity of iconological and structuralism approach, especially in the interpretation of Celtic art from the area of Slovakia (Slovenska Nova Ves) with application on the statue of a boar. The main problem is the existence of Celtic myth in the written form, which allows us to understand mythological meaning, but also confuses us because of the apocryphal characteristics of this “tales”.

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.).

5

Authors: Kvokačka Adrián

Globalization trends of culture, the idea of multiculturalism, bringing and acceptance of foreign elements into the culture, open coquetry of the "West" with culture and arts of the "East", eclecticism, but also paradoxical what happened to be the fate of modern art after postmodern deconstruction of the meaning (including also the sense of Art) and the reduction of his function to ability to serve in variable updating roles towards individual and society, is 46 years after the release of books Asphyxiating Culture repeatedly bringing me to read and review it. The topic, therefore, is to examine the validity of Dubuffet appeal, its insertion into the broader context of the forms of "dehumanization" of art, but also review of the reference just in the context of relations culture - art. New search respectively the determination of periphery in arts and culture should besides unfinished theme energizing academic debate of last years, if not decades, thus defining theme of Art (it defines itself not only its center, but also its periphery), can and should briefly look at the issue of the institutionalization of art; the relationship of artistic production and its cultural context, which is not transferable; "foucaultian" power of discourse established by culture; extremely interesting affinity of art and advertising; aestheticism of culture; enforcement of discontinuity issues and pluralism as in the thought (philosophy, and culture in general) also within the artistic creation, namely for topics that Dubuffet advises and argumentations plays. Nearly half a century after his call and its final words -"therefore, our artistic production, which is not subjected to a thorough critique of culture and effectively not reveals the futility and absurdity, is no refuge for us" - we need to talk about our accountability. Dubuffet today.

8

Authors: Migašová Jana

The paper deals with the auxiliary field of Hermann Hesse work – fine art. Particular parts of the text map, analyse and interpret his fine art expressions. They are interpreted in the context with contemporary, developing German expressionism as well as in comparison with his literary language. Methods chosen for interpretation of his work are iconography analysis and psychology of depiction.

10

Authors: Peknušiaková Eva

The article analyzes the ad text as pop-cultural product, that can stand in its center - the mainstream or on the periphery. The text is approaching the issue from a broader culturological context, through the issue of mass and popular culture. Short analysis brings television advertising spot both as a common commercial product, and as a product of artistic value.

6

Authors: Glocková Mária

This work was created in merry Czechoslovak, and for a “Faustian” experiment also favoring sixties. In the hindsight we may call the Octagon (1962) of Ladislav Kupkovič, being the brightest artistic persona of then new music and the initiator of non-formal group Music of today, a parable of good and bad, not only in production but also in authors personal life. In the time of the creation and after a “little while” of liberty the author immigrated to West Germany and his work of art became a symbol of two phenomenon of an age that represented the social and also political relationships. They also documented the political animosities of seventies, creating the pressure from Kremlin and the society was under the influence of normalization.

9

Authors: Makky Lukáš

The story of Faust is a part of European culture and mythology for five centuries and modified and reflected looking of the society upon some key questions in various transformation. Faust has never been alone in his effort to reach an absolute knowledge and power, even at the expense of his own execration. Other iconic beings of folk literature or folk imagination and fiction following their own ambitions were ahead of him and followed him. The aspect of power as a dominant determinant of not only Faust’s effort became determining element of investigation in submitted article. Author accesses the problem of power in wider social-cultural contexts and looks for matter, origin and symptoms of its attraction following its transformation and possible aesthetical influence on the individual in the work reception and even in personal acting and creating of aesthetical preferences of the recipient.

10

Authors: Fulka Vladimír

Thomas Mann ́s novel Doktor Faustus. Das Leben des deutschen Tonsetzers Adrian Leverkühn erzählt von seinem Freunde (1947) arose from a cooperation between Th. Mann and and Th.W.Adorno. Adorno was not only a tutor in issues of the history of music, the theory of music and the aesthetics of music: he was in a sense, too, co-author of the novel: he was a „spiritus movens“ of the novel, who wrote analysis of music attributed to fictious musicians in the novel, to Leverkühn, Kretzschmar, and, of course, to Mefisto. We find a specific phenomenon of „fictious music“ in this novel. Adorno ́s task was to give a final version to Mann ́s notions and literary phantasies on music, to „compose“ and to depict non-existing compositions of a fictious composer Leverkühn. Adorno ́s „composition“ were devised in accordance to the real compositions of A.Schönberg and I. Stravinsky. Mann ́s/Adorno ́s fictious compositions are in the focus of many analysis of the novel and also the focus of this study.

10

Authors: Šantová Katarína

The article shows the way of explaining the four elements in the artwork Faust. There are more authors who claim that the times of Hegel and Goethe were the last period, during which were the four elements taken as a topic of philosophy and science. Goethe was a person representing the science and the art in one. Bockemühl is comparing the Goethe ́s steps of research to the four elements, His research of the scientific images were transported as symbols into the both parts of Faust. The article offers more opinions on the topic of the four elements: Sullivan describes Goethe ́s Witterunglehre, Kalnická writes about the water as a symbol of the female element, Jung analyzes Mefisto as an example of the temptation in the form of an attractive light (flame). The author is considering the option that Faust as a person may be a representative of the culture which stands as an opposite to the nature (elements). The four elements are Faust ́s competitor during his wandering. The last part of the text is concluded by three chosen illustration of the Faust. All of them were made in different times.

13

Authors: Fulka Vladimír

Thomas Mann ́s novel Doktor Faustus. Das Leben des deutschen Tonsetzers Adrian Leverkühn erzählt von seinem Freunde (1947) is one of the most known literary works of the 20th century. The creation of this novel was closely tied with an encounter of Thomas Mann with a philosopher and musicologist Theodor W. Adorno in their american exile during the World War II. Thomas Mann ́s novel represents literary fiction of Adorno ́s theory of music and musical aesthetics, as found in the study Philosophie der neuen Musik (1949).