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Although born in the United States, Andrej Vrbacký(1908-1974) was a Lowland Slovak. His parents returned to Vojvodina shortly after his birth. For the shaping of a journalist and a translator Andrej Vrbacký had utmost importance not only Slovak- Serbian bilingualism, but also the tradition to exercise it – I want to remind that until the half of interwar period most of translations from Serbian and Croatian was done by Lowland Slovaks or Slovaks with permanent residence in the Lowland. From his early years, Vrbacký worked on two-way Yugoslavian-Czechoslovak route in two parallel professions – as a journalist and a translator. He had wide contacts, broad thematic coverage in journalist and translational activities. Vrbacký lived in Yugoslavia, but it did not stand in the way of his cooperation with the Bratislava and Košice theaters. From 1933 to 1945, he was the main supplier of translations to Slovak professional stages – he prepared translations for 13 productions, while only 5 translations of all other authors was staged. 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 Vrbacký, 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 our Ivan Stodola‘s plays Jožko Púčik and His Career, Tea at Mr. Senator’s, Bankinghouse Kuwich and Comp. into Serbo-Croat and these plays were staged on nearly all the professional stages of then- Yugoslavia. Vrbacký‘s productivity and basic features of his translation program, or rather translation strategy, are evident throughout the all fields of dramatic arts – I do not mean only translation of dramas that came out in the press and staged in amateur theater, but also Vrbacký‘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 essay, Vrbacký still worked as a journalist and a translator and until his late years was a productive and inventive translator. Rich translational and popularizational work of Andrej Vrbacký is an important pillar of Slovak- Yugoslav relations of the 20th century and the extraordinary contribution to Slovak culture and the culture of South Slavic nations.
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The philosophical concepts of Gottfried Leibniz, Henri Bergson and Gilles Deleuze, and especially parts that contribute to development of theoretical thinking about film became the inspiration for writing this study. Leibniz writes about perception and aperception as two fundamental moments of cognition of the external (object) and the internal (subject). Identification occurs during the impact of film illusion on perception, that is identification of perception of sentient (viewer) and projection, that is perceived (film images). Due to identification with film, a viewer is able to respond to the film content authentically and realistically. Extent of identification, which is the essence of film experience, is one of the ways of how to approach the understanding of film reality. The second way is the realization of this relationship as something unreal and illusive. This knowledge takes place in the act of aperception, when we recollect our original identity. Then the memory restores us to our original subjective „I“, which was temporarily forgotten as our senses were under the influence of film images. The film is depleted of the basic assumption of experience if it does not offer adequate forms of subjectivisation and is not seen as the game with identification. Subjectivisation is a basic condition of recognition of film work. It is created around the chronological image-concept (main character). It is essential for the perception of film as it extends into the affects and subordinate consciousness and bring sensational colourfulness into the experience of the film’s story.
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The common feature of the Slovak authors active in the 1990s appears to be the tendency towards the thematisation of periphery – writings about the prospects of decadents, outcasts, unstable individuals, members of so called lower classes, prostitutes, porn actresses, oddballs, fools, depicting fetishistic and antisocial behavior. Prominent representative of young Slovak theatrological generation states that the characters of Slovak drama after 1990 represent a whole complex of diverse individuals reduced from dramatic characters to standardized ones. And we cannot even talk about the solid or fixed dramatic types. Sometimes there are the realistic characters presented, or the characters based on the real life people, who are hyperbolized, banalized and mocked. Other times, these are replaced by a certain „live“ metaphors. Their physical appearance, a visual side of the characters, is not clearly established, rather they can be distinguished through their speech (pronounced replicas and the way they talk). The vast majority of the characters are neutral or negative, while positive figures are the exception. There are uncertain concepts lying in front of us, helpless torsos of the dramatic characters with just their thoughts left (unhierarchized, unsorted, unfinished) and the submissive position to something that govern their inner world and which is most often skepticism, nostalgia, biologism (instinctiveness). The characters are passive, there is not the slightest tendency to change the circumstances which they experience. Either they suffer as they try to adapt to their surroundings, from which they differ or they are not aware of their otherness, or try to manipulate their social environment (they don‘t search for solutions, only combine|, and thus no change is possible. Following the line hero - antihero – non- hero, we believe that most of the characters can be categorized as non-heroes. We define nonhero as a person who does not want even fight, neither hold any opinion or clearly articulate a position on, but also against anything (that is no longer against something). For such a character, passivity is becoming the only activity which is capable of, not that he chose it to demonstrate his personal opinion or attitude. From the long term perspective, as the transformation of the character to non-hero continued he has become unsustainable in the story of drama, which on the other hand have had an impact on the method of the author. The authors often put their characters straight into the constructed or pre-set situations that result in further changes, e.g. in the structure, concept, dialogues and the language of drama. Dramatic characters were replaced by ambivalent, unsolid and uncertain types. Uncertainty is often complemented with them fleeing into the virtual or unreal and parallel (sometimes dream) world that these characters merge with reality, or are melt in a different reality.
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The study analyzes the views on the opera, musical drama and problematics of art fusion issues given by the aesthetics Eduard Hanslick, Otakar Hostinský and Josef Durdík. Views on Richard Wagner‘s incentives to the theory of opera, musical drama and collected artwork show 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.
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C. S. Peirce in his definition of the phaneron of the sign explains a representation as „that character of a thing by virtue of which, for the production of certain mental effect, it may stand in a place of another thing“. Media as a huge primordial forces set of virtual production of signs (exactly in the Peirceian way of thinking) must perform massive series of propositions too as an Instruction, how to perceive batteries of relations among signs and external realities to build a targeted interiority effect of signs in multilevel addressee – „a proposition is a sign separately indicating what it is a sign of“ (Peirce). A role of a systematic sign repertoir of media as a manipulative„super-sign“ (Eco) proposition is taken into consideration from point of view of its mental effects like psycho-contagiosity, projections, identifications, rationalisations etc.
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Advertising originated together with the beginning of the market in ancient society. Over the centuries the means of advertising have been changing and new methods have formed the profile of advertising till our days – to present system of marketing communication. The trends of the development of advertising in the XXI century are – the integrated marketing communication, transition to global marketing and advertising, transformations in the marketing mix (change of the importance separate activities), technical improvement of advertising vehicles and increase of importance of the social marketing. But the crucial role in all these fields still belongs to the particular advertising.
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In the globalization process peace is the fundamental value which should be protected by the governments and the individuals. The special attention goes towards politics and economy, culture and the crime. The media can become the main power in the formation of peace in the world but under condition that ethics will be their main and strong principle.
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