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The idea of a special issue devoted to the Central Europe was triggered last year, when various discussions were taking place in Slovenia within the framework of preparing and accepting the new Foreign Policy Strategy. The Central Europe as a region was on numerous occasions highlighted and put in the spotlight of special interest. Thus, the idea of collecting different views from the V4 and other countries on the role of Slovenia and the Central Europe became real, once it got the support of the International Visegrad Fund. We gathered papers from V4 countries, as well as from Slovenia, Austria, Canada, etc.
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The paper treats the subjects of the short comics by the young artists, members of the Co-mixer group. The authors and the manners in the five editions of the journal are different. Each of the editions is themed: communication, second-hand (goods and thoughts), faults, noise and traffic. Even though they are very different, all these young people seek in comics their own alternative domain of expression. Co-mixer was founded and had gained reputation as a subjective and private domain of quick and spontaneous response by the young authors. Their artworks could hardly class with the established comic genres such as graphic novels, comic strips in periodicals, comic-book novels, fantastic or historical comics. The conventions of the classical story proved to be inadequate to the quests of the young artists. The subjects they are interested in with their distinct subjectivity lead them to the gateway to poetry. That is why in more general classifications, the short graphical stories of Co-mixer fit in the larger and flexible group of the alternative comics. The article seeks to establish parallels with drama and the media of expression in animated shorts. Short comics and animated shorts are the two alternative options for a short plastic story. The young artists are equally successful in handling the languages of both different though akin arts. To them, comics are a wonderful alternative to the laborious and long technological process in animation, which does not necessarily mean that they compromise on aesthetics.
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Monograph was written by Mgr. Barbora Pavlíková, PhD. and Mgr. Roman Zima, PhD. This monograph brings a certain novelty, as the relationship between culture and politics remains unexplored in our conditions. In terms of thematic classification, the subject of the publication is on the border between cultural studies and political science.
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The paper interprets some of the main constructs of the message conveyed by Israeli director Ari Folman in his Waltz with Bashir. The subjects underling the storyline of the feature, are charged with enormous semantic strain. Seeking to metaphorically ease this strain, the author creates a multifarious and morphologically complicated work. The exploration is focused on just one of all the layers, i.e. on the interpretations of such a multifaceted phenomenon as traumatised personal and national memory. Using animation mixed in with documentary, the film presents the autoreflexive process of ‘archaeologising’ individual memory. Oblivion is a function equal in importance to remembering, but evoking the lost memories is a key to the rehabilitation of personal identity. Here the processes of recollecting are of paramount significance. Those devoid of their memories are devoid of their own past and in fact, of identity. And the entire reservoir of personal memory shapes collective memory. Principal points underscoring these interpretations in various theoretical contexts are defined in the article. Research tools of the fields of psychoanalysis, cultural anthropology, history and psychology are used for the purpose. Three keys to the subject terms are used: ‘memory’, ‘pain’ and ‘guilt’ for the needs of the illustrative stability of the text.
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The academic year 2015/2016 is for the Faculty of Political Science and International Relations quite special. Faculty is celebrating the 20th Anniversary since its establishment in 1995. Thus, for 20 years, this Faculty has been providing complex education in the fields of international relations, public and state administration, as well as diplomacy. Undoubtedly, it has its special place on the map of education not only in Slovakia, but also in the Central-European area. It is teaching future experts prepared for a wide-range of white-collar professions in the areas of Foreign Service and representation of the Slovak Republic in the international organisations and institutions, in the state and local administration, in political parties and interest groups, etc.
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The parameters of time and space are quite broad in the world of comics. The conventionality of the depicted representation allows for quick transition in space and over time. The panels of the comic strips could also be perceived as single forms of fine arts, whose two-dimensional composition is subjected to all fundamental laws of fine arts. Still, with the succession of several such frames one after another their function is complicated. Now they already create an illusion of a dynamic composition, showing key moments of a motion through space and over time. The succession of the frames in itself suggests the development of a certain element (motion, character, space or time). The artistic time continuum in comics exists like an illusion, as a result of the motional, behavioural and even historical experience of each of us. Time and motion exist mostly in the imagination of artists of comics and their proper perception by readers underlies a successfully told depicted story. The artistic time continuum in comics (very much like that in animation) often stops going in only one direction and runs backwards. The succession, spatial and causal relationships are broken. Time is now a vector. Still, it has to be well organised and structured to be perceived properly.
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The article aims at giving an idea on how the Old Testament compilation known in the Byzantine juridical literature as Νόμος Μοσαϊκός (Nomos Mosaïcos), or Moses' Law (Laws), was received and transmitted in its Slavonic translation. The analysis is focused on the 31 oldest manuscript (Ilovica copy from 1262) of St. Sava's Zakonopravilo (Legal Code), known as being the South-Slavonic Krmcija with interpretations. In this fundamental compendium for all Slavs the Nomos Mosai'cos is the 48th title in the part of the manuscript copied by the priest Bogdan (ff. 249v-255r). In comparison to about 40 Byzantine copies from the 11 th-16th centuries the Slavonic text shows two main typological peculiarities: in the Slavic milieu the Nomos Mosai'cos shares the same independent text history and translation as the other secular law texts appended to the Byzantine Ecloga (Procheiros nomos, Nomos Georgikos as well as the Ecloga); it was copied in voluminous codices since the Krmcija remained the primary and original textual environment for the Old Testament juridical norms for the Slavs. The linguistic analysis shows two main tendencies: an undisputed connection with the Byzantine prototype that was followed, and an independent and recognizable technique of translation that characterizes the Zakonopravilo as a whole. The early date of the Slavonic translation and its preservation in a copy one century prior to the oldest known Slavonic translations of the Pentateuch requires Nomos Mosai'cos to be taken into consideration as a reliable source when studying both Biblical and juridical aspects of the Old Testament in the Slavonic written tradition as a whole. It must also be considered when examining the mutual relation of the text of the Zakonopravilo as a whole, the Slavonic Ecloga and the Farmer's Law.
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On 22 and 23 October 2015, Security and Defence Department of Armed Forces Academy of General M. R. Štefánik in Liptovský Mikuláš, Slovakia organised an international scientific conference "National and International Security" already for the 6th time. This traditional conference was organised under auspices of the State secretary of the Ministry of Defence of the Slovak Republic Ing. Miloš Koterec and Chief of the General Staff of the Armed Forces of the Slovak Republic LtGen Ing. Milan Maxim. Five representatives of important university institutions from Slovakia, Czech Republic and Poland were guarantors and sixteen important experts in the domain of national and international security from Slovakia, Czech Republic, Poland and Ukraine created Scientific Committee.
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Though the so-called ‘stories in prints’ were pioneered in 1830 by Swiss writer Rodolphe Toepffer, the US are believed to be the birthplace of comics. Comics emerged in the late nineteenth century to meet the need of visual communication with the influx of non-English-speaking immigrants. The framed illustrations were graphical metaphors of the writings. Great film director Alain Resnais called comics the ‘essence of framed and privileged moments’. It is the time factor that unites comics and film. The earliest authors of animated films have created comics as well. With its structure of representation, comics influenced feature film and were used to diversify media of expression in animated films. The storyboard could be said to be the common denominator between comics on the one hand, and feature and animated films on the other. A storyboard is a visualized rendering of a written script, which goes beyond the common comics. A storyboard offers the composition of the shots and the range of colours therein, the point of view of the camera, the links between the shots … Storyboard artists on animation films develop further the character types, adding new storylines to the action and enriching it with a number of gags. The power of comics, defined by some as the ‘ninth art’, shows also in its impact on contemporary fines arts. Opening up new horizons for the artistic potentials of comics is a task to be undertaken both by the contemporary and the future generations of artists.
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Presently, new technologies and new modes of using information make the interest of the audiences ever more volatile and passing. Attracting and maintaining their interest necessitates new methods of creating content in new media formats, transmedia storytelling. Comics are media using two semantic systems and a succession of representations, which makes them quite filmable. Seriality is typical of comics and for this reason some of the most successful transmedia projects venture to transform comic scripts into multi-platform scripts in development. The paper analyses the potential of comics as a basic content of transmedia projects seeking to define the position of comics within the new media reality, their role of a basic content and their function of a multi-platform script in development. The study deals with the successful comic scripts that have become successful transmedia projects, using the example of the film universe of marvel. It’s in fact a series of movies about superheroes, comics and shows, based on characters and subjects of marvel’s comics. Various media formats merge and succeed each other in transmedia storytelling, incorporating new types of media on the way. That is diversifying storylines rather than media. Still, this diversification is not final, alternating with mergence of storylines in a single story: departure from the original script is not typical of transmedia.
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Cinema’s mass popularity makes it a perfect venue for getting a message across out to global audiences. That is the reason why marketologists deem it to be a good promotional medium. Film audiences could be treated as ready target groups, especially when the genre of the movie is clearly specified allowing for the inclusion of various indirect advertising messages. This practice is increasingly massively applied on a larger scale to a specific niche in advertising business, i.e. product placement. Striving to benefit additionally from the communication in product placing, marketologists and producers avail themselves of diverse auxiliary promotional programmes. These programmes, generally called cross-promotion, combine two non- competitive brands/products in a promotional effort towards achieving mutual benefit in accordance with the set communication or sales goals. The article analyses the cross- promotion campaigns as a most popular tactic, used in product placing in American film. The paper seeks to prove that marketing cooperation between producers and advertising providers might well gain access to a wider group of people, who have not been deemed to be potential clients. Carrying out a cross-promotion campaign promotes any new film, expanding the markets and lending more complete, valuable and desired image to the brand.
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The article seeks to study the communication of marvel entertainment through social media, its role and characteristics. The structure and tasks are defined by the goal: definition of comics, definition and examination of the characteristics of some social media and their role in the marketing communication of the company. The object of the study is social networking. Media communication is a global topic and would take too much time to study, which is not within the capabilities of only one doctoral student. The assumption is that social media have a positive impact on the communication of marvel entertainment. On its behalf, marvel has to take into consideration this fact and use social media for both feeding and extracting information. The analysis aims at displaying the opportunities provided by social media both to the company and to its audiences. A question is raised: whether the communication model is influenced by social media and, if so, how do audiences take advantage of this fact? The article studies examples related to the integrated communication of the company. The opportunities, which the digital revolution gives both to cinema industry and to the World Wide Web, are explored. The examples would display the digital communication strategies of marvel and how they foster better understanding of users’ needs.
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