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Kognitívna disonancia je psychologickým javom známym každému človeku: psychologické pnutie, pocit napätia, ktoré vzniká, keď sa dozvieme informáciu, ktorá je v ostrom rozpore s našimi predstavami či svetonázorom.
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Based on the authors own research, the study Noise in Slovak Animated Cinema aims to provide characterization of sound design and noise in particular in Slovak animated films from the 1940`s to 2000 and if possible, define the stages of its development. The author first mentiones the fact that sound has aesthetic value of character nature. She defines the key terms in correlation to brief analysis of the films or in correlation to their categorization. The terms „ stylized „ and „ realistic „ create the basic reference frame that allows the author to define the changing sound trends in the examined films. The two terms take into account the relationship of film animation to reality as well as to the conventions of other film genres. Using the semiotic paradigm analysis and communication test, the author determines how the choice of particular sound affects the scenario of film interpretation. The conclusions of the study refer to the importance of 1989, that brought beside the restructuralization of film production also aesthetic changes in the understanding of sound design, resulting from the different requirements of the animated film genre and the spread of new technologies. With the support of their teachers, these changes were promoted by the fresh graduates from Academy of Performing Arts in Bratislava.
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Knowledgeable about a broader theatre context, the author of this paper interprets the text of Peter Himič’s book Divadelný život Prešova. Od počiatkov do polovice 20. storočia [The Theatre Life of Prešov. From the Beginnings to the Mid-Twentieth Century]. Despite the fact that the author’s comments are rather reflexive and fragmentary in nature, he attempts to capture the dominant features of theatre life in the given coordinates. Examining artistic and non-artistic determinants, he focuses on the main movements in the town’s theatre life. Until the first professional theatre company was founded, the theatre life had been in the hands of amateur actors and their troupes (for example, Jednota Orla, the local subsidiary of Matica slovenská, a theatre of company sergeants major stationed in Prešov). At the time of the wartime Slovak state, the Záborský theatre ensemble dominated the struggle for a permanent stage. The tumult of war times and post-war changes also marked the beginnings of professional theatre in Prešov. A fully professional theatre was finally established in 1950. The author concludes his research with looking into the theatre seasons until 1955.
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This study brings two kinds of findings – methodological and aesthetic. It presents the results of applying a neoformalist approach to the examination of animated films by means of protocol analysis and the characteristics of films by three generations of Slovak animators who made their authorial animated films after 1989. The research focuses almost exclusively on the analysis of the stylistic features of selected films.
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Postoj človeka voči hercovi má dva póly: jeden je nadradený a nedôverčivý, ten druhý vychádza zo závisti. Tento postoj nie je nič nové pod slnkom: oba póly sú súčasťou našej trvalej reflexie a fascinácie herectvom od jeho pradávneho brieždenia a zrodu pred viac ako 2500 rokmi, keď sa divadlo začalo formovať z antických dionýzií.
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This study outlines the tradition of translation of ancient Greek drama in Slovakia. Most of the existing translations were made with a view to being staged by Slovak professional theatres, which had influenced their final literary form. There is a difference between translation for stage and translation for reading purposes only. The text of a drama is an essential medium for the director as the creator of a theatre performance; as a result, it must meet the requirement of currency and the ability to communicate with the audience. An out-of-date or unsuitable translation may therefore pose a problem. The study uses excerpts from the translations of Sophocles’ Antigone and Oedipus the King to demonstrate ways of approaching the translation of such texts and the conventions that are connected with them.
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The phenomenon of community theatre emerged on the Slovak theatre scene approximately in the 1990s. The first attempts were connected with art therapy. Community theatre, in the sense of working with the community, for the community and to the benefit of the community, which works with minorities and marginalized individuals, gradually began to professionalize itself. Since then it has gone through complicated development and produced different offshoots. At present there are professional ensembles focusing on stage production, semi professional ensembles and ensembles which use theatre techniques for therapeutic rather than aesthetic purposes. The author of this study deals with the gradual differentiation and developmental metamorphoses of community theatre.
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This study analyzes the myth of Phaedra and Hippolytus from a social and political point of view. After a general introduction and an outline of the methodology applied in the study, different versions of the myth are presented. The first part deals with ancient Greek and Roman dramas – Hippolytus by Euripides and Phaedra by Seneca. The author then turn his attention to some French titles: Phaedra by Jean Racine and Émile Zola’s novel The Kill. The final part compares Per Olov Enquist’s postmodern drama For Phaedra and Sarah Kane’s Phaedra’s Love. Besides interpreting and comparing these texts, the author also explores the evolution and the characters of the myth.
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This study focuses on three instances of blasphemy in contemporary Russian culture: an artistic civic act (the performance of the Pussy Riot group in the Cathedral of Christ the Saviour), musical theatre (the directorial interpretation of Richard Wagner’s opera Tannhäuser) and theatre texts (plays by the contemporary Russian playwright Ivan Vyrypaev). Different forms of blasphemy in particular works of art or artistic acts, as well as the consequent social discourse about them or social political impact on the main parties involved, give a picture of the social and political situation in Russia, the relationship of art, politics, power and censorship, as well as of the ethical values of contemporary society.
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Jednou z odpovedí na režisérizmus je herecká monodramatická tvorba. Lenže žáner monodrámy je ťažký, jeho riziko je v tom, že sa v ňom niet za čo skryť, čím si pomôcť. Obnažená forma divadelnej práce je nástrojom intimizácie kontaktu s publikom. Nevyhnutne so sebou nesie návrat k hercovi ako základu divadelného diela, a spravidla aj akcent na verbálnu zložku. Potenciál sólovej kreácie je v možnosti nastoliť otázku o tom, čo je nevyhnutné pre divadelnú komunikáciu. Vracia nás tak k antickým počiatkom divadla, kde sa postavy z chóru vynárali po jednej, ako i k problematike javiskovej reči. Na rozdiel od aischylovského herca je v súčasnej monodráme herec spravidla zbavený aj opory v chóre.
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This article examines the ethical dimensions of the Other, as it is configured in the discipline of Comparative Literature, particularly as it is practiced in the US in the recent proliferation of critical schools that claim to engage alterity in a respectful and inclusive fashion. It begins with a summary of the philosophical employments of the Other dating from the Greeks through Existentialism. It then investigates the role of the Other in the hermeneutics of Hans-Georg Gadamer and Paul Ricoeur and the historiography of Michel de Certeau. Examinin ghow these conceptions of alterity have impacted upon literary studies, attention isthen turned to the work of Emmanuel Levinas. How can the thoughts of these various thinkers contribute to and/or reanimate current theoretical approachs to “reading” the Other that appear to have become the goal of literary studies today?
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Hyperrealistic replicas of the human face owe their documentary value to the belief that they result from mechanical reproduction. The idea that a picture is automatically produced through a process of imprint taking is often enough to convince the viewer of its truthfulness and reliability, thus contributing to giving images an aura of authenticity and to creating the myth of pure objectivity. But what happens when the link between hyperrealism, mechanicalness, and truthfulness is disentangled? In 2017, French artist Raphaël Fabre successfully applied for an ID card using a computer-generated picture where the real face was, in fact, an artificial, synthetic mask. Starting from this case study, the essay tackles the issue of the increasing overlapping of actual reality and digital (un)reality, particularly focusing on the concerns raised by the confusion between faces and masks caused by the rapid spread of so-called deepfakes in a world that speeds from documentality towards what I propose to call mockumentality.
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This essay reconstructs the genealogy of the electro-physiognomic experiments which Guillaume-Benjamin Duchenne conducted in the second half of the 19th century, and highlights their impact on the media dispositif of the early 20th century. The photographs in Duchenne’s Mécanisme de la physionomie humaine (1862) are discussed as part of an epistemological shift from the semiotic regime of expression to the medial regime of switching by which they are indissolubly connected to the history of galvanism and electromagnetism on the one hand, and to the history of hypnotism and Expressionist film on the other. Due to this perspective, a main focus of this article is the archaeology of Duchenne ’s special feature of the gliding cardboards that introduces the on/off operation of switching into both photography and “the body”, and its echo in films such as The Cabinet of Doctor Caligari (1919/20) or Frankenstein (1931).
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No matter how contemporary music videos differ across genres, aesthetic styles, and production background, they usually focus on the performer’s face. Exploring its opacity and agency, this essay argues that contemporary music video production replaces the face as an expression of the subject’s interiority and identity with a media-affective interface whose main function is to amplify the video’s work of audiovisual forms, performative mechanisms, and atmosphere. Through a close reading of the hip-hop video Chum by Earl Sweatshirt (dir. Hiro Murai,2012), I demonstrate how it generates the face as an audiovisual screen that absorbs, intensifies,and gives rhythm to both the moving images and sounds. Such desubjectification opens a way to rethink portraiture within the music video genre as a media operation undermining the traditional notions of representation, interiority, and identity in favor of unfolding its technological and affective links between sounds, moving images, and lyrics.
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In his oeuvre Francis Bacon hints at the fact that portraiture sacrifices the subject for the sake of representation. For this reason, portraiture as a genre needs to re-determine the conditions that originally shaped it. Through an analysis of the manner in which Bacon depicts his subjects I will argue that his portraits blur the boundaries between object and subject, portrait and viewer, in order to remodel conventional notions of portraiture. Through Gilles Deleuze’s theory on Francis Bacon, I will reinterpret Bacon’s works through the prism of Buddhism, arguing that understanding the works through Buddhist practices opens the possibility of a complete transformation of preexisting concepts which traditionally shaped portrait making.
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Review of: Slávka Kopčáková: Vývoj hudobnoestetického myslenia na Slovensku v 20. storočí. Prešov : Filozofická fakulta Prešovskej univerzity, 2013, 303 s. ISBN 978-80-555-0804-7
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The author focuses attention on the importance of the piano textbook Anweisung zum PianoForte-Spiel by Johann Nepomuk Hummel (1828). Associating himself with the bel canto technique and Mozart’s poetics, Hummel enriched the repertoire with pianistic figures and created a specific lyric-cantabile idiomatics, which had a marked influence on the generation of early romantics. The author defines the status of the Hummel textbook in the field of 18th and 19th century performance tractates. Particular attention is devoted to comparison with Franz Paul Rigler, from whom Hummel borrowed a number of examples, and also to comparing the performance ideals of Hummel and Beethoven, which became the basis for the paradigm of a new aesthetic ideal of piano playing, represented by Fryderyk Chopin and Franz Liszt. While Hummel gave essential stimuli to Chopin, Liszt took his inspiration rather from the poetics of Beethoven.
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This study deals with the genrification process on the example of the Slovak feature horror films of the last two decades. The text is based on the semantic-syntactic-pragmatic approach of the genre theorist Rick Altman. The article thus differs from the previous studies about Slovak genre creations because these focused on the pre-revolutionary period and the creators associated with it (Juraj Herz, Jan Švankmajer), neglected aesthetic analysis in favour of a pragmatic one, and paid attention only to academically recognized genres (social and historical drama). This study analyzes the non-textual level (promotion, reception) and the texts (semantic genre elements, syntax) of six selected works – Nič nekrváca večne (Nothing Bleeds Forever), Socialistický Zombi Mord (Socialist Zombie Massacre), Spiknutie (The Conspiracy), Zlo (Evil), Attonitas, Trhlina (The Rift). The analyses show that, through a phase of peculiar adjectives, and despite its hybridization, horror has become a well-established category, recognized by various groups of people. Despite its solid position, however, it remains a marginal genre due to its production, distribution, and aesthetic exclusivity.
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This study focuses on the first Slovak feature-length film Jánošík (1921) by the Siakeľ brothers. It conducts a historical analysis of the birth of the film and its anchorage in the socio-cultural context. At the turn of the nineteenth and the twentieth centuries and in the first quarter of the twentieth century, there were two crucial works that influenced the Jánošík film. Firstly, it was the novel Jánošík, kapitán horských chlapcov, jeho búrlivý život a desná smrť (Jánošík, the Captain of Mountain Lads, His Tumultuous Life, and Horrible Death, 1894) written by Gustáv Maršall-Petrovský. Although the film makers openly declared that the screenplay, written by Jozef Žák-Marušiak, was based on this novel, it is obvious that the plot of the film does not agree with that of the novel and that its other influential source was Jiří Mahen’s play Jánošík (1910), whose plot was adopted by the film a lot more prominently. Nevertheless, the author traces several common elements in the film and the novel, which he finds in the specific modernistic element in these two adaptations of the legend of Jánošík.
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