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NESMRTEĽNOSŤ, MOC A DÉMONICKÉ SILY

100%

Makky L.

nr 2

52 – 60

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 transformations. 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. The 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.

INTERPRETÁCIA AKO PRÍČINA, ALEBO RIEŠENIE KONFLIKTU V KULTÚRE A UMENÍ

100%

Makky L.

nr 2

13 – 24

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. Therefore the main aim of the artwork should 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 analyse 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 analyse 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.

DILEMA (NE)DEFINOVATEĽNOSTI UMENIA

100%

Makky L.

tom 8

nr 1

7 – 19

The current form and transformation of artistic practice in the 20th and the 21st century caused some estrangement of the recipient and the art. The current discourse is therefore dominated by some distrust in defining the criteria of (not only) contemporary art, or even the dilemma of whether or not art has to be defined at all, mostly under the influence of Morris Weitz. Arthur Danto very aptly reminds that there is currently no way to distinguish art from objects that are not art, even though many theorists have tried to come up with a (normative) solution. The need to distinguish different objects in order to carry out the theoretical examination or to have a functional defining apparatus for criticism, or the exhibition practice is not necessary only on the semantic level. The aim of the submitted paper is therefore to offer a brief cross-section of theories, which, over the past sixty years, dealt with the problem of the definition of art and (re)appreciate/re-think the need for a functional definition of art as the determinant of adequate aesthetic theory.

KOMUNIKAČNÉ KOMPETENCIE PRAVEKÝCH ARTEFAKTOV

100%

Makky L.

tom 2

nr 2

41 – 50

The main issue of this paper is to present the communication in the broader context as natural activity and the process of intervention of the meaning through interaction between the creator and the recipient. In narrower sense, the work researches the possibilities and the competences of material objects, particularly prehistoric artifacts, entities within the frame of reference and their abilities to integrate into the communication process. The article puts paradoxical approach of art theorists, aestheticians and semioticists looking for the “language” of arts in contradiction through the parallels and continuities to structure of verbal language, at the expense of disinterested research of expression means of selected arts.