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Салоникийские братья святые Константин-Кирилл и Мефодий прочно вписаны в нашу религиозную, национальную и культурную традицию. Первые их художественные изображения связаны с эпохой национального возрождения в XIX веке. До этого времени их художественное воплощение прошло сложный путь развития, который зависел не только от стилистической манеры, но и от политической ситуации в обществе. В этой статье даем основную информацию о начале их художественного изображения и жанрового развития в перво ой половине ХХ века. Мы покажем две манеры: реалистическую и экспрессивно-абстрактную, которые являются основными линиями в произведениях художников. Основная идея статьи - демонстрация этой проблематики на примере авторов, работающих со 2-й половины XX века до первых десятилетий двухтысячных. Выбранная тема будет развита на материале плоскостных изображений (живопись, графика) путем описания стиля, композиции, атрибутов и т.д. Будут использованы только художественные произведения словацких, или в Словакии живущих авторов, относящиеся к церковной традиции западного обряда. Художественные изображения, связанные с восточной церковью - иконы, не являются предметом данного исследования. [ABSTRACT FROM AUTHOR]

In the article, we focused on the aspect of humour in the contemporary Slovak media discourse through the prism of the humorous potential of intertextuality. In order to grasp manifestations of intertextuality and understand how the intertextual joke functions, we turned to the concept of verbal and non-verbal precedent phenomenon (as the intertextual code of the linguo-cultural society) established in the modern Russian scholarship. Through the covers of the popular Slovak weekly .tyždeň from 2014-2019 (in total 271 issues of which 90 have an intertextual nature, and 62 of 90 "intertextual covers" can be characterized as "intertextual jokes"), we analyze what types of precedent phenomena are most commonly used in the recent Slovak creolized text and what methods of working with intertext are conducted in order to achieve the intertextual joke. We have come to the conclusion that "the effect of defeated expectation" and the creation of the inconsistency of the connotative meaning of the precedent phenomenon and the situation (context) in which it is used, are the most frequent methods of achieving the intertextual joke. It was interesting to discover that for the deciphering of intellectual "intertextual riddles" with a humorous effect, Slovak authors predominantly provide the Slovak reader with precedent phenomena connected not with the Slovak, but with the European or worldwide cultural space, or that the visual precedent phenomena are more dominant over the verbal precedent phenomena in conduction of the intertextual jokes in the creolized texts. [ABSTRACT FROM AUTHOR]

Copyright of Slavica Litteraria is the property of Masaryk University, Faculty of Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The paper focuses on tracking the idyllic topoi in historiosophical work by Jozef Miloslav Hurban Slovensko a jeho život literárny/Slovakia and its Literary Life, in which Slovak literary science emphasized the idea of continuity of the development of Slovak culture and literature. The deconstruction of the idyllic topoi shows that it is the idyll that is the important part of the ideological construction of Hurban´s work. The idyllic topoi in connection with mystification of the past enabled him to create the idea of continuity between the present times and the Great Moravian cultural legacy. The idyllic codes can be found in Hurban´s depiction of the Slovak territory, Slovak nation, and its cultural evolution. The ethic and esthetic values of the idyll became the base of Slovaks´ created collective identity. The idyllic language is part of the Romantic national myths, especially the myth of folksiness, the Great Moravian myth and the myth of the thousand-year-long yoke. Hurban´s idea of continuity of national culture, the connection between the „cradle of Slavs“ and the writer´s present times, and especially the utopia of Slavic future in the form of „Slavic heaven“ is based on idyllic topoi and Slovak Romantic myths. [ABSTRACT FROM AUTHOR]

Copyright of Slavica Litteraria is the property of Masaryk University, Faculty of Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Slavica Litteraria is the property of Masaryk University, Faculty of Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Slavica Litteraria is the property of Masaryk University, Faculty of Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Croatica Christina Periodica is the property of Croatica Christiana Periodica and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article examines German-Slovakian literary relationships between the years 1780 and 1850 and discusses books that have been translated from German into Slovak as well as from Slovak into German including works by Christian Fürchtegott Gellert, Juraj Tranovský, and Friedrich Eberhard Rochow. The author contends that a hallmark of Slovakian writers in the 18 th century is the influence of German protestant rationalism on their literature. Slavic cultural influences, as well as Czech and Bohemian literature, are additional topics considered.

The article presents a brief profile of Slovak author Daniel Hevier and his works. Hevier was born in 1955 in Bratislavia, Slovakia, and studied Slovak language, literature, and aesthetics at Comenius University in Bratislava in 1980. When he was just eighteen, he published his first book. It is said that his influence emanates throughout Slovakia.

The article features Ján Uliciansky, an author from Slovak Republic. Uliciansky is considered a central figure in the republic's children's literature, having been awarded Slovakia's highest commendation, The Triple Rose, in 1998. His book themes, influenced by his experience in drama and stage direction and tales of his grandparents' travels, depict children as human beings who long for spiritual union with others in solving ordinary problems.