Annotations
| Nr. | Topic | Annotations |
|---|---|---|
| 1. | Carl Gustav Jung and Art | Carl Gustav Jung had a deep relationship with art, which he saw as a means of self-expression and a way to understand the unconscious. He saw art not only as an aesthetic phenomenon, but also as a psychological process that reflected archetypes, the collective unconscious, and individuality. According to Jung, art draws on the collective unconscious and therefore contains universal symbols (archetypes) that recur across cultures and history. Examples are his analysis of alchemical images, mandalas, or mythological motifs in art. Jung considered creative expression to be an important part of psychological growth. Art, literature or music allow one to process inner conflicts and connect with deeper layers of the psyche. He also used art in therapy, e.g. in active imagery, where patients drew or painted their inner images. Jung criticized abstract art, which he felt sometimes lost connection with deeper psychological content. On the other hand, he appreciated artists such as Pablo Picasso and Salvador Dali, who captured unconscious processes in their work. |
| 2. | Late Baroque and Rococo altars in Slovakia | The 18th-century altarpieces constituted one of the most prevalent types of artistic commissions of the period, and they continue to represent a substantial proportion of the cultural heritage. While knowledge regarding individual altarpieces is progressively expanding, the most recent systematic treatment of this subject in Slovakia occurred two decades ago and has not been subsequently updated (K. Chmelinová, Miesto zázrakov, Bratislava 2005). The development of altars in Slovak territory underwent a significant transformation in the second quarter of the 18th century, particularly concerning the works of G. R. Donner and his workshop. After examining the changes brought about by this phase, the dissertation project should provide a more comprehensive interpretation of the forms of late baroque and rococo altarpieces in our territory, emphasizing the second half of the 18th century. The analysis of this subject necessitates an examination of the convergences of artistic disciplines, chiefly sculpture, painting and architecture, in addition to the dissemination of motifs through printed media.The project's thematic focus can be more precisely delineated in terms of geography, time, typology, and other pertinent criteria. |
| 3. | Orientalism in 19th century art in Slovakia | During the 19th century, the phenomenon of Orientalism came to the forefront of the art scene. This was a relatively new approach to art, spurred on by the world of non-European countries, including Turkey, Morocco, India, Egypt and other areas. Artists were inspired by the richness of motifs and patterns, and harem paintings with dancing girls and odalisques became a specific genre. Orientalism spread mainly in colonial powers such as Great Britain or France, its overlaps also appear in our environment. The way in which artists from Upper Hungary were able to reach the Oriental environment was linked to the journey of patronage or the gradual development of tourism to these areas. The use of photography became a new phenomenon in this context, as well as the way in which artefacts acquired in the Orient gradually found their way into the art and ethnographic collections that were being built up. The dissertation project should interpret more comprehensively the forms of adaptation of Orientalism in our environment with a possible overlap to 1918. The treatment of this topic requires an orientation in the intersections of artistic modes, especially painting, drawing, printmaking, and photography. |
| 4. | Migration of music in the 17th – 19th centuries in the central european context | The issue of music migration in the 17th – 19th centuries in the Central European context includes basic musicological research in the field of migration of musical personalities in historically changing social, cultural and political structures in Slovakia and in Central Europe. The research will be focused on the migration of musicians and on the problems of the dissemination of musical works preserved in manuscript and printed music sources.. |
| 5. | Music sources. Transcription and editing of music from the baroque to the classicism | The issue of research of musical sources includes archival research of sources of various types (manuscripts, early prints, archival documents) important to the history of music and their theoretical evaluation (external and internal criticism, music transcription and the analysis of the musical style). The goal of the research will be a critical edition of the most valuable music of the 17th and the 18th century preserved in Slovakia as a basic aspect of its inclusion in the European cultural heritage. |
| 6. | Medieval notations in the context of sources from Slovakia and Moravia: their parallels and regional specificities | The study will focus on the analysis and evaluation of medieval notation systems in Central Europe and the identity of scribes and notators of selected liturgical codices and fragments from the territory of present-day Slovakia and Moravia. Active scriptoria, or migrating scribes, illuminators and notators, created a large number of liturgical manuscripts which reveal valuable information about their activities and migrations. Several sources point to various combinations with respect to the identity of the manuscripts, with the liturgy or the musical contents representing the customer and the notation representing the creator of the particular source. The he notation will be analysed in terms of the identity of the manuscripts, as it bears exact provenance markers in the medieval space. Many ecclesiastical communities, scriptorial workshops or individual notators possessed specific forms of notation, which can be stratified according to regional (Esztergom notation), supra-regional (Bohemian – from Bohemia and Moravia; Messine-Gothic notation from French-German milieu), and transregional notations (square or other notations of all medieval monasteries: Franciscans, Dominicans, Cistercians, Augustinians, Carthusians, etc.). |
| 7. | Traditions of church singing in Slovakia: History and present | The topic includes various aspects of post-medieval church singing in vernacular and ecclesiastical language and its variability in the context of existing confessional and liturgical traditions in Slovakia. There is room for musicological source research (notated and unnotated hymnals, agendas, rituals) and comparison of this phenomenon in relation to the medieval heritage, to other linguistic and regional traditions, as well as in the context of specific historical stages from the 16th century to the present (the age of Confessionalism, the Enlightenment, the age of Historicism, the period of secularisation and globalisation in the 20th century). |