Academic literature on the topic 'Slovak drama'
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Journal articles on the topic "Slovak drama"
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Peskova, Anna Yu. "Modern Slovak drama about The Second World War." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 63 (2022): 268–77. http://dx.doi.org/10.37816/2073-9567-2022-63-268-277.
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The paper addresses the Slovak drama of the 21st century dedicated to the Second World War, the Holocaust, and the Slovak National Uprising. After the “velvet revolution” of 1989, interest in the military and insurgent theme in Slovak art as a whole declined sharply, but as early as in the 21st century playwrights and theaters of Slovakia are increasingly beginning to return to these topics. Many of these plays created in the last twenty years were written in order to actualize public discussions about the period of the Slovak Republic (1939–1945), around the mass deportation of Jews from its territory, around the arization, etc. The main task of these plays` authors is to put serious moral questions before the viewer. For this purpose, the paper focuses on social and historical context in which National Socialism spread in Slovakia. Such are, for example, the works of R. Ballek “Tiso”, P. Rankov “It Happened on the First of September (or Some Other Time)”, A. Gruskova “The Woman Rabbi”, V. Klimachek “The Holocaust”, Y. Yuraneva “The Silent Whip”. One of the most important questions that Slovak writers and society have been asking in recent decades is the question of how and why Slovaks actually joined Nazi Germany during the Second World War, what prompted them to do this.
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Kročanová, Dagmar. "The Holocaust in Slovak Drama." Poznańskie Studia Slawistyczne, no. 12 (September 21, 2017): 197–210. http://dx.doi.org/10.14746/pss.2017.12.13.
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The article discusses several Slovak plays with the theme of the Holocaust; namely Ticho (Silence) by Juraj Váh, Holokaust (Holocaust) by Viliam Klimáček, and Rabínka (The Woman Rabbi) by Anna Grusková. It also briefly refers to Návrat do života (Return to Life) and Antigona a tí druhí (Antigone and Those Others) by Peter Karvaš, both mediating traumas from concentration camps. Two plays (Ticho and Návrat do života) were written and staged immediately after the Second World War. Karvaš’s Antigona is a rare occurrence of the theme in Slovak drama during the Communism (in the early 1960s), whereas Klimáček’s and Grusková’s plays are recent, both staged in 2012. The article focuses on several aspects of these five plays: on dramatic characters representing “victims”, “witnesses” and “culprits” (Panas, quoted in Gawliński 2007: 19); on references about and/or representation of the Holocaust in dramatic texts; and on the type of the conflict(s) in the plays. It also mentions specific approaches of respective authors when dealing with the theme of the Holocaust, as well as with the relevance of their reflection of the theme for Slovak society in respective periods.
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Spyrka, Lucyna. "Possiblities and Limitations of Translation of Slovak Drama Into Polish Culture." Slovenske divadlo /The Slovak Theatre 66, no. 4 (December 1, 2018): 398–408. http://dx.doi.org/10.2478/sd-2018-0024.
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Abstract The Polish and Slovak languages, as well as Polish and Slovak cultures, are considered very similar, so it would initially appear that there would be no obstacles limiting the possibilities of translating Slovak drama into Polish. It turns out however, that Slovak drama is not often translated into Polish. Older translations that were presented in Polish theatres were rarely followed in the press, and today they have been forgotten. On the contrary, current translations are published far more often than staged. The presented study evaluates this situation as a result of several limiting factors. In addition to the political conditions of cultural exchange and the manner in which publishers and theatres operate in Poland, there is also a linguistic closeness that negatively impacts on the quality of translations, as well as the stereotype of Polish and Slovak cultural proximity, which limits the interest of Polish audiences in Slovak drama.
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Marcinčin, Matúš. "Slovak Shakespeare in American Exile." Slovenske divadlo /The Slovak Theatre 65, no. 1 (March 28, 2017): 4–21. http://dx.doi.org/10.1515/sd-2017-0001.
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Abstract Ján Vilikovský’s synthesizing monograph Shakespeare u nás (2014) is a great study; however, it does not include the whole history of translations of Shakespeare’s dramas into the Slovak language. Slovak literary and theatre studies have not reflected this theme in relation to Slovak cultural exile after the year 1945. In the present contribution, the author completes the mentioned monograph by Vilikovský, he adds and deals especially with translations written in exile by Andrej Žarnov and Karol Strmeň. He pays special attention to the fragments of translations of Shakespeare’s dramas found as a manuscript in the inheritance left after the tragic death of their author Karol Strmeň. The author reconstructs the fragments and then analyses and compares them with relevant Slovak and Czech translations of Shakespeare’s works. As a result of this study, it can be concluded that the translations by Strmeň written in a modern, cultivated, although slightly archaic Slovak language would have achieved an important position in the history of Slovak translations of Shakespeare’s drama if they had been published.
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Pelix, Belo. "Creative drama in both school and after-school musical education." New Educational Review 2, no. 1 (2004): 119–30. http://dx.doi.org/10.15804/tner.04.2.1.12.
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The author exposes theoretical substantiation as well as practical utilization of new integrative musical-dramatic activities which have become a part of the latest textbooks and methodical handbooks of musical education in Slovak elementary schools. He brings forth basic information on the method of creative drama as well as its application in both school and after-school musical education.
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Mojžišová, Michaela. "Contribution of Slovak Directors to the Profile of the Czech Opera Theatre After 1993." Slovenske divadlo /The Slovak Theatre 66, no. 4 (December 1, 2018): 380–97. http://dx.doi.org/10.2478/sd-2018-0023.
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Abstract The ambition of the survey study, which maps the work of Slovak directors in Czech opera theatres after 1993, is to identify the number of Slovak creators in the opera-theatre discourse of the very closely connected countries in terms of culture and history while at the same time adding the professional biographies of Slovak artists – who are little known and reflected upon in their homeland – and parts of their works. The author concludes that the split of the Czechoslovak Republic and the subsequent creation of separate Czech and Slovak Republics did not have an adverse effect on the mutual contacts of our opera cultures. At present, we even enjoy intensified co-operation in both directions. The nonjudgmental attitude of Czech theatres towards the influence of Slovak film directors in the Czech Republic is clear: not only credible creators (Marián Chudovský), but also representatives of the younger generation of opera directors (Andrea Hlinková) and renowned drama directors with previous opera experience (Martin Huba, Roman Polák), as well as creators who had not yet worked on the opera scene at home (Martin Čičvák, Sláva Daubnerová) were presented with an opportunity to contribute. Despite the fact that their works represented the enrichment of the Czech opera-theatre, the Slovak director with the most significant contribution to the Czech opera theatre remains Jozef Bednárik, even two decades later.
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Mišikova, Katarina. "Red is the New Black. Storytelling and Style in Candidate (2013) and The Red Captain (2016)." Panoptikum, no. 19 (June 30, 2018): 69–77. http://dx.doi.org/10.26881/pan.2018.19.05.
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The non-existence or deficiency in the production of popular genres in the history of Slovak cinema after the split from Czech Republic in 1993 has been a much discussed subject in the Slovak filmmaking community. It is a common belief among both filmmakers and film critics, that due to the lack of popular genre traditions and financial difficulties of film production, Slovak cinema is not able to attract domestic audiences and is primarily focused on the arthouse and festival circuit. This overt simplification, however, has in recent years been challenged by the emergence of several films that introduced generic novelties into Slovak cinema.
The paper deals with two major representatives of this popular genre upheaval that were successful at the box office: the political thriller Candidate (2013) by Jonaš Karasek and the detective story The Red Captain (2016) by Michal Kollar. Both films are literary adaptations touching upon the subject of continuity of the communist regime after the democratic turn in 1989. Although not unanimously critically praised, they both gained considerable attention thanks to presenting an alternative to the realistic arthouse social drama trend of Slovak fiction film. The text examines innovations that these films introduced into popular genre discourse of Slovak cinema by concentrating on prominent storytelling and stylistic techniques derived mainly from mainstream popular cinema and offer some preliminary thoughts on reasons underlying their successful reception among domestic audiences.
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Inštitorisová, Dagmar, and Daniela Bačová. "Across Two Eras: Slovak Theatre from Communism to Independence." New Theatre Quarterly 16, no. 2 (May 2000): 163–74. http://dx.doi.org/10.1017/s0266464x00013683.
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At the cusp of the ‘eighties and ’nineties, theatre in what was soon to become the Slovak Republic had to come to terms not only with the disintegration of the communist system, but with the break-up of the former Czechoslovakia into its constituent nations. During the previous decade, the theatre had in many ways helped to undermine the decaying authoritarian regime, but now many of its practitioners found themselves disaffected by the disappointment of early ideals, and their livelihoods threatened by the loss of state funding, which had at least acknowledged the importance of theatre to the nation's cultural prestige. In this article, the authors trace the distinguishing strands of the work of major directors and writers of both the older and the younger generations, and attempt to define the changing role of theatre – not forgetting the influence of the puppet theatre tradition – as the Slovak nation seeks a renewed vitality through reclaiming its cultural past while re-defining its present. Daniela Bacova teaches English literature and drama at the Department of English and American Studies in the University of Constantine the Philosopher, Nitra, Slovakia, and is one of the editors of the journal Dedicated Space. Dagmar Institorisová works in the Institute of Literary Communication in the University of Constantine the Philosopher, and has just published her doctoral thesis on Variety of Expression in a Theatrical Work.
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Plashienkova, Zlatica, and Tatiana V. Kovaleva. "‘Drama of life’ in the oeuvre of Russian and Slovak doctor-writers." Vestnik of Saint Petersburg University. Philosophy and Conflict Studies 35, no. 4 (2019): 650–61. http://dx.doi.org/10.21638/spbu17.2019.410.
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Dronov, Mikhail Yu. "Padyak V. Istoriia karpatorusyns′koho natsional′noho teatra y dramaturgiï. Vysokoshkols′kyi uchebnyk. Priashiv: Vydavatel′stvo Priashivs′koho univerziteta, 2018. 344 s." Slavic World in the Third Millennium 16, no. 1-2 (2021): 274–82. http://dx.doi.org/10.31168/2412-6446.2021.16.1-2.13.
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This article presents the textbook of the famous Transcarpathian and Slovak Rusinist Valery Padyak Istoriia karpatorusyns′koho natsional′noho teatra y dramaturgiï [History of the Carpatho-Rusyn National theatre and drama]. The Rusyns (more precisely, the Carpatho-Rusyns) are the autochthonous East Slavic population of the Carpathian region: Ukrainian Transcarpathia and the adjacent regions of Poland, Slovakia, Hungary, and Romania. There is also a Rusyn diaspora present in Serbia, Croatia, the USA, Canada, and other states. The number of Rusyns in the world is a controversial issue, one reason for this being their polyvariant identification. At present, a significant proportion of ethnic Rusyns consider themselves representatives of an independent people, who are not Ukrainian or Russian. Padyak, a staunch supporter of the Rusyn ethno-national identity and at the same time a serious academic scientist, made an attempt to trace the development of drama and theatre in the Rusyn environment in parallel with the processes of Rusyn national self-determination. The author traces the evolution of folk theatre performances to the modern Rusyn national theatre, which is actively being developed in different states with Rusyn inhabitants. V. Padyak pays increased attention to theater and drama in the second half of the nineteenth and early twentieth centuries, as well as during the period when Subcarpathian Rus (Transcarpathia) entered the structure of interwar Czechoslovakia and Horthy Hungary. In contrast, the author hardly examines post-war theater life in the Transcarpathian region, believing that its study is more appropriate in the context of Ukrainian, rather than Rusyn, studies. This textbook by V. Padyak, addressed primarily to Rusynist students at the University of Prešov (Slovakia), is of undoubted interest to anyone interested in the history and culture of the Rusyns.
Dissertations / Theses on the topic "Slovak drama"
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Kang, Joonkyu. "A study of the DRAM industry." Thesis, Massachusetts Institute of Technology, 2010. http://hdl.handle.net/1721.1/59138.
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Thesis (S.M.)--Massachusetts Institute of Technology, Sloan School of Management, 2010.Cataloged from PDF version of thesis.
Includes bibliographical references (p. 64).
Samsung Electronics as a DRAM provider has kept its leadership in the DRAM market with leading technology and production capacity since the 1990s even though there were unpredictable market fluctuations and dramatic changes in competition. Through the depressed market starting from 2006 to 2008, and the financial crisis, Samsung Electronics tightened its leading position in the DRAM market with changes in the dynamics of competition. But, from the industry wide view, the IT industry is getting complex since its system change from vertical integration to horizontal ecosystem. Also, the shrinkage of optical lithography, the main technical issue in semiconductor industry, is predicted to reach the uppermost limit. In this sense, Samsung Electronics as a DRAM provider should analyze and evaluate its current position in the DRAM market and the IT industry and needs to set a strategic goal and methods for sustaining its current position and also pursue more growth. I examine the current DRAM market dynamics, diagnose Samsung's current business status and strategy in the DRAM industry, and try to find a way to create value as a complementor in diverse IT industries. Furthermore, I will try to find opportunities where Samsung can sustainably capture value in the DRAM market. For this analysis, I use several frame works and concepts: Value creation and capture, Michael Porter's five forces analysis and Value Chain, Departure from a perfect competitive market, Ecosystem, and Complementor.
by Joonkyu Kang.
S.M.
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Lo, Matthew A. (Matthew Adam(/)). "A strategic and financial analysis of the DRAM industry." Thesis, Massachusetts Institute of Technology, 2012. http://hdl.handle.net/1721.1/72858.
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Thesis (S.M.)--Massachusetts Institute of Technology, Sloan School of Management, 2012.Cataloged from PDF version of thesis..
Includes bibliographical references (p. 65-68).
The manufacturing and development of Dynamic Random Access Memory (DRAM) is a large global industry that involves various advanced technologies and significant capital expenditures. The industry has seen tremendous developments over the past few decades allowing for rapidly improving product performance. The progression of the industry has also been a fantastic model for demonstrating the basic laws of economics, including the economies of scale and consolidation in high fixed-cost businesses. The first part of this thesis provides a general overview of the DRAM industry, including a brief history of the product and an overview of the essential technologies and its manufacturing process. In addition, the key business drivers of the industry are discussed and important lessons from two pivotal stages in the industry, the rise of Japanese manufacturers and the ascension of Korean producers, are presented. The second part of this thesis provides a case study on one major industry participant - Elpida Memory Inc. A company overview is first given, and then recommendations regarding the Company's future strategy and direction are presented.
by Matthew A. Lo.
S.M.
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Lee, Kyung Ho S. M. Massachusetts Institute of Technology. "A strategic analysis of the DRAM industry after the year 2000." Thesis, Massachusetts Institute of Technology, 2013. http://hdl.handle.net/1721.1/81087.
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Thesis (S.M. in Management Studies)--Massachusetts Institute of Technology, Sloan School of Management, 2013.Cataloged from PDF version of thesis.
Includes bibliographical references (p. 42-43).
The DRAM industry has been growing in line with the development of information technology since the 1970's. However, the industry has become commoditized and is well known for its recurring cycle of upturns and downturns, resulting in a number of bankruptcies, mergers and acquisitions. Specifically, the years following 2000 became increasing challenging for the key DRAM producers that remained in the market. The combination of demand shifts to consumer oriented electronics and rising manufacturing costs reduced profitability across the industry. As these conditions persist, DRAM producers need to find a way to generate sustainable profit and to create buffers against imminent downturns. This thesis details the industry level problems DRAM vendors have faced in the past, the dynamics that have caused recurring industry cycles and commoditization, and how those dynamics affect the industry. In this context, the thesis concludes with two suggestions for potential strategies for market differentiation. First, DRAM producers should strengthen services that provide opportunities to differentiate their value proposition to customers while simultaneously generating new sources of profit. Second, DRAM market leaders should continue to focus heavily on R&D of high performance products while carefully managing the timing of new product launches to maximize profits.
by Kyung Ho Lee.
S.M.in Management Studies
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Malone, Mitchell Abbott 1969. "Analysis of a high-end memory supply chain : dram vendors to final assembly." Thesis, Massachusetts Institute of Technology, 2000. http://hdl.handle.net/1721.1/34704.
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Thesis (S.M.)--Massachusetts Institute of Technology, Sloan School of Management; and, (S.M.)--Massachusetts Institute of Technology, Dept. of Civil and Environmental Engineering; in conjunction with the Leaders for Manufacturing Program, Massachusetts Institute of Technology, 2000.Also available online at the MIT Theses Online homepage
Includes bibliographical references (p. 89).
Compaq Computer Corporation's High Performance Systems Division (HPSD) manufactures servers for mid-range and high-end server markets. It has a complex supply chain that includes the use of supplier hubs, outsourced memory module manufacturers, and stacked memory devices (chips). For this memory module supply chain, Compaq faces two major planning challenges. First, it is very difficult to get an accurate forecast of memory requirements. Second, the cost of memory continues to decline, on the order of 1-4% per month, which results in a high inventory holding cost. A set of standard software tools is developed to assist analysts with determining the supply plan for memory from multiple suppliers. The purpose of these tools is to determine the minimum cost supply plan with an acceptable level of forecast risk. Two separate tools individually address cost and forecast challenges. The Cost Tool can consider up to nine cost categories across the supply chain network upstream from the factory. The tool is flexible, transparent, easily disseminated and easy to use. The Forecast Tool can track current supply activity and can forecast the next week's and next quarter's supply plan. The tool consists of a main menu worksheet and another worksheet for each quarter of the year in Microsoft Excel. It can be used for any commodity. It is flexible, easy to use and easily disseminated. Use of these tools should lead to more expeditious analyses of supply plans and forecasts while yielding estimates of the supply chain costs for a particular supply plan. A conceptual model for decreasing costs by combining supply chain costs with a standard purchasing price-parity point is presented. The purpose of this model is to provide purchasers another point of view based on total supply chain costs, including inventory write-offs due to decreasing memory prices and transportation costs.
by Mitchell Abbott Malone.
S.M.
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Fottová, Jana. "Odraz slovenského národního hnutí v dramatické tvorbě (1830-1875)." Master's thesis, 2019. http://www.nusl.cz/ntk/nusl-406224.
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The turn of the 18th and 19th centuries is well known for the Age of Enlightenment and for the formation of nations which began to realize the need for their own identity. One of those nations were Slovaks and their national revival will be introduced in the first chapter of this thesis. In the second and third chapter we will analyze the works of two authors, Ján Chalupka and Ján Palárik, in the historical and social conditions that years. In the last chapter we will summarize our analysis of dramas and we will try to explain how that time influenced life and society.
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Futejová, Nikola. "Recepce dramatické tvorby Jordana Radičkova v českém a slovenském prostředí." Master's thesis, 2014. http://www.nusl.cz/ntk/nusl-337670.
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The thesis will focus on problems of the reception of dramatic opus of Bulgarian prosaist, dramatist and scenarist Yordan Radichkov (1929 - 2004) in the Czech and Slovak area from 1976 (premiere of first drama - January) until nowadays. The thesis will try to discover elements of magic realism, anecdote, comedy and satire which creatively follow fabulative elements and style of folktales in dramas of one of the most famous and world popular Bulgarian author of the 20th century. The thesis will be based mainly on the confrontation of the reception of agreement and difference in the plays staged in two comparison areas - Czech and Slovak. Part of the thesis will be detailed bibliography witch will capture production in Czech and Slovak theatres and their responses in press.
Books on the topic "Slovak drama"
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Božena, Čahajová-Bernátová, ed. Slovenská dráma 1994: (výber). Bratislava: Tália-Press, 1994.
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Andrej, Maťašík, ed. Súčasná slovenská dráma 1997-1998: Historické hry. Bratislava: Národné divadelné centrum, 1998.
Find full textBook chapters on the topic "Slovak drama"
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Roberts, Dagmar. "Slovak Drama." In Comparative History of Literatures in European Languages, 226. Amsterdam: John Benjamins Publishing Company, 2007. http://dx.doi.org/10.1075/chlel.xxii.55rob.
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Peskova, Anna Yu. "Slovak-Russian Relations in the Field of Drama And Theater. The First Half of the 20th Century." In Inter-Slavic cultural ties. Results and perspectives of research, 290–302. Institute of Slavic Studies RAS, 2021. http://dx.doi.org/10.31168/0452-7.19.
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The article traces the history of Slovak-Russian relations in the field of drama and theater, starting from the moment of their emergence in the second half of the XIX century, and pays special attention to the period of the 1900s–30s (before the beginning of the Second World War). The influence of Russian playwrights (first of all, N. Gogol, A. Chekhov and M. Gorky) is clearly visible in the dramatic works of J. G. Tajovsky, T. Vansova and V. H. V. (Vladimir Hurban Vladimirov). After the opening of the Slovak National Theater in 1920 and the arrival of the actor and director J. Borodač, a big admirer of the Stanislavsky and Russian theater system, more and more Russian and Soviet plays appear in the repertoire of this and other Slovak theaters. The influence of the Moscow Art Theater school began to manifest itself in the director's manner of Borodač, while another prominent Slovak director of that time, J. Jamnicky, was clearly influenced by the Russian avant-garde.
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Mišíková, Katarína. "Social Martyrs in Slovak Social Film Drama and Documentary." In Precarity in European Film, 199–216. De Gruyter, 2022. http://dx.doi.org/10.1515/9783110707816-011.
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Šmelko, Martin. "Šachová novela Stefana Zweiga v televizních adaptacích." In Slavica Iuvenum XXIV, 241–53. University of Ostrava, 2023. http://dx.doi.org/10.15452/slavicaiuvenum.xxiv.35.
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The subject of analysis in this study were four European television adaptations of Stefan Zweig’s Chess Story (also known as The Royal Game): Hungarian Sakknovela (1959) directed by Zoltán Várkonyi, Czechoslovak Šach mat (1963) by Alfréd Radok and two TV dramas realized according to the screenplay Královská hra by the famous Czech author Jiří Hubač: from 1980 in Czech language and from 1999 in Slovak. Using the elements of the neoformalist concept, we compared individual adaptations in relation to Zweig’s prototext and analysed connecting motifs and mutual differences, including a different dominant in several audiovisual transformations of the same literary narrative.
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"SATELLITE DRAMA: Imperialism, Slovakia and the Case of Peter Karvas." In Imperialism and Theatre, 217–31. Routledge, 2003. http://dx.doi.org/10.4324/9780203359945-20.
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O'Malley, Seamus. "“Land for the People!”." In Irish Culture and “The People”, 42–88. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192858412.003.0003.
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Abstract This chapter examines the Land Wars, one of the most potent populist moments in Irish history, and how such a phenomenon appeared in fictional treatment. While the Land League’s famous phrase “Land for The People” crystalized rural opposition to British rule, the slogan signifies a heterogeneous mix of small and large landowners, agricultural laborers, and disaffected Protestant intellectuals. This coalition was held together by William O’Brien’s newspaper United Ireland, the official organ of the Land League. Key to O’Brien’s success was his populist language, and we will see how the paper produced The People, and then how three novels responded to such challenging language: Rosa Mulholland’s Marcella Grace, Emily Lawless’s, and George Moore’s A Drama in Muslin. This chapter concludes with Anna Parnell’s analysis; writing two decades after the League’s end, she crafted a bleak retrospective of the League and chided its male leadership for timidity and political cowardice.
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Kaute, Wojciech. "Światło, ciemność, czy jeszcze coś… Oświecenie, nowożytność a świat wartości." In Polityka - wojskowość - bezpieczeństwo. Księga jubileuszowa z okazji 40-lecia działalności naukowej Profesora Romana Kochnow, 93–106. Wydawnictwo Naukowe Uniwersytetu Pedagogicznego w Krakowie, 2023. http://dx.doi.org/10.24917/9788380849396.5.
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The concept of the Enlightenment is one of the basic categories of modern culture and civilization. It means „light” as opposed to „dark”. The „spirit” of the Enlightenment is an integral part of liberalism and democracy, their of values. One the most famous text on this subject is the article written by I. Kant in 1783 „What is Entlightenment?”.According to Kant, the message of this thought formation is reduced to the slogan: Sapere aude! „Have courage!”. However, this is an equivocal slogan. He need to be included in a wider cultural context. The basic od modernity is Descartes´ cogito. It is the idea of an autonomous and sovereign individual. It undertakes economic activity. This is the market. Here, values are worked out in democratic practice. At the same time, a view has developed in modern culture that there is no value in the world of the market. This is the thought of J. J. Rousseau. And this thought is continued by I. Kant. In his view, there is a need to create values whitch grow beyond the world of exchange. This is the measure of „courage”. This concept will be radically developed by J. G. Fiche, G.W. F. Hegel and – finally – K. Marks. And this is how the doctrine of totalitarianism (fascizm, communizm) will be created. The concept of the Enlightenment is not unequivocal. This is the drama of modern times.
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"Shlomoh Zalman Unsdorfer." In Wrestling with God, edited by Steven T. Katz, Shlomo Biderman, and Gershon Greenberg, 51–60. Oxford University PressNew York, NY, 2007. http://dx.doi.org/10.1093/oso/9780195300147.003.0005.
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Abstract Shlomoh Zalman Unsdorfer (1888-1944) of Bratislava (Slovakia) began his study at the nearby Galantar yeshivah under YosefTsevi Dushinsky, who later headed the separatist Orthodox community in Jerusalem. He continued at the Bratislava yeshiva under the Da’at Sofer (Akiva Schreiber), the great-grandson of the yeshiva’s eminent founder, the I:Iatam Sofer (Mosheh Schreiber), an outspoken opponent of Reform. He served as rabbi of Bratislava’s Weidritz Alley congregation, helped to establish the Ifevrah Mevakshei Derekh, a study group for working youth, and headed the burial society (Ifevrah Kadishah Digemilut Ifasadim). During the war, Unsdorfer made his way regularly to the nearby displaced persons camps in Patronka and Ratenbriken to offer consolation to the interned Jews. In mid-September 1944 he fled to Marienthal Internirungslager, a refuge for Jews with American papers eligible for prisoner exchange. In early October, the Nazis discovered his false papers, and he was taken to Auschwitz, where he was killed upon arrival. However, his son Sitn4ah Bunem survived Auschwitz, returned to Bratislava, and found the manuscripts of his father’s sermons and diary notes in the ruins of their house. After conferring with the Da’at Sofer (by then in Jerusalem), Sim4ah Bunem’s brother Shmuel Aleksander in Montreal translated the sermons from Yiddish to Hebrew and published them with the title Siftei Shlomoh (The Lips ef Shlomoh). Unsdorfer presumed the presence of latent hatred against Israel through the line of Esau’s successors. The hatred was activated by God when Jews surrendered Torah and emulated the nations. But Unsdorfer could not understand why pious Jews were being caught in a fire which was set for assimilationists. He drew a categorical distinction between God’s knowledge and man’s and then fell into silence. But he also envisioned a metaphysical process under way from catastrophe to redemption. Unsdorfer urged Jews to trust in that higher drama and, remaining silent about God’s ways, act with the piety and trust of Abraham at the Akedah (binding of Isaac).
Conference papers on the topic "Slovak drama"
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Sokáč, Marek, and Marta Jerković. "Modelling of Combined Sewer Overflow Impacts on the Receiving Water Quality: Case Studies Hron and Drava." In Environmental Engineering. VGTU Technika, 2017. http://dx.doi.org/10.3846/enviro.2017.089.
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Paper analyses the influences of combined sewer overflows (CSO’s), on the receiving water quality, but generally deals also with various types of storm water management in urban areas. The first case study analyses the impacts of the continuous (wastewater treatment plant in the town Osijek) and discontinuous pollution sources (CSO’s in the town Osijek) on the quality of the receiving water – the Drava river (Croatia). The second modelling case study was performed on the river Hron (Slovak republic). In this study, the impacts on the water quality from combined sewer overflows form the biggest town on Hron River – Banská Bystrica were studied, as well as four feasible alternatives of storm sewer management (different mixing ratio, different size of storm tanks) were analysed. For both case studies, the mathematical simulation model MIKE11 (Danish Hydraulic Institute, DHI) was used.