![Васил Стефанов, Виолета Дечева, Кристина Тошева, Ромео Попилиев. 100 години Народен театър "Иван Вазов"](/api/image/getissuecoverimage?id=picture_2005_24741.jpg)
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Art festivals, particularly in recent years, have participated increasingly actively in the exchange of cultural values in artistic life. An adequate evaluation of their role for the contemporary society requires a more precise definition of their specifics, potential, benefits, and possible adverse consequences. The paper analyses the attempts at classifications of the arts and types of festivals. Using the provided data, a model of a typology of art festivals is proposed. The model takes into account both the achievements of the theoretical apprehension of the arts, and the specifics of the festival practices, which draw energy from various systems of social life.
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This paper deals with part of the dramatic woks by a most tolerated and staged Bulgarian playwright under communism, Todor Manev, who published his plays under the penname Kamen Zidarov. The study focuses on those of his dramatic works that feature the recent past such as “Tsar’s Pardon” (1949), “For the Honour of the Epaulette (1957), etc., rather than on his dramas presenting moments of Bulgarian history that have unfolded in the remote past. Analysing them, the article highlights four main female figures, constructed and functioning in a historical and political context of the coming and development of communism with the ideology and normative aesthetics characteristic of this regime.
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In the mid-1960s, Todor Djidjev made two trips to the region of Kazanluk to record folk songs and instrumental tunes from Kazanluk and 12 villages within the region. He went on the first trip in November 1963 to the villages of Turia, Turnichane, Manolovo, Alexandrovo and Asen, and on the second one he went a few months later, in February 1964, to the villages of Buzovgrad, Ruzhena, Gorno Izvorovo, Hadzhi Dimitrovo, Koprinka, Cherganovo, Shanovo and the town of Kazanluk. His recordings are kept at the Music Folklore Archive of the Institute of Art Studies, BAS. The fieldwork materials of 1963 are recorded on two tapes and handwritten in two notebooks containing the lyrics of over 140 songs. During the second trip, Djidjev has recorded five tapes and written down the lyrics of over 200 songs and descriptions of instrumental tunes in three notebooks. These folk songs have different functions: dance, working bee, harvest, wedding, Christmas carols, etc. Some of the informants were immigrants from other parts of this country. Culturologically, especially valuable are the fieldwork notes, containing interesting stories of the performers, descriptions of traditions and historical facts about the places. This paper is part of a more comprehensive study related to the fieldwork recordings from the region of Kazanluk kept at Music Folklore Archive of the Institute of Art Studies, BAS.
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In the documentary heritage of the Scientific Archives of Bulgarian Academy of Sciences there is a small collection of 15 musical manuscripts – 13 church-slavonic and 2 Greek. Archived in the inventory 6 of the music collection 14 which has a variety content, the manuscripts remain undiscovered for long. As a whole the church-slavonic musical manuscripts come from the Institute of Music. The Greek manuscripts entered in the archive by different paths. the 2 Greek – from otherwise. The first manuscript – a fragment of the second half of the 14th century (BAS gr. 22) comes from another collection of musical manuscripts (EHAI) and the second manuscript – short Anastasimatarion (BAS gr. 15) was discovered in the personal fund of Nicola Nachov (f. 63k). In recent years during inventories were found three church-slavonic musical manuscripts from the 19th century: Heirmologion (a.u. 12), Anthology (a.u. 13) and Doxastarion (a.u. 14). This work presents them for the first time with preliminary description. Their analytical description is a future task.
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In order to fully understand the complexity of the paths of Latin American (post-Columbian) identity formation—a process born out of the first violent encounter with the European Other—it is indispensable to resort to mythologized narratives of origin, most of which are linked to the mysterious, enchanting sea. Such myths have always been the source of inspiration: they would feed the imaginations of those who, well aware of the hazards, would still choose to face the challenge of the sea in order to conquer new lands in search of new treasures. Literature evokes an important reflection about the Latin American identity. Among others, it reveals the importance—and persistence—of the discourse of the ‘subaltern’. Fostered throughout centuries, the ‘subaltern’s’ perseverance manifests itself even today in the unequal relations between the countries of the North and those of the South. Calabar, a drama by Chico Buarque and Ruy Guerra.s, is an example of an aesthetic enterprise to photograph Brazil through the lense of the new conquests: the dictatorship of the Civil-Military Regime of 1964 in Brazil and of the cultural and political dominance of the US over Latin America. The text of the play reveals historical entanglements dating back to the colonial origins of the dominant paradigm of exploitation and thereto related political and cultural scripts. This article attempts to examine the contribution of literary fiction to the process of reflection over the confrontation between the Self and the Other with the ocean as the in-between-space of cultural encounters and dis-counters.
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Post-antički čovjek zna možda samo za jedan duševni ustroj u kojem svoj unutarnji svijet u punoj veličini i posvemašnjoj čistoći postavlja u odnos prema cjelini prirode, kozmosa, naime bol. Sentimentalni čovjek, kako ga imenuje Schiller, može ostvariti približno čist i velik, što znači približno naivan osjećaj sebe samog samo po visoku cijenu da svoje cijelo unutarnje biće organizira kao jedinstvo odvojeno od prirode.
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Constructing identities inevitably generates otherness. In ancient Greek and in Old-Attic culture, otherness is usually deliberately inscribed in formal ethnic-geographic frameworks by opposing the Greek-speaking population (i.е., those with Hellenic culture-behaviour = paideia) to the barbarians who did not know Greek, i.e., the logos not familiar with democracy. That model is usually reduced to identifying the problems connected with the image of the Other (in ethnic or religious terms) in the effort of gaining further self-awareness through better knowledge of the neighbours. However, the otherness culture is also a process with which a community/culture excludes certain people(s) on account of their difference. The paper examines the issues of the type of model of the relation-interpretation of the ancient Thracian world and the Thracians applied by classical Old-Attic culture, and accordingly by the Old-Attic theatre in constructing the polis identity of the Athenian citizens, and whether that model fits the general opposition Hellenism – barbarianism. The analysis of the dramaturgical material is focused on the artistic, dramaturgical and literary efforts to construct Otherness through Ancient Thrace and the ancient Thracian elements in Old-Attic culture. A conclusion is proposed that Ancient Thrace, transformed and reduced to dramaturgical and cultural topos, was interpolated in the Old-Attic theatre so as to materialise the system of otherness and to be modelled as a paradigm of otherness, but also as an effort to overcome it by constructing models of increasing closeness.
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Imperfect practice from the past is making the music notes literacy and the technical mastering of the instrument into an end in itself in the musical and pedagogical work of teachers, while the musical and hearing development of the children, and the emotional experience of the musical piece of art remains in the background. In this way many talented children are diverted from music and from mastering a musical instrument. Based on the curriculum of musical instrument and solfeggio for the children from the preparatory group I focus my pedagogical work on the implementation of my goal as an explorer, i.e. the musical and hearing education being the first step of musical literacy. This I achieve through organizing the following specific activities and approaches, presented in their sequence. All concepts and terms in music are learned through games and the implementation of game approaches. The introduction of the musical literacy thus opens the opportunity to write the notes of songs known by the children, while later on reading of unknown note text. The achieved results demonstrate a quality positive leap in the competence of all children included in this education, as well as professional satisfaction in the teachers.
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The article seeks for the essence of interdisciplinary relations in education. The integration between math and the rest of the studied disciplines is not only an application of math’s knowledge. We take notice on the relationship between mathematical activities and music, as well as we analyze the possibilities of a complete integration between those two educational activities during pedagogical interaction in kindergarten.
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The topic of this article is the role of the Polish press in disseminating knowledge about Italian Futurism in the years 1909–1939. It is the press, both daily and more or less specialized periodicals on culture, that is the most important and unrivalled source of information on the Italian avant-garde in Poland. The collected bibliography, on which the present text is based, contains one hundred sixty-five references. The published materials can be divided into several groups: critical sketches, articles and all kinds of informative notes by Polish authors on Futurism, translations of Futurist theoretical texts, poetry and theatre, as well as reproductions of works of art, photographs and drawings portraying Futurists. From the beginning, the press commentators devoted most of their attention to the figure and activities of Marinetti. In the ’30s, the interest in Futurism was effectively fuelled by his visit to Poland in relation to the staging of his drama Prisoners in the theatre in Lviv. Painting and theatrical experiments (mainly by Prampolini) also compose a large bibliography. Besides, Futurist literary manifestos influenced the new Polish poetry, creating hot press polemics, and the language of media itself. In addition to aesthetic issues, attention was drawn to Futurist proposals to rebuild social relations and to the link between Futurism and Fascism. Among the most important promoters of the Italian movement we list two poets, Peiper and Kurek, as well as writers and translators Kołtoński and Boyé, while the most well-deserved press titles are “Wiadomości Literackie” (Literary News) and “Zwrotnica” (Switches).
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This article outlines the notion of censorship in affect as a principle structuring the realm of visibility of homosexuals in Polish theatre. Niziołek explores the relationship between society’s homophobia and ways of establishing the national community. This project attempts to deconstruct Poland’s dominant paradigm of national theatre by tracing counter-public queer performance in public theatre shows.
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Review of: 1. Gyula VIGA: A tájak közötti gazdasági kapcsolatok néprajza (A Felföld népeinek gazdasági kapcsolatai a 18–20. században) [The Ethnology of Economic Relations between Regions (Economic Relations among Peoples of Upper Hungary in the 18th to 19th Centuries)]. Miskolc, Miskolci Egyetemi Kiadó, 2013, 238 pp. 2. Péter BERTA (ed.): Használtcikk-kultúrák. Ideológiák, gyakorlatok és értelmezői közösségek. [Second-Hand Cultures. Ideologies, Practices and Interpretive Communities]. MTA BTK Néprajztudományi Intézet: Budapest, 2012, 309 pp, 79 photos, 2 figures 3. László DIÓSZEGI – Katalin JUHÁSZ (eds.): Hagyomány – örökség – közkultúra. A magyarnépművészet helye és jövője a Kárpát-medencében [Tradition – Heritage – Popular Culture. The Place and Future of Folk Art in the Carpathian Basin]. Teleki László Alapítvány:Budapest, 2011, 333 pp. 4. Barbara KISDI: Mint a földbe hullott mag. Otthon szülés Magyarországon– egy antropológiai vizsgálat tanulságai [Like Seed Falling to the Ground. Home Birth in Hungary – Lessons of an Anthropological Investigation]. L’Harmattan – PTE Néprajz–Kulturális Antropológia Tanszék, Budapest: 2013, 362 pp. 5. Zita DEÁKY: „Jó kis fiúk és leánykák”. A kisgyermekkor történeti néprajza Magyarországon [„Brave kleine Jungen und Mädchen“. Die historische Volkskunde des Kleinkindalters in Ungarn]. Budapest: Századvég Kiadó, 2011. 504 Seiten. 6. Ágnes HESZ: Élők, holtak és adósságok. A halottak szerepe egy erdélyi falu társadalmában [The Living, the Dead and Debts. The Role of the Dead in the Society of a Transylvanian Village]. L’Harmattan Kiadó – Könyvpont Kiadó: Budapest, PTE Néprajz – Kulturális Antropológia Tanszék: Pécs, 2012, 280 pp. 7. László MÓD – András SIMON (eds): Nemzeti identitás, kulturális örökség, emlékezet és az Ópusztaszeri Nemzeti Történeti Emlékpark [National Identity, Cultural Heritage, Memory and the Ópusztaszer National Historical Memorial Park]. Solymossy Sándor Közhasznú Egyesület–Szegedi Tudományegyetem Néprajzi és Kulturális Antropológiai Tanszéke: Szeged, 2011, 147 pp. 8. János FÜGEDI – András VAVRINECZ (eds): Régi magyar táncstílus, az ugrós: antológia [Old Hungarian Dance Style – The ugrós: Anthology]. Budapest, L’Harmattan Kiadó – MTA BTK Zenetudományi Intézet, 2013, 352 pp.
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Review of: 1. Beatrix GOMBOSI: „Köpönyegem pedig az én irgalmasságom...” Köpönyeges Máriaábrázolások a középkori Magyarországon. „Mein weiter Mantel ist meine Barmherzigkeit...“ Schutzmantelmadonnen aus dem mittelalterlichen Ungarn. Devotio Hungarorum 11. Néprajzi és Kulturális Antropológiai Tanszék, Szeged, 2008. 230 pp, 63 colour pictures. by: Béla Zsolt Szakács 2. Adam POSSAMAI: Sociology of Religion For Generations X and Y. London, Equinox Publishing Ltd, 2009, 225 pp. by: Nóra Bodosi-Kocsis 3. “Hagyomány és korszerűség a néptánckutatásban. Pesovár Ernő emlékezete [Tradition and Modernity in Folk Dance Research.” In memoriam Ernő Pesovár]. Ed. Felföldi, László – Müller, Anita. MTA Zenetudományi Intézete, Budapest 2010, 447 pp, with colour and black and white photos. by: Sándor Varga 4. Tanz und WahnSinn / Dance and ChoreoMania. Johannes Birringer – Josephine Fenger (Hg.) Jahrbuch Tanzforschung Band. 21. Gesellschaft für Tanzforschung – Henschel Verlag 2011, Leipzig. 331 pp, 24 black and white illustrations and figures. by: Sándor Varga 5. Desmond MORRIS: Owl. London, Reaktion Books, 2009, 224 pp, 40 color plates, 60 halftones. by: Vilmos Voigt
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The balls of the Székely Mikó Reformed College’s alumni in Sfântu Gheorghe have become important events in the city’s life. Gyöngyvér Krecht’s paper entitled New Community Events – Alumni Balls at the Székely Mikó College analyses the consequences of the political measures and the role of theatre performances and theatrical events within these events interpreted as a cultural performance.
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This article examines the functionality of the dialects and the folklore forms in the Radichkov’s dramatic works. The accented еthnically marked speech of the characters in the plays is realized not as uniting substance, but as such of the disuniting, as language of the failed communication, the nonsense and the illogicality.
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