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The aim of the study is to analyze the St Stephen Church in Istanbul from an architectural and artistic standpoint and prove that it was conceived as part of an architectural complex. Each constructive decision of the large working team is interpreted in the culturological sense with the aim of highlighting the significance of the use of contemporary and relevant decisions for the late 19th century, such as the steel construction of the church. Thus, conclusions are drawn which differ from the conclusions that have come to predominate in the public space.
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This article analyses the process of choosing different strategies of identification by Bulgarians in Ukraine. The present state of ‘identification processes’ against the background of ‘war of memory’ and ‘invented traditions’ places them among the priority problems of science and politics. The subject of analysis is the specifics of the formation of collective memory, which is at the root of the choice of identification strategy: commemorative practices, mechanisms for the memorialization of the past, the correlation between the local history of the group and the national strategies of Bulgaria and Ukraine. The conclusion is that the choice of identification behaviour is influenced by the efficiency of social adaptation under specific historical circumstances. The social resources at the disposal of the group in any particular moment influence the choice of vectors of collective memory and predetermine the formation of defensive practices aimed at preserving the group.
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The objective of this article is to outline in the light of the relations between the nation-state and the various religious organizations and individuals the main tensions in the contemporary Bulgarian society concerning the intertwining of religion and secularism. The general goal is to combine the presentation of national historical context, existing legislation and the current social debate based on fieldwork.
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This text is based on an ethnographic study on the protests and civic initiatives that initially took place in 2013 but then continued with varying intensity throughout the following years. While applying the method of participant observation during the Gazi events’ and conducting interviews with individuals who had taken part in the protests, a main goal of this study is to grasp the transformation in the identification, articulation and presentation of important and secondary topics and problems that had been brought forward throughout the public discussions. The initial motivation of this study is the idea that after the first demonstrations and clashes, the interpretation of the political projects’ turbulence, of the reinvention of urban spaces, of the success or failure of diverse protest and resistance practices, gradually modifies the way the aforementioned events and ongoing processes are being thought and talked about. The research questions the respondents’ participation in protests, the constitution and disintegration of communities, the ‘diagnosis’, ‘prognosis’ and ‘rationale’ elements in respondents’ and informants’ micro-discourses and their acts in relation to diverse initiatives. The text attempts to systematize the observation data and the collected ‘narrative fragments’ within four ‘modes of articulation’: transformative, subjective, argumentative, and topological.
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The research of the media publications and TV shows after 1989 with the participation of a certain group of musicians - the artists making Estrada - shows that there is an area where the power of the audience is a necessity that preserves the power of the author. The Estrada musicians describe their audience as a ‘good person’ or a child, they need to teach how to recognize valuable music. In the period 1990 - 2017 the musicians draw a couple of key images of the audience: the weddings audience, the parents and the child in the audience, the supranational symbol, the constantly reminded image of the “phenomenon soviet audience”. A key finding of the research is that the musicians clearly distinguish between “concert audience” and “media audience” as imaginary communities.
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During the France-Romania Season, the Louvre Museum hosted the first Romanian art exhibition ever organized by this prestigious museum, The Byzantine tradition of embroidery in Romania between the 15th and 17th centuries. About the standard of Stephen the Great, from April 17 to July 19, 2019. 36 exhibits from Romanian and French collections were presented to the French public, of which a unique ensemble in the world of embroidery from the collections of the National Art Museum of Romania, the National History Museum of Romania, and the monasteries Putna, Sucevița, and Three Hierarchs, illustrating the liturgical textiles used in the Orthodox churches, and the particular character of the Romanian tradition. The exhibition equally focused on the symbolic gesture made by the French state to return to Romania the battle standard of Stephen the Great in 1917, one of the most beauti-ful Romanian embroideries, created in 1500 and recovered by the French army from the Zographou monastery during the First World War. In addition, the important contribution of the researcher Gabriel Millet was high-lighted by a series of photographs and watercolours, as Millet’s pioneering volume La broderie religieuses de style byzantin led to a better understanding and promotion of the unique heritage of post-Byzantine embroidered textiles in Romania.
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L’histoire des églises en bois des communautés roumaines du comté d’Alba peut être synthétisée par les statistiques suivantes : près de deux-cent lieux de culte ont été identifiés, dont cent-quarante-cinq ont disparu, pour diverses raisons. Habituellement, si la disparition était la con-séquence d’une calamité, le plus souvent une incendie, et si l’événement avait eu lieu avant le xixe siècle, la nouvelle église était par la suite reconstruite à nou-veau en bois. Cependant, plus de quatre-vingt-dix églises en bois (voire cent-trente d’après d’autres estimations) ont été détruites et remplacées par des églises bâties. Ce vaste programme d’édification a commencé au milieu du xviiie siècle dans les Carpates Occidentales (Apuseni) et autour de la ville de Blaj. L’apogée se situe entre les der-nières décennies du xixe siècle et les premières décennies du xxe siècle. Cela justifie le peu d’informations dispo-nibles sur leur disparition. L’histoire de chaque édifice s’explique à travers plusieurs cas de figure: églises vendues intégralement à d’autres paroisses ; églises désaffectées, le matériel étant vendu ou transformé en combustible pour alimenter les fours utilisées dans la fabrication des briques nécessaires à la construction d’une nouvelle église ; églises abandonnées, disparues discrètement après une période plus ou moins longue. Plus, des deux tiers des quel-ques deux-cent églises en bois de l’actuel comté d’Alba ont été victimes de la modernisation et du progrès de la société roumaine transylvanienne, très pré-coce dans cette région administrative, bien avant l’union de la Tran-sylvanie à la Roumanie. Quant à la situation des quarante-huit communautés qui possèdent encore des églises en bois, vingt d’entre-elles fréquentent en réalité des églises bâties, les églises en bois étant abandonnées, depuis plu-sieurs décennies, dans un état de dégradation avancé. Trente-six édifices sont inscrits sur la liste des monuments historiques, parmi lesquels se trouvent également six bâtiments entièrement ou principalement rénovés et deux églises disparues. Dans le présent article, afin de donner une image plus précise du phénomène de réduction dras-tique du nombre d’églises en bois au profit du bâti, celles-ci sont présentées dans l’ordre de leur disparition. Quel-ques informations relatives à la période de construction, à la peinture pariétale et aux ob-jets de culte sont égale-ment fournies lorsque nous avons pu recueillir les données nécessaires. Le tableau final permet d’avoir une image de l’ampleur des pertes subies par l’histoire de la culture et par l’histoire de l’art, voire par le patrimoine national
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From the beginning of the 21st century and especially in its second decade, a lot of folklore festivals, sabors, singing and music making competitions, fairs, exhibitions and feasts have been created and organized. In almost every town or village (predominantly these are towns) the events take place once a year – a fact which suggests that they are in a way substitutes of the local fairs from the past. In all these cases there is folk music – either processed or unprocessed. Its role and significance determine to a great extent the type, the format and the level of the particular event.The article reveals different phenomena, certifying for the influence of the music performed on the festival where it is performed – played by professionals or by amateurs, having a main or an accompanying role, used or not with different functions and with different cultural aims.
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The article presents Voditsi rite in the village of Dobarsko (Razlog Municipality, Blagoevgrad Region) and the ritual song repertoire, characterized by its antique musical thinking, melody and rhythmic specifics. The scholarly focus is centered on the processes of development of the traditional rites in the local culture. The diachronic point of view to the rite reveals the dynamics in the course of time as far as from the second half of the 1950s to the middle of the 1980s Voditsi rite performed in Dobarsko by young virgins has stopped to exist. After that the rite is reconstructed, but mainly as a performance on the scene. Today the rite is an important element of the cultural heritage of the village and functions as a sign of local identity.
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The article presents a newly found city plan of Tarnovo, which was composed in 1857 by the Brittany-born geographer and cartographer Guillaume Lejean. The city plan was found at a Paris bouquiniste in 2018. As it is unsigned, the article offers some arguments supporting its attribution to Lejean. When he visited the old Bulgarian capital in the spring of 1857, he collected data, which he published and used as a basis for drawing the plan. This is the best among the city plans (maps) of Tarnovo to be composed until the late 1870s, both as a work of cartography and in terms of its historical information and artistic value.
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During the second half of the early Neolithic (after 5800 B.C.), the construction of two-storey houses in the Eastern and Central Balkans began. It seems that in the early Neolithic both floors of these houses were used as residential, but in the late Neolithic (after 5500/5400 B.C.) only the upper floor had residential function – the bottom was used for commercial or industrial purposes (storage of products or salt production). Some of the Neolithic houses were deliberately burned. The intentionally burned houses were buried in pits according to the principle pars pro toto (“a part for the whole”). It seems that in the early Neolithic, the pit sanctuaries were located in the periphery of the village, and in the late Neolithic, in ritual complexes situated outside the village. The researchers have no reason to separate the dead Neolithic people from their houses. It follows that the “cremated” houses might lead us to their probably cremated inhabitants - one of the possible explanations of the vast amount of “missing” graves in the Balkan Neolithic.
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The article reveals some moments of the life of pop Gruyo Trenchov -an ardent revolutionary who participated in The April uprising of 1876. He is author of a poem, that reflected his memories of the heroic epic.
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