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This article aims to present Ivan Todorov Puliev (Goran)’s personality and especially his mercantile activities. The problem of his relations with Evlogi Georgiev and his brother Nicholas T. Puliev is also concerned. The analyzed sources concerning the activities of Ivan T. Puliev give me reason to conclude that he is а contradictory and interesting person that left visible trace in the history of the Bulgarian National Revival.
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At the beginning of the 11th century, in the aftermath of the long rule of the Macedonian dynasty (867 – 1056), the Byzantine Empire was going through a political, cultural and economic upsurge. After winning victories over Bulgarians, Arabs, Georgians and Armenians the Empire extended its borders by consolidating many of its former territories. At that time city life in the Byzantine Empire was making headway at a scale unknown since late Antiquity. A century later some Norman adventurers, on pilgrimage to Monte Sant’ Angelo – Gargano, lent their swords in 1017 to the Lombard cities of Apulia against the Byzantines. From 1016 to 1030 the Normans were pure mercenaries, serving either Byzantine or Lombard. In the second half of 11th century their leaders joined in the organized attempt to wrest Apulia from the Byzantines, who had lost most of that province by 1040. Bari was captured by the Normans in April 1071, and Byzantine authority was finally terminated in Italy, five centuries after the conquest of Justinian I.
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This study aims to trace in detail the development of demographic and religious processes in the settlements along the river Vacha during the last quarter of the 15th century – 16th century using data from Ottoman registers.
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For many centuries, the Volga Bulgarians maintained close economic, cultural and religious ties with Muslim countries and especially with the peoples of Central Asia. Traditionally, relations between them were good and clashes were rare. But after the Battle of the Kalka River (1223), Mongolians turned against Volga Bulgaria. The first attack was repulsed, but after a long fight, Volga Bulgaria was conquered in 1236 by the Mongols and ceased to exist as an independent state.
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“The Gypsies are our own, domestic problem” is a phrase attributed to the long-term former head of the old communist Bulgarian government, Todor Zhivkov. The government policy towards the Gypsy minority in communist Bulgaria is one of inclusion to the Bulgarian way of life, and its implementation is carefully tailored to the specificities of Bulgaria as a country. It is a little known fact that towards the end of the 40s, the Bulgarian Gypsies suddenly turn from a ‘domestic problem’ to something much larger and thus become part of the great confrontation between the two world political camps divided by the Iron Curtain. This takes place during the migration of the ethnic Turks which starts in 1948, and during which, applications for emigration are filed by both Bulgarian Turks and Muslim Bulgarian Gypsies. This latter ethnic minority becomes the cause for serious conflict between ‘communist Bulgaria’ and ‘capitalist Turkey’. This paper aims at following the events from the end of the 1940s to the end of the 1980s, as well as at analysing the consequences of the confrontation between the two neighbouring Balkan countries.
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Before the banking system reached its modern form it has come a long way of development and has changed a lot. One of the first forms of lending money in our lands is usury. This article aims to trace usury, defined as unorganized credit where individuals give loans against interest. Usury is rooted in a period long before The Liberation of Bulgaria. An important characteristic of usury is that the activity of moneylenders is not regulated by the law or by traditions and in that sense is perceived by society as bad, unnatural and immoral. Although it has more primitive form and organization, usury also has many similarities to the contemporary banks. The most common feature of both types of activities is that their main goal is making a profit.
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The experiences the Roma underwent during World War II were not only complex, but alsoas diverse as can be. In order to fully grasp this complexity, one must understand thelegislative framework, bureaucratic practices, their impact on the Roma, as well as the waysin which the Roma themselves tried to cope with these measures. Oftentimes, the criteriato identify the “undesirable” Roma were very vague and subjective, leaving a lot of leewayto the local authorities and allowing them to act outside a controllable legal framework.The same formal criteria used by the authorities to deport the Roma were later used by theRoma to prove that their deportations were abusive and that the deportees deserved to berepatriated. Interestingly, those who had the best chances of survival were not, in fact, thosewho only used the legal measures available to them, but rather those who fled Transnistriaillegally. Once they arrived back home, they could use the loopholes of a complicated legaland bureaucratic system to get help and, eventually, to save themselves.
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The paper approaches the topic of Transnistrian ghettos from a micro-historical perspective,reconfiguring the story of Djurin, in the Mogilev district, one of the ghettos administeredby the Romanian authorities. The perspective is both historical, and sociological, with anemphasis on Bourdieu’s theorization of the field and capitals. Official documents and oralsources will be both considered.
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L’église de Saint George, un édifice en croix inscrite avec coupole, de type complexe à quatre colonnes, est située au pied de l’acropole de l’ancienne Acraephia. À l’époque de l’occupation franque, le village portait lenom de Karditsa et faisait partie du duché d’Athènes. La recherche s’est longtemps accordée sur l’idée que la constructionde l’église devait être attribuée à Antoine le Flamenc, un chevalier français mentionné par l’inscriptionvotive. Le donateur aurait fait bâtir l’église en l’honneur de saint George, saint militaire auquel il devait sa surviependant la bataille de Halmyros (1311), lorsque les Catalans anéantirent l’armée franque. Les récents travaux deconservation, financés par le programme opérationnel régional Thessalie-Grèce continentale-Épire 2007-2013, ontcependant révélé que l’évolution architecturale de l’édifice est bien différente: le chevalier franc n’aurait fait querénover une église qui existait déjà. Le présent article propose donc une nouvelle lecture de l’inscription, recentréesur une analyse des transcriptions précédentes faites par J. A. Buchon et W. Miller, et montre que les anciennesinterprétations du texte étaient sans doute erronées. Bien qu’il soit actuellement impossible de déterminer laséquence précise des événements mentionnés par l’inscription, il est certain qu’ils se sont produits avant et après 1311 (date de la bataille et également date de l’inscription). Des observations détaillées, associées aux phases deconstruction du monument et aux couches ultérieures de sa décoration murale, viennent confirmer ces idées.
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L’édification de l’église de Sainte Parascève à Rășinari et l’achèvement de sa décoration (peintures murales, icônes et autres dotations pour la célébration du service divin) ont représenté un processus long et labo-rieux (1752-1798). Ce dernier a constamment été soutenu par des prêtres et des croyants, sous la présidence de plu-sieurs évêques, de Petru Pavel Aron à Dionisie Novacovici, en passant par Sofronie Chirilovici, Ghedeon Nichi-tici et Gherasim Adamovici. La prospérité économique des habitants de Rășinari a fait que la décoration de l’édificesoit accomplie par de très bons artisans de l’époque – peintres locaux ou originaires des villages voisins, artistes originaires des pays extracarpathiques, aussi bien que d’Europe occidentale. Les recherches entreprises il y a neuf décennies par I. D. Ştefănescu et Ş. Meteş ont été complétées et approfondies par d’autres historiens de l’art roumain ancien, et elles soulignent la précieuse contribution de tous ces maîtres. De son côté, la présente étude contribue à établir la paternité de certaines oeuvres qui, par leur caractère original, ennoblissent le lieu de culte de Rășinari; et propose une chronologie interne des étapes de l’élaboration artistique de ce monument exceptionnel.
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