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Научен отзив за международната научна конференция „На терен в културата: автентично, зрелищно, (не)видимо”
Conference report on the International Science Conference ‘Culture as Fieldwork: Authentic, Spectacular, (In)visible'
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Conference report on the International Science Conference ‘Culture as Fieldwork: Authentic, Spectacular, (In)visible'
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peoples music, state socialism, people's democracy, Bulgarian radio, soft powerThe article describes the main power concepts and practices, related to music in Bulgarian radio during the first years of socialist Bulgaria – the Fatherland front period (1944-1947), when the authorities start to take possession of state radio, under the guise of “people’s democracy”; and the totalitarian period (1948-1956) – a period of “classical Stalinism”, a time of the completed control of radio and media music by the communist power. The focus is on the so called folk music in radio, which turns out to be one of the main conduits of “soft power” in the first years of Bulgarian national socialism. Its presence in the narratives of communist power, its place in radio programs, its main figures and formats, its power uses as “music for the people” and some discourses as “correct” and “incorrect” music, according to authorities, are examined.
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The book Тhe Мediatized Dimension of Foreign Policy presents the results of a study of foreign policy claims in the election campaign for the early parliamentary elections in Bulgaria on March 26, 2017. The study was carried out by Prof. Dr. Maria Neikova and Dr. Ralitsa Kovacheva under a project financed by the Scientific Research Centre at the Sofia University ‘St. Kliment Ohridski’.The book Тhe Мediatized Dimension of Foreign Policy presents the results of a study of foreign policy claims in the election campaign for the early parliamentary elections in Bulgaria on March 26, 2017. The study was carried out by Prof. Dr. Maria Neikova and Dr. Ralitsa Kovacheva under a project financed by the Scientific Research Centre at the Sofia University ‘St. Kliment Ohridski’.
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Selected bibliography in the field of Bulgarian Studies published in the current year
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Selected bibliography in the field of Bulgarian Studies published in the current year
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The Karioti are a Greek-speaking ethnographic group from Bulgaria, a large part of which migrated to Greece in the 1920s. The hypotheses about the emergence of the migrant community in the village of General Inzovo as well as the factors influencing the emigration to settlements in Northern Greece (the Municipality of Eginio, Thessaloniki region, and the village of Trikala in Imathias) are diverse: social, economic, political and others. The new environment in which the Karioti settled had a significant impact on the community. Language, traditional clothing and cultural features are part of the external manifestations that distinguish them from other communities. By using certain specific elements in traditional clothing, the community demonstrates a desire to be distinguished among others and vice versa, by rejecting others it reflects a desire to join the urban community.The preservation of the musical heritage of the Greek-speaking communities in the three settlements has gone through several periods, which are not identical in the two countries. Contemporary folklore manifestations and the activities of the community cultural institutions in the settlements aim to preserve the local identity of the Karioti in Bulgaria and Greece.
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Selected bibliography in the field of Bulgarian Studies published in the current year.
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Over the last decades, the Strandzha region suffers a serious demographic crisis and the outflow of population results in significant change in the local culture. The empirical data of the current research is based on fieldwork in villages of Fakia (Central Strandzha, Sredets Municipality). The aim is to give a picture of the current condition of the folklore and religious culture through symbolic and specific phenomena. Enyova bulya custom is widely spread in Strandzha region and is conceived as an accent in the Enyovden (Yanovden) celebrations that take place on the 24th of June and is one of the main summer feast days until the ’60s of the 20th century. Enyova bulya is associated with fertility, maiden's transition and the well-being of the settlement community. Today, the custom is disconnected from the context of the festive life of the researched community as far as the world view of the main actors has been changed. Main doers are elderly women, the time of the celebrations is not exactly fixed thus the sacredness of the actions is automatically degenerated. A conclusion can be made that the custom nowadays has the characteristics of a tourist attraction in some aspects. Keeping the celebrations is perceived as a need to declare local identity and local diversity. The transformations in the religious culture of the researched community can be analysed in a similar direction. St. Modest cult (celebrated on December 18) is seen as “typical only for Strandzha region”. In the past, the cult is related to the local livelihood – livestock-raising and agriculture. For example, in Fakia village is believed that the woman that gives out ritual bread first will be the first to finish harvesting. Today, as a result of drastic changes in livelihood, the cult exists as a characteristic of local religious culture – grounds for the local dimensions of cultural identity. Anyway, ritual practices serve the local identity. Searching a motivation in tradition keeps alive a local peasant community in process of dramatic demographic and social crises in Strandzha region.
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The measures for limiting the distribution of COVID-19 that have been undertaken by the state during the last months affected many institutions and people engaged with the preservation of local cultural heritage, both tangible and intangible. The article discusses the official policies towards the community centres (chitalishta) in the current complicated situation caused by the pandemic crisis. Additionally, it utilises direct observations in the field, in the media and in internet milieu, and interviews with community centre workers and representatives of communities that are successors of cultural heritage. Based on concrete examples, the study offers a general and up-to-date picture of preservation practices, developed on local level, such as the ethnographic collections at the community centres, the non-professional groups for folklore, and different initiatives related to the popularisation and socialisation of cultural heritage.
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The dual broadcasting system in the six Western Balkan countries puts challenges but also creates opportunities to increase the diversity of the TV program. The paper aims to answer the question whether there is a variety of television content provided by the public broadcasters to the audiences in the Western Balkans. Their public mission obliges them to provide access to programs on diverse topics for all target audiences, including ethnic minorities and people with disabilities.
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The study presents the contributions of Raina Katsarova (1901-1984) - one of the pioneers in establishing the Bulgarian traditional music in the first specializated music programs on Rodno Radio and Radio Sofia. It presents a researcher with experience in field work and thousands of recordings of traditional music, with publications of song collections and academic works, but also a citizen, cultural figure, public activist, media figure. The activities of Raina Katsarova as an educator, music journalist and media critic are discussed; her talks and song tales on the radio; her activities in defense of faith and rituals in the media of totalitarian Bulgaria; her role in publicizing Bulgarian traditional music on air around the world as an ambassador of Bulgarian culture, folklore and science. It is concluded that the traces of her activity in the media cover the history of Bulgarian radio, understood in the middle of the twentieth century as a public good and cultural force. It is clear to everyone that music on the radio matters. Raina Katsarova's radio appearances show how ethnomusicology is also important in and for radio.
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En 1629, une ambassade dirigée par l’archimandrite Varlaam est arrivée à la cour du tsar Mikhaïl Féodorovitch Romanov, demandant la permission de passer une commande aux peintres moscovites, afin depeindre deux icônes pour le prince Miron Barnovschi. Les sources documentaires nous renseignent sur la dédicacedes icônes et sur le fait qu’elles appartenaient à la typologie des icônes hagiographiques, avec des portraitsde saints au milieu et des scènes narratives de leur vie sur les bords. Bien qu’achevées et payées intégralementpar le prince moldave, les icônes ne sont jamais parvenues à leur commanditaire. Le patriarche Philarète Nikititchles a retenues à Moscou sous prétexte qu’elles étaient ‘inconvenablement’ peintes. Sept ans plus tard,alors que Varlaam occupait le poste de métropolite de Moldavie, le prince Vasile Lupu envoya une autre ambassadeà la cour de Moscou, pour tenter de les récupérer. Le tsar organisa une enquête, les peintres furent interrogéssur les modèles suivis, mais le résultat resta le même : les icônes avaient été peintes de manière noncanonique et ne pouvaient pas être remises aux messagers moldaves. L’enquête sur cet intéressant ‘échec’ diplomatique fait l’objet de la présente étude. En suivant André Grabar, qui soulevait pour la première fois laquestion du prétendu manque de canonicité de ces icônes, l’article reprend toute la question des causes possiblesdu refus inhabituel des autorités moscovites de les remettre à leurs commanditaires. En corroborant lesinformations documentaires avec l’analyse des sources visuelles disponibles, dans le contexte plus large de lacommande des icônes et de l’évolution du culte de saint Jean le Nouveau à l’époque, l’étude suggère qu’uneraison possible de ce rejet pourrait être la représentation du martyr de Suceava – et ce, non pas parce qu’ils’agissait d’un saint inconnu en Russie à l’époque (cf. A. Grabar); mais surtout à cause de l’utilisation d’uncertain modèle iconographique employé dans l’entourage du métropolitain Anastasie Crimca. Ce modèle étaitsans doute susceptible d’avoir déplu au patriarche Philarète Nikititch. Varlaam connaissait bien ce type dereprésentation et avait probablement donné des instructions précises aux peintres moscovites, qui les ont sansdoute suivies à la lettre. En effet, à la suite de cet épisode, Varlaam enverra également au tsar une hagiographie etune icône de saint Jean le Nouveau, qui semblent avoir dynamisé le culte et les représentations iconographiquesdédiées au martyr de Suceava en Russie à la même époque.
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L’étude collective de cette inscription s’inscrit dans lecadre du projet erc Starting Grant graph-east (2021-2026), financé par le programme de recherche et d’innovationHorizon 2020 de l’Union européenne dans le cadrede la convention de subvention n° 948390. Son but est d’étudier les inscriptions et graffitis en alphabet latin de la Méditerranée orientale, de la Grèce à l’Égypte en passantpar la Turquie, la côte syro-palestinienne et Chypre, du VII au XVI siècle.
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Philologists and medievalists rarely deal with the subject of contemporary Pop-Rock or Folk music. When they do it, they usually fall prey to a certain form of medievalism. The current section of Museikon follows a completely different approach. The pairing of interviews with memoirs and the introduction shaped in the form of an actual scientific study have the sole purpose of launching an experiment in the history of culture. The case study is a 1976 album of the Romanian Rock group Phoenix. The state owned record company Electrecord made a mistake, releasing it as Cantofabule, even though its correct title was Cantafabule or Bestiar. It had traditional- and medieval inspired lyrics, but most of all, it was the result of artistic synergy. A collective work of sorts, much in the manner of the medieval manuscripts of old.
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L’article présente l’histoire des fouilles archéologiques polonaises à Faras, au Soudan, dans le contexte des changements politiques de la seconde moitié du xxe siècle, à partir des découvertes qui ont eu lieu avant quele professeur Kazimierz Michałowski ne commence les fouilles archéologiques en 1961. Les recherches des archéologues américains (1907-1910), allemands (1907-1908) et britanniques (1911) sont discutées par la suite, demême qu’une documentation iconographique, suivie par les différentes étapes des découvertes de la cathédralede Faras et des peintures murales au cours de quatre campagnes archéologiques polonaises, achevées en 1964, enrelation avec l’activité de Kazimierz Michałowski. La suite concerne l’histoire et la manière dont le professeur Michałowski a annoncé ses découvertes au Soudan, ainsi que les expositions individuelles, voire temporaires, dans les pays européens, surtout au Musée national de Varsovie, et une exposition permanente préparée dans lacapitale de la Pologne en 1972. L’article étudie aussi la manière dont le régime communiste a influencé la présentation des découvertes et comment les Polonais ont souhaité présenter l’art chrétien pendant la répression du Catholicisme dans leur pays, à une époque dominée par la censure de toutes les expositions et publications scientifiques. En conclusion, cette recherche évalue les résultats de l’étude scientifique des monuments fouillés lors des campagnes archéologiques, et propose la vérification (à l’avenir) de la datation des pièces polychromes, de mêmequ’une discussion de l’ensemble du programme iconographique de l’intérieur de la cathédrale de Faras.
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The article studies the role of the musician in Alevi-Bektashi culture in the region of Kardzhali, Southern Bulgaria. The musician in that culture performs simultaneously religious, social and artistic roles. He is a figure whose qualities allow the researcher to associate him with the cultural type of the epic musician. His non-professional but specialized activity is presented from an insider’s viewpoint detailing the specific characteristics of that activity, the approaches applied in the process of training in it, through the qualitative evaluation of the musicians and the differences in their performance manners. The author presents the biographical trajectory and the performance style of a contemporary young Bektashi musician from the region in order to depict his portrait. The interaction between his outstanding talent and his strong religious devotion define his complex development as a musician and a member of the Heterodox Muslim community.
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Selected bibliography in the field of Bulgarian Studies published in the current year.
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Data about scientific events in the field of the humanities in Bulgaria in 2015Content of the main Bulgarian scientific journals for the current year in linguistics, literature, history, folklore, ethnography, archaeology and art studies.
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