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Дневници 1933-1992
Dinekov's diaries paint an interesting and broad picture of every day life of a leftist intellectual and communist rule.
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Dinekov's diaries paint an interesting and broad picture of every day life of a leftist intellectual and communist rule.
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The book Venusi Alb has all the children poetry. All the poetry in the same time is with pictures. The author of the book is in the fourth class. Poetries are with motivation for nature, culture and for social live etc. The author usually has description the realty life. Venusi is the planet and Alb is the root of Albania.
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The first in Polish language novel by the Lithuanian writer, playwright and essayist Herkus Kuncius, one of the most provocative and prolific contemporary authors in Lithuania. He graduated in art history at the Vilnius Academy of Fine Arts.
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Based on the facts, the novel tells about one of the white spots of post-war history - "wolves children". After the Second World War, German orphans wandered around Lithuania in search of a roof over their heads and bread. Fleeing from East Prussia, little Renata is hiding among forests, but also among people - hiding her German origins. He receives foster parents and a new Lithuanian name - Marytė, and the history of her family shows the tragic fate of many refugees from East Prussia in Lithuania. The novel was based on real wolf stories of children and their relatives. The first novel by Alvydas Šlepikas My name is Marysia was recognized as the best Lithuanian book in 2012. The author, known mainly as a poet, uses his lyrical style in his first novel, using extremely visual images and an emotional, torn narration.
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Courage and fear is a story about human attitudes in the face of life threat. The author shows the history of occupied Lviv at the level of microhistory, from the perspective of personal history. However, this is not only the extraordinary nature of this book, based on memoirs, memories, letters and even testimonies. It is a story about human fates and, at the same time, about the history of Polish, Ukrainian and Jewish intelligentsia, about complicated relations between its representatives, about various manifestations of solidarity and hostility based on courage and fear.
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The text presents the main conclusions based on the study of the political messages in the Turkish series broadcasted on Bulgarian television and on Netflix. The main political messages in the series, showed on Bulgarian television, are the responsibility for decisions, connect with the life of a woman and a child. Among the important political topics are: migration, education abroad and returning home, conflicts between rich and poor.
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The article discusses the origin and meaning of the notion and the term leonine partnership, as well as the problems associated with the distribution of profits and losses between the partners in the consensual contract for partnership in Roman law. The fragment from the Digests of Justinian where actually is the unique mention of the expression societas leonina and this form of partnership is defined by the Romal classical jurist Cassius is subjected to a legal-dogmatic and linguistic analysis. The fable of Phaedrus for the partnership between a lion, a goat, a cow and a patient sheep which is considered to be the original source, used for forming the concept of the leonine partnership in Roman legal thought is completely analysed and interpreted. The author paid special attention to the magna questio (the great discussion) among Roman jurisprudence, dating from the period of the end of the Roman Republic with some projections and in the classical period in connection with the distribution of profits and losses in the consensual contract of partnership as a result of the partnership`s activity. And on the other hand the article examines the problem about the existence of privileges or restrictions for certain partners regarding the profits and analysis of the two leading opinions on the subject through the exegesis of a fragment of the Institutions of Gaius.
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The text offers a review of Prof. Miglena Nikolchina's monumental study "God with Machine: Subtracting the Human", dedicated to fundamental theoretical conceptualizations around anthropological issues. The review dwells in particular on the central conceptual paradox outlined in Prof. Nikolchina's book, namely the double determination of man as "a being who wants to be human" and “being who does not want to be human”
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Après avoir reconfirmé la datation de Camille Enlart (vers 1421 ou 1421-1424) et identifié le comman-ditaire (l’évêque de Limassol Barthélemy Gui) dans une inscription fragmentaire, la présente étude explore: d’une part, les modèles des inscriptions en langue vernaculaire française de Pyrga (Chypre); d’autre part, la lo-gique du programme iconographique et le contexte culturel que sous-tend cette dernière. Dans la première par-tie, l’analyse des inscriptions de la chapelle prouve que le concepteur du décor peint a suivi un modèle manuscrit, sans doute un psautier avec un grand cycle d’enluminures. L’étude évoque trois termes de comparaison célè-bres: le Psautier de la reine Ingeburge (Chantilly, Bibliothèque du Musée Condé, 9 – tournant du xiiie siècle), le psautier de l’évêque Henri de Blois (Londres, British Library, Cotton Nero C iv – vers 1160) et le livre d’images de Marie de Rethel (Paris, Bibliothèque nationale de France, n. acq. fr. 16251 – vers 1285). Dans la source manuscrite reconstituée, les inscriptions en ancien français étaient probablement transcrites en tant que tituli, d’après une typologie tripartite: noms de fêtes religieuses, groupes nominaux ayant une fonction analogue et légendes sous forme d’énoncés introduits par l’adverbe coument. La langue des inscriptions de Pyrga, un français d’Outremer, présente les traits particuliers des scriptae chypriotes de la fin du Moyen Âge. De plus, on constate que la déco-ration de la chapelle inscrit le monument de Pyrga dans la catégorie des chapelles royales de l’Europe occidentale (xive et xve siècles). Le transfert du codex à la paroi concerne non seulement les images, mais également les textes qui accompagnent ces dernières. L’auteur s’intéresse ensuite à la disposition symétrique de la décoration dans les deux travées de la chapelle, ainsi qu’à la manière dont cette disposition accentue l’Uniatisme catholique-orthodoxe. La logique dos-à-dos de la décoration émule celle des icônes à double face – termes de comparaison directs pour la chapelle – notamment leur choix d’apparier deux scènes : la Crucifixion / la Mère de Dieu. Le con-cepteur du décor peint souhaitait évoquer l’osmose de deux églises: une église latine, orientée vers l’Est; la sug-gestion d’une église byzantine, orientée vers l’Ouest. Cela explique le choix particulier de la décoration des voûtes (christologique pour la travée Est et mariale pour la travée Ouest), la double représentation de l’An-nonciation (pour marquer l’orientation des deux églises) et le choix d’une composition de type pala d’altare pour la paroi Est, tandis que la paroi Ouest imite la décoration des templons byzantins. L’osmose des deux églises est indiquée de manière encore plus claire par le choix de représenter les martyriums des saints Étienne (signifiant l’Orient) et Laurent (signifiant l’Occident) au-dessus des entrées latérales. Ce serait une allusion à l’osmose des corps de ces saints dans la Coniunctio corporum sanctorum Stephani et Laurentii (bhl 4784b). Après une réévaluation du texte fragmentaire (aujourd’hui perdu) de l’inscription dédicatoire, il est évident que la dédicace proprement dite concernait l’Assomption de la Vierge. Qui plus est, l’osmose Est-Ouest était de nou-veau indiquée par la représentation dans un même cadre de la Dormition de la Mère de Dieu (sujet à connotation byzantine) et du Couronnement de la Vierge (thème occidental par excellence). Les textes littéraires des xive et xve siècles confirment la fixation chypriote de l’appariement de la Mère de Dieu avec la Passion du Christ, de même que plusieurs autres choix de la décoration de Pyrga. La signification de la décoration devait être multiple, en rapport avec la triple utilité du bâtiment: chapelle funéraire (pour Barthélemy Gui), chapelle royale (pour le couple Janus de Lusignan-Charlotte de Bourbon) et point d’entrée au monastère de Stavrovouni, qui hébergeait des reliques de la Sainte Croix.
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A large number of oral stories about Prince Miloš Obrenović (1780–1860) are preserved as an integral part of wider biographical, autobiographical, memoir, diary, historiographical, epistolary, travel and documentary sources. By identifying and separating anecdotes, historical legends, life stories and proverbs from the tissues of more elaborate narrative units, an extensive corpus is formed in which, through a series of narratives and variants, the narrated biography of Prince Miloš develops in the spheres of his military, political, diplomatic, social and private life. Given the fact that Prince Miloš appears as a very attractive and stimulating person for narrative shaping, the examples of his special administrative and judicial practice, which are characterized by elements of humorous, unusual, witty, but also arbitrary, unscrupulous and cruel treatment emerge as particularly interesting topics. He becomes a type to which are connected themes and motifs well known not only in the domestic tradition but also in the international narrative fund.
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Book Review: Disenchantment, Re-enchantment and Folklore Genres. Ed. by Nemanja Radulović, Smiljana Đorđević Belić. Belgrade: Institute for Literature and Arts, 2021. 286 pp. ISBN 978-86-7095-286-7
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The article analyses the plot-motive content and genre structure of the oral narratives (memories) about the submerging of the Don stanitsi [stations] in connection with the construction of the Tsimlyansk Dam in the middle of the 20th century. The focal points of the narratives about submerging are: the loss of the ‘small homeland’ as a result of the catastrophe, the eschatological experiences, the miraculous ‘return’ of the submerged territories and objects (in visions and in reality, depending on natural phenomena). The narratives about the submerging from the Don region demonstrate a typological similarity with texts from other regions of the former USSR, which allows us to speak of a separately developed genre of modern verbal folklore.
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Diverse influences of folklore tradition in contemporary media are presented in this article. The pandemic “closure” and encapsulation of the normal rhythm of life in 2020 unleashed a wave of creative TV, radio, social media manifestations, focused not only on covering the unusual situation, but also on the particular “return” to traditional practices and ways of adapting to the daily life routine. Self-introspection became a journey towards primordial rituals where tragic and comic coexist in the resistance and affirmation of life. The observed and analysed examples are from the Czech and Bulgarian media environment.
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The article introduces to the late medieval romance in verse Vepkhistq’aosani by Shota Rustaveli – the central artefact in Georgian cultural self-awareness and the top item of ‘high’ Georgian cultural export. It briefly presents its narrative content, indicating the correlation of two plot-lines (initially through enframing, after some point though horizontal interlacing). It briefly introduces to the main fluctuations and 20th-century tendency in translating the work’s title, interpreting the fluctuations as indicative of aesthetic differences, and the tendency as an indication of the ‘cultural market’ success of the Soviet-Georgian (in its ideological and aesthetical basis –a Stalinist and socialist-realist) image of Rustaveli’s masterpiece. It presents two influential to dominant claims of Georgian Rustvelology – that the work is a poema (and not a novel/romance) and that it displays, at least partially, Renaissance outlook and poetics, – considering these claims as tools (1) of Soviet “Culture Two” to allot a proper place to Georgian nation within the alternative modernity of the USSR and its premodern background-under-construction, and (2) of Soviet-Georgian cultural nationalism to define a usable past in post-Soviet conditions; and (3) as beliefs. It revitalises the option to contextualise the work of Rustaveli (and, indirectly, Georgian cultural identity) in non-Eurocentric terms, providing some factographic and theoretic clues from the field of macrohistory (J. Abu-Lughod et al.) and a methodological one from sociology of arts (P. Bourdieu).
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44 scientists participated in the International Scientific Conference dedicated to Prof. Ivaylo Dichev, on the topic: Pop-culture, Pop-politics: The Digital Turn. Interdisciplinary Analyses Of The Intersectionality Between Media, Cultures And Politics. The conference concludes the research project "Pop-culture, pop-politics: The digital turn. Interdisciplinary analyses of the intersection between media, cultures and politics" of the Sofia University. The conference was implemented with the help of the Cultural Studies Network, the journal "Seminar_BG", the Department of "Radio and Television" of the Faculty of Journalism and Mass Communication, and the Department of "History and Theory of Culture" at the Faculty of Philosophy, together with scientists from the Institute of Philosophy and Sociology of the Bulgarian Academy of Sciences.
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