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The work hereby starts with the explanation for provenance of a folk dress seen in the painting Romanian Lady by F. A. Bridgman, identified as the region of Muscel. It also presents the interest shown by queen Elisabeth of Romania for the folk dress, particularly the Muscel one, which she used to wear in many occasions and her way of using the folk dress in several campaigns, especially to promote the country abroad. The research shows that this interest is due to Ana Davila, Romanian with noble descent, and the tradition Ana followed in this matter, serving the ideals of equality, fraternity, liberty and national union. We show the influence of the activities done by Ana Davila and her relatives to the artistic creation between 1850-1860, to the beginnings of ethnographic research in Romania and to the development of national identity and conscience whose most important promoter at the time was queen Elisabeth of Romania.
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This study is based on the notated repertory in the Greek Oktoechos prior to the 13th century. The notated Ocktoechos was included as the last section of one of the principle notated books – the Sticherarion. Four cycles were systematically notated in the early (pre-thirteenth-century) Greek Sticheraria– the anatolika and alphabetika stichera with theotokia, usually attributed to John of Damascus, the anabathmoi attributed to Theodore the Studite, and eothina stichera attributed to Emperor Leo VI the Wise. Some sources featured also the exaposteilaria attributed to Emperor Constantine VII Porphyrogennetos. These notated cycles are explored here in the context of the Typika used at the time – the Hypotyposis of Theodore the Studite, the Typikon of Alexios the Studite, and the Typikon of Evergetis. The early copies of the Hypotyposis do not mention the anatolika and alphabetika stichera. The Typikon of Alexios the Studite, which is based on the earliest copies of the Hypotyposis from the second half of the 10th century, prescribes only resurrectional stichera after both Psalm 140 at Vespers and Psalms 148-150 at Orthros. The Typikon of Evergetis, which reveals a very strong neo-Sabaite influence, already prescribes the anatolika and the alphabetika stichera. Hence, we consider the 11th century a watershed in the formation of the notated repertory of the Oktoechos. We propose that the four cycles included in the earliest notated Oktoechoi were probably notated because they were new for the liturgical practice in the region of Constantinople from the 9th through the 11th centuries (as either newly compiled or newly composed works).
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In the Radomir Psalter script and illumination act together to produce a powerful visual and psychological effect on the viewer. In analyzing their modus operandi, the paper focuses on the paleographical features and the most striking imagery in the decoration, involving representations of human hands, snakes/dragons and birds. This selection of motifs has its focal point in the large-scale composition on f. 167r, showing a heraldic couple of monstrous birds (or flying dragons), intertwined with a couple of snakes/dragons. Assuming the double function of a headpiece and tailpiece, it marks the end of the Psalter where djak Radomir left his colophon and the beginning of the added “Story about Saul Chasing David.” The latter, still not properly studied, is considered an original Slavonic literary work. Its highly emotional content, when juxtaposed to the scribe’s note asking ‘readers’ to commemorate his father, suggests a very personal reason behind the creation of this manuscript. The study of the ornaments reveals encoded apocalyptic—and respectively soteriological—notions connecting in a single verbal and visual complex the devotional character of the Psalter as a book and private prayer for mercy and salvation. When considered in a broader socio-historical perspective, the manuscript’s illumination suggests that the book was created at a time when thirteenth-century Bulgarian society feared yet again the coming of the ‘last days’. In that respect, the author raises the open question to what extent the spread of the visual language so characteristic for the illumination of thirteenth-fourteenth century South- and East Slavonic manuscripts and usually termed ‘teratological style’ or ‘teratological ornament’ might have been prompted by such a collective sensibility.
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The legendary story of the Athonite Dochiariou Monastery is associated with the protection and help of the Holy archangels. The body of narratives has continued to grow over time to take on its final form in the early sixteenth century. The earliest extant texts are Slavonic translations associated with the pen of Vladislav the Grammarian (the second half of the fifteenth century). A bilingual (in Greek and Slavonic) manuscript of the late fifteenth century is kept at Dochiariou, providing an account of the miracles worked by the archangels at the monastery. Versions of the Dochiariou legends were gaining currency in Russia to be included in the reading menaia, synaxaria and panegyrika. Thesaurus by Damascenus Studites played a significant role in the popularity of the miracles. Proskynetarion of 1843, published in Dochiariou, gave a detailed account of the miracles.The earliest representations of the Dochiariou miracles have been lost, though there are written records of their existence of the fourteenth century. The full cycle of the miracles is illustrated at the catholicon of Dochiariou as well as at the refectory and on the phiale. The monastery published also a series of prints circulating the main scenes of the Dochiariou cycle and rendering them generally available.The earliest in Bulgaria illustration of the miracle with the boy rescued from drowning is at the Church of the Nativity in Arbanassi (1640s). Three of the scenes from the cycle occur on a series of icons of the Archangel Michael with scenes of the miracles of the archangels painted in the late eighteenth and throughout the nineteenth centuries. An analysis showed that they had been inspired by Damascenus Studites’s Thesaurus. The murals at two churches within the complex of Bachkovo Monastery (of the Holy Archangels and the church of the same name in Kluviata locality) include cycles of scenes of the Dochiariou miracles, modelled on a 1809 Dochiariou print. The emblematic scene depicting the rescue of the boy from the waves is found on iconostases painted by masters from Debar in the late nineteenth-century Bulgaria’s northwest. A woodcarver, possibly coming from Debar too, sculpted the episode of translating the treasure at the church of the village of Teshevo, the region of Gotse Delchev.
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The article studies the artist's books of some of the most famous writers and painters of our time George Badin and Michel Butor.
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This article aims to provide a historical overview of the impact of architecture and decorative arts on health and health preservation in Muslim societies during the medieval era. Based on primary medical sources, this article provides a historical interpretation of the theoretical origin of the ignored link between medicine and architecture (and decorative arts). Our findings indicate that some empirical results concerning the effects and aspects of built environments (architectural spaces) on health and treatment–both physical and mental– have been considered in the medical sources. Practical instructions of these sources introduced two theoretical achievements: 1) an introduction to the historical knowledge of environmental health and design of healthy places, and 2) a comparative analogy of the built environment and human nature (organism), which became a theoretical basis for the relationship between natural sciences, architecture, and the decorative arts in the middle ages. Considerations of the study show the extent to which architects and artisans, based on the teachings and instructions of physicians, dealt with the structural and content adaptation models of architecture and decorative arts to human organism and nature.
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Social documentary photography is one of the key genres that Ukrainian artists use for creating a series of works presented in the form of a photo book or as an independent project. Among the most prominent representatives of this direction, Alexander Chekmenev and the members of Kharkov School of Photography (Boris Mikhailov, Evgeny Pavlov, Mikhail Pedan, etc.) should be singled out. It is notable that despite the fact that their works have common issues, the similar choice of the method and general stylistics, there are a number of significant differences. With the transfer of individual facial features, Aleksander Chekmenov seeks to reveal the psychology of the person being portrayed and elevate a person in the eyes of others, while representatives of the Kharkov school of photography use sharp, satirical language with the active inclusion of various manipulations of the image. On the basis of the art history analysis of a number of well – known projects by Alexander Chekmenev, certain regularities in the strategy of creating a social documentary project in his works have been identified.
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The oneiric universe is present in almost all of Samuel Beckettʼs work, if only in the aspect of a form of reverie as found in modified states of consciousness, distinct from the usual states of mind, and which are often quite closeto trance or hypnotic states, or even, sometimes, to quite problematic psychologicalstates. At first glance, all of Beckettʼs characters are dreamers, but by dint offollowing them in their inner turmoil, we may discover the signs of a deeper if notfunding activity of the spirit. Oneirism in Beckett, when it is not the simplerepresentation of its phenomenality, can be part of an articulatory strategy ofsimulacra of deep experiences of the psyche, most of the time in connection withexistential questions which are neatly brought into the spectatorʼs field ofconsciousness, so that, with the guard down or in no way forced to “connect” to the genre of discourse, (s)he finally lets her/ himself be experientially inhabited by it.In the opening of this article, I will present a brief overview of the formal, aspectualdiversity of oneirism in a few short pieces by Samuel Beckett: …but the clouds…,Nacht und Träume, What Where and Ghost Trio. Then, most of the development isdedicated to the descriptive analysis of Samuel Beckett’s Film, which will highlightthe richness of dreamlike forms and contents from his uniquely non-verbaldiscourse. Its aspectual diversity ranges from philosophy with phenomenologicaland existential tints, to the anthropology of rites and popular beliefs, and even topsychoanalysis, for the sharpness of the figures of the work of the dream which relate to it, as surprised in the field of manifestations of this unique cinematographic work.
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This article discusses effective communication strategies in the event management domain. The focus is on the integrative potential of certain art events with a growing popularity for the development of visual arts and of the prosperous cultural tourism – the sand sculpture festivals. The research objective is to identify strategic approaches ensuring recognizability of the festivals in a virtual space that is already oversaturated with content. The paper also studies the possibilities for mediatization and competitive performance of the sand sculpture festivals in the world of digital technologies. The subject of the narrative is the Sand Sculpture Festival in Burgas (the first of its kind in Bulgaria), outlined in the brand’s own media: website and social media sites, which helps shape its image. In achieving the research objective, the case study method has been applied.
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This paper discusses the concept of the hero and the role of memory as an object of (re)construction of the world in the narrative of the Nintendo digital game The Legend of Zelda: Breath of the Wild. Through the analysis of how memory is reconstructed in Link and the characters that inhabit Hyrule, memories, historical and social memory, monuments, documents, space, and gameplay within the same digital game are also reconstructed. Testimonial memory, in turn, will help remember and construct the narrative of Link’s personal and social history by reconstructing the story. The personal experience that the player has while interacting with the game through the act of playing can build the metadiscourse between memory and narrative to understand the hero and his journey through the world. In this sense, the importance of the character Link within the game is affirmed, as he is a much more complex subject than a simple archetype within the game mechanics.
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In Art History, the representation of the female figure has an important role, since as early as the prehistoric period and the Venus figurines and is respective to the social and cultural conditions that differ from era to era and place to place. As these data are linked to social stereotypes and the construction of the social gender, the woman as an object of representation is transformed according to her role as a social subject. The artists derive their themes from both myth and reality regarding how the female identity is transformed. This research proposal focuses on a comparative analysis of the works of two contemporary artists who draw their themes from Jewish religious tradition and women’s lives in the Middle East. These are the sculpture Lot’s Wife, by the Greek sculptor Froso Efthymiadi-Menegaki, and the film Turbulent, by the Iranian visual artist Shirin Neshat. The research is based on the theory of social gender, as formulated by the Australian sociologist Raewyn Connell, and the theory of social representations, introduced by the French social psychologist Serge Moscovici.
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Romanian journalist, radio producer, record producer and jazz drummer, Cornel Chiriac (1942–1975) was born in Bessarabia. He graduated from the University of Bucharest's Faculty of English Language. Cornel produced for Radio România the most popular music show of the 1960s – METRONOM. After Invasion of Czechoslovakia he played a ballad which relates how five small wolves and a bigger one attacked a sheepfold. Later put on The Beatles' Back in the USSR. He was discovered by Radio Free Europe director Noel Bernard in the Traiskirchen refugee camp and continued his activity in Munich, in RFE's Romanian-language section. He re-launched Metronom and Jazz magazin, and started Jazz à la carte. On March 4, 1975, Cornel was stabbed near his car, in a Munich parking lot.
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This is a review of the book Hans Bergel, Always looking to Romania, by Cosmin Budeancă, Preface by Florian Kührer-Wielach, Afterword by Ana Blandiana, Cultural Foundation „Memoria” Publishing House and MEGA Publishing House, Bucharest – Cluj-Napoca, 2023, 216 p.
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The article introduces the history of creation, the content and messages of the work “Mistero Buffo”. The main task of the text is to clarify the origin and essence of the term “grammelot”, as well as to follow its use as a theatrical language by Dario Fo in “Mistero Buffo”. Some of the translation difficulties that would be faced by future Bulgarian translators are also presented. The paper sets the task, by presenting the specifics and implications of the work, to provoke interest towards it on the part of the Bulgarian public, as well as the translation and theater community, and alco to accelerate its popularization by realizing the need for it to be translated and placed on the Bulgarian stage.
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Defended PhD theses in Bulgaria in the field of linguistics, literature, history, folklore, ethnography and art studies
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The aim of the article is to present the nature of remuneration due to film co-authors and performers on the basis of Art. 70(2)(1) of the Act of February 4, 1994 on copyright and related rights (CRRA). The current wording of the provision does not take into account the realities of the contemporary audiovisual industry and changing habits of audience who give up cinema screenings in favor of VoD. The streaming services also replace usage of films stored on DVD or other carriers. According to Article 18 of Directive (EU) 2019/790 of the European Parliament and of the Council of 17 April 2019 on copyright and related rights in the digital single market, the Member Stated shall ensure that where authors and performers license or transfer their exclusive rights for the exploitation of their works or other subject matter, they are entitled to receive appropriate and proportionate remuneration. According to the author of this article, the said article, with respect to coauthors of an audiovisual work should be implemented by extending the scope of Art. 70(2)(1) of the CRRA by introducing an inalienable right to appropriate remuneration for making the work publicly available in such a manner that anyone could access it at a place and time individually selected by them.
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1. Terezín (Theresienstadt) am 3, September 1972 2. Le cycle des conférences „De l’histoire de l’art juif“
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