![КОМПЛЕТНО ИЗДАЊЕ КЊИГА XXIII. БРОЈ 5. 1931](/api/image/getissuecoverimage?id=picture_1931_25846.jpg)
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The library of Zographou, the Bulgarian monastery on Mount Athos, holds nearly four hundred Slavonic manuscripts. The one currently numbered 263 was copied in AD 1785 and describes, among other things, the miracles worked by three icons which continue to be venerated at the monastery. Two of these icons depict St George, the third one shows the Virgin and Child. The eighteenth-century tales about them are published below.
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This essay presents two bird-shaped Eucharistic containers (“doves”), originally belonging to Orthodox foundations in South-Eastern Europe. In Western Europe, the use of eucharistic doves is confirmed by the conspicuous number of examples, survived to the passing of time and preserved in various medieval art collections, both in Europe and in the United States. On the other hand, the scarcity of attestations of objects with this form in use in Eastern-rite churches has not so far allowed to verify their diffusion, nor to define a possible evolution in comparison to the Western examples: despite the ancient sources offering interesting starting points for the research, their use in the Eastern Orthodoxy has not been the subject of intense investigation until now. These two examples possibly mark the two ends of a presumably long tradition of bird-shaped Eucharistic containers in the Orthodox world, and their introduction in the art historical literature represents a starting point for future investigations.
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This study focuses on the early stage of formation of the legal and institutional framework, as well as on the beginnings of the registration, conservation, and restoration of historical monuments in the Old Kingdom of Romania. These topics started to be investigated in the second half of the 20th century and more recently, especially during the last two decades, the focus switched to the actors – either architects or self-taught, with or without specialized education, foreigners or locals – who, starting with the mid-19th century, gave meaning to the transition towards modernity of patrimonial practices. The current research does not aim to revise the topic, but to offer an overview, emphasising the most important contributions of those who have shaped an important chapter of modern architectural culture in Romania.
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The participation in the restoration of the ruins of Trajan’s Bridge in Drobeta-Turnu Severin offered the opportunity of a thorough knowledge with multiple bearings of a monument, whose restoration involved complex works. The article is divided in three main parts. First, it reviews the historical information on the monument, its evolution, and the previous interventions on it. Second, it presents the bridge’s details of construction and technique, some of which were previously unknown and were facilitated by the direct knowledge of the monument. Finally, it offers an overview of the conservation state, degradation phenomena, and restoration works that were undertaken for the purpose of recovering the initial materials and for conserving, restoring, and highlighting the bridge’s ruins.
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The initial conservation state of the late-18th century Royal Doors was very poor when they reached the Restoration Laboratory of the Theology Department – Sacred Art Specialization of the University in Piteşti. The adhering and clogged layers of sooth diminished not only the legibility of the painting depicting the Annunciation, but also the polychromy of the bas-relief sculpture. For this type of degradation and for the purpose of identifying the execution technique, a preliminary research was needed; this stage involved multidisciplinary examinations from the part of various specialists. Cleaning tests utilizing several types of solvents and their mixing in various proportions has led to the colors’ identification: gold and silver leaves, red, and green. Following the conservation-restoration proposal by the project coordinator, the works of conservation and restoration of the two Royal Doors were undertaken. The restoration team was composed of BA and MA students from the specializations of Sacred Art and Restoration of Icons and Mural and Easel Painting, respectively, both specializations belonging to the Department of Theology, Letters, History, and Arts of the University in Piteşti.
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The purpose of the article is to determine the place and importance of Chain of Title of a film or other audiovisual work, which is the basis of the successful sale of film industry products. The role of Chain of Title for film producers is imputed by film distributors, sales representatives and broadcasting organizations. The importance of proper and prompt formalization of business relationship between the industry product creators – which are the intellectual property rights holders, and the film producers is fundamental to the possibility the producer to generate revenue and profit from the film that will recoup the investment made, and also to provide rights holders with additional remuneration. In the Republic of Bulgaria, for the producers of films and other audiovisual works, the issue Chain of Title is still not fully clarified and the article focuses on the process of presenting this essential information from the point of view of the current regulations in the field, the requirements of distributors, broadcasters, and to present the author’s experience in obtaining the Chain of Title process. The methodology used, allows to present accessible and practical information, both for professionals in the field of the film industry, as well as for teachers and students.
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Before delving into the two themes that outline the period of socialist system in Albania (1944-1991). We will attempt to provide a brief retrospective by referring to the early influences of Italian culture in Albania. Based on historical facts, the influence or impact of Italian culture during the socialist period did not start there, nor was it incidental, but rather a continuation of a relationship that dates back hundreds of years. One of the theses of Italian cultural influence in various aspects of Albanian life is the geographical proximity between the two countries. By carefully observing the distant past now belonging to history, we notice that there is an extra factor, other than geographical proximity that serves as the glue for this cultural fusion. The question arises: What is it? What were the reasons that made Italian political and cultural hegemony necessary in Albania? The first undeniable fact that catches the eye is, Albania borders many nations, but none of the neighboring Balkan countries have had the same effect as Italy. The Albanian people resonate more with Italian culture than any other. Italian influence has been embraced by Albanians as a welcomed addition rather than an imposed one. There may be several reasons. Today we will consider the main reason: the similarity in temperament and inevitable intertwining of history between the two nations. The beginnings of this path of cultural influence date back very early. Referring to history, the Italo-Albanian connections date back to around the 1800s. But if we go even further back in time, it would be the years 1259, and then 1478, when the Ottoman army's conquest of Kruja, triggered the exodus of Arbëreshi settlers towards Calabria.
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The "Spanish Synagogue" of Prague, originally known as the "Israelite Temple of Prague," is a significant example of early Moorish style synagogue architecture from the mid-19th century. It was a central place of worship for some of Prague's most affluent Jewish families and played a key role in the Reform movement. The synagogue's design, attributed to architects Josef Niklas or Ignác Ullmann, underwent revisions before its completion in 1868. Its name, "Spanish Synagogue," is not due to its architectural style but likely stems from a mistaken belief in a Sephardic congregation's historical presence. The building's restoration in 1998 by the Jewish Museum of Prague has made it a prominent landmark and tourist attraction, although its history remains somewhat enigmatic.
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In 1985, Mai Murdmaa choreographed a ballet based on Mikhail Bulgakov’s novel The Master and Margarita, set to music by Eduard Lazarev. This ballet offers a good example of late-Soviet-era censorship in ballet, as the Communist Party’s ideological functionaries interfered in the production of this ballet before and after its premiere. Censorship in the Soviet Union is difficult to research because it was a forbidden subject and there are few official references to it – most suggestions were made orally, and thus information about them is largely based on people’s memories. In the case of the ballet The Master and Margarita there are, in addition to oral sources based on memories, also a written record of an eyewitness about of the alterations made in the ballet in its first season of production. This article presents an overview of what happened and when, and analyzes the reasoning behind the changes.
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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 present study aims to contextualize Soviet propaganda films from the middle of the 1960’s until the middle of 1980’s, based on evidence retrieved during original archival research at the EYE Filmmuseum in Amsterdam. The undertaken discovery on the Sovexport Collection brings its content to the scholarly attention by revealing a number of paradoxes in the representation of the Soviet utopia. Pursuing an extensive empirical and theoretical study of the documentary film collection with the aim to throw light at their semifictional features, I bring to the fore the visions of space, nature, and technology seen as part of the utopian Communist grand narrative documented in the Sovexport films. The unveiled evidence shows that Soviet ideology is depicted as holding transformative power for the future, as well as serving the goals of Soviet foreign policy. Filling a gap in the study of Soviet cinema, this paper provides a new impetus for making, viewing, and analyzing documentary films in accord with history and its complexities.
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“The White-Haired Girl“ is the first original Chinese opera. It combines Western music, music from regional Chinese music dramas and Chinese folk music. In this sense, “The White-Haired Girl“ has very high research value. One of the most brilliant vocal performances in the opera is the protagonist's aria “Hate like a mountain, anger like a sea”, which incorporates musical elements from the regional musical theatre of Shanxi province. In this paper, the aria is analyzed in terms of its musical nature, the features of vocal line and emotional expressiveness, the use of elements from Chinese musical theater in operatic arias is explored, and its significance and influence on the creation of opera on local soil is examined.
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The study seeks to determine the level of adequacy of the transfer into Bulgarian of the neologisms coined by Raymond Queneau in the novel Zazie in the Metro (1959). To this end, we examine the translation strategies implemented in Зази в метрото (2001). Starting from the assumption that, while translation is possible, the degree of translatability of a neologism is variable, we evaluate the relevance of the equivalents proposed by the translator.
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Book review: Velinova, Malinka, Antoaneta Robova, Teodora Tzankova (dir.). Normes etréécritures/ mythes et reformulations. – Philologuitcheski forum, Issue 1 (15), 2022,ISSN 2534-9473. [Велинова, Малинка, Антоанета Робова, Теодора Цанкова (съст.).Норми и пренаписване/ митове и преформулиране. –Филологически форум, брой 1(15), 2022, ISSN 2534-9473; Norms and Rewritings/ Myths and Reformulations].
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This text is a part of bigger research of different premodernist characteristics in the works of Maupassant. It is focused over a part of picture images in the novel Bel Ami, interpreted as a game coding of dominant themes of the work and Maupassant’s works in general through the figure of pseudo-ekphrasis. The text presents our understanding for ekphrasis together with the reasons for choosing the term of pseudo-ekphrasis. We analyze pseudo-ekphrasis as a sign of modern thinking of mimetic technics, because it succeeded to present whole phantasm images as iconic. The text presents thematic analysis of the images of the character Walter collection in order to introduce the functions of technical figure on a semantic level in the narration.
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