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Parfianowicz-Vertun examines the role of literacy practices and verbal creativity in Czech underground culture. She focuses on ways in which underground artists used writing and the written words; the tension between writing and alternative culture, which was largely based on the spoken word; as well as situations in which the act of writing became a performance of sorts. The article explores various aspects of underground culture: music, poetry, fine art and samizdat publishing.
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Selected bibliography in the field of Bulgarian Studies published in the current year
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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 culture of Georgian chant is variable and particular schools are different from each other. The vital schools are Gelati, Shemoqmedi (West Georgian chant traditions) and Karbelashvilebi (East Georgian chant traditions). The paper presents musical analysis of West Georgian chant traditions, using Gelati school as an example. Scores are taken from Georgian musical manuscripts from the 19th century, which are saved in National Centre of Manuscripts and were written by St. Pilimon the Chanter (Koridze) and St. Ekvtime the Confessor (Kereselidze). The article’s aim is to show how some of the Great Feasts in Georgia were celebrated. The first part contains the examination of some individual aspects of Georgian liturgical practice. The second part synthetises what is important in the process of researching Georgian chant. The analysis shows individuality of the chant material. Diversity and abundance of existing materials gives the opportunity to conduct further research on the topic.
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The aim of an article is to show a strategy of creating brand by Metropolitan Opera according to the theory of global culture industry by Scott Lash and Ceila Lury. The main process which plays a significant role in this strategy is a medialisation of the opera, which provides constant update of this genre and helps it to adapt its form for a contemporary consumer. This strategy changes the relation between product and its recipient on several levels and makes an opera a new, fresh and modern music genre, as well as a theatrical and cinematic experience. Expansive Met brand transforms the operatic industry and introduces numerous innovations as Live in HD, iPod applications, Met on Demand, a brand of a singer etc. There’s also a significant aura around this brand, which imposes a form of thinking and causes certain expectations in relation to the consumer goods made by Met. According to the Roland Barthes’ theory of modern myth, the perception of this brand depends also on its history, memory and tradition, as well as being created by the identity itself. Thanks to the innovations and the nature of the event, an access to the opera nowadays is much easier and becomes a sign of a modern era.
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The Gospel According to St. Matthew (1964) was the third film made by an Italian intellectual Pier Paolo Pasolini. After many scandals and court trials which concerned seditious character of his earlier shortmovie La ricotta (making part of Ro.Go.Pa.G., 1963), he decided to dedicate his new film to the history of Christ, choosing the text of The Gospel According to St. Matthew, naming it the one which in the best way represents the human nature of Christ and his „being a man among men”. The film he made is an interesting work of art because of many reasons: it was filmed in the area of the South of Italy, it’s maintained in the neorealism aesthetics, and thanks to the actors who starred in the film (one of the Apostles was played by Giorgio Agamben, an Italian philosopher, Jesus was played by a Spanish student, a strong follower of communism and Mary was played by Pasolini’s own mother – Susanna). Nevertheless, The Gospel According to St. Matthew, among other Pasolini’s film, has the most complex and refined soundtrack list, because this time, the music is the element which plays the major role in the film, being the factor of the stylistic contamination he applied in his works. The story of Christ is portrayed by unusual music choices such as Sometimes I Feel Like a Motherless Child by Odetta Williams, Gloria from the Kongo mass Missa Luba, Prokofiev’s Alexander Nevsky and others. Thus, it is important to have a closer look at the film’s music, and by decoding the intertextual figures such as quotations and allusions, try to understand its narrative symbolism and hidden, autobiographical motives created by Pasolini.
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„La buona figliuola” („The Accomplish’d Maid”) is an opera buffa in three acts by Niccolò Piccinni and Carlo Goldoni. The librettist based his text on Samuel Richardson’s novel „Pamela, or Virtue Rewarded”. It was performed for the first time at the Teatro delle Dame, Rome on 6th February 1760 with an all male cast. It was a big success and „La buona figliuola” took Europe by storm. Every European opera house had this opera in its repertoire. The performances were in: Barcelona, Prague, Vien, Dresden, London, Berlin, Mannheim and Paris. This opera was probably performed even in Beijing by Jesuits in 1778. „La buona figliuola” was so popular in Europe that Stanisław August Poniatowski, the King of Poland, wished it for his coronation ceremony. The performance took place at the National Theatre on 7th August 1765, just five years after the world premiere. This opera was also very popular in Warsaw. People loved the story of a simple and good maid Cecchina. Seventeen years later, Wojciech Bogusławski, the director of the National Theater, translated and adapted Goldoni’s opera and named it „Czekina albo cnotliwa panienka” („Czekina or a Virtuous Maid”). He performed it in 1782 with big success. First of all, the article describes the historical context of the creation of libretto – the Carlo Goldoni’s biography. Next, it presents the story of maid Cecchina and the phenomenon of the description of the Polish theories of translation from the 18th century, the Polish version of the opera – „Czekina or a Virtuous Maid”, is presented. Finally, two versions of the libretto – the Goldoni’s and the Bogusławski’s, are compared.
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This publication presents a research on students – future teachers – and their pedagogical skills in terms of theoretical and practical musical training. Some points of view on the current topic are considered in the theoretical part. The result of the theoretical research on the problem has been determined by the nature of the musical and pedagogical skills. The opportunities for assessing student’s pedagogical skills at theoretical and practical trainings are displayed in the practical-applying section. The methods, used in this research are: theoretical analysis of the literature on the studied problem, qualitative analysis of results from the research, relative to the musical practical preparing of students from the Primary School Pedagogic.
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Interview with Jan KREMER by Adam Kysler
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The study on the music recorded and reproduced on commercial media places in the framework of the research interest the early recordings of military bands in Bulgaria, recorded and published by the Gramophone Company in the first decades of the twentieth century. The emphasis is on the role of gramophones and gramophone records in Bulgaria as functioning objects (advertisements from periodicals from the first decade of the 20th century, literary works and memoirs are analyzed), symbols (labels are analyzed). Starting from the general picture, the study focuses on the place of the army and professional musicians in early Bulgarian gramophone records, shown as fields of cultural production and habitus. The ratios of genre arrays in early recordings are described and analyzed: "folk" music (folk, potpourri), military music (marches), popular music (Western dance idioms), art music, sound pictures. The relationship of contexts with contents has been sought, bringing out some encounters in military band recordings of Western and local, modern and traditional, political and popular.
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The proposed article examines the relationship between two institutions that normatively frame and manage sustainable practices of reproduction and modernization of folklore music in Bulgaria in the 21st century - a city festival for folk art and television media (and related digital platforms) that reflects it. The Folklore Sunrise Festival and Sunrise Music TV (Kiss M+) together create a vibrant "folk" scene that is socially and culturally significant, and attractive to communities connected to Bulgarian music-folk traditions.
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Presentation of the first joint exhibition by Orlin Spassov and Ventsislav Dimov "Dvoitsa" /"Both of us" (February 15 - March 20, 2024, Faculty of Journalism and Mass Communication) by the authors and photos of their works.
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Speech by Georgi Lozanov at the opening of the exhibition "Dvoitsa" on February 15, 2024.
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Ventsislav Dimov's interview with Orlin Spasov on the occasion of the exhibition “Both of us”(“Dvoitsa”). Spassov's answers show photography as a hobby and part of his professional interests.
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Orlin Spassov's interview with Ventsislav Dimov on the occasion of the “Both of us” (Dvoitsa”) exhibition. Dimov's answers present art as a child's play, as an escape from words, as a search for meaning through invention.
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The Stepford Wives, a novel by Ira Levin published in 1972, describes a micro-dystopian society, which imposes a strict ‘traditional’ order, by transforming women into compliant wives programmed to serve their husbands. The book has been adapted to screen several times. The present paper will focus on a comparison between the original literary work and the first adaptation of 1975 by British director Bryan Forbes, seen through the notions of genre, gender, class and race.
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Book review: Румяна Л. Станчева. Сравнително литературознание. Фаталната жена и 5 европейски кройки на романа. София, Изд. Колибри, 2023. [Roumiana L. Stantcheva. Comparative Literature. The Femme Fatale and 5 European “Cuts” of the Novel. Sofia, Colibri Publishers, 2023./ Littérature comparée. La femme fatale et 5 coupes européennes du roman.]
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