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In this report four newly discovered notated chants for the church service in honour of Saint Naum on 23 December are presented. Written in the 19th century they show how the cult of this notable Saint is renewed during the period of Bulgarian National Revival.
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Technical documentation is a necessary prerequisite for the protection and preservation of cultural heritage. For the purposes relating to Garić-grad, it has been developed since the beginning of the 1960s. Parts of interdependent documentation have emerged depending on the priorities regarding either the protection or the establishment of the facts necessary for its implementation. The documentation relating to the state as found, as well as to the archaeological and conservational explorations, tends often to intertwine with the projects and the implementation documentation; this is primarily conditioned by the construction state of Garić-grad. Due to the fact that the organising, conducting and financing of the protection and preservation works on this kind of cultural heritage are exceptionally demanding, there had even been disagreements within the profession. The initial major impetus and enthusiasm died off in the early 1980s, much before the complete and only logical restoration of the central tower. This situation had a direct impact on its catastrophic present state. A new cycle of conducting exploration works and developing documentation necessary for launching the reparation process began in 2009, when the programme of the Croatian Conservation Institute was included in the regular financing plan of the Ministry of Culture of the Republic of Croatia.
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The archaeological explorations of the old town of Garić were discontinuously conducted in the period between 1964 and 2010 as a part of the exploration works necessary within the framework of presentation and conservation works. Due to the temporal length of the explorations and the rather long pause in the works (between 1971 and 2010), archaeological explorations may also be presented as a historical survey of the archaeological explorations of old towns in Croatia. The said works were led by: Slavko Degoricija, Dragica Iveković (the Museum of Moslavina), Milan Kruhek (the Croatian History Museum Zagreb) and Tajana Pleše (the Croatian Conservation Institute Zagreb). During the campaigns conducted in the years 1964, 1968, 1969, 1971 and 2010, the old town of Garić was made more approachable; hence, the explorations of bigger town parts and the central tower were facilitated.
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At the height of the First World War, a German-Austro-Hungarian-Bulgarian production of a feature film Bogdan Stimov was created in Bulgaria. It had an unmistakable propaganda goal, but it also financially supported the objectives of the large Samaritan network, headed by Queen Eleonora. The then ruler of Bulgaria Ferdinand I (1887-1918) and his spouse took part in the film, which makes the production the first in the world to feature rulers.
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The text outlines some aspects of hybridity in Bulgarian rock and metal. The focus is on metal music, rock is included, primarily because metal is a part of it, some of the external elements, used in metal, are from other types of rock music and some hybrid forms have a controversial status – they come from metal, in part, but are they metal? In addition to stable hybrid forms, the text includes examples of milder hybridity, wherein external elements are used, without creating a new metagenre. Another accent is the hierarchy of hybrid forms, tied to the way the source genres and micro cultures are perceived. An attempt has been made to explain the importance of self-defining and “external” (or outsider) definitions for the understanding of different musical categories, their use and perception, which can affect the genre-cultural hierarchy of hybrid musics.
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A review of professor Rosemary Statelova’s book “Estrada and Socialism: Glimpses”
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The mass interest that movies attracted made film an extremely important means of influencing public opinion in Yugoslavia. As a result, the party-run state strove to keep the film industry under rigid control. In the first decade following World War II the Yugoslav film reflected the state’s new policy of turning towards the West, gradually drawing away from socialist realism and adopting Hollywood-style forms of propaganda. Although for reasons of foreign policy Yugoslav communists had veered towards the West in the beginning of the fifties, they had not done much to introduce democracy in the country’s internal relations. The appearance of new and more liberal trends in art drew criticism and repression. Modern themes were undesirable despite their authors’ unreserved loyalty to the Party because they inevitably disturbed the mythic perception of reality that the Party had endeavored to create. Because of its importance in forming the perception of the masses film-making was entrusted only to individuals who had proven themselves beyond doubt both ideologically and politically. Despite the rigid rule exercised over the ‘brotherly’ nations of Yugoslavia such deviations occurred which cannot be ascribed to coincidence or to individual digressions but are more likely to have been the result of some form of political pluralism. The fact that this pluralism appeared within a specific single-party system makes this phenomenon even more interesting and its consequences more complex. The critical spirit managed to survive and grow in art despite state and party control and overt political pressure, occasionally producing outstanding works. Film quite frequently preceded other forms of art in this respect.
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The text offers an analysis of the role of women in art and society today and poses fundamental questions regarding the visibility of female artists in Bulgaria. This study was created in connection with the Women's Artistic Projects Fund, a project of the Bulgarian Women's Fund. The fund aims to act against the under-representation of women in the professional arts and the cultural sector, to give visibility to the creativity of female artists and to increase their access to financial resources.
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Educational Cinematic Horizons in the Field of Media Education
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The article discusses some aspects of the changes brought about by the entry of bot journalism and artificial intelligence into media practice. In the coming years, these innovations will change news organizations, starting with automated journalism, which provides the opportunity to personalize news content precisely, going through news created on demand and arriving at interactive voice-enabled news.
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Since October 2010, the Instagram app has provided its users with means of visual communication that previously were reserved for professional photographers. Simultaneously, the Instagram Corporation’s official blog has offered suggestions on how the features of the app could be applied. In this manner, the corporation has established a norm of Instagram use. Norms of technology use, i.e., socially learned ways of behaving and communicating with technology, are well-researched in technology and science studies, but thus far these studies have only included social media, e.g., Instagram, to a minor degree. Furthermore, it remains largely unexplored how these social rules are represented multimodally in discourses about social media technology. Through a critical multimodal discourse analysis, this paper describes how the aforementioned corporate regulative norms on the usage of Instagram were established on the corporate blog from 2010 to 2014. The findings show that the discourse on the blog adjusts its focus. Initially, it dealt with correctional tools for the app, but it then progressed into presenting tools for experimental visual expression. At the same time, the blog confines the experimental uses of the application and, thereby, the possible perception of what entertaining imagery is. This way, the study demonstrates how the Instagram Corporation seeks to regulate the use of the app.
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The instrumental Macedonian ethnopop music is particularly interesting phenomenon because of its development and prolonged existence in conditions with persistent internal influences of the social and economic environment, but also external influences from the neighboring and distant music cultures. These influences have determined the way of the creation of this music and its final musical products. Regarding the fact that the instrumental Macedonian ethnopop music had its peak especially in the 1980ties, the subject of interest in this paper will be the musical pieces from the mentioned period. Also, a special at¬tention will be dedicated to the creativity, in other words to the process of creation of the instrumental Macedonian ethnopop music and the reproductive process of this music. The conclusions will be based on the analysis of the music characteristics of the recorded material which forms the database of the sample of 100 music pieces.
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This second volume of our journal addresses an uneasy topic. It is uneasy exactly because it is too easy to speak about love and sex and yet say nothing. It is uneasy because there has not been tremendous academic interest in this topic within the field of humanities and social sciences, and contributions to the field have thus been sporadic and unsystematic. Moreover, it is uneasy because, compared to other aspects of our everyday life, love and sex concern our being in a way that it is difficult to observe in a neutral or scientific way.
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The changing side of socio-cultural, economic, technological and political structure over the world, which occurred with globalization, rapid development of information and communication technologies especially during 1980s intensified the international interaction and caused the globalization to accelerate. These effects significantly changed the notion of individual, changing economic, sociological and political balances made the individual obliged to look at the world with a new point of view. Differentiation emerged in this period that significant theoretical divergences occurred. The notions such as discrimination, racism, anti otherness concertized with globalization, “identity politics” emerged as the notions which was introduced to field of expression by the art. This period when post-structuralism and deconstructionism revealed the unity of life, politics and art with an understanding that developed around “I” caused the “other” to be accepted and women, black people, homosexuals to have the freedom to express themselves. The artists addressed phenomena such as gender politics, sexual identity, ethnic identity, discrimination in their works created through various ways of expression, and they shaped their arts in this direction. Artistic construction of identity politics developed with globalization which constitutes the content of the subject was examined and assessed in terms of social identity characteristics within the context of sociology methods and theories. Artistic construction was examined over a broad bibliography; the acquired findings put forth art’s theoretical discussions from past to present comparatively.
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