Дисертации 2017
Defended PhD theses in Bulgaria in the field of linguistics, literature, history, folklore, ethnography and art studies.
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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 theory and practice of implementation of the art and the education through art begins at the end of the 19-th and the first decades of the 20-th century. At the same time starts the scientific interest towards art as a tool for recreation in the schools and the system of social help and treatment. The second half of the century the art-pedagogical theory and practice turns into central part of the educational system and social pedagogy practice in free time. Today, most of the developed countries have own models for applying art methods and art-animation in work with different groups of clients in social and pedagogical sphere. It is similar in Bulgarian situation and this paper is a short critical survey of the actual point of views and tendencies in social pedagogy nowadays.
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During the Renaissance in Italy, on the one hand, the physicians recognize the need for a practical study of human anatomy for the needs of medicine, and on the other hand, in the artists and sculptors arises the need to master the realistic portrayal of man. One of the means of achieving this objective is the knowledge of science anatomy, in particular – of the musculoskeletal system of man. The article deals with cooperation between artists and anatomists in this era, led to a number of discoveries in the anatomical illustration for scientific and didactic purposes of the muscular and skeletal systems and the emergence of a new model for anatomical illustration, called “Ecorche.” Outlined are the contributions of Leonardo da Vinci for anatomical visualization and prerequisites, which he created with his research in the field of anatomy, the emergence of a new model. It is noted that for centuries this model strongly influenced the teaching of anatomy, both painters and sculptors, as well as the medics, especially anatomists and surgeons. Presented are the most important authors, writings and illustrations (incl. statues) type “Ecorche” of those times that have affected anatomical editions over the next centuries. There is analyzed and commented upon the style of anatomical illustrations with figures “Ecorche” of the emblematic artists of the Renaissance and educational objectives that are placed through them.
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After the study of fieldwork research data (texts and phonograms) from more than 50 settlements in Kazanlak Valley gathered from the late 19th century to the 1980s and preserved at the Musical Phono-archive of the Institute of Art Studies at the Bulgarian Academy of Sciences the author was further provoked to find additional examples from the region in other sources.Without pretending to fully exhaust the theme, the text reviews the different collections (published and unpublished) which contain folk music from Kazanlak region – both collections dedicated to various settlements in Kazanlak Valley and collections from the wider geographic and music dialect region of Thrace containing among others examples from Kazanlak region. The reviewing of these examples in scholarly work (monographs, studies and articles), in published compendia dedicated to musical folklore, in the publications of the local historians, as well as of some archival sources, is the first attempt for a systematic representation of the collection of the folklore treasure of the region in the course of time, as well as of its presentation in different publications.
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The report examines and analyses the unique and specific in nature wall decoration in the additionally constructed 19th-century narthex of the church in the village of Dolna Verenitsa. The emphasis in this study is placed on the allegorical rosette created on verses from The Psalter with calendar and cosmogonic interpretations which, in the form they are written/painted, are not found in churches constructed at the same time in the region; and which are of particular interest for iconographic studying due to their singular nature. Emphatic is also the choice of the psalm, and composite references to other churches displaying similar images.
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In 1878, besides being the capital of Rumelia, Plovdiv was also the largest and most industrially and culturally developed city in the Bulgarian lands. Over the next two decades, until the end of the 19th century, in this really big Bulgarian city many different things happened, but two remarkable events have significant and crucial importance for its future development – The Unification of Bulgaria in 1885 and the agricultural and industrial exhibition in Plovdiv in 1892. The Unification changed its status from a metropolitan to a provincial city and the exhibition – a demonstration of modernization efforts – presented, albeit in a minimized way, the model of the new urban space and its development perspective. What did Plovdiv look like on the eve of the 20th century – like a European or like an Oriental city? The answer to this question is the aim of this study, based on a multitude of different historical sources.
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“Humanities”, “Commerce” and “Monographs” are three terms that have been existed for a very long time. Nowadays, they are often conceptualized in a digital way that implies a radical paradigm shift in their main features. The aim of this article is to investigate the possibility of interaction between digital humanities and e-commerce, through their application to the genre of digital monographs. By “digital monograph” we mean born-digital, long-form, media-rich, scholarly publication, that rejects the print-based form (and so the e-book format) and takes advantage of the methods and tools of digital humanities. In particular, digital monographs re-think the traditional textuality of essays; textuality becomes “liquid” and multimodal. Because of publishing, obsolescence, discoverability, use, evaluation, etc. these products must be hosted on a publishing platform that is suitable for the scholarly needs both of the authors and of the final users. The link with e-commerce arises from the need of the publishers to sell the products of research, especially in countries where the academic publishing system is not based on University Presses but on commercial ones. This study wants to reflect on how the economic logic of profit and cultural logic can coexist in a digital publishing platform: is it possible to overcome the “monograph crisis”? What are the major problems that arise when selling an academic monograph? What business models could be the most suitable for this kind of publication? In what way can a publisher improve customer loyalty? The thesis of this article is that digital enhancement of the monograph plays a key role in its sale. The opportunities offered by the digital humanities, in fact, are not only a matter of format; they are, indeed, what makes the substantial difference in the quality of scientific communication. They enable the authors and the publishers to offer the consumer something that neither the print version, nor the e-book can do. First of all, a digital monograph allows a direct link with primary and secondary sources; secondly, it supports different layers of use and wider accessibility. Moreover, it gives both the author and the reader, the possibility to better represent and understand the complexity of the research and of the methods and tools that are used. On the other hand, this article considers the infrastructure for producing and hosting these products and its importance in the development of a cultural community based on scholarly value creation. These are some of the issues that a digital publishing project needs to consider in order to sell its products and become sustainable. After discussing these questions, this article postulates a possible functioning business model of subscription based on the concept of cultural engagement. The conclusions concern the requirement of an editorial workflow that links together all the phases of production, from the author’s composition to the reader’s purchase.
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Within the broader discussion about remediation (Bolter and Grusin, 1996), transmedial storytelling (Jenkins, 2006; Ryan, 2013) and transfictionality (Ryan, 2013), the present paper advances the proposal of a comparative intersectional qualitative analysis of femininity in Charles Perrault's version of the story La Belle au bois dormant (1697), Walt Disney’s Sleeping Beauty (1959) and Walt Disney and Roth Films' Maleficient (2014) based upon associations between body representations, age groups and types of character. What would Evil look like if it were a woman? Would she be slender or voluptuous? What about the Good? Would she be wrinkled or sappy? This is a series of topics the current inquiry will put to the issue adjusting the intersectionality theory. However, it is not the experience of oppression that is central to the present analysis, but rather the pattern of intersection between gender, age and good or evil nature and how body representations coagulate at such intersections.
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The article focuses on the military themes presented in the paintings of Russian artists living in the period from the 18th until the early 20th century. Battle scenes painted by the artists highlighted the heroism of the Tsar’s soldiers participating in numerous wars and conflicts pursued by Russia at that time both on land and at sea; these paintings also celebrated the rulers, who expanded the borders of their country. However, the key message of these paintings, which were ordered most frequently by Russian rulers, focused on the aspect of propaganda, because these works were supposed to demonstrate in full the power of the Russian Empire.
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The proposed article shares observations on with the construction of the image of the star in ethno-pop music and the role of the media and media music, with two cases - Slavi Trifonov and Azis. At first glance, they seem very different, but they are actually quite similar - as with the mechanisms of media imposition of the image of the star and the use of the media in the construction of public resources and attachment to civilian causes. The article attempts to interpret current cultural phenomena through their media projections, using Joseph Nye's theoretical statements on soft power; Tyler Cowen's for the Economics of Glory.
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The first celebration of contemporary art in the heart of Ludogorie, called “In the Hand of Demir Baba” – literature, music, theater and “something else”, added a new event in the festival calendar of Bulgaria. Organized by young people with the ambition to promote local cultural heritage and disprove the general view of the lack of interesting and entertaining events outside the capital, the festival, as a pilot, promises more meetings with Demir Baba and asks to become an annual event for sharing culture and meeting with interesting people from all over the country.
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From its very inception, Indian cinema has been a cinema interested in the idea of nation. Although Raja Harishcandra (credited as the first Indian feature film) was strictly speaking a mythological, Dadasaheb Phalke’s motivation was grounded in a strong sense of nationalism.
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This article analyzes different social practices of denunciation of informality through the analysis of cinematic discourses in Eastern European societies. More precisely, two case studies have been chosen, the Romanian and the Bulgarian one, due to their shared communist past and due to the large protests against the corrupt elite and social injustice, that took place in both countries during the last decade. Therefore, we will discuss what type of references and representations of the communist past related to practices of corruption can be found in four recent Romanians and Bulgarian films. These Romanian (Cristi Puiu, Cigarettes and coffee, 2004; Alexandru Solomon, Kapitalism our improved formula, 2010) and Bulgarian (Kristina Grozeva, Petar Valchanov, Gloria, 2016; Vesela Kazakova, Mina Mileva, The Beast Is Still Alive, 2016) films that address corruption will be studied comparatively from a theoretical perspective situated at the intersection of pragmatic sociology and memory studies, in order to show the local specificity of this type of denunciation and the circulation of certain discourses.
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The text analyses an interesting phenomenon: commentary in poetic form that appears frequently in online discussion forums. What causes the participants in the discussions to switch to poetic means of expression? Why, in some cases, are verses and rhymes saturated with obscene words and hate speech? The use of such language tactics complicates the relationship between the media and their publics, as it opens opportunities for creativity and resistance to imposed norms.
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The text analyses legal regulations of guarding rights when retransmitting protected works, included within Radio and TV programmes, as different kind of use. The Copyrights and Related Rights Act deals with audiovisual work/soundrecording/videorecording as issues of protection but not with the program as a complex of rights and that reach the public via technological infrastructure. The core ways of protection are implemented in the RTA-broadcasting organisations have guarantees against illegal program retransmission and over protected works within when retransmitted by electronic networks.
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The understanding that the social imaginary is not the “opposite” of the real, but a peculiar reality, is among the most important social insights of the last century. For today century, the anxiety of the advance of the imaginaries remains. The article traces their evolution – from collective representations generated in structured communities and reference groups, through virtually formalized subjects, constituted in media, to various forms of narration in virtually collective non-entity. The focus of attention are precisely the “subjectless stories” (conspiracies, social tendencies, social desirability), the imaginary ones launched through them, and the participation of contemporary media in the legalization of arbitrary relationships.
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A review of Ventsislav Dimov’s book ‘Music for the people on the media front (The soft power of peoples and popular music in Socialist Bulgaria)’. Sofia: University Press ‘St. Kliment Ohridski’, 2019 (368 p.). ISBN 978-954-07-4796-5. This monograph is part of the research on the collective scientific project ‘The soft power of popular music in media (by examples from Bulgaria and the Balkans)’, financed by the Bulgarian National Science Fund (05/16).
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