“Concerto No.1 for Cello and Orchestra, Op.107 in E flat Major” by Dmitri Sostakovici

Author(s): Maria Cristina Bostan / Language(s): English / Issue: 2-Suppl/2016

In the „Concerto no. 1 for cello and orchestra, op.107 in E flat major”, being the most important of Shostakovici’s works, after Symphony no. 11, the solo instrument represents a complex "character" which makes a dialogue or has a confrontation with the orchestral ensemble segments. The orchestra is made up of a piccolo flute, a flute, two oboes, two clarinets (in B flat and A), a bassoon, a contrabassoon, a horn (in F), timpani, celesta and the strings quintet. The instrumental nuances intertwine with the virtuosity of the solo parts. The cantilena feature of the solo episodes, marked by elements of improvisation, is combined with the declamatory "monologue" of the orchestra.

“Hasanaginica” u Zadru

Author(s): Nikola Šimic Tonin / Language(s): Croatian / Issue: 46/2017

Ususret kazališnoj sezoni, u HNK Zadar je u četvrtak, 6. listopada 2016, u 20 sati na programu bila predstava “Hasanaginica”, prema istoimenom djelu Milana Ogrizovića. Predstava je nastala u produkciji Otvorena Scena Obala iz Sarajeva, režirao ju je Admir Glamočak, a u njoj glume studenti Akademije scenskih umjetnosti Sarajevo: Nadine Mičić, Martina Mandek, Deni Mešić, Nedim Džinović, Zoran Dragićević, Fatima Kazazić, Tea Šimić i Maja Mirela Jurić.

„…csakis a magasság” (I.)

Author(s): László Tóth / Language(s): Hungarian / Issue: 04/2015

„Латвийският стил” в изкуството и културата на всекидневието (Към постановката на проблема)

Author(s): Svetlana Ryzhakova / Language(s): Bulgarian / Issue: 3-4/2009

Cultural imagination plays an extremely important role in the construction of cultural identities of different ranges and functions, including ethnicity. Several factors seem to precondition this organization, namely traditions of historical writing, that exist in a particular society, the quantity and variety of historical sources, methodology of analysis and common context for comparison, as well as “national styles” as peculiar cultural constructions. Contemporary concepts of ethnic and national cultures, in my view, give the possibility to introduce the concept “of style”, also, into the ethnographical studies: with its aid some processes, investigated by precisely this discipline, can be more accurately determined and classified. And moreover: the formation of the ethnos and the nations can be considered as the formation of this “style”. As language, style can be analyzed according to it’s “thesaurus” (emic items) and “grammar” (principles of the organization of elements), which makes style as the cultural code, “style of life”, “style of behavior” etc. The article deals with the most typical characteristics, being described as features of “Latvian style” in the waste texts of Latvian folklore, fine literature and publicistics.

„Маре Балтикум“ и викингите: проблематика и изследвания в българската наука

Author(s): Konstantin Kolev / Language(s): Bulgarian / Issue: 1/2011

The geographic and cultural distance of Mare Balticvum to the Balkans and Bulgarian cultural development seems at first glance to hinder the research on the contacts between the two regions. However, Bulgarian researchers have given their contribution to this theme, although the amount and thoroughness of the investigations are still not to the desirable level. The aim of this article is to point out certain important questions, which are to be further discussed in science in order the mosaic picture of cultural relations between the North and South to be more complete. It is obvious that these assumptions in the text can not be quite full and could not cover the complex problematic circle of the theme.The first question which is discussed in the article concerns the duality of “center-periphery” view in historical and cultural development. The main issue here is that at certain times these regions did not play peripheral role and the centropomorphic view on European development should be overruled. The second question refers to the problems of ethnicity in the past, revealing the theories of origin of the Scandinavian peoples. The accentuations here are that the written evidence should be read carefully and used with attention, especially from the present point of view on varieties of peoples and multi-ethnicity in different levels of cultural areas. The third question deals with differentiation between Varangians-Vikings-Rus’, which is still a great focus-point of discussion, reflecting on the events on the Balkans and Byzantine empire.One important question connected to all mentioned above discusses the mythical basis of the ideas about the East serving as an archetype for the way of the Vikings to the South. This will be my task in my doctoral dissertation – to reveal and interpret different mythological structures – oral kennings, written inscriptions and other literary sources (having encoded mythical ideas and saved them in oral and literary texts), and which, combined with material given by the artifacts (having encoded the mythical ideas according the pictorial language in the visual image), will enable a re-construction of a better picture of the cultural past.

„Музикалнокултурни практики”

Author(s): Rossitsa Draganova,Mihail Lukanov,Diana Danova-Damianova / Language(s): Bulgarian / Issue: 1/2016

Since September 2015, a permanent seminar has been conducted at the Institute of Art Studies by the Musical Culture and Information research group. They make every effort the seminar’s editions to be attended by as many active participants as possible. Various topics are proposed every time by different members of the research group, who then open the discussions with keynote papers. Bulgarian Musicology journal would publish some of the papers as well as statements and communications made during the seminar. The topic of the first session, Short forms in music: aesthetics, history, modern times, was introduced by Assoc. Prof. Dr Rossitsa Draganova, who made a statement on Short forms in music and the other arts. Asst. Prof. Dr Mihail Lukanov and Asst. Prof. Dr Diana Danova-Damianova joined in, delivering papers on Short forms in music and Bulgarian schlager of the 1930s and Short forms in music in the programmes of ppIANISSIMO International Festival of Contemporary Piano Music respectively. Nadia Sotirova, director of Pancho Vladigerov’s museum, Sofia and Svetlana Avdala, a full-time doctoral student, Department of Music, presented the realised project Microcosm, performance of 60 one- minute pieces. Assoc. Prof. Dr Lubomir Kavaldjiev, founder of the research group, Prof. Elisaveta Valchinova- Chendova, DSc and Prof. Dr Rumyana Karakostova joined the discussion. The second session held in October dealt with the so-called free forms in music and particularly, with the free forms in the sixteenth-century lute repertory. Assoc. Prof. Dr Yavor Genov delivered a keynote paper on the topic. He believes that these forms have later generated a number of vital trends in instrumental thinking. Colleagues invited especially to take part in the seminar, Prof. Yavor Konov, DSc from NBU and Assoc. Prof. Dr Ivanka Vlaeva from SWU, an associate member of Department of Music, joined the discussion. The third session held in November was devoted to the nineteenth- and the twentieth-century song forms in music and to research aspects and issues related to them. A keynote paper on the specifics of some forms of the twentieth-century popular music (strophic, verse/ chorus, 32-bar and blues forms) was delivered by Asst. Prof. Dr Mihail Lukanov. Talking and arguing about these untraditional and at the same time topical issues, never broached for now in a special or a long-term study by any of the members of the Musical Culture and Information research group, proved to be intriguing and fruitful. There was a general sense of innovativeness, of refreshment of notions, generating resources of new approaches. New areas for discussion were established and formulated for the forthcoming editions of the seminar.

„Небето на Велека“ – хронология на потопените мечти

Author(s): Wassja Ivanova / Language(s): Bulgarian / Issue: 3/2015

The Sky over Veleka was Eduard Sachariev’s feature film debut, based on the eponimus novel of Diko Fuchedjiev. Along with cinematic methods typical of the 1960s, Eduard Sachariev established his own manner, both visually and socially. Very much like Lubomir Sharlandjiev’s The Prosecutor, Eduard Sachariev’s experiment with The Sky over Veleka to try and review the period of the coercive methods of collectivisation of the farms in the early years of socialist government failed. The 1960s were among the most dynamic periods in the history of Bulgarian socialist film. The ups and downs of liberalisation of the part of the Communist Party brought forth some of the most emblematic Bulgarian films such as Monday Morning, The Prosecutor, The Attached Balloon. Despite all their superior art qualities and innovative cinematic language, these works remained ‘locked’, becoming ghost movies, repository films. The Sky over Veleka was one of them. Archival materials kept in the film’s dossier allow following the chronology of the making and the destruction of the movie. The Sky over Veleka was not officially banned by censorship: the Central Committee of the Bulgarian Communist Party had already adopted and skilfully honed other methods for destroying people’s lives and careers and robbing Bulgarian cinematic art.

„Нови идеи в етномузикологията”

Author(s): Ivanka Vlaeva / Language(s): Bulgarian / Issue: 2/2015

The article points out the important stages in the development of ethnomusicology in Bulgaria. This is done in order outline the place and role of the already well established seminar “New ideas in ethnomusicology.” It is created and organized by the research group “Ethnomusicology” at the Institute of Art Studies – Bulgarian Academy of Sciences. The aim is to meet the need for dialogue in a community of like-minded people united by common ideas and topics in the ethnomusicological research. The article also presents a meeting at the seminar, that discusses the Bulgarian participation in the ICTM (particularly in the Study Group “Music and Dance in Southeastern Europe”), as well as prospects of the Bulgarian group in the ICTM and establishment of a national committee.

„Падането на разбунтуваните ангели”

Author(s): Maria Spiridonova / Language(s): Bulgarian / Issue: 6/2010

The story about the demonic powers started with the casting away of the angels led by Lucifer – the fallen angel. The moment of the downfall has been depicted in Byzantine and Post-Byzantine as well as in Western Mediaeval and Renaissance art. Subject of this report’s research is the Bulgarian version of the theme which we discovered in the church from the Revival period St Petka in the village of Chuipetlovo, Pernik region. In order to ‘decipher’ the meaning of the image the textual sources – canonic and apocryphal literature has been studied. Searching for similar iconographic parallels the scene is examined in a wider context. Presented are some examples from Eastern and Western art by showing the history of the scene – its origin and development.

„Трафикът“ на образи в списанията на авангарда – участието на български списания от 1920-те години на ХХ век

Author(s): Irina Genova / Language(s): Bulgarian / Issue: 7/2011

Magazines in Bulgaria as elsewhere have been central to the artistic performance of the avant-garde. During the brief spell between the end of WWI and 1925, Vezni (1919–1922) and Plamak (1923–1925), as well as the short-lived Crescendo (1922) joined the widespread exchange network, established between the numerous avant-garde long-lived and short-lived magazines in different European countries. Alongside texts, reproductions of artistic images and photos of equal worth in terms of their significance provide evidence of the close contacts that Bulgarian magazines and their editors with Geo Milev in the first place maintained with international artistic circles. The article specifies particular methods of exchange of images, i.e. through the printed by the European and mostly the German avant-garde post-cards and circulated portfolios of graphic prints. Practical difficulties in pre-printing the images, which had to be transferred onto new plates, are pointed out. Information from letters and other archival materials is adduced in confirmation of particular though just a few cases in view of the limited length of the article.

„Уо дъ мън“ – работеща формула за успешна музикалнотеатрална постановка от границата между XX и XXI век

Author(s): Miglena Tzenova-Nusheva / Language(s): Bulgarian / Issue: 7/2011

How in the wake of the so-called ‘cultural revolution’ to get Chinese audiences back to opera houses? How traditional musical dramatic art would convey clear messages outside the Far East? Could a musical theatre performance both command high human values and be commercial? How come a stage performance of 2000 (performed also in Bulgaria in 2010) is a global success, being performed for eleven years now almost every night around the world? Is it possible for a musical theatre work to become a cause, championed globally by both governmental and non-governmental figures and organizations? Is it specific Chinese thinking that has generated such an idea? Does such a phenomenon draw on the national culture alone, or does it come under ‘Western’ influences as well? Is this concept feasible outside China? What makes a musical theatre performance extremely successful? This paper searches to answer these as well as other questions, exploring Wǒ de mèng (My Dream) performance, a work combining elements of Chinese traditional arts and Peking opera. The study uses comparative, historical, theoretical and other methods of research.

„Фамилия Села от Сан Джероламо” и още някои непознати произведения от художника Борис Георгиев (1888-1962)

Author(s): Angela Daneva / Language(s): Bulgarian / Issue: 3/2010

The article presents the reader with an episode of Boris Georgiev’s creative path: his interaction with the Sella, Reda and Mosca families of the Italian Piedmont region . The study also reveals ten paintings un- known to the general public . Nine were created in 1924-1926, i .e ., in the earlier period of Boris Georgiev’s development as an artist. His Portrait of Carola Sella is a later work (dated 1941) and is also published for the first time . The article places an emphasis on the paintings “The Sella Family of San Gеrollamo” (1924) and “Mother and Daughters” (1925) . The history and analysis of the works support the conclusion that they were not ordinary commissions, but portraits that display the artist’s take on family relations, maternity, and the offspring’s affection for their parent . Both works were presented at the Fifteenth Biennale of Venice (1926), an evidence of the artistic value that Boris Georgiev placed on them . The identity of the models has been established by A. Daneva through personal contacts with the Sella family and through biometrical analysis . The “chamber” portraits, mostly color pencil drawings, complete the account of the artist’s interaction with Italian Piedmont families of the 1920s . The new information and material introduced to the public for the first time add to the account of Boris Georgiev’s path and contribute to our understanding of his life .

„Фамилия Села от Сан Джероламо“ и още някои непознати произведения на Борис Георгиев (1888-1962)

Author(s): Angela Daneva / Language(s): Bulgarian / Issue: 1/2011

The article reveals in front of the reader an episode of Boris Georgiev’s creative path: his interaction with the Sella, Reda and Mosca families of the Italian Piedmont region. The study also brings to light ten paintings unknown to the broad public. Nine of them were created in 1924-26, i.e., in the earlier period of Boris Georgiev’s development as an artist. His Portrait of Carola Sella is a later work (dated 1941) and is also published for the first time. The article places an emphasis on the paintings The Sella Family of San Gеrollamo (1924) and Mother and Daughters (1925). The history and analysis of the works support the conclusion that they were not ordinary commissions, but portraits that display the artist’s take on family relations, maternity, and the offspring’s affection for their parent. Both works were presented at the Fifteenth Biennale of Venice (1926), an evidence of the artistic value that Boris Georgiev placed on them. The identity of the models has been established by A. Daneva through personal contacts with the Sella family and through biometrical analysis. The “chamber” portraits, mostly color pencil drawings, complete the account of the artist’s interaction with Italian Piedmont families of the 1920s. The new information and material, introduced to the public for the first time, add to the account of Boris Georgiev’s path and contribute to our understanding of his life.

„Хиперреализмът” в анимационното кино – баланс на ръба на „странната скала”

Author(s): Nadezhda Marinchevska / Language(s): Bulgarian / Issue: 6/2010

The ‘Disney’ model in full-length animation is based on the true anatomic drawing of the human figure and ‘natural’ movement. This hyper-realistic model continues to be leading in commercial animation today. The computer generated images (CGI) also strive to create the illusion of ‘hyperreality’ in the imaginary animation worlds. The article focuses on the theory about the ‘uncanny valley’ of the Japanese scholar Masahiro Mori who studies the changes in viewers’ approval or rejection of the image depending on the raise in the level of it anthropomorphism. The ‘uncanny valley’ is the area where viewers’’ approval is lost due to the feeling of ‘artificiality’ that repulses (alienates) the audience. Later a group of scholars that included Christoph Bartneck, Takayuki Kanda, Hiroshi Ishiguro and Norihiro Hagita revised Mori’s hypothesis and entitled their new research the ‘uncanny cliff. Regardless of the fact that the precise parameters of the dependency between the anthropomorphic image and the viewer’s perception have not been proven experimentally many animators take into consideration the negative effects and consequences of the literary copying of the real world and the risk that the feeling of the unreal that mimics the real could impair the perception (feeling) of human identity. Through computer simulations that copy human bodies and faces the authors attempt to stimulate the viewer to identify with the characters. But this also is dangerous territory where this expensive endeavor could topple down from the ‘uncanny cliff’ in the ‘uncanny valley’ of the viewers’ rejection. The creation of ‘trans-human’ images is very risky but will (not lose its attractiveness of the artists) always attract the artists. That is why Mori’s theory, although not very precisely described, will continue to be subject of discussions.

„Черните” Кабири

Author(s): Ivan Marazov / Language(s): Bulgarian / Issue: 3/2003

Юбилейна кръгла маса в чест на проф. дфн Албена Георгиева

Author(s): Valentin Voskresenski / Language(s): Bulgarian / Issue: 28/2014

Явор Генов: „Латински песнопения за светци, почитани в Източната и Западната Църква (св. св. Кирил и Методий, Св. Николай от Мира, св. Георги и св. св. Козма и Дамян)”

Author(s): Kristina Yapova / Language(s): Bulgarian / Issue: 4/2016

Як Катерина Фурцева у Москві в 1972 році допомогла українцям відстояти свою “незалежність” (сторінки історії)

Author(s): Mikhailo Krivolapov / Language(s): Ukrainian / Issue: 18/2010

The article is about the fine arts activity in Ukraine during the period of 70-s and about the exhibition of Ukrainian fine artists, devoted to the formation of USSR. The author describes the intensive creative and artistic activity of that period and covers the interesting facts about the development of history of Ukrainian fine arts, where participated himself as a head the department of fine arts of Ministry of Culture of Ukraine. Author analyses also the creative and artistic activity of that period and mentions facts about the fine arts critic, where achievements of artists were described. The facts about the activity of the Ministry of Culture of the USSR and the Union of fine artists of the USSR are mentioned also.

Яким Банчев и неговото художествено наследство от бойните полета през Балканските и Първата световна война – между интимния портрет и баталната живопис

Author(s): Plamen Petrov / Language(s): English,Bulgarian / Issue: 2/2016

Yakim Banchev is one of the Bulgarian painters, whose life and career have remained almost unknown to the general public and research communities. Studying Bulgarian and international archives in 2013/14, I was offered the opportunity to find tens of unknown facts about the painter and his oeuvre. Fragments of these were put on display in the exhibition Committing to Memory: Yakim Banchev: Between the Man and the War in 2014, at Vaska Emmanuilova Gallery, Sofia. The paper focuses on the two creative capacities of the painter that have shown themselves pronouncedly in the Balkan Wars and WWI. The former reveals him as a great expert in the artistry to commit personal agony to paintings, while the latter presents him as a documentarian, unique to Bulgarian arts, whose painting renders visually and emotionally the carnage on the battlefields during the 1910s.

Яначко Станимиров от Брезе

Author(s): Ivanka Gergova / Language(s): Bulgarian / Issue: 4/2016

The paper deals with a miscellany in handwriting (SS Cyril and Methodius National Library 1088), compiled in 1840 by Yanachko Stanimirov from the village of Breze and the local priest. The autographs of the icon-painter are used to identify his paintings. His unknown mural ensemble in the Serbian Yillage of Dojkinci is presented in brief. It is assumed that Yanachko Stanimirov has been strongly influenced by icon-painter Kosta Valiov from Samokov, whose journeyman he supposedly has been. Influences of some icons by icon-painter Priest Rade are discernible. Yanachko Stanimirov has used as a model prints contained in the Euchologion, published in Venice in 1761.