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The purpose of this paper is to examine the way in which the experience of the Holocaust can be represented, embodied and even relived in or through music. The category of experience thus serves as a main methodological tool in this survey, helping to reconstitute the process of expressing it through music, specifically in Arnold Schoenberg’s A Survivor from Warsaw Op. 46. A related point to consider is the composer’s engagement in the fight for human rights just before the World War II, a fact that is not yet widely recognized. A brief overview of Schoenberg’s religious, social, and political environment is followed by the history of the Survivor’s… origins, analysis of its literary text, and, finally, interpretation. While discussing the ethical limits of the Holocaust representation, the opinions of Theodor W. Adorno, Ernst van Alphen, Berel Lang, and Giorgio Agamben are consulted.
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In October 1985, several members of the Palestine Liberation Front hijacked the cruise ship Achille Lauro during its Mediterranean cruise. After the surrender of the terrorists, it came to light that a disabled passenger, Leon Klinghoffer, was killed by one of the kidnappers. The news of the attack was all the more disturbing that Klinghoffer belonged to the Jewish community. The case of abduction of Achille Lauro has been one of the most important topics in the field of international politics and the Israeli-Palestinian conflict for a long time. The idea of creating an opera based on those events came from one of the most distinctive directors of our time, Peter Sellars (1957–), who invited composer John Adams (1947–) to cooperation. Libretto was created by Alice Goodman (1958–). Stage presentation of the fate of the passengers of Achille Lauro was to be a musical background for the wider topic: Israeli-Palestinian conflict. The main aim of the authors of The Death of Klinghoffer, what they repeatedly stressed in interviews, was to present both sides: Jewish and Muslim; not only the design of the libretto and musical development, but also the right direction. Despite these assumptions, since the premiere in 1991 at the Brussels Théâtre Royale de La Monnaie, this opera is consequently dividing the audience into its hot enthusiasts and declared opponents. Demonstrations and protests, accusations of anti-Semitic content, presentation and justification of terrorism have led not only to a change in the score, but today they are almost inseparable elements of issue. This article focuses on the opinions on the opera by critics and music journalists. After presenting the context of creation, examples of the reception, analytical and creative works are shown, such as the opinions found in the reviews of the printed sources, as well as the online ones.
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Content of the main Bulgarian scientific journals for the current year in linguistics, literature, history, folklore, ethnography, archaeology and art studies.
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Data about scientific events in the field of the humanities in Bulgaria in the second half of 2023.
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Ajunsă în stare de ruină, biserica Mântuitorului de la Berestovo a fost restaurată între 1643–1644 de mitropolitul Petru Movilă al Kievului, cu intenția de a-l comemora pe prințul Volodymyr, sfânt și egal cu apostolii, cel prin care a fost botezată Rusia kieviană. Pictura murală și inscripțiile reflectă ideea transformării Kievului într-un oraș sfânt, un nou Ierusalim și, în același timp, indică succesiunea neîntreruptă a autorității mitropolitane stabilită de prințul Volodymyr. Această decorație murală realizată în secolul al XVII-lea urmează programe iconografice mult mai vechi, asemănându-se cu cele din vremea Renașterii macedonene. Tabloul votiv îi înfățișează pe Născătoarea de Dumnezeu, pe prințul Volodymyr și pe Petru Movilă stând înaintea lui Hristos, Movilă fiind cel care îi prezintă Mântuitorului macheta bisericii restaurate. O analiză comparată permite afirmația că noua pictură a bisericii Mântuitorului a avut ca model ansamblul monumental al bisericii Sfânta Sofia din Kiev, datând din secolul al XI-lea. Puternica insistență asupra temei Încarnării, tipică polemicilor post-iconoclaste, a fost inspirată de imaginea în mozaic a Maicii Domnului Orantă din catedrala Sfânta Sofia și de inscripția care o însoțește și care reproduce versetul 6 al Psalmului 45. Imaginarea Kievului ca Nou Ierusalim și punerea lui sub protecția Maicii Domnului au fost gândite de Petru Movilă ca pietre de temelie ale efortului său de reactivare a Mitropoliei Kievului.
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Selected bibliography in the field of Bulgarian Studies published in the current year.
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Book review: Балканските култури: диалог, трансфер, метаморфози. Под ред. Орлин Събев, Лора Тасева, Антоанета Балчева. София, ИБЦТ – БАН, 2023, 234 с., ISBN 978-619-7179-38-5 [The Balkan Cultures: Dialogue, Transfer, Metamorphoses. Ed. Orlin Sabev, Lora Taseva, Antoaneta Belcheva. Sofia, IBSCT – BAS, 2023].
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The study presents the graphic works of six modern female artists that are part of the Tulcea Fine Arts Museum`s heritage. Their work, presented in the context of the modern period of development of fine arts in our country, is prefaced by a comparative analysis between feminism and the feminine in art, starting from the general understanding of the concept of feminism. The article aims to promote the graphics collection of the Tulcea museum and to provide a starting point for future analytical studies.
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In the present article we examine mythological legends on imps, belonging to a specific genre of Georgian folk prose. They are new and have occupied their autonomous place in Georgian folklore since the 80s of the XIX century. During investigation we used the methods of secondary analysis and comparison. We used the texts of oral histories comparing them with published texts and with those kept in the Folklore Archive of Shota Rustaveli Institute of Georgian Literature. Oral histories are also recorded during our field-work in 2009 and kept as video materials in the mentioned archive. Unpublished archival materials contain the beliefs of the “low mythology” that have universal character. Mythological narratives on imps are based on real stories that are later transformed into unknowable events by folk imagination. In order to gain an understanding of this folk character, it is necessary to consider a number of key questions. These include: where do they try to meet people, how do they look – in terms of their appearance – when they are activated, how do they relocate, what is their function, what kind of relations do they have with human beings, and how can people get rid of them. In addition, it is important to consider the modern people’s attitude towards this character. Their habitation is proximate to that of humans, in narrow gorges, dark, abandoned and jinxed locales. They meet people in uninhabited places, attempting to intimidate them, but as the area becomes settled, they leave. In popular imagination, the imp is a diminutive malevolent spirit, resembling a man’s offspring. It may also take the form of a wild animal. They emerge from the second half of October to the middle of November, posing a significant threat to people, even causing madness. If a man knows how to get rid of a chinka, the chinka cannot cause harm; if not, a man will become ill for a long time or up to the end of his life. Imps are afraid of fire. If anybody threatens him with a firebrand, the imp immediately runs away. In modern language, the name of this mythological figure is used for the description of a quick, astute, nimble person. The investigation revealed that the imp of the third generation, an evil spirit, left a lasting impression on the population and continues to be a topic of interest to this day. The research demonstrated that texts on imps are accompanied by a narrator’s synoptic marking.
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Folklore is regarded as one of the sources of Shota Rustaveli’s worldview. The folk wisdom was reflected in the Knight in the Panther’s Skin as emanation of the national consciousness and being and, at the same time, general cultural paradigms that occur in the literature of various nations. In Rustaveli’s narrative the folk wisdom is frequently accompanied formula “it is said” that emphasizes old age of the idea, its oral widespread nature and anonymity. Many Rustaveli’s aphorisms are very close to the folk proverbs with their ideas though they are formulated with Rustaveli’s eloquence. The semantic and stylistic closeness of Rustavelian aphorisms and folk proverbs evidences that along with the brilliant education of his time, Rustaveli had deep folk wisdom. It is due to this reason that the source of some aphorisms is folk sayings. At the same time, a number of Rustaveli‘s aphorisms became the basis of folk saying.
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The paper revisits the dialogue between Vyacheslav Ivanov and Mikhail Gershenzon in order to present two essentially different orientations in the approach to humanistic heritage and its meaning in human life. The first of these two perspectives is represented by V. Ivanov who feels amongst the great works of culture “at home,” who praises their charms and spiritual-aesthetic riches. The second perspective – as evoked by Gershenzon – is more pessimistic, existentially inclined, filled with tragic awareness. It points out to the problem of crucial importance to the historiosophical self-awareness of modernity: the accumulation of cultural knowledge and the release of theoretical reflection have alienated the human being and cast it into existential homelessness. The paper further argues that (1) there exists an irreducible hiatus between culture and the reality with its power of negativity, and that (2) the ambassadors of culture, such as Ivanov, conceal this hiatus in an attempt to convince us that theoretical humanistic reflection intensifies our perception of the world, while in Gersenzhon’s historiosophical view it ruins the immediacy and spontaneity of life.
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The report presents specific monuments from different periods in Thrace – megalithic, Thracian, Roman, early Christianity and Ottoman period. These monuments are sacral buildings or remains of destroyed sacral buildings, which on some occasion were buried with an earth mound. The most likely reason for this act is the desire to protect the holy places from destruction, further destruction, or desecration. This ritual tradition has survived on our lands for almost three millennia, although not universal and with varying intensity in different epochs.
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The text presents a possible anthropological perspective on the topic of memorial practices in Germany, linked to the problem of guilt and its overcoming through the dynamization of cultural memory. The thesis of guilt, being an element of the contemporary process of creating places of memory, is based on observations on memorial places for deserters. They may not be many in number (compared to monuments of other social or political victims in the history of Germany), but are becoming a catalyst of the dynamic process of building monuments called Denkmalarbeit. Indicative of the problem are the long, sometimes even paradoxical processes surrounding the decision-making for such monuments: their place, the artistic realization of every project, the accompanying public events, speeches and comments, the forms of implant. The mentioned factors, together with the conclusions of the observation, create a new sphere in the cultural memory of German society, related to changes in public attitude towards deserters and a search for new forms of memory in the process of acknowledging and overcoming guilt.
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Текстът си поставя за цел да възпроизведе образа на медиите вразказите на участници в масовите протести от лято 2020 г. и стъпва върхуданни от 32 интервюта, проведени по имейл и онлайн конферентна връзкапрез есента на 2020 г. Основният въпрос е как протестиращите виждатролята на медиите в демократичния процес.Медиите нямат устойчив образ в представите на протестиращите задемократичния процес – те би трябвало да са там, но не присъстват,премълчават или създават изкривена репрезентация за действията напротестиращите.Анализът ще открои три фигури на медиите: а) медиите катоприсъстващ/отсъстващ партньор на протестиращите в битките засмисъла б) медиите като източник на изкривена репрезентация напротестиращите; в) медиите като „сянка на институциите“.
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A review of the book "Process Approach in Education. Development of Key Competences through Philosophy and Civic Education. Theory and Practice" (published by the Bulgarian Academy of Sciences "Prof. Marin Drinov", 2024, 350 p. ISBN 978-619-245-430-2). The monograph examines the theoretical and practical aspects of the possibilities of forming the competencies of critical thinking, creativity, civic engagement and media literacy through the teaching of philosophy and civic education.
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The text is dedicated to the opening of a new museum in the Town of Razlog.
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