Книги 2015–2016
Selected bibliography in the field of Bulgarian Studies published in 2015-2016
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Selected bibliography in the field of Bulgarian Studies published in 2015-2016
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Selected bibliography in the field of Bulgarian Studies published in the current year.
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Selected bibliography in the field of Bulgarian Studies published in the current year
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Selected bibliography in the field of Bulgarian Studies published in the current year
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The link between silence and death has been a recurring theme of human thought and can often be found in reflections on music. Among many attempts to approach this problem, the author of this paper focuses on those done by Gisèle Brelet and Tōru Takemitsu. The “faithful companion” of music which “perpetually is born, dies and is born again” – this is one of the ways in which French musicologist describes silence. “For a human being, there is always the duality of life and death. Music as an art form always has to connect vehemently with both” – notices Japanese composer, who in another statement combines silence with “the dark world of death”. Interestingly, both Brelet and Takemitsu arrive at the conclusion that such connotations may well be the source of the fear of silence that affects some composers or performers. Despite different contexts, some analogies to their thought – like connecting silence with nothingness and loneliness – may be also found in the Canadian composer Raymond Murray Schafer’s writings, presented fragmentarily in the last subsection. The differences in the notion of the problem between the authors are, moreover, discussed in this paper.
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Ludwik Maader (also quoted in sources as Lodovico or Ludovico Maader) was a composer working on Polish territory in the second half of the 18th century. He came to Jasna Góra in September 1784. He was a bandmaster until the end of 1798. Information about his life and activities is rudimentary. We know that he came to Poland from Moravia, specifically from Dub on Moravou – a small town near Olo - mouc, but unfortunately we do not know exactly his earlier activity. Requiem in Es by Ludwik Maader is preserved not only in the Ar - chives of Jasna Góra in the manuscript signed III-446. Currently we found out about four other Requiem. The source from Jasna Góra is autograph of the bandmaster and contains probably the oldest and original version of the composition. The first source is kept in the Jagiellonian Library, comes from Gidle, and was written in 1809. The second manuscript is located in the Provincial Archives of Dominican Order in Cracow and belonged to Dominican’s band in Gidle (1845). The third and fourth sources are inaccessible because of poor state of preservation. They are stored in two places: 1) Archives of the Arch - diocese of Gniezno signature II/7, belonged to the band from Grodzisk Wielkopolski, 2) Archives of the Archdiocese of Poznań – from the band in Gostyń. This article is focused on a comparison of the three manuscripts: one from Jasna Góra and two from Gidle. The author compared the content of manuscripts, the way of signing the text, vocal and instrumental parts and basso continuo.
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The article is a contribution to the exploration of history of Polish musical culture of the Renaissance and the Baroque period. Recognition of elementary forms of social organisation leads to understanding of the prevailing social and economical relations in those times. This article is one of the first in this topic, therefore it starts with very basic issues. A musicians guild existed in Cracow from 16th to 18th century. The article presents its history and organisation on the basis of statutes and municipal documents analysis. Simultaneously, it raises questions about circumstances of its creation and termination, welded duties and repertoire. The author questions the character of discussed association, considering to what extent it was a guild and a confraternity. The aim of the publication is to present to the reader a coherent picture of the guild, which could provide a starting point for further research.
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The aim of this study is to present and synthesize the image of Eugeniusz Morawski’s output as presented by the Polish press and Polish composers. Morawski is an unknown composer, absent from the concert programs. His works were performed during composer’s lifetime and caused mixed and extreme reactions from the critics. His first successful concert – performance of now lost symphony-poem „Vae victis” in Salle Gaveau, Paris, was barely noted in Polish press. The first performance of symphonic poem „Don Quichotte” in 1912 caused vivid, yet mixed reactions. An important review was written by Aleksander Poliński, who criticized Morawski for being stylistically dependent on Richard Strauss’s style. Other reviews, some of them anonymous, were positive. The composer was praised for his talent and he was predicted to become a huge success in the future. Later on, his works were infrequently performed. In 1925, the symphonic poem „Nevermore” was performed in Warsaw under direction of Grzegorz Fitelberg. The work was very well received by the critic Karol Stromenger. Yet Morawski’s greatest success was his ballet „The maid of Świteź”, presented in Warsaw’s Great Theatre in May 1931. In 1933 Morawski received for this work the musical prize from the Ministry of Religious Beliefs and Publick Enlightment, winning the competition with Karol Szymanowski’s „Symphony no.4”. The event was discussed in great detail by the press. Some of the reviewers praised this work as Morawski’s masterpiece, others criticized it as worthless and clumsily written. The ballet was presented again in 1962 under the direction of Bohdan Wodiczko. A critic and a composer Stefan Kisielewski praised the word for its great orchestral effects and eerie climate. The article also uses extracts of letters of a composer Szymon Laks, essays of Stefan Kisielewski, and unpublished material from Polish Composers Union archive – letters of Grażyna Bacewicz and Włodzimierz Sokorski.
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The current anthropological study focuses on memes as a cultural phenomenon dating back to the end of the last century. Given that this is a relatively new cultural practice and the small number of humanitarian studies devoted to the subject, the concept is often vague, and its characteristics are immersed in the vast pool, which includes all sorts of 'viral' content. The common belief about memes is that they are a digital form of jokes and are often commented on as retrograde art, in the logic of the frivolous and funny. Due to the fact that they are a picture (collage, photo, comic, etc.) with text, which takes a few seconds to review (as opposed to reading an entire article or watching a news program), they are becoming more and more more influential media of all kinds. The meme genre is becoming an inspiration for marketing strategies, and advertising memes are multiplying rapidly. The text will consider the way in which the phenomenon is described by well-known Bulgarian online news media, and based on interviews with meme activists - the activity will be considered in its potential to be understood as a profitable business and in itself - information media.
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This article examines commercial gramophone records and focuses on their functioning as a medium in the first half of the twentieth century. During the first stage of the development of the shellac gramophone record (from the 1900s to the late 1920s), the gramophone record became the main medium of the music industry, had global distribution and sales, and competed with the leading media and forms of music and art reproduction: cinema and radio. The article focuses on several highlights. It asks how old commercial gramophone records should be studied today: as historical object, sound document, or media? Some methodological problems and directions for future research are pointed out. Examples are given of the history of the Bulgarian music industry and media music in the first half of the twentieth century.
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The article analyses the artistic concepts and the production of the “Folk Art” Experimental Studio, which was founded and was operating during the 1990-s. Most of the performers in the studio were students from the Secondary Musical School in the village of Shiroka Laka (today National School of Folk Arts – Shiroka Laka) in the Rhodope region. The aesthetic values of the artists were formed in the context of dynamic changes and tendencies in a specific sociocultural milieu. Today, most participants in “Folk Art” are outstanding musicians, artists, and conductors, and are at the head of leading institutions in the sphere of professional art based on folklore. The creative ideas and alternatives of this experimental studio became a source for the development of modern tendencies in the interpretation and reconsideration of traditional culture.
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National identity in Bulgarian socialist cinema and especially in the films of the program 1300 years of Bulgaria is understood mainly as a plot – to reflect events from our native history and way of life. Very cleverly, they glided over only those events that, even in their drama, are positive for our self-esteem. But the constructive direction was in the films about migration and guilds as a native modification of the results of industrialization and modernization. In the time of transition, national identity appeared as a problematization – ethnic minorities, ideological, religious, and other repressions came into focus. I define the third stage of identity as confusion. There is no magnetic energy, innovative ideas, deep truth, and sincerity – the screen is 18 percent gray.
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The article explores current phenomena - the relationship between war, radio and music. The focus is on the army radio stations of two warring countries: Russia's Radio Zvezda and Ukraine's Army FM. The research examines the programming policy, funding, music content and audience attitudes of the two radio stations. The question is raised how the media and their musical contents are mobilized and "dressed" in a uniform. Observations on the radio stations and the changed music in them related to the wartime and regime in 2022 point to some new features of the radio propaganda mobilizations and the musical "weapons" used in them
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The text examines the narrative of the video game Hellblade: Senua’s Sacrifice through Jean-Noël Thon’s three-part perspectivist model, focusing on its third dimension - the ideological perspective. It states that the elements of the gameplay, usually defined as purely ludic, in fact play a prominent narrative role. The game manages to trick the player without lying to them by relying on classic video game relations such as believing in what is seen and told, the self-identification of the player with the avatar, and uncritically accepting the game’s instructions/information as relating to their own actions, not to those of the avatar. The ideological perspective of the characters combined with the thus created ‘misleading’ gameplay question the game-player relationship, while at the same time succeeding in an original way to distance the player from the avatar and ultimately succeeding to make the player feel towards the game as the character feels within in his own world. Accordingly, if the gameplay has a message, i.e., allows itself to be semanticized independently of and in conflict with the cinematic cuts in the game, it functions narratively and creates a dissonance resulting from two different and parallel forms of storytelling.
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The edited volume “Journalism, Values, World. A Jubilee Collection in Honour of Prof. Dr. Maria Neykova” (University Press “St. Kliment Ohridski”, 2022) contains 20 articles united by 5 common themes that contribute to the understanding of a wide range of issues of journalistic practice and to professional debates in the field
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Georgian ecclesiastical hymns and folk songs are perceived within one musical language. However, the stylistic palette of Georgian song is more diverse than that of generally more regulated chants. Nevertheless, Georgian church chants made a significant contribution to the development of expression techniques of Georgian folk music tradition. Apparently, This tendency was more manifested in the following directions: • Increase in the melody volume and centonization principle (linking the phrases) in the songs; • Differences between Acharan and Gurian songs through the Prism of changing religious situation; • Structural and dramaturgical proximity of Svan hymn-like songs and mourning song “Zari” to church hymns; • Similarity of “ghighini”, festive hymns and some merry songs, as well as “live lie” songs with church hymns; • Modal mode and parallele voices in para-liturgical hymns and folk songs.
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The essay explores the puzzling relationship between joy and the problems of postmodern culture, which affect the quality of our being in the world. Reflection on the precarious status of joy and its uncertain position in contemporary culture allows for a unique perspective on this relationship. The higher the political, economic and social stakes, the more the search for joy becomes a search for meaning, an essential nourishment for cultural forms. Such joy, filtered through our struggles with life’s challenges, compels us to examine the consequences of its absence (pain, suffering, joyless existence) and its manifestations in art (music), religion (Christianity), and philosophy (freedom). The power of joy lies in recognizing the inevitable imperfection of all solutions to our problems that do not include it as a fundamental component of life.
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The article explores contemporary tendencies in the art world that incorporate elements from various spiritual practices and customs to reinterpret cultural identity and community. This analysis focuses on the methods by which filmmakers and theatrical creators embed mythological and ritualistic elements into their narrative structures to reach deeper levels of perception and stimulate the audience’s imagination for reconsidering existence in a new context.
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Mobile Journalism is often the subject of debate - is every journalistic assignment outside a studio or newsroom Mobile Journalism and whether the mobility of devices makes journalism mobile? This study presents another angle to the topic of Mobile Journalism, namely focusing on Smartphone Journalism. Why does one particular device stand out among the many technological innovations? The revolution in the field of journalism comes precisely from smartphones due to a specific reason – the liberalization of content distribution channels. These are the first devices in such a wide-scale use, where traditional media systems no longer control the channels for content to reach audiences. The article presents data, collected as part of the International Project: “Mobile Journalism Practice and Education in Central-East European Countries”
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The text explores laughter in the Horizont za vas show on the Bulgarian National Radio during two election campaigns for parliament. It analyses the dialogues with listeners and the documents that regulate what is legally acceptable to discuss during a campaign and what is not. The rare instances of on-air humor are not sought by journalists in purpose, and in most cases, are not intended by the audience either. The topics discussed, including the elections, are not approached through humor. The attempts to control communication on both sides are notable. Political satire is not present in the studio, domesticated by the contenders vying for power.
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