Научна периодика 2011–2012 г.
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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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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The pioneer of abstraction, Wassily Kandinsky (Васи́лий Васи́льевичКанди́нский, 1866–1944), used musical terms as titles for his paintingswith intention to release them from the themes, considering that musicis “the art which has devoted itself not to the reproduction of naturalphenomena, but rather to the expression of the artist’s soul, in musicalsound”. Through his paintings Kandinsky rethought the principles ofmusic. Not a painting, but an another artistic creation, through whichwe are given a chance to cognize Kandinsky’s comprehension of music,is The Yellow Sound (Der gelbe Klang, 1912), a “composition” for stage.It is the paradigm of Kandinsky’s “true stage-composition”, his totallynew view of theatre that consists of three elements – musical movement,pictorial movement, and physical movement, but interwoventogether in harmony that will trigger inner harmony in a spectator.Music for his scenario was provided by the composer Thomas vonHartmann (Фома́ Алекса́ндрович Га́ртман, 1886–1956), and anothermusical version was written by Alfred Schnittke (Альфре́д Га́рриевичШни́тке, 1934–1998 / Der gelbe Klang, 1974). In Concerning the Spiritualin Art Kandinsky presented his theory of colour through which he explainedhis own (synesthetic) view of yellow colour / sound, particularlyin comparison with blue colour, that was “musicalized” through TheYellow Sound. What kind of yellow and blue tone Kandinsky had inmind, and what nuances of these colours did von Hartmann / Schnittkesee / hear? What musical instrument(s) can produce yellow, i.e. bluecolour? Which music scale / tone / interval has yellow / blue tone(s)?Are we able to perceive all the shades of yellow / blue sound?
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Most musicians working at the royal and aristocratic courts enjoyed good status despite the difficult political and economic situation of the Polish Common Wealth in the late 16th and 17th centuries. The height of the status of court musicians depended among others on their place of employment, origin, sex, professional roles and musical specialty. This article focuses on the relationship between the status of the musicians and their origin, sex, workplace and salaries. We compared court musicians’ salaries to demonstrate differences in their material status. The few preserved information about the salaries of the Polish court musicians was analyzed in this study. These were wages of the royal musicians and wages of the musicians employed at the courts of Leon Lew Sapieha, Zamoyscy, prince Dominik Ostrogski-Zasławski and hetman Adam Mikołaj Sieniawski. The results are presented descriptively and in the table and graph.
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The theme of this study is a historical reconnaissance of soul music, taking into account the global context, with all the social and historical conditions that accompanied the development of the style. The main aim that the author set himself is to find sources of Polish musicians’ inspirations that can be found in American music from the 60s of the twentieth century. The main section of this paper is an attempt to define soul music and the characteristic of the style in a variety of shots – strictly musical, social, political, historical, racial and the general-culture one. The final chapter undertakes the task of showing the results of analysis of native music in terms of its membership to the style. In this section, a very broad meaning of the term ’soul’ has been assumed, which in this context is merely a reflection of the original phenomenon. The author hopes that this study will contribute to the dissemination of knowledge that soul music – both worldwide and in Poland – is an original and valuable style.
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Discontinuum-continuum: the theory of composition by Julio Estrada. The Julio Estrada’s output is still the unexplored area, what creates the opportunity to study the phenomenon called discontinuum-continuum. During the last 36 years of the creative activity, Estrada has developed several aspects of the macro timbre that integrate several compounds of a composition. In his research, Estrada confronts two different situations in the compositional process: continuous transformation of the sound and chronographical method, using strictly defined recording process in order to receive three-dimensional movements of the sound in the topological order. As a result of existing these two situations, a musical work is impossible to be defined by one technique or musical style. Examination of the theory of composition called discontinuum-continuum allows one to understand a new methodology of musical creation that involves scientific research of the physical phenomenon of sound and introspection of the imagination of the sound.
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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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Defended Ph.D. theses in Bulgaria in the field of linguistics, literature, history, folklore, ethnography and art studies.
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The introductory article of the first issue of 'Medialog' journal presents the new academic journal, part of a new media culture portal. 'Medialog' is a journey into the media worlds. 'Medialog' is an invitation to dialogue addressed to academic researchers and university lecturers, PhD students and students; to all who are curious to understand something more and different about media, communications and culture.
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A review of Ivaylo Dichev’s book „Cultural scenes of the political”
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The aim of this article is to present the results of the author’s profound investigation on German-Bulgarian cultural relations since the beginning of the 20th century to the mid-1940s of the 20th century and to give an assessment of the cultural contacts between both countries in the context of Bulgarian political and historical development. The article reveals different aspects of the cultural contact between Germany and Bulgaria in the fields of theatre, fine and applied arts. The author emphasizes the role of the training of many Bulgarian artists in German art institutions and the establishment of German-Bulgarian cultural associations. The article is based on the findings of published studies as well as on the author’s own research undertaken in many museums, archives, private and institutional art collections, situated in Germany and Bulgaria.
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Selected bibliography in the field of Bulgarian Studies published in the current year.
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The text analyzes specific examples from the festive life of the Hungarian cities of Mohács and Debrecen and in particular different manifestations of the contemporary masquerade game. The author pays attention to the construction of urban identity (part A) and searches for basic characteristics of the urban cultural space as a place of national memory (part B). The field research method is applied for the purposes of the present study. In conclusion it is noted that it is especially important for the participants to identify with a particular masquerade community that builds additional social networks outside of the carnival chronotope. The consistency with the culture and traditions of the city is also significant as far as these are manifestations of urban identity. The national identity finds expression in symbols and signs of the national manifested under conditions of deterritorialization. Through the self-perception of the people in the city (as people tied to it and belonging to it) and through their identification with it, the urban social space acquires its anthropological dimensions contributing to its unique spirit and particularity (genius loci).
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The article’s goal is to imagine a productive form of teaching creative writing as part of a Master's program in fields only remotely connected to literature and literary studies, such as digital media and videogames research. The text begins with a discussion on talent as the ability to perceive and submit to adequate and working models of writing. The topic is then further developed by analyzing talent within the framework of specific creative tools such as close reading and worldbuilding. Finally, the idea of creative writing as a model oriented and model guided activity is connected to the nature of the computer game as a space inhabited by a variety of new discourses, which the player - like a careful and attentive reader – has to learn to read and work with, thus making them part of her personal experience.
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A review of the collection “The Soft power of popular music in media (by examples from Bulgaria and the Balkans”, comp. Lozanka Peicheva. Sofia: “St. Kliment Ohridski” University Press, 2020 (160 p.). The collection is part of research collective’s work on the eponymous scientific project “The soft power of popular music in media (by examples from Bulgaria and the Balkans”, financed by the Bulgarian national science fund.
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The study focuses on part of the submerged heritage under the waters of several dams in Bulgaria (Ovcharitsa, Rozov Kladenets and Tsonevo). Popular folk singers (Stefka Sabotinova and Penka Pavlova) and singing groups and local singers („Sminana Kitka“, Silvia Dimitrova), who keep songs from the sunken villages, are presented. The focus is on research and knowledge of folklore as a pillar of memory, in the case of the village of Asparuhovo, near and under the waters of Tsonevo Dam. Emphasis is placed on the role of various media and especially digital new media spaces for the „emergence” of the traditional song heritage from the villages left at the bottom of various dams.
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Two decades after the publication of the Green Paper on the convergence (1997), radio and television are not only creating and disseminating more and more digital content through digital technologies but are striving for an increasingly integrated online presence. Along with search engines, internet platforms have become an important intermediary between media service providers and audiences whose habits have changed dramatically in the second decade of the 21st century. Broadcast media (BM) have no choice but to be where the users of media content are - content of different quality, origin, purpose, logic of distribution. At the same time, audiences are overwhelmed with mis- and disinformation, which often comes from fake pages and profiles posing as legitimate media organizations, and set against trustworthy media and journalists from public figures. This creates an information crisis, which can be counteracted both by legislative measures and by empowering the audience with media literacy. And while the implementation of educational reform is a slow process, the BM, which still have the largest audiences and are most trusted, can play an essential role in increasing the media literacy of citizens. A function of great public importance, at the same time entirely in their interest.
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Intensified cultural exchange in the twenty-first century lead to a specific process of globalization of musical folklore. That is why the preservation of valuable archaic traditions demands active endeavours.In 2018, in the Bulgarian village of Chavdar, an interactive Folklore Centre was founded. It offers interesting ways of collecting, archiving, preserving and exhibiting local cultural traditions. In the Centre, old phenomena intertwine with new technologies and museum exhibits “come to life” by means of interactive activities designed mainly for children and young people. In 2019, the team of the Centre continued their work on widening and completing the exhibition and the interactive activities. A central place in the new developments is given to music, dancing and children’s games.
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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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