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The image of circus performers has been most interesting and dramatic until the 1950s, when they have been marginalized by the post-war culture, becoming an object of socially committed photography. In 1958, a rookie member of the Magnum photo agency, Bruce Davidson took pictures of the Clyde Beatty Circus in his series The Dwarf, which became emblematic of the subject. Davidson used the devices of photography to show the effect of the costumes, masks and gestures of his protagonist, the dwarf clown, to make him an epitome of an outsider. The psychological and social streaks intertwine, offering an opportunity for a number of various interpretations. Treated in terms of Pierre Bourdieu’s field, habitus and symbolic capital, in terms of their significance these take the place of the sets and numbers, being the personal symbolic capital of circus performers. Through it, in the field of continuous travelling, communal life ad anonymity, habitus is represented: estrangement from the value of material benefits, concealed or exaggerated emotions in communicating, the choreographed use of facial expressions, single-plane communication with the audiences, lack of comprehension of the accomplishments of an artiste.
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The article traces the changes in everyday practices of production and consumption of amateur photographs at the beginning of the XXIst century. The authors argue that transformations were caused by a massive shift towards use of digital cameras and by rapid development of Web 2.0. As a result, the number of amateur photographs posted in Internet has dramatically increased. This led to criticism resulted in uprising of specific resistance practices. Among the resistance practices are return to film-type cameras and the lomography movement.
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This paper is an attempt to analyze the threads associated with anti-Semitism in Will Eisner comics books and his struggle against stereotypical treatment of the Jews. The work is divided into two parts. In the first part graphics novels based on the biography of the artist (To the Heart of the Storm and The Name of the Game) are described. The second part is devoted to comics in which he refers to Charles Dickens Oliver Twist (Fagin the Jew) and Protocols of the Elders of Zion (The Plot). -
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The paper presents the new evidence on Egyptian deities in Serdica during the Roman period. A fragment of pediment known since the mid-20th century contains a partially preserved inscription pointing to the possible existence of a temple of Serapis in Roman Serdica. The inscription is dated to 161–163 AD and informs that the fragment comes from a temple dedicated to Zeus-Capitolinus-Helios-Serapis, built by the town magistrates. Some new archaeological, epigraphic and numismatic evidence from Serdica attests that in the 2nd century AD, under the Antonines, the cult of Serapis was already well known. Moreover, a newly-found coin of Gallienus, minted in Serdica and bearing a depiction of a temple with a statue of Serapis between its columns, proves the real existence of a temple of this deity. The Goddess Isis has so far been attested in the ancient town only on some coins minted in Serdica from the time of Marcus Aurelius. Our study presents some new evidence about her cult as well. A torso of the Goddess was found during excavations in the centre of Sofia. In addition, the images on a well-known monument coming from Serdica and dated to the first decade of the 4th century AD must be revised. Because of its clearly Eastern elements, the images on it could be related to Isis and not to Cybele, as was supposed. All of the mentioned evidence testifies to the importance of the cults of the Egyptian deities Serapis and Isis in Serdica during the Roman Period.
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12th Central and Eastern European Communication and Media Conference (CEECOM 2019), from 19th to 21st June, 2019. The focus of CEECOM 2019 was the strategic and practical aspects of managing communications, thus establishing a wide interdisciplinary foundation for works in the field of communication, media studies and political sciences. The aim of organizations was to bring together a number of scholars with diverse backgrounds to exchange ideas regarding the present and the future of communication endeavors.
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Visual documents give us important clues in recognizing about our musical heritage. It can be said that the oldest of the visual documents about Mevleviyeh in the Ottoman Empire was miniature art. Later on, the art of painting became influential (17-18th century) and the figures of music were included in the art of painting. The widespread use of photographs and postcards, a means of visual communication in the 19th century Ottoman Empire, includes both cultural and sociological reflections of this state, which is our historical and cultural heritage today. Research on the printing, spreading of the postcards and the periods in which the pictures or photographs belong to them is extremely limited. Therefore, this research is important. The way in which the religious music represented in the Ottoman Empire through postcards was the starting point of the research. In this research, twenty-four documents were obtained from the Atatürk Library belonging to the Ottoman Religious Music. Each documents were classified as photographs, postcards and anonymous works and they were examined separately. The fact that some documents have information about the typographer, publisher and photographer has made it easier for the determination of the period. According to the data, these documents belong to the 19th century and the first half of the 20th century.
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The roots of "surveillance", one of the most important tools of the governments for centuries, date back to very old times. Its major impacts, however, have begun to be deeply felt in modern times. Parallel to the development of nationstates and large-scale bureaucratic organizations in particular, surveillance has also become widespread. In the twentyfirst century, contemporary metropolises are exposed to a constant visual electronic surveillance under the name of security and public safety. In this context, we all are now constantly being watched in public spaces by invisible audiences behind MOBESE cameras. The basis of this system which proposes the control of society by force is based on Jeremy Bentham's Panopticon design. Today, Bentham's eighteenth-century design, Panopticon, is now intertwined with urban scales and replaced with electronic surveillance cameras. The surveillance towers and guards at Panopticon correspond to the central control rooms and the cameras, respectively. The ordinary citizen is being watched through cameras by invisible guards; but the observers are made invisible. Artists have responded to the aspirations of public surveillance by means of their works of art as well. In this article surveillance that's changed gradually in terms of physically and dimensionally which has all the way changed our physical and social life up to the present time, and the aspects are analyzed along with the related works of selected examples of arts so far.
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Czernowitz was the Habsburg Empire’s „Vienna of the East“; it had a lively German-speaking Jewish community, almost all of whom were persecuted or murdered during the time of the Second World War. Yet the memory of Cernowitz lives on, passed on as it is by survivors and their descendants „like a wonderful present“ and a „relentless curse“, as noted by Aharon Appelfeld. We find evidence of old Cernowitz in historical reports, memoirs, documents and literary works. These include impressive contributions by Cernowitz-born writers. In their lecture, Marianne Hirsch and Leo Spitzer focussed primarily on materials from family albums and collections in order to tap into the world of Jewish Cernowitz before its destruction. In particular, they analysed street photographs depicting daily life which had been taken on the city’s streets before the Second World War and during the occupation by Romanian fascists and their allies from Nazi Germany. What do these ordinary and apparently opaque images tell us about the rich and diverse past? We were astonished to discover that they tell and show us a lot in that they reveal both more and less than we had expected.
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The Donbas conflict has been taking place for over five years now. Some significant steps have been achieved since the implementation of the 2015 Minsk Agreements, and with it the official war might have reached an end. Yet, peace remains elusive.
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This article explores the general content of printed advertisement, its elements and their interaction. By making a brief presentation of the different elements involved in print advertising, the research attempts at presenting and summarizing the role in advertising of illustrations and photographic images in particular. The study will also try to give a clear answer to the question concerning the quantity of photographic images compared to other types of illustrations, drawings, collages or computer generated images in Bulgarian print advertising during the period 2000-2017.
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This article aims to present the work of some of the most successful contemporary fashion illustrators. An attempt has been made to analyze graphic techniques and digital means of expression in the design of a fashion sketch. Current works of world-famous authors are presented, which define the new trends in fashion illustration.
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The article presents different ways of dealing with the subject of the body and corporeality in the humanities, which can form the epistemiological and axiological basis in a reflection on the psycho- and physiotherapeutic relationship with patients, and confronts them with the results of two qualitative studies based on the grounded theory concerning exploration by women of their own body and experiencing their own corporeality, intimacy and touch in medical relations. The author shows that phenomenological philosophy, taking into account the concepts of “carnal self” and “presence of the embodied” that human knowledge always has a carnal character, is the most adequate for use in analyses regarding therapeutic interactions related to the body. Analysis of qualitative research on the process of realising your own corporeality in the cognitive-emotional dimension in the relationship with oneself and in the therapeutic relationship fully confirms the legitimacy of applying the grounded theory method in the study of phenomena regarding carnality and such values as gratitude, mindfulness, care, efficiency and autonomy emerge.
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The author’s exhibition In Front of Me is a visual symbiosis of two themes: two crises intertwined in the human behavior – the ecological one and the social one borne by the pandemic situation that turns into a deeper existential crisis and questioning of the human. The trees represented in large-scale paintings are not a forest but rather some singular entities, bare-stripped crowns strenuously cut into a gloomy sky.
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After a short survey of influences of German architecture on the formation of Bulgarianarchitectural scene after the Liberation (1878), the paper focuses on the interwarperiod known for its architectural practices, consisting of two leading architects. Theinfluence of the modernist movements from this period on the classical architectureof the state and public buildings in Bulgaria is traced through the history of Vasilyov- Tsolov Architectural Bureau, its formation and philosophy. The article presents fourexamples of their significant projects, which are the pinnacle of their careers andlargely shape the urban look of Sofia city center, having become its symbols, namely:St. Nedelya Church, Sofia University Library, the National Library, and BulgarianNational Bank.
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