![Международна научна конференция „Героично изкуство и социалистически реализъм. Памет и репрезентации на социалистическото минало в България“](/api/image/getissuecoverimage?id=picture_2016_28297.jpg)
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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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The article presents the conclusion of the research conducted by the author in the collection of the State Museum of Auschwitz-Birkenau, former German Nazi concentration and extermination camp. The sources are fully featured and described for the first time. The article focuses on showing a complicated post-war history of the camp items connected with music (musical instruments, printings, manuscripts, handwritten copies of instrumental books), which are auxiliary sources to reconstruct the repertoire of chapels in KL Auschwitz-Birkenau. The main aim of the article is to also discuss the preserved repertoire. In the last chapter, the author presents a short characteristics of original works composed by musicians and composers in slavery with a short analysis of all of them. Presented musical printings are a reflection of tastes of the German public in the 1930s as well as an example of ridiculous anthropological establishments of Nazi music scientists and no ability to implement it on listeners practice. In addition, the work contains annexes: musical instruments, original works composed during camp existence, and musical printings – a list of music materials which survived in the collection of the Auschwitz-Birkenau State Museum.
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The main aim of this paper is to examine the discourse on Frédéric Chopin that took place in Poland in 1949, when the 100th anniversary of his birth coincided with the culmination of the socialist realist propaganda in the field of Polish culture. The discourse, initiated and moderated under effective surveillance of the Polish People’s Republic’s government, was filled with communist ideology. The authorities aimed at creating a sense of com-munion in the Polish nation, therefore they undertook numerous actions in the area of cultivating memory of Chopin and reception of his works. The composer was used as a banner under which culture of socialist realism was to be consolidated. Chopin was presented by the narrators in the socialist realist context in various dimen-sions. “Deep humanism”, “truth”, “optimism”, “sincerity” and “democratic features” of Chopin’s music were the crucial notions used by them. Chopin was depicted, among others, as a revolutionist and a prophet of tri-umph of communism. The oeuvre of Chopin was said to bring together “fraternal countries and nations”, Polish People’s Republic and Soviet Union, while being simultaneously a crucial element of class conflict. The authori-ties had a tendency to overemphasize folk roots of his compositions, thus among musical genres composed by Chopin the importance of Mazurka was exaggerated. Other genres without such strong folk connotations, as sonatas, ballades and scherzos, were marginalized in the discourse.
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Conference report on the International Science Conference ‘Culture as Fieldwork: Authentic, Spectacular, (In)visible'
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peoples music, state socialism, people's democracy, Bulgarian radio, soft powerThe article describes the main power concepts and practices, related to music in Bulgarian radio during the first years of socialist Bulgaria – the Fatherland front period (1944-1947), when the authorities start to take possession of state radio, under the guise of “people’s democracy”; and the totalitarian period (1948-1956) – a period of “classical Stalinism”, a time of the completed control of radio and media music by the communist power. The focus is on the so called folk music in radio, which turns out to be one of the main conduits of “soft power” in the first years of Bulgarian national socialism. Its presence in the narratives of communist power, its place in radio programs, its main figures and formats, its power uses as “music for the people” and some discourses as “correct” and “incorrect” music, according to authorities, are examined.
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The text presents the state of the web TV in Bulgarian based on the results from the project ‘Web radio and TV in Bulgarian language’ funded by the Research fund of Sofia University with supervisor prof. DSc Snezhana Popova.It is hard to show precise data about the number of web TVs in Bulgarian or with Bulgarian addresses in 2017. The platforms do not use the term web TV, ‘online TV’. In 2017 three types of web TVs prove to be sustainable: regional, lifestyle and radio and TV. The announcement style TVs that present service information as well as the only regional station ‘Epohi’ TV have disappeared. The sports TV projects do not function (with the exception of the TV of FC ‘Levski 1914’). At least formally the ‘music online TVs’ are the largest number. However, the research showed that behind this title on some of the platforms exist websites with pornographic content. Most of them are announced as pop-folk music TVs. The main problem in making web TVs in Bulgarian is the ambiguity of who is expected to watch them. Apart from regional TVs everyone else say they a looking for their audience instead of building a message for a specific group.The text presents the state of the web TV in Bulgarian based on the results from the project ‘Web radio and TV in Bulgarian language’ funded by the Research fund of Sofia University with supervisor prof. DSc Snezhana Popova.It is hard to show precise data about the number of web TVs in Bulgarian or with Bulgarian addresses in 2017. The platforms do not use the term web TV, ‘online TV’. In 2017 three types of web TVs prove to be sustainable: regional, lifestyle and radio and TV. The announcement style TVs that present service information as well as the only regional station ‘Epohi’ TV have disappeared. The sports TV projects do not function (with the exception of the TV of FC ‘Levski 1914’). At least formally the ‘music online TVs’ are the largest number. However, the research showed that behind this title on some of the platforms exist websites with pornographic content. Most of them are announced as pop-folk music TVs. The main problem in making web TVs in Bulgarian is the ambiguity of who is expected to watch them. Apart from regional TVs everyone else say they a looking for their audience instead of building a message for a specific group.
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In 2018/2019 the Radio and Television Department stated the Master’s program Digital Media and Video Games in the Faculty of Journalism and Mass Communications of SU St. Kliment Ohridski. The program is developed together with leading companies on the video games market.
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The system of protection of copyrights and related rights within the European Union is rapidly developing with putting forward of new assessment rules to protected content in digital environment. Changes occurred at the Directive (EU) 2019/790 of the EP and of the Council of 17 April 2019 refer to establishing of a brand-new retated right of the press publications publishers concerning digital issues, and also to harmonized legal protection for the press publications when used online by information society services providers. There appears necessity of licensing of the online use of publications of new providers, such as news aggregators and media clipping services.
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A review of the book " A Pillar of Democracy on Shaky Ground. Public Service Media in South East Europe”, published by Konrad-Adenauer-Stiftung Media Programme South East Europe. The book gives an overview of public service media in the ten countries covered by the Media Programme of the Konrad-Adenauer-Stiftung (Albania, Bosnia and Herzegovina, Bulgaria, Kosovo, Moldova, Romania, North Macedonia, Serbia, Croatia and Montenegro) plus Germany.
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The article examines the National festival of folklore in Koprivshtitsa – a culmination of the assembly-singing movement – by looking for sustainable media representations of the folklore festivals, which has already been held for twelve editions (between 1965 and 2022). The mechanisms for organization and media coverage are sought in the chronological lines before and after 1989. The focus is on the discourses and presentation of the festival as a manifestation of collective and national identity, “the face of Bulgarianism”
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We publish a conversation of the journalist Irina Nedeva with Roumen Avramov, economist and historian, on the occasion of the Bulgarian translation of Nadège Ragaru’s book ‘Et les Juifs bulgares furent sauvés…’. Une histoire des savoirs sur la Shoah en Bulgarie’, Sciences Po. Les Presses, 2020) (“And the Bulgarian Jews were saved...” History of knowledge about the Holocaust in Bulgaria”). The conversation was broadcast on November 8, 2022 in the “Horizont do obed” ("Horizon by noon") program of the Bulgarian National Radio; the text published here is a transcription of it. The questions have been preserved, and in the answers Rumen Avramov has made some stylistic edits, as well as brief substantive additions and clarifications
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The article is the result of a field study in 2020 in the village of Varvara, Septemvri municipality, on the current state of women’s folk two-part singing. The ethnomusicological interpretation is made on the basis of a comparative analysis between theoretical studies on performance practices, an audio archive of the women’s vocal group at the National Culture Center “Peasant Awakening – 1927”, made in the early 1990s, and the most modern field materials from 2020. Passing through certain periods, the musical model becomes a village cultural value bequeathed from the past, which is preserved and safeguarded through certain forms of stage activity. Today, it is part of the intangible cultural heritage and ‘lives’ mainly through the community center and the practice of a certain generation.
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The present text, which is an edited excerpt from a master's thesis titled „The Video Archives Podcast as a Communicative Space“, seeks to roughly delineate the boundaries of the podcast space as a place where the technological and the human converge. By analyzing and comparing theories of podcast practices and communication theories before the advent of podcasting, the text attempts to overcome the opposition of novelty and tradition and concludes that the coexistence of man and media resembles not a war but rather a game of worlds.
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This article examines the imperfections of the Bulgarian media system, which periodically manifest as media crises. The research method used is a case study. The case, which is described and placed in a media and political context, is related to the suspended broadcast of the "Horizon" program on the Bulgarian National Radio on September 13, 2019. The analysis is based on the documents collected in Vyara Angelova's book "#Who stopped BNR", normative acts issued by Bulgarian and European institutions, scientific and media publications on the subject. The conclusions reached by the research are that the media system in Bulgaria is in an unfinished process of transformation. A specific feature of the media environment is that partial elements characteristic of free societies are noticeable. But the factors that dominate bring the Bulgarian media system closer to the authoritarian model defined by Fred Siebert, Wilbur Schramm, and Theodore Peterson.
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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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