Периодика 2020
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 article looks at the systematic attempts to transform the coronavirus epidemic into a state ideology similar to the Marxist-Leninist one, within the former Eastern Bloc. However, the current ideological attempts do not rely on repressive state apparatuses. They are voluntarily accepted. What operates behind this voluntary acceptance is a public communication strategy based on the war model and in a regime of hyper-information, i.e. infodemic. It is a strategy with a pyramidal structure, the top of which is held by the state government, reframed as “good” power. For the first time at the base of an ideology is not a historic event, but a natural one. This gives such a nature-based ideology the chance to exploit and govern the most basic existential fears of people. Furthermore, the article is focused on the current Bulgarian political situation. However, the aforementioned pandemic’s ideological strategies and their influence in Bulgaria are placed in the broader context of the return of conservative ideologies and the destabilization of the liberal consensus in Europe and the States.The article looks at the systematic attempts to transform the coronavirus epidemic into a state ideology similar to the Marxist-Leninist one, within the former Eastern Bloc. However, the current ideological attempts do not rely on repressive state apparatuses. They are voluntarily accepted. What operates behind this voluntary acceptance is a public communication strategy based on the war model and in a regime of hyper-information, i.e. infodemic. It is a strategy with a pyramidal structure, the top of which is held by the state government, reframed as “good” power. For the first time at the base of an ideology is not a historic event, but a natural one. This gives such a nature-based ideology the chance to exploit and govern the most basic existential fears of people. Furthermore, the article is focused on the current Bulgarian political situation. However, the aforementioned pandemic’s ideological strategies and their influence in Bulgaria are placed in the broader context of the return of conservative ideologies and the destabilization of the liberal consensus in Europe and the States.
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The article regards and analyses examples from the new musical creation, inspired by the COVID-19 pandemic. Those examples are published on the global network and contain some intrinsic features of folklore. The most important among these features is the reaction to events or occurrences from the current life of society. Object of analysis is also the activity of certain cultural institutions, such as community centres (chitalishta), schools, dancing or hobby clubs, retired people’s clubs and schools for folklore singing and folklore instruments, during the pandemic. The author also features some cases of postponing or cancellation of festival activities on local level and the performance of local non-professional artists in such shows.
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The text presents the main conclusions based on the study of the political messages in the Turkish series broadcasted on Bulgarian television and on Netflix. The main political messages in the series, showed on Bulgarian television, are the responsibility for decisions, connect with the life of a woman and a child. Among the important political topics are: migration, education abroad and returning home, conflicts between rich and poor.
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Review of Rosemary Statelova's latest book ‘The Story of a Musicologist’ (Sofia: Riva, 2020). The book, defined as ‘memoir-autobiography’, is not only a biography of Rosemary Statelova, her family and professional environment, but also a biographical history of the packed Bulgarian time in the last 70 years, structured as fragments of memories and texts.
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Né à Turnu-Severin (Roumanie) en 1942, fils de Nicolae Foarță, médecin, et de Yvonne Foarță, née Burger, professeure de musique, Șerban Foarță a fait ses études à la Faculté de Philologie de l’Université de Timișoara (1960-1965), spécialisation roumain-allemand. En 1978, il a soutenu sa thèse de doctorat en littérature dans le cadre de la même université, thèse publiée deux années plus tard : Eseu asupra poeziei lui Ion Barbu [‘Essai sur la poésie d’Ion Barbu’], Timișoara, éditions Facla, 1980. Il a été professeur à la Faculté des Lettres de l’Université de l’Ouest,à Timișoara, de 1992 à 2005. Membre de l’Union des Écrivains de Roumanie, Șerban Foarță est premièrement poète, essayiste, prosateur et critique littéraire. Il est trèsconnu pour sa poésie qui, lui a valu non seulement desprix littéraires mais surtout une large reconnaissance auprès de ses lecteurs: Simpleroze (Timișoara, éditions Facla,1978); Șalul, eșarpele Isadorei / Șalul e șarpele Isadorei (Bucarest,éditions Litera, 1978); Holorime (Bucarest, éditionsLitera, 1986) et nombre d’autres volumes après 1989. Il atraduit en vers les livres poétiques de la Bible (Hexachordos: Psalmii. Ecleziastul. Cantarea Cantarilor. Iov. Psalmii lui Solomon. Odele, pre stihuri retocmite; Timișoara, éditions Brumar, 2011). Il a traduit des poèmes de la littérature française médiévale, y compris les fatrasies de Philippede Beaumanoir (dans la plaquette 33 de fatrazii, Bucarest,éditions Art, 2008). Cependant son début en tantque poète, avant la publication de la première plaquette (Texte pentru Phoenix, Bucarest, éditions Litera, 1976) s’est fait dans deux LP. Ses vers ont été enregistrés par Phoenix en 1974 (Mugur de Fluier) et 1976 (Cantafabule).
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Our study demonstrates that the analysis of culture should be embedded into the history of capitalism. Through this understanding of culture's materiality, we highlight that culture is not only a spiritual but also a materially embedded phenomenon. We argue that this analysis is also essential to outline culture's role in a post-capitalist world.Our study offers four perspectives to analyze the diverse, often indirect, relationship between culture and capitalism. We show how the diversity of culture is more than heterogeneity but rather part of class conflicts and struggles. By examining the cultural institutions, our paper points out that they play a crucial role in the reproduction of the laborforce. It also points out that global and nation-state-led cultural production are not contradictory but entangled phenomena. Finally, our paper emphasizes that the relationship between culture and capitalism cannot be understood as abstract laws but must also always consider the social trajectories of professional cultural producers, who are a central but often invisible dark matter.
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In the 50-ies and beginning of the 60-ies two great film critics and historians Paulo Emilio Salles Gomes and Alex Viany have a fundamental impact on the Brazilian Cinema novo and influence its flourishment and world recognition. With their erudition, knowledge of world cinema processes, huge critic’s activity and “militant cinephily” they educated and guided the young directors towards professional achievement and the search of national identity applying originally the lessons of the Italian neorealism and the French New wave. Their contribution to the revelation of the national film legacy, the new film movements, the foundation of a modern Film archive, the inauguration of the film education in Brazil and the oldest film festival in the country is undeniable.
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A collection of works ‘Sociology as a civic commitment’ dedicated to the 65th anniversary of Professor Petya Kabakchieva, (Sofia, St. Kliment Ohridski University Press, 2022) contains articles and studies written by established Bulgarian sociologists and social scientists and their younger followers. Compilers of the collection are Maya Grekova, Mila Mineva, Lea Vaysova and Dimitar Blagoev.
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The article studies the winter masquerade custom of Turka, as the central object of investigation is its variant from the Romanian village of Cuciulata in Transylvania. In the course of more than a century, the outlook of this mask has remained almost unchanged. The author offers analyses on the altering functions of the mask as an artefact playing the roles of a ritual object and a museum exponent.
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The article offers observations and preliminary notes from the study of cultural heritages with a focus on sensory images and their perception, expression, and communication. Sensory and visual anthropology are applied as research tools in the context of their complementarity and adequacy in regards with specific spheres of study. The author presents some results of her fieldwork in the form of visual archives and short anthropological films, which give further knowledge of the senses and their instrumentalisation for the generation of meanings and values.
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The aim of the article is to outline and analyse the relationship between fashion and cultural heritage as a source of inspiration for fashion designers. Several examples of French fashion houses are considered, and fashion as art is discussed. In the highly competitive context of modern global fashion and luxury industry, creative practices and processes can be viewed in direct connection with cultural heritage. The interaction between cultural heritage and the creative process is strategic. It works at all levels and includes all components of the production chain, integrating the creation, design, production, and communication. Fashion designers, along with their aesthetic canons, rediscover archetypes, values and imagination, but rethink them in an appropriate, concrete and creative way. The designers offer new visions and meanings, as they experience original processes and approaches. Furthermore, they introduce social, political and cultural issues into the design philosophy, apply new craft skills in the design process or even utilize music and youth culture into the heritage of brands. In this way, cultural heritage is rediscovered as a modern and contemporary design.
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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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