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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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The article is part of a series of observations related to the problem of the identity construction of the Easteauropean emigrants/immigrants “in the West” (Europe andUSA) before and after the “democratic changes”. Here, the author examines the first case (the second one is published in the second volume of the thematic issue “The Road”) which is based on materials from Estonia. The article shows the specifics of the Estonian labour mobility to Scandinavia in the context of the identification “main stays” developed by the Estonian society and related to the so-called popular religion and the neo-paganism which form a “working” national narrative.The article is based on the fieldwork of the author, published sources and Internet materials.
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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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When setting up the premises for a dialogue between disability studies and critical trauma studies and embarking on editing this pilot issue on ‘encounters’ between the two disciplines, we necessarily welcomed interdisciplinary approaches, ranging across disability studies, trauma studies, literary and cultural studies, media studies, as well as many other disciplines in the humanities. The first step in introducing this issue to our readers will be to present the histories of both disability studies and trauma studies in order to see how they evolved and see why our proposal that they should meet half way or at least more often can be considered a valid one.
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This is a review article of a collection of essays entitled Trauma and Public Memory, edited by Jane Goodall and Christopher Lee.
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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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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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The intense and dichotomous relationship between orientalism and classicism that has been created over the last decades of the XX century, reaches new dimensions through the rapid scientific growth, the discoveries of new historical sources and artifacts, and, most importantly, through the paradigms change in many scientific disciplines. This development is also influenced by the rapid and multifaceted societal transformations in the intensively globalizing world of the new millennium. In this context, the paper explores the new understandings of these two important conceptions in the research of the past, and their redefined scope and relation in the light of the globalization theories and through the paradigm of ancient globalization.
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Modern Mimesis: Self-Reflexivity in Literature is a passionate defence of philology that traverses the distances from Ancient Hellas to present-day Japan, from Ulysses to robots. This movement follows a logic described by the author as reconceptualization, and creates conceptual nodes configured through horizontal and vertical, temporal and spatial self-reflexive reduplications. The broad arc from the libraries of Alexandria and Pergamum to the mimetic valleys of robotics thus turns out to be underpinned by the reconceptualization of the ancient dispute between ‘analogy’ and ‘anomaly’, turning any attempt at ordering into an ‘endless series of rearrangements’.
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In the end of September 2021 one of the celebrations of the academic community took place – colleagues and friends congratulated prof. Lilyana Deyanova with the publishing of the anniversary anthology ‘Time and Memory’. Compilers and organizers of the academic celebration are Maya Grekova, Petya Kabakchieva, Momchil Hristov, Milena Yakimova.
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Analytic description, according to members of the Lvov-Warsaw School (LWS) like Czeżowski, Ajdukiewicz, Ossowska, Tarski is a powerful and an indispensable tool, not only in philosophy but also in any natural science – in psychology especially. It should be equally respected together with empirical analysis and even it is recommended that it should precede any further research. Therefore, the book Analiza i konstrukcja: o metodach badania pojęć w Szkole Lwowsko-Warszawskiej [Analysis and construction: on the methods of researching concepts in the Lvov-Warsaw School] can be recommended to philosophers as well as scientists.
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The digital world has incorporated all previous forms of communication: today we read online, listen to music, visit virtual museums and so on. But does cultural consumption via the new meta-media remain the same? The following observations are the result of a seminar with students of cultural studies. I am discussing the changes in the experiencing of the high 'culture of the soul' (Cicero), not everyday digital practices.
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This paper offers an overview of some of the main aspects of the theoretical debate on representation. The section presented here is mainly illustrative in terms of some of the theoretical foundations on which later authors engaged specifically in discussing the phenomenon of representation in contemporary media build (a topic addressed in another text). The analysis focuses on the ways in which representation has been discussed in texts by Roland Barthes, Jacques Derrida, Michel Foucault and others. The emphasis is on problematizing the possibilities of representation by means of language.
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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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The knowledge existent at present, which generates the need for a new approach to the myth of Dracula, refers to an almost unanimous reception based on the novel published in 1897 by Bram Stoker and on the tens of the subsequent portrayals which have induced a social and cultural paradigm standardized as commercial kitsch. Within this fictitious construct Dracula has been expounded in manifold keys. However, to ordinary perception, his figure is reduced to the semi-caricatural vampire character, the living-dead craving for blood. This article aims to answer a series of questions about the representations of Dracula and their relevance to the fields of cultural and literary studies: Which is the “real” Dracula? Which are the psychological, cultural, social and historical impulses determining the actions of the character and the established myth? To what extent the deeds of the personage can be accounted for through the instrumentality of psychological impetus and by the agency of cultural, philosophical, esoteric, and occult principles? Thus can the “real” Dracula be integrated into an ampler context of culture and civilization, where his alienation and his monstrosity belong less to the paradigm of “the other”, of “the stranger” and refer more to the revealing of some of “our” intimately repressed human features?The article proposes a critical examination and reinterpretation of Dracula’s image, starting from the novel Jurnalul lui Dracula (Dracula’s Diary) (1992) by the Romanian writer and academic Marin Mincu. Original responses are being suggested to the questions defined previously – through several writing and literary theory techniques, including references to Corpus Hermeticum.By comparing and contrasting the hermetic philosophical text and the Romanian novel, the essay aims at finding out whether the entire construct of the myth of Dracula can be explained through two cultural and philosophical aspects, namely death and immortality. It also offers a new reading, another conceptualization of a familiar but debatable subject, which reinterprets and even rejects the mainstream view. The work by the extremely well-informed Romanian academic, which was first published in Italy, has nothing in common with Bram Stoker’s (“vampiric falsification”, asserts the author in the preface…), but vividly portrays the “real” Dracula, the Prince Vlad the Impaler, imprisoned in the underground cave of a castle under the Budapest Danube, writing a journal between February, 2nd, 1463 and August, 28th, 1464. In his diary the character recalls his historical fate and legendary destiny through references to aspects of Romanian culture and civilization considered in a European context. For instance, the study approaches topics such as: the religion of Zalmoxis as the philosophical and existential foundation of the Romanians; Dacians’ attitude towards death, as described by Herodotus, which might have influenced Pythagoras, Socrates, the Eleusinian and the Orphic Mysteries; the boycott of history by the Romanian people (an echo from philosopher Lucian Blaga’s writings); the orality of the Romanian culture (as opposed to the written culture of the western Europe); the oral folkloric creations, the ballad Miorița (The Little Ewe) and the fairy-tale Tinerețe fără bătrânețe și viață fără de moarte (Youth without old age and life without death), etc. All of these are put forward within the humanistic, Renaissance context of the epoch, given that Dracula was a friend of Marsilio Ficino, Nicolaus Cusanus, Pope Pius II, Cosimo de’ Medici, etc. Researchers will discover new speculative themes and directions with regard to the seemingly exhausted myth of Dracula.
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The text explores the digital and documental traces of the journalist Bojan Petrov's on-air legacy, mainly left by his satirical column Fatherland Radio Review. The review was last broadcast on the Politically INcorrect show on the Horizont channel, BNR. There the review was broadcast 7 times from the creation of the programme until the death of its author, but it has a background in previous similar programmes.The analysis traces the problems of the genre definition of fun. Despite the immutable structure of the column and the original approach of the author, inexplicably different interpretations of Petrov's satire lead to its neglect and disappearance.
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The study presents the graphic works of six modern female artists that are part of the Tulcea Fine Arts Museum`s heritage. Their work, presented in the context of the modern period of development of fine arts in our country, is prefaced by a comparative analysis between feminism and the feminine in art, starting from the general understanding of the concept of feminism. The article aims to promote the graphics collection of the Tulcea museum and to provide a starting point for future analytical studies.
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This essay explores the philosophical implications inherent in Samuel Beckett’s most enigmatic and metonymic late theater work, Not I, even as he frequently abjured any interest in philosophy, which he claimed neither to read nor to understand. The play is profoundly ontological, however, and its metonymic stage image engages the classical philosophical conundrum of the relationship of the part, a piece or fragment, say, to the whole, an issue with which Beckett has at least been intrigued for most of his creative life.
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The text offers an analytical look at self-presentation as an element of dialogue in five American audio podcasts about cinema, aiming to outline recurring motifs to highlight some of the ways in which the podcast medium has been adapted to and shaped creatively. The analysis of the observed podcasts shows that the dialogue in them is marked by a play with forms and communicative roles.
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