Книги 2014–2015 г.
Selected bibliography in the field of Bulgarian Studies published in 2014-2015
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Selected bibliography in the field of Bulgarian Studies published in 2014-2015
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Selected bibliography in the field of Bulgarian Studies published in 2015-2016
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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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The aim of this study is to present and synthesize the image of Eugeniusz Morawski’s output as presented by the Polish press and Polish composers. Morawski is an unknown composer, absent from the concert programs. His works were performed during composer’s lifetime and caused mixed and extreme reactions from the critics. His first successful concert – performance of now lost symphony-poem „Vae victis” in Salle Gaveau, Paris, was barely noted in Polish press. The first performance of symphonic poem „Don Quichotte” in 1912 caused vivid, yet mixed reactions. An important review was written by Aleksander Poliński, who criticized Morawski for being stylistically dependent on Richard Strauss’s style. Other reviews, some of them anonymous, were positive. The composer was praised for his talent and he was predicted to become a huge success in the future. Later on, his works were infrequently performed. In 1925, the symphonic poem „Nevermore” was performed in Warsaw under direction of Grzegorz Fitelberg. The work was very well received by the critic Karol Stromenger. Yet Morawski’s greatest success was his ballet „The maid of Świteź”, presented in Warsaw’s Great Theatre in May 1931. In 1933 Morawski received for this work the musical prize from the Ministry of Religious Beliefs and Publick Enlightment, winning the competition with Karol Szymanowski’s „Symphony no.4”. The event was discussed in great detail by the press. Some of the reviewers praised this work as Morawski’s masterpiece, others criticized it as worthless and clumsily written. The ballet was presented again in 1962 under the direction of Bohdan Wodiczko. A critic and a composer Stefan Kisielewski praised the word for its great orchestral effects and eerie climate. The article also uses extracts of letters of a composer Szymon Laks, essays of Stefan Kisielewski, and unpublished material from Polish Composers Union archive – letters of Grażyna Bacewicz and Włodzimierz Sokorski.
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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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Selected bibliography in the field of Bulgarian Studies published in the current year
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Né en 1947 à Bucarest, dans une famille d’intellectuels del’entre-deux-guerres, Costin Petrescu fait preuve d’un talent musical natif. À l’âge de 12 ans, il fonde avec ses collègues le groupe Pop-Rock The Pioneers, devenu en 1964 – année des JO de Tokyo – Olympic ‘64. Le groupe se fait connaître, il apparaît à la télévision nationale roumaine et à la radio. En1968, Costin Petrescu est étudie à l’Institut d’architecture ‘Ion Mincu’ de Bucarest. En 1971, il devient percussionniste du groupe Phoenix, participant à la renaissance de ce groupe. Il a pris sa retraite de Phoenix pour obtenir son diplôme en1974. Il devient architecte-scénographe aux Studios Buftea, puis architecte dans un institut de bâtiments et travaux publics à Bucarest. Il collabore avec les jazzmen Mircea Tiberian, Marius Popp et Johnny Răducanu, de même qu’aux projets Pop-Rock de Mircea Florian et Nicu Alifantis. Il fait de la musique d’avant-garde dans l’Ensemble Hyperion de Iancu Dumitrescu. Lors d’une tournée européenne de l’Ensemble, il reste à Paris et devient chef de projet dans l’une des agences françaises les plus réputées. Il apparaît rarementen Roumanie après 1992, à l’occasion des anniversaires de Phoenix et des collaborations avec Mircea Florian ou Mircea Baniciu. En 1997, il fonde la société ‘Magic Sign’, une entreprise de longue date, consacrée à l’importation de technologie française dans le bâtiment et l’architecture.
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The current anthropological study focuses on memes as a cultural phenomenon dating back to the end of the last century. Given that this is a relatively new cultural practice and the small number of humanitarian studies devoted to the subject, the concept is often vague, and its characteristics are immersed in the vast pool, which includes all sorts of 'viral' content. The common belief about memes is that they are a digital form of jokes and are often commented on as retrograde art, in the logic of the frivolous and funny. Due to the fact that they are a picture (collage, photo, comic, etc.) with text, which takes a few seconds to review (as opposed to reading an entire article or watching a news program), they are becoming more and more more influential media of all kinds. The meme genre is becoming an inspiration for marketing strategies, and advertising memes are multiplying rapidly. The text will consider the way in which the phenomenon is described by well-known Bulgarian online news media, and based on interviews with meme activists - the activity will be considered in its potential to be understood as a profitable business and in itself - information media.
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This article examines commercial gramophone records and focuses on their functioning as a medium in the first half of the twentieth century. During the first stage of the development of the shellac gramophone record (from the 1900s to the late 1920s), the gramophone record became the main medium of the music industry, had global distribution and sales, and competed with the leading media and forms of music and art reproduction: cinema and radio. The article focuses on several highlights. It asks how old commercial gramophone records should be studied today: as historical object, sound document, or media? Some methodological problems and directions for future research are pointed out. Examples are given of the history of the Bulgarian music industry and media music in the first half of the twentieth century.
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The article analyses the artistic concepts and the production of the “Folk Art” Experimental Studio, which was founded and was operating during the 1990-s. Most of the performers in the studio were students from the Secondary Musical School in the village of Shiroka Laka (today National School of Folk Arts – Shiroka Laka) in the Rhodope region. The aesthetic values of the artists were formed in the context of dynamic changes and tendencies in a specific sociocultural milieu. Today, most participants in “Folk Art” are outstanding musicians, artists, and conductors, and are at the head of leading institutions in the sphere of professional art based on folklore. The creative ideas and alternatives of this experimental studio became a source for the development of modern tendencies in the interpretation and reconsideration of traditional culture.
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National identity in Bulgarian socialist cinema and especially in the films of the program 1300 years of Bulgaria is understood mainly as a plot – to reflect events from our native history and way of life. Very cleverly, they glided over only those events that, even in their drama, are positive for our self-esteem. But the constructive direction was in the films about migration and guilds as a native modification of the results of industrialization and modernization. In the time of transition, national identity appeared as a problematization – ethnic minorities, ideological, religious, and other repressions came into focus. I define the third stage of identity as confusion. There is no magnetic energy, innovative ideas, deep truth, and sincerity – the screen is 18 percent gray.
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The article explores current phenomena - the relationship between war, radio and music. The focus is on the army radio stations of two warring countries: Russia's Radio Zvezda and Ukraine's Army FM. The research examines the programming policy, funding, music content and audience attitudes of the two radio stations. The question is raised how the media and their musical contents are mobilized and "dressed" in a uniform. Observations on the radio stations and the changed music in them related to the wartime and regime in 2022 point to some new features of the radio propaganda mobilizations and the musical "weapons" used in them
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The text examines the narrative of the video game Hellblade: Senua’s Sacrifice through Jean-Noël Thon’s three-part perspectivist model, focusing on its third dimension - the ideological perspective. It states that the elements of the gameplay, usually defined as purely ludic, in fact play a prominent narrative role. The game manages to trick the player without lying to them by relying on classic video game relations such as believing in what is seen and told, the self-identification of the player with the avatar, and uncritically accepting the game’s instructions/information as relating to their own actions, not to those of the avatar. The ideological perspective of the characters combined with the thus created ‘misleading’ gameplay question the game-player relationship, while at the same time succeeding in an original way to distance the player from the avatar and ultimately succeeding to make the player feel towards the game as the character feels within in his own world. Accordingly, if the gameplay has a message, i.e., allows itself to be semanticized independently of and in conflict with the cinematic cuts in the game, it functions narratively and creates a dissonance resulting from two different and parallel forms of storytelling.
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The edited volume “Journalism, Values, World. A Jubilee Collection in Honour of Prof. Dr. Maria Neykova” (University Press “St. Kliment Ohridski”, 2022) contains 20 articles united by 5 common themes that contribute to the understanding of a wide range of issues of journalistic practice and to professional debates in the field
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The unconscious (das Unbewusste; etymologically, that which is unknown) is a relatively modern concept that naturalized areas of the unknown previously explored by literature, mythology, and metaphysics. Each in their own domain, Karl Marx, Sigmund Freud and Friedrich Nietzsche, the three ‘masters of suspicion’ (according to Paul Ricoeur), debunked the hubristic claims of modern rational consciousness, exposing its social, existential and psychological grey zones. 1 Inspired by, yet critiquing humanity’s confidence in the power of reason, their acknowledgement of the limits of the Enlightenment is emblematized in Freud’s charting of the conflictual relations between the orderly ego and the unruly id.
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The article explores contemporary tendencies in the art world that incorporate elements from various spiritual practices and customs to reinterpret cultural identity and community. This analysis focuses on the methods by which filmmakers and theatrical creators embed mythological and ritualistic elements into their narrative structures to reach deeper levels of perception and stimulate the audience’s imagination for reconsidering existence in a new context.
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Mobile Journalism is often the subject of debate - is every journalistic assignment outside a studio or newsroom Mobile Journalism and whether the mobility of devices makes journalism mobile? This study presents another angle to the topic of Mobile Journalism, namely focusing on Smartphone Journalism. Why does one particular device stand out among the many technological innovations? The revolution in the field of journalism comes precisely from smartphones due to a specific reason – the liberalization of content distribution channels. These are the first devices in such a wide-scale use, where traditional media systems no longer control the channels for content to reach audiences. The article presents data, collected as part of the International Project: “Mobile Journalism Practice and Education in Central-East European Countries”
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The text explores laughter in the Horizont za vas show on the Bulgarian National Radio during two election campaigns for parliament. It analyses the dialogues with listeners and the documents that regulate what is legally acceptable to discuss during a campaign and what is not. The rare instances of on-air humor are not sought by journalists in purpose, and in most cases, are not intended by the audience either. The topics discussed, including the elections, are not approached through humor. The attempts to control communication on both sides are notable. Political satire is not present in the studio, domesticated by the contenders vying for power.
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