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Saint Theodore the Studite is undoubtedly one of the most prominent representatives of Orthodox monasticism. He is known primarily as an abbot of the famous Studion monastery in Constantinople, as a monastic reformer, theologian and ardent enemy of heretical iconoclastic policies in the Byzantine Empire. The sources about him emphasize above all his adamant character, his brilliant abilities as a preacher and his willingness to champion the rights of the church, even at the price of deep personal sacrifice. As a writer he is pointed out mainly with his polemic against Iconoclasme, but he is also the author of other sermons, letters and hymns. He is credited for the creation of important works of Byzantine hymnography. We especially highlight this aspect of the work of Theodore the Studite, because it turned out to be particularly essential in the representation of the saint in monumental painting. Our task here is to present the images of St Theodore the Studite in the monuments in Bulgaria as compared to similar images (mainly unpublished) from other churches in the Balkans from the period XII–XVIII c., as we add to the presented material in the study of Doula Mouriki. We have discussed the images of the saint in the Boyana church (1259), in the church of “St Stephan” (a New metropolis) in Nessebar (1599), “St Athanasius” in Arbanassi (XVII c.) and the church “The Nativity of the Virgin” of the Rozhen monastery from 1732. We pay special attention to the texts of the scrolls held by the saint. The texts inscribed on the scrolls held by St Theodore vary. This fact indicates that the image of this saint often was associated with a particular aspect of the iconographic program in which his portrait was incorporated. According to the findings of Doula Mouriki, which are confirmed by the reviewed by us monuments and texts written on the scrolls held by the saint “in so far as church decoration is concerned, Theodore appears in his role of great doctrinal personality in the icon controversy, the preacher of ideal life within monastic communities, and the composer of pertinent ecclesiastical hymns.” In addition to many new examples of frescoes in Bulgaria and other Balkan countries we should point out the especially included image of St Theodore the Studite with the corresponding hymn in the composition of the “Tree of Jesse” from XIII c. on.
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The article provides comparative perspectives on the development and dynamics of application of the housing rent control system in interwar Yugoslavia, Bulgaria, Czechoslovakia and Poland. Specifically, the paper is focused on institutional shortcomings and anomalies of the system which came as a result of its long-term application. The paper will shed light on development of conception of tenancy right as confronted with previous conception of property ownership.
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Translations have been an interesting part of the history of literature. What has been their function and meaning in different literary epochs? Did they promote new tendencies or influence the creativity of the writers? What has been underestimated so far is the art of translation itself, that is, the development of techniques and styles of translation according to changes in the translator’s work conditions, especially the emancipation, secularization and professionalization of the profession, so that they have been seen as equal in importance to the writers themselves. What should be analyzed are the procedures and practices of translation, which can be interpreted according to contemporary textology. The history of the art of translation is also inspired by contemporary cultural studies, because it regards translation as an institution and focuses on translation discourse, that is, the complex of images, ideas and metaphors that each translator must respect when considering their readers. The tradition of translation is partly different from literary tradition in that the rules of ‘good translation’ promoted at certain times create a codex of a translator’s work.
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Gothic fiction in Argentina, represented by such famous authors as Borges, Cortazar, Bioy Casares or Silvina Ocampo has its followers in the 21st century. In our paper, we present one of the contemporary authors, Pablo De Santis, born in Buenos Aires in 1963. His novel “Los Anticuarios” (“The Antiquarian”) is about vampirism in the Buenos Aires of the 1950s. Following the tradition of Gothic literature, the main character is involved in the lugubrious story of vampires known as the antiquarians. Although these long‑lived creatures have adapted to living in our times, they must still feed on blood. However, they prefer a substitute in the form of an elixir which allows them to dominate their victims’ minds. Besides, being victims of unrequited love themselves, just like classic vampires, they have a predilection for female blood.
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In a recent article, Gh. A. Niculescu raises the question of the relation between culture-historical archaeology and the so-called “production of knowledge” on ethnic phenomena. He targets the works of Volker Bierbrauer, Sebastian Brather, and Florin Curta. At a closer examination, however, Niculescu’s paper is based on a distorted understanding of what culture history actually is, and on wrong assumptions about such fundamental concepts as ethnicity or (material culture) style. Besides flaws in this line of thinking, his paper reveals Niculescu’s dishonest citation practices, his efforts to create a straw man, and his weak credentials for assuming any critical position in terms of the “production” of archaeological literature in the culture-historical mode. Beyond rhetorical tricks and smearing tactics, Niculescu does not in fact advance any solution to the problem, and remains ambiguous, if not altogether confused about the role of “social sciences” in the archaeology of (medieval) ethnicity.
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Magazine "Macedonian Review" began to print in 1991 as a continuation of the old magazine, printed from 1924 to 1943 and after restoration of the Sofia Macedonian Scientific Institute work in 1990.
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The paper examines the folklore motif in the epic tradition of the Southern Slavs concerning the maiden-hero and her arrows with feathers, who put Krali Marko and his confreres to the test. The author explains the meaning of vuina as juniper and spruce for the Bulgarians, and as fir in the Russian language, and recalls the semantic closeness between cedar and cypress – the trees symbolising Artemis and Aphrodite, being associated later with the Virgin Mary. The role of the maiden-hero, who is often depicted dancing and the feather is seen not only on her arrows, but also as a part of her garments – above all as head-dress – was associated with the idea of fertility and with the archetypal image of the Great Goddess. The colour of the feathers and their number appears to be of essential importance to the magic power of the arrow that the maiden-hero (samovila) shoots against the hero, while – on the other hand – the hero manages to kill the maiden (samovila) precisely with such an arrow. The feather motif is known in another semantic order as well: the hero’s fight against a mythological dragon-monster, in which he is victorious owing to a feather from the mythical bird Noah (known among the different peoples as Nog, Nogot, Nagar-tur, Nogarshin, Cher-nogot, Cher-nagar, Astratir, Ostrafil, etc.). The different notions about that mythical bird are united by common iconographic features: huge size, radiance, living at the end of the world in a cave, or on top of cliffs, or on a sacred tree. In conclusion, the author stresses that the diversity of feathers in folklore is connected with their magic properties, whereby the emphasis changes depending on their function and origin (from vuina, from a bird or from a mythological creature.
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The purpose of the research. This research is devoted to the significant phenomenon of locating individual parts of the ancient Egyptian Book of the Dead on the unusual type of sources. Attention is focused on the previously unexplored phenomenon of the Book’s of the Dead text and/or illustrations placement on the funerary stelae – commemorative plates, installed in the tombs and funerary temples of individuals. The place of this type of the sources in the context of the entire volume of the Book of the Dead is considered. The chronological framework of the existence of stelae with text/images from the Book of the Dead is described: all currently known stelae are exemplified. The integration of the main plot into the system of funerary stelae is described. The research methodology applied to this study is the use of the comparative method. Without a comprehensive analysis of the exact sources it made possible the consideration of the phenomenon as a whole. Scientific novelty of the article consists of studying of the fact of placing text and/or illustrations from the Book of the Dead on the funerary stelae. This research helped to trace the way of integration of the Book’s of the Dead motives into the funeral cult system of the stelae owners. Conclusions. This research helped to identify the most popular scene from the Book of the Dead, which was integrated into the funeral stelae system during the New Kingdom. It was determined that the motive of the scene corresponds well to the funeral stelae role and thus, substantiates the usage of this sort of sources for the placement of the Book’s of the Dead vignettes.
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The outcry in the American society caused by the defeat of the Ilindenko-Preobrajensko Uprising in 1903 created the prerequisites for the foundation of a Bulgarian-American social committee in March 1904.
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The article examines the names of places that are in the village of Troskovo, Blagoevgrad.
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