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Kinship and New Reproductive Technologies. Examples from Bulgaria

Kinship and New Reproductive Technologies. Examples from Bulgaria

Author(s): Nikolai Vukov / Language(s): English / Issue: 1/2015

This article traces some of the changes that have occurred over the last two decades in the sphere of kinship relationships through the perspective of the new forms of assisted reproduction and the public debates that accompany their legislation and regulation. Taking as a launching point a specific realm in the anthropology of kinship since the end of the twentieth century, the article outlines the changes in the meaning and interpretation of kinship in the era of artificial conception, when the new tendencies of developing family as an institution parallel forms of assisted reproduction which challenge previous traditional notions and perceptions. The article presents an overview of major political, legislative, and ethical questions related to assisted reproduction and illustrates them with examples from the public debates on the introduction of such technologies in Bulgaria, and more specifically on the proposed law about surrogate motherhood submitted in 2011. The emphasis in the text falls not on the medical and technological aspects of the new forms of assisted reproduction, but rather on the role of the latter in rethinking the existing patterns of kinship relationships (mostly the category of parenthood), as well as on their contribution to various discussions about kinship in present-day societies.

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M. Gruev, V. Tepavicharov, P. Vassileva-Grueva, V. Kotzeva-Popova, M. Kostadinova (Eds.). Nasilie, politika i pamet.Komunisticheskiyat rezhim v Pirinska Makedonia – refleksii na savremennika i izsledovatelia. Sofia: “St. Kliment Ohridski” University

M. Gruev, V. Tepavicharov, P. Vassileva-Grueva, V. Kotzeva-Popova, M. Kostadinova (Eds.). Nasilie, politika i pamet.Komunisticheskiyat rezhim v Pirinska Makedonia – refleksii na savremennika i izsledovatelia. Sofia: “St. Kliment Ohridski” University.

Author(s): Evgeniya Troeva-Grigorova / Language(s): English / Issue: 1/2015

Keywords: anthropology;

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Actual dimensions to the model for industrial design in Bulgaria

Актуални изменения в модела на индустриалния дизайн у нас

Author(s): Dimitar Dobrevski / Language(s): Bulgarian / Issue: 2/2015

Design is a form of expression, while products and even blueprints are the currency for exchange. Quality products very much like currency generate returns. Perception of design within business has evolved to become a passport to the corporate sector now when companies find out that investment in design does pay and the company or the designer could achieve a new status through their carefully designed and sold products. Now a leading third party, i.e. the design manager, who has the opportunity to find the most direct common tangents between distant viewpoints and interests, maintains the communication between the main subjects. A typical trend in this process is related to the incredible growth in design and the rapid involvement of state-of-the-art information technologies in the process in all its stages. The living space of design in contemporary industry radically differs from that of just a decade ago. Traditionally, the majority of professional designers have deemed their trade as isolated from the big business associated with over-particular accounts; currencies and annual financial reports. Unfortunately, it is this difficulty to think in that way that now prevents designers from becoming the innovative leverage that could make them highly demanded consultants on changes and innovation. The major factors influencing the process of introduction of new design models are the economic basis (new materials and technologies), the influence of market relations and the social and cultural relations within the society as well as some paradigms beyond human control such as the potential depletion of non-renewable resources.

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Problems with architectural expressiveness of new technological innovations

Трудности при архитектурното изразяване на новите технологични възможности

Author(s): Aneta Trifonova / Language(s): Bulgarian / Issue: 2/2015

A study of the influence of new technologies on architectural expressiveness shows that the comprehensive technological progress in conditions of everincreasing competition poses a challenge, but is also a hindrance by opening entirely new unexplored areas of architecture. The collaborations between science, technologies and architecture stemming form the necessity of liquid modernity to renovate, enhance architectural expressiveness, which ranges even over the characteristics of the physical space and increases its aesthetical potential. The expressiveness searches its transformations in the vein of the new era, but finds it difficult to integrate into and thoroughly comprehend the new spatial models and characteristics.

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On the artistic language in the stained-glass pieces at Sofia Palace of Justice: in a quest for national identity

За художествения език в стъклописите на Софийската съдебна палата: в търсене на националната идентичност

Author(s): Tsvetan Stoianov / Language(s): Bulgarian / Issue: 2/2015

Sofia Palace of Justice is a largely public building with thousands of people of various backgrounds, mentalities, and dispositions crossing its areas. The monumental decorative artworks in the building are widely accessible to various publics. Ivan Penkov’s stained-glass pieces, found in different places within the building are among the most appealing works in the interior of the Palace. These were topical at the time of their creation, retaining their aesthetical and artistic qualities for posterity. Being a professional, Penkov imparted to his compositions much more symbolism than discernible on the face of it. He carefully wrought each detail impregnating it with a number of connotations. The stained- glass pieces retain the actuality of their messages to this day. One of the elements he has used, for instance, is book. In the stained glasses designed by the artist it becomes a symbol of the eternal and all-embracing knowledge, of primal wisdom and supreme law. Sword is another major element. Combining a sword with a book, the author focuses viewer’s attention on the power, significance, and the rule of law. At the same time he suggests a harsh but just in its essence punishment, meted out to those committing, both wittingly and unwittingly, a breach of law. As a third no less important element Ivan Penkov uses the central part of Bulgaria’s national emblem, seeking to establish Bulgarian national identity through this symbol. Due to being imbued with symbolism, Ivan Penkov’s stained glasses are worth studying and analysing even now.

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Empire style furniture in the house of Nedkovich, Plovdiv

Мебели в стил ампир в къща „Недкович“, Пловдив

Author(s): Regina P. Raicheva / Language(s): Bulgarian / Issue: 2/2015

The article deals with the interior and the furnishing of a Bulgarian house of 1863, the Period of Bulgaria’s National Revival. The author seeks first of all to present the architecture to then overview in detail part of the collection of furniture at the house: the French Empire style furniture set in the southeast drawing room on the upper floor. An analysis of the distinctive characteristics of the style is supposed to be made as well as an assumption about the furniture maker.

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Foreigners: the foreign ‘insiders’ at Koprivshtitsa National Folk Fair

Чужденците – чуждите „свои“ на националните събори на народното творчество в Копривщица

Author(s): Galina Denkova / Language(s): Bulgarian / Issue: 2/2015

The paper brings up issues about the foreigners performing Bulgarian folk music at Koprivshtitsa National Folk Festival. Certain participants from different countries are highlighted along with their repertoire choices. Attention is paid to the time and spatial placing of the foreigners performing at this cultural event compared with the selected Bulgarian participants included in the official programmes. The issues of the motivations of foreign amateurs to perform Bulgarian folk music and the psychological dispositions and attitudes of Bulgarian audiences towards them are broached.

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‘What do hear the ones who (don’t) hear’: Musical-comparative understanding of the temperaments

Какво чува този, който (не) чува. Музикално-компаративно осмисляне на темперациите

Author(s): Ivan K. Yanakiev / Language(s): Bulgarian / Issue: 2/2015

Nowadays equal temperament is tacitly adopted as a ‘standard’ method of tuning the piano. The paper presents it in a comparative discourse against Renold I for an unequal temperament, which Maria Renold called Twelve True-Fifths Tuning concept (1962). This temperament is built on the scale constructed by Henricus Grammateus in the sixteenth century with Renold adding three predefined tones: a1 = 432 Hz; c1 = 256 Hz and gelis1 = 362,04 Hz. The paper describes in detail the structural specifics of the Twelve True-Fifths Tuning method.

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Types of art festivals and artistic diversity

Типове художествени фестивали и артистично многообразие

Author(s): Lyubomir Kutin / Language(s): Bulgarian / Issue: 2/2015

Art festivals, particularly in recent years, have participated increasingly actively in the exchange of cultural values in artistic life. An adequate evaluation of their role for the contemporary society requires a more precise definition of their specifics, potential, benefits, and possible adverse consequences. The paper analyses the attempts at classifications of the arts and types of festivals. Using the provided data, a model of a typology of art festivals is proposed. The model takes into account both the achievements of the theoretical apprehension of the arts, and the specifics of the festival practices, which draw energy from various systems of social life.

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Architectural drawing as an artefact

Архитектурната рисунка като артефакт

Author(s): Rumiana Sekulova / Language(s): Bulgarian / Issue: 2/2015

The paper treats as artefacts architectural representations in sketches, drawings, studies, and prints and collages, hand drawn by architects using art devices. These reveal emotionally and intuitionally the creative interpretations of architectural objects. Original drawings by Erich Mendelsohn and a sketch by Frank Lloyd Wright visualise the significance of a drawn representation to architectural design. The illustrative artefacts, a print by Giovanni Battista Piranesi and a drawing by James Abbot are defined as typical architectural representations of the Baroque period in the history of art. The colour prints by Yakov Chernikhov are given as an example of an innovative representation of architecture in the style of Modernism. A project by Antonio Sant’Elia is presented as a Futuristic representation, while the graphic design by Alexander Smirnov, as a classical presentation of a drawn architectural design. The significance of drawn artefacts is traced in the exhibitions of collages by Richard Meier.

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The big retro comeback made by graphic design in contemporary print advertisement

Голямото ретро завръщане на графичния дизайн в съвременната печатна реклама

Author(s): Tania Ilieva / Language(s): Bulgarian / Issue: 2/2015

The twenty-first century offers contradictory trends to witnesses versed in art, shaping the cultural and social environment in an unadulterated manner. Contemporary consumer society looks on advertisement as the greatest authority. Print advertisement as the most popular ‘genre’ could actually trace the influence of graphic culture on consciousness and society as a whole, the persistence of certain visual examples and the significance to the development of those in a given social environment. The article studies the reasons for which we are witnessing now a revival of retro graphic design, seeking to explain its presence in contemporary cultural environments. The study on graphic art’s similarities and differences includes drawing a parallel between the symbols contained in print advertisement of the nineteenth through the twenty-first centuries, using for the purpose the key image of the press. The main issues to answer are: How have advertisement images developed over the years and what graphic devices have been used to make different suggestions? What is the significance of these images to societies, where these are functioning? Have the metaphors we live with changed and what has survived of them now? What are the differences between the artistic languages used within two centuries and what has prompted the present retro wave?

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Confusion of tongues: A road to knowledge. The French Cine-Journal (1908–1912): A reliable source of professional information about cinematic activities in Bulgaria

Смесване на езиците – път към познанието. Френското списание “Cine-Journal” (1908–1912) – достоверен източник на професионална информация за кинематографичната дейност в България

Author(s): Peter Kardjilov / Language(s): Bulgarian / Issue: 2/2015

The first issue of Cine-Journal (1908–1937) was published on 2/15 August 1908 in Paris to soon evolve into the most authoritative specialized periodical of its day. Now it is an invaluable source of information for the researchers in the filed of the earliest history of film and already available too, following the digitisation of some of its issues from No. 1 (15 August 1908) to No. 218 (26 October 1912). Enormous totally unknown until now information proved to be found there about the cinematic activities in Bulgaria during the said period; about filming chronicles and documentaries by foreign companies in this country, about their distribution not in France alone, but also in Western Europe; about the endeavours (including international) of Sofia-based Modern Theatre company; about the export and screening of the earliest Bulgarian movies abroad... It is part of this credible and professional information that is publicised for the first time in this article.

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Transforming the Filmovi Novoni journal into the Film journal during the transition from centrally planned economy to market economy

Трансформация на списание ,,Филмови новини‘‘ в списание ,,Филм‘‘ по време на преход от планова към пазарна икономика

Author(s): Rosen Spasov / Language(s): Bulgarian / Issue: 2/2015

The Filmovi Novoni (Film News) journal was one of the most successful and most popular specialised film periodicals under communism. Along with the Kinosizkustvo (Art of Motion Pictures) journal it was published by the Union of Bulgarian Filmmakers to meet specific professional and social needs in the field of film. Following 1989, the journal had to adapt to the changing business environment and began to tailor its form and content to meet the market requirements.

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Natalia Goncharova’s costumes for Diaghilev’s Ballets Russes

Костюмите на Наталия Гончарова за „руските балети на Дягилев“. Синтез на иконопис, фолклорен примитивизъм и авангард

Author(s): Petia Boyukova / Language(s): Bulgarian / Issue: 2/2015

Diaghilev’s Ballets Russes instantly gained recognition in European cultural life soon after the dance company was established. His productions were eagerly anticipated in Paris and in extremely high demand across Europe. The quest for new repertoire, soloists, choreographers, and production designers became a permanent process with the high expectations for the company to stun and shock, showing the best of the ballet traditions and the latest trends in European art. On the eve of the World War One, Natalia Goncharova and Mikhail Larionov, major artists of the Russian avant-garde, joined the Ballets Russes. Diaghilev invited Natalia Goncharova for the stage designs of the production of the ballet Le Coq D’Or, where her designs strongly evoked Russian folk art, but held true to the avant- garde to create one of the most powerful imageries in the history of the company. Goncharova and Larionov introduced modernism into Diaghilev’s productions, leaving the idea of costumes forever changed. They encouraged Diaghilev to commission more ‘modern’ artists to design sets and costumes for the Ballets Russes in new styles. The unique imagery of Goncharova’s costume solutions was a result of melding modern art with Byzantine icon painting (the sets and costumes for Diaghilev’s Liturgie) or with the images and colours of the traditional Russian folk art (as in the ballets Le Coq D’Or, Les Noces and Russian Fairy Tales).

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From ‘decoration’ to ‘scenography’. Development of and trends in bulgarian stage design: development of the term

От „декорация“ към „сценография“. Развитие и тенденции в българската сценография – развитие на понятието

Author(s): Albena Tagareva / Language(s): Bulgarian / Issue: 2/2015

The term ‘scenography’ in Bulgarian theatre has developed undergoing a transformation in its own right. It is this transformation that is central to this study. This paper seeks to examine the ways in which both theatre and critics have perceived this component of a production. Another main point of this study is the issue as to what has necessitated the switch from the popular until the mid-twentieth century term ‘theatrical scenery’ to the term ‘scenography’. The development of the terminology resulted from the changes in the understanding in Bulgaria since the mid-1920s onwards of the significance to a theatrical production of the space and its design. That was an interesting process related to the changing mindsets and generations in theatre. The paper seeks to analyse the major processes that have resulted in the changes in the terminology and the understanding of stage imagery. It is first of all done using the examples of key productions staged at the National Theatre in the period between the 1920s and the early 1960s, where the periodization is tailored to the development of the term. The production designers, who have worked there being behind the transformation, are also covered by the research.

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Notions of woman in Kamen Zidarov’s plays

Представите за жените в пиесите на Камен Зидаров

Author(s): Pavlina Dublekova / Language(s): Bulgarian / Issue: 2/2015

This paper deals with part of the dramatic woks by a most tolerated and staged Bulgarian playwright under communism, Todor Manev, who published his plays under the penname Kamen Zidarov. The study focuses on those of his dramatic works that feature the recent past such as “Tsar’s Pardon” (1949), “For the Honour of the Epaulette (1957), etc., rather than on his dramas presenting moments of Bulgarian history that have unfolded in the remote past. Analysing them, the article highlights four main female figures, constructed and functioning in a historical and political context of the coming and development of communism with the ideology and normative aesthetics characteristic of this regime.

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Robert Lepage and “Lipsynch”

Робер Льопаж и „Липсинх“

Author(s): Kalina Terziyska / Language(s): Bulgarian / Issue: 2/2015

Robert Lepage is equally talented as a director, playwright, actor, and film director. He is the founder and art director of the multidisciplinary production company, Ex Machina, inviting actors from across the world to his projects. His creative and original approach to theatre has won him international acclaim and a number of awards. Identity underlies the work of the Canadian director, who believes that a play would show itself in the process of work and searches unseen relations and similarities, using personal and collective memories and playing with them, relying on one’s intuition and free associations as a source of ideas. His characters are in special emotional states, interacting with external influences, trying to understand self in the past and the present in situations of grief, loss, doubt, anxiety, loneliness. In his Lipsynch, unfolding in nine hours, Lepage focuses on human voice as a select locus of identity.

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Documentarism and entertainment

Документалност и развлечение

Author(s): Mihail Meltev / Language(s): Bulgarian / Issue: 2/2015

Documentarism is a dominant gene in TV nature. The ‘participation effect‘ on the scene has been part of the immanent specifics of the e-media ever since their advent. It is believed to protect major civil liberties because of ensuring publicity to the processes going in the society and allowing for investigative journalism and media control. The development of technologies and media markets during last decades, however, established the phenomenon of the ‘reality format’, which, in its essence, is a transformation of documentarism into a popular entertainment, replacing its civil significance. This transformation is subject to an overview and analysis in this article.

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Post-Apocalypse in contemporary movies

Постапокалипсисът в съвременното кино

Author(s): Dimiter Kabaivanov / Language(s): Bulgarian / Issue: 2/2015

Apocalyptic film is a subgenre of sci-fi, featuring the life of humans during the end of the world or dealing with the aftermath of a doomsday event such as the World War III, where nuclear, chemical and/or biological weapons of mass destruction are used; alien invasion of the Earth; machine uprising; a pandemic; asteroid striking the Earth; coming of prehistoric monsters; climate or other disasters. A doomsday movie is often combined with post-apocalyptic motifs. A disaster is combined with its immediate aftermath, i.e. its impact upon the life of the survivors. The narrative features a section drawing of contemporary reality in the light of the perception of generations umpteenth times removed. The style suggesting barrenness, solitude and horror facing obsolete and desolate buildings or equipments is also defined as post-apocalyptic.

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European film clichés in the new Bulgarian movies

Европейските филмови клишета в новото българско кино

Author(s): Teodora Doncheva / Language(s): Bulgarian / Issue: 2/2015

It is a general truth that the best part of films made in Europe are oriented towards the film professionals rather than towards the viewers. European filmmakers are seeking to produce art or auteur films rather than ‘mainstream’ ones. Well, films meant for mass audiences are also made, but as a percentage of the output these are less than art films. There is an array of reasons why it is so: from the awareness that small European film industries are unable to compete with Hollywood to the filmmakers’ aspiration to present ingenious works, steering clear of the film clichés to which viewers have grown accustomed in the movies. The main reason lies in the way of securing film budgets: in the US this process is market-based, while in Europe it is done through funds subsidising filmmaking. There are, of course, exceptions both in the American and European film industries, still, the main financing mechanisms for filmmaking work just like that. Unfortunately, we cannot pass over in silence the fact that many of Bulgarian filmmakers make unwatchable, barren of originality and more often than not bad movies, a far cry from the standards of good European film, labelling their works ‘art film’ to excuse audience disinterest.

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