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In terms of gender studies and the history of women in art the author reproduces the biography of the entirely forgotten Russian artist Yulia Svechnikova-Belkovska (1874 - 1960) who came to Bulgaria with her husband Asen Belkovsky, her fellow-student from the Art School in Kazan, Russia, who was later to become a prominent artist. The article presents a thorough study of her life in Russia, Munich and Paris (1905 - 1906) until she finally settled down in Bulgaria (1907), as well as her life in the latter. Her life is closely related to her husband’s except for the academic schools attended by him only. Her artistic style is quite close to his, too: they share the same parallel development and eventually establish the style to be later named “Belkovsky". It contributes to the portrait and landscape painting, plenary sessions included, as well as the use of some impressionistic methods and a new modern approach to the sketch. The better use of the style, however, would be rather made by Asen Belkovsky as the more active and obliged one in a man’s world; Yulia Svechnikova would always remain in his shade. Still underdeveloped, the Bulgarian art marks the appearance of other women of artistic training; they were also married to Bulgarian artists, yet, in general, they didn’t aim at promotion and career in sacrifice to their husband's personal progress in a native environment. These women’s abandon of the ego and the neglect of talent could be characterized as the syndrome of the “echo-wife”, i.e., to deliberately mute one’s creativity and fully adopt the creative approach of the paragon as a man, husband and teacher, no matter of the equal good start of them both. This attitude isolates women and puts them in a marginal position at the beginning of XX century when women’s active creativity struggled for the recognition of not “essentially feminine art” only but rather to gain emancipation through the professional attributes of women’s art.
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The article is written as an addition to the previous article by N. Fonyakova. It gives some different considerations on the motifs and symbolism of the subject depicted on the vessel from Kotski. It is necessary to state that these motifs and subjects are not pertinent only to the Khazar culture, but also occurred among the Early Hungarians (esp. the motif of decoration of the rim of the vessel) and among the cultures in Central Asia for a long time. The author’s idea is that it is not possible to give any prevalence of one or the other interpretation of the subject, being discussed either as a representation of a “Heroic combat with the Hero-virgin” or of a “Initiation Combat between the King and the Pretender”, though she is more inclined towards the first view. The basic conclusion is that this subject can be attracted towards the reconstruction of the (Proto)bulgarian mytho-poetic model.
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In the interwar Poland, emigration was considered a possible solution of numerous interior problems of the country. That is why the contemporary Polish authorities believed in the success of colonial plans. In the early 1930s, Peru became a place where these efforts were intensified, encouraged by the president of Peru. The Polish government sent an official commission to this country with the aim to investigate possible settlement in the middle valley of the-Ucayali River. The conditions there were found favorable by the Polish officials. In 1927 and 1928, two settlement licenses were negotiated by private entrepreneurs. The article presents the details of this settlement campaign and its final results. Due to a variety of reasons, the action ultimately was a failure, and the Polish government decided to stop it in 1933. Next, it helped its participants leave Peru for Poland or alternatively move to Brazil or Argentina. In the late 1930, Poland returned to an idea of an official license agreement with Peru, this time without the participation of private institutions. These negotiations were never completed, however, because in 1939 WW II broke out.
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