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In this article Prof. Popmihaylova is concerning the village of Tsarkvino, which can't be found on the maps nowadays, and the Musa Baba teke that was located there.
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In this article Prof. Popmihaylova is concerning the village of Tsarkvino, which can't be found on the maps nowadays, and the Musa Baba teke that was located there.
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The Polish Lutheran Church between the years 1945-1956 was unable to gain the full confidence of its new German worshippers. This resulted in the treatment of this Church as a foreign and imposed one. When, in the course of time, the worshippers came to terms with the status quo, acceptance of the Church increased, but as a factor distinguishing them from Polish Catholics. The distance dividing them from migrant Poles, caused by national factors and historical experiences, was increased by religious differences. A significant role in this situation was played by the Small Group Movement. It did not have an organized nature, but its mental revivalist structures survived the period of the Second World War. An awareness of war atrocities strengthened the spirit of eschatology among some of the Small Group Movement members, which is why some of them accepted the existing political situation, regarding it as a penalty for disregarding God’s rules. Some of the Small Group Movement members, especially those who were previously in opposition to German Christians, began to co-operate with the Polish Lutheran Church, which was new to them. On the other hand, for some of the worshippers who existed in unofficial structures, there was an opportunity to fulfill their basic religious needs, which the Polish Lutheran Church was unable to offer them due to its organizational weakness. From the very beginning the key problem of organization was that caused by language, which was a throw-back to the situation in the nineteenth century and the first years of Weimar Republic, when German was still considered to be “the Church language”. This was the reason why a significant part of the Small Group Movement met with mistrust from the Polish Lutheran Church, which for various reasons was implementing a Polonisation policy, and the open hostility of the police-administrative machinery. On the other hand, inside the Small Group Movement, there was little unity but numerous scattered initiatives, and an escalation of German national spirit became in many instances equally important, or even more important than religious matters.
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The article deals with William Morris – one of the most prominent personalities of the 19th century whose work not only influenced his contemporaries but keep on inspiring new generations of writers, artists, researchers, etc. The versatility of talent and range of interests and activities in which this talent manifested itself is a pledge of Morris’ relevance today. Eg., his works and ideas are the source of inspiration for several projects by modern British painters (Adam Hogarth «Language cannot be dead», Bob and Roberta Smith «Art is Your Human Right», David Mabb «Announcer»). William Morris is well known to Russian scientists and designers but almost unknown to general public. However several events took place recently that made Morris «closer» to Russians (exhibitions «Pre-Raphaelites: Victorian Avant-Garde» and «British Design: from William Morris to the digital Revolution» in the Pushkin State Museum of Fine Arts, Moscow and The International festival of landscape design «Imperial Gardens of Russia» with the winner-project «The Garden of William Morris» by Spets Park Design, three prose-romances by William Morris published in Russian translation for the first time).
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After the nationalization of art collections in 1918, the structure of Russian museums’ collections underwent significant changes. For 15 years, the largest museums of Moscow and Petrograd-Leningrad were in a situation of constant relocation of funds: the items from the museum storages and the exposures were transferred to smaller museums, for sales abroad, passed from one collection to another in order to optimize the work of the museum. The present article, devoted to the history of the formation of a new collection of the Western art in the State Hermitage, discusses in detail the period of the first revenues in the museum collection of French painting of the late 19th – the early 20th century. Based on archival documents the author reconstructs the course of negotiations between the Hermitage and the State Museum of New Western Art, and examines the role of such artists as N. A. Tyrsa, V. V. Lebedev, Vl. Sukovand, K. S. Malevich in the formation of the Hermitage collection.
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Conquered by the Ottomans in the 14th century, Skopje has always maintained its importance for the Ottoman Empire thanks to its strategic location in the Balkans. Before the Ottoman Empire, Skopje, a small city within the castle, showed a great improvement after Ottoman conquest with the building complexes (imarets) built in the east-west direction beside the castle and the housing units (neighborhoods) developing around these complexes. Although there was an intensive construction activity in Skopje in 15th and 16th centuries, 17th and 18th centuries were stagnation periods for architectural development of the city.19th century is a period in which radical changes occurred depending the acceptance of the Tanzimat Decree and the Westernization movements in the Ottoman Empire. These radical changes in the Ottoman Empire have been reflected to urban space and buildings of Skopje (depending on the importance given by the II. Abdülhamid to the city).The purpose of this study is to examine physical changes in Skopje, one of the Ottoman cities where the city administration organizations started to establish after the Tanzimat Decree, from the mid 19th century until the beginning of the 20th century in the light of recent political, social and economic developments of the Ottoman Empire in that period.In the first part of the study changing process and Westernization of Ottoman Empire in the 19th century is elaborated represented. Moreover, in order to be able to comprehend more clearly the physical change that Skopje experienced during the 19th century and the general situation of Skopje before the Modernization is given over the map; thereafter spatial changes that took place depending on political, social and economic reasons is put forward. Finally spatial changes after the Tanzimat Decree are shown and interpreted over the 1914 Map of Skopje.
More...Произход на постмодерната музика в Латвия – исторически предпоставки и прояви в творчеството на Маргер Заринш
In the first decade after World War 2, there was nothing resembling avantgarde in Latvian music, because the position of Soviet ideology was that art should be understandable for the people. However, toward the end of 1950s, ideological pressure eased, and the role of stylistic experiments significantly increased. For example, allusions to baroque in Marģeris Zariņš’ music were presented within the interaction with contemporary composition techniques. He can be considered the first Latvian postmodernist. Furthermore, Zariņš was an influential writer, and postmodern features are also seen in his literary works. The paper on his music and its literary parallels could be a significant contribution to the research of cultural processes in certain regions of the former USSR where postmodernism appeared without prior serious experience of modernism.
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This paper is an attempt to outline the principles of formation and functioning of a modern organized film industry within a socialist national economy in Bulgaria. The key point which focuses the research topic is the building of the National Film Center Boyana (the “Kinocenter”) in 1963 as a production facility for the state-owned feature film studio. The elimination of the state subsidies for the studio in February 1991 marks the beginning of the collapse of the vertically integrated Bulgarian film industry.
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This paper deals with two emblematic productions of the National Theatre and their artistic solutions that have aroused controversy in the press: Lope de Vega’s Fuenteovejuna (1946) by Stefan Surchadjiev and Fadeev’s The Young Guard (1947) by Boian Danovsky, Ivan Penkov and Asen Popov were, respectively, set designers of the two stagings. Following the Communist coup of 1944, a radically changed political situation imposed new concepts of the visual, aspects of theatricals. The artists, who had the most outstanding achievements in the development of scenography between the two world wars, were forced to give up on their ideas of production design to conform to the requirements of Socialist Realism. The aforesaid productions were the last to evince influences of former artistic movements and the National Theatre became the place where that process had established itself.
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In his research paper “Metamorphosis of puppet theatre” Henryk Jurkowski introduces the term “heterogenous theatre” – theatre that contains a variety of forms of expression, where the puppet is just one of the many elements in the play, in order to contrast it with “homogenous theatre”, a characterization of the specifics of European puppetry up until the 1960’s, where the stage components are meant to be in direct service to the puppets. On the basis of these definitions, puppetry in Bulgaria after the dawn of the new millennium can be seen adhering to many of the trends and processes present in European puppetry. Different forms of “heterogenous theatre” can be identified, in which the variation in combinations between different elements creates a wide variety of concepts, aesthetics and practices. This diversity of elements is connected to the change of requirements in Bulgarian theatre after 1989, the necessity for texts that can be used for puppet theatre, the transformation of artistic spaces, the increasing role of sound and lighting, the development of the relationship between actor and puppet, as well as new approaches to communicating with the audience. Different creators of contemporary Bulgarian puppetry have different approaches to these components in order to create their own artistic style. Along with the rise of new names on the puppetry stage after 2000, established creators from the 80’s and 90’s continue to produce compelling plays. Bulgarian puppetry has evolved into many diverse styles which include: puppetry that includes puppets with different types of mechanisms being used in a single play, object theatre, puppetry with improvised puppets, material theatre, mask theatre, shadow theatre, “black box” theatre and many others. There also exists a variety of texts, which are adapted into various forms including adapted fables and myths, dramatization on a particular subject or piece of literature, plays that focus on the musical aspect of theatre and many more. The huge potential for combinations of expressive tools and the recent dual nature of the puppet (as a subject and as an object), makes the actor’s job harder – the actor has to perform multiple functions – as an animator of the puppet (classical function), and as a dramatic persona and storyteller (newer functions). “Open animation” is one of the elements that is the basis for the idea of heterogenous puppetry, it’s beginning in Bulgaria is symbolically referred to as “coming out in front of the screen”, owing to the fact that the screen has turned into a symbol of homogenous illusory puppetry, which hides motion from the viewer, a practice that dominated up until the 1960’s. When it comes to audience, the most widely represented form of puppetry in the country is aimed at children. But while less numerous, there are other interesting examples of adult and family puppetry, and recently there has been a rise in theatre for babies (0+). The sphere of puppetry aimed at children has an educational function, which makes it important to emphasize familiar storylines, situations and characters in a fun, informative way. In this regard Bulgarian puppetry is also keeping up with the stylistic developments in other European countires. This text will focus on contemporary forms of puppetry on the Bulgarian stage and analyze problems and important trends connected to aesthetics and the stage itself, in order to prove with the use of examples that the heterogenous potential of puppetry is being displayed in Bulgaria. This mainly applies to the sphere of puppetry aimed at adult audiences, since it’s specific characteristics rely on the metaphorical and symbolical use of the puppet and bring out the synthetic nature of puppetry.
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The study deals with the establishing of the Bulgarian canon of playwriting in the first half of the twentieth century. Two situations are highlighted: the 1910s, dominated by the confrontation between the group around the Misul (Thought) journal and Ivan Vazov. At the time, Vasil Drumev was deemed to be already a ‘tradition’, bridging the twentieth century and the period of the National Revival, while Vazov became the emblem of contemporary drama, bringing to life onstage the recent or remote Bulgarian past. A keynote study by Pencho Slaveikov, The National Theatre was published by the end of the decade, directly and categorically rejecting all the existing by that time Bulgarian dramaturgy. The term canon, pertaining to Bulgarian literary practice, came to be introduced in the wake of WW1 by M. Arnaudov in his в critically acclaimed study, The Canon of Bulgarian Literature (1922), which was published in a time, when social conscience, radicalised by the postwar crisis, attempted to figure out its cultural identity and a heated debate about the intrinsic values of the national culture flared up. Postwar modernism, bringing in new views of life, had tried and launched its own aesthetic projects, each of which had to establish canons of their own: Geo Milev strived to launch the expressionist project; Ivan Radoslavov, that of symbolism; the far left, the social-class one, etc. All these echoed radical (European in the first place) projects in arts and literature in a quest for new art realities. Playwriting, though to a lesser degree than the other forms of writing, had not escape certain studies, articles and reviews’ notice. This article is an attempt to highlight the most important of those, underscoring the nonetheless recurring appreciation of their achievements in the otherwise negative critical views of Bulgarian playwriting.
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Teacher’s profession requires lifelong learning and competence development. Competences, which are nowadays understood as an open system of professional qualities that is capable of development, cover the whole range of exercise of profession in the components of knowledge, skills, experience, attitudes and personal preconditions, and they are all interconnected and understood as a whole. Major change that happened in recent years in school reform considering elementary and secondary schools in Slovakia, is the orientation towards new educational goals in 21.century – development and improvement of key competences of the teachers through lifelong learning. Act from 2008 on Upbringing and Education (the School Act) also follows these goals. This Act has set the goal of education – teaching pupils towards key competences. Since the subject Technical education in lower secondary education in Slovak Republic is being realized since school year 2015-2016 according to innovated Educational standard (inovovaný Vzdelávací štandard), in which there are clearly set goals what should a pupil achieve at the end of the given year, our goal was to find out what kind of computer literky has the teacher of the given subject mastered and how can that literacy be applied in achieving set goals
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The creation of the unitary nation-state in 1918, by the union of Bessarabia, Bukovina and Transylvania with Romania, widened the perspectives for our country to engage in the international life as an independent and sovereign state. After a long and complicated procrastination, Bessarabia`s union with the Mother Country Romania was recognized de jure through the Treaty signed in Paris, on October 28, 1920, by Great Britain, France, Italy, and Japan, on one side, and Romania, on the other. Recognizing Romania`s sovereignty over Bessarabia, the parties of the Treaty assumed the obligation to „assist Romania” in case Russians would attempt to reannex Bessarabia. Although the Treaty does not bear the signature of the U.S.A., this country accepted de facto and de jure the historic right of Romania upon Bessarabia, on July 1, 1933. Moscow stubbornly refused to accept the union, although the right of the Romanian people upon Bessarabian territory and the integrity of the frontiers was implicitly acknowledged by the Soviet Union through the recurrent juridical and diplomatic acts.
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In this essay, a history of the COMECON establishment is traced on the basis of a considerable range of documents of the Soviet and East European communist regimes, including those from their former archives. The author is studying an organization machinery of the COMECON making, with an analysis of the USSR and the so-called people's Democracies interaction and role of each of them in this process. Much attention is given to clearing up and comparison of real and declarative COMECON nature and purposes.
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The article presents the story of the one of the branches of the House of Śląscy from Lesser Poland, that is the owners of Broniszów in the period from the 19th to the 20th century. They constitute a representative example of a middle-class rich gentry which had to adapt itself to the new, capitalistic management conditions in this period. The paper aimed at showing that the mentioned material and social standing of the House of Śląscy resulted from the problems with stabilization of the holding in the previous two centuries. Moreover, the article also draws attention to the activity of the representatives of this House in economic and social institutions, which made them informal leaders of the local community of the Pińczów land.
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This article brings to attention a document drafted by two diplomats of the Soviet Embassy in Bucharest, which contains a synthetic analysis on how Romania reacted on the middle of 1989 to the reevaluation by Gorbachev of the core concepts of Socialism. The specificities of the Romanian domestic policy and how this differentiated her from its Communist allies are emphasized. The authors of the document conclude that a profound reform in Romania would not be possible unless Ceauşescu’s removal from power.
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“Illness as metaphor” has become a widespread expression used in writings of history of ideas, since its first appearance in the essay of Susan Sontag. The present paper offers an analysis of its use in the 19th-century Hungarian culture. At first, it is distinguished the use of diseases and bodily conditions as a cause of the author’s ideas in interpretations, from the illness-metaphors of S. Sontag, and from the body-metaphors of the early modernity. In the second part it is detailed the bodily self-reflection of the 19th-century Hungarian authors in context of the ideas incarnated in their works, and the images of their contemporaries, described by them, using bodily symptoms as causes of the ideas of their reviewed books. In the focus of the analysis are the memoirs of Gusztáv Szontagh, a distinguished critic of the second quarter of 19th century, edited by the author of this article for publication. Szontagh has used the patterns of the bodily determination of the ideas describing a large scale of authors, creating a New World made of words, only, in literature, philosophy, and politics. This complex system of ideas has lost its connections with the theory, and had become an element of the political rhetoric in the second half of the 19th century, and in the first half of the 20th century. An outlook for this afterlife is the topic of the epilogue of the present article.
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The Eastern Pact on Mutual Assistance (called at the beginning ‘Eastern Locarno’) was a Franco-Soviet initiative which drew much attention of politicians and public opinion in Europe in 1934. It was a proposal to be implemented into the collective security system. The article addresses the following questions: What was the main aim of British diplomacy in European affairs in 1934? Was London interested in the idea of an Eastern Pact on Mutual Assistance? Did the British diplomats see any profit for their country’s security in a Franco-Soviet proposal? Were they active in European diplomatic relations in the case of the Eastern Pact and if so to what extent? How did they understand collective security in East Central Europe? And how did they assess attitudes and motivations of the proposed signatories of this new coalition of states?
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The article discusses the characteristics of a philosophical and cultural dispute with metaphysics and about metaphysics itself. The criticism of metaphysics and its revival in the nineteenth and twentieth centuries is discussed here. In the first part, the most important philosophical directions dealing with issues of metaphysics are presented: metaphysical idealism, anti-metaphysical positivism and neo-positivism, analytic philosophy versus metaphysics on the example of L. Wittgenstein, the revision of the metaphysical tradition and new investigations in metaphysics. The second part of the article concerns the picture of natural metaphysics including the mathematical-empirical method of researching the world. In the conclusion of the article, a thesis is put forward on searching for new metaphysics which will include a wider sphere of rationality and existential and spiritual experience.
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