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The publication discusses the specifics of the emotional intelligence as well as some aspects of its development by using musical and art education in primary school.Our study focuses on some technological practices to develop children’s emotional intelligence. In the theoretical part are examined views of a number of authors related to the nature of emotional intelligence. As a practical part are studied some of the technological capabilities of the musical training of primary school age.
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Is it possible to have a definition of a professional artist in the 21st century? In an era of absolute democratization of artistic forms, can anyone become the author of a work if he wants to be one? The article provides an overview of the definition of a professional artist over the past few centuries and traces the processes that have shaped or modified this definition in the modern world. The analysis refers to the field of institutional theory and examines two specific events of the last six months in Sofia, which serve to demonstrate the thesis that the popular image, formed by television among the mass audience, defined by Theodor Adorno as the halo effect of previous experiences, can give almost professional status to any face, familiar enough from the small screen. In the specific case the exhibitions MO! and DIS/HARMONIES are an illustration of the active influence of television programs not only on the mass viewer, but also on the professional practice in Bulgaria. We draw such conclusions after their authors Maria Sylvester and Ruth Koleva, known for their active participation in entertainment reality formats, were presented in one of the most famous and defined as professional spaces for contemporary art in Bulgaria – the galleries Structura and Credo Bonum. These curatorial decisions are an up-to-date example indicative of the phenomenon of television careerism, which, despite the emergence of streaming platforms and the respective decreasing number of television viewers in the last few years, continues in the logic of its action, described decades ago by Nathalie Heinich and Theodor Adorno. Despite the more general nature of the thesis, the article is a critical analysis on the border with sociological studies of art and specifically addresses the problem of the contemporary art professional.
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The main objective of the paper is to examine the three “mythico-ritual scenarios of the Wolf ” in Chechen culture: the lycomorphic mythical Ancestor, actualization of a primordial event and military initiation. Elements of these scenarios may be observed in the song Аварское село by the contemporary Chechen bard Timur Mutsuraev. The military initiation presented in the song re-actualizes the Chechen myth of the She-Wolf. The phenomenon of the wolfish identity of the Chechens and their struggle are analyzed in the context of Sigmund Freud’s category of das Unheimliche (the uncanny).
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Marlen Haushofer’s novel, The Wall (Die Wand), published in 1963, elevated the author to fame, winning the admiration of readers and critics beyond the German-speaking world. As a result of a twist of fate she can neither grasp let alone understand, the heroine is cut off from the external world by an invisible obstacle – the titular wall. Behind it, human and animal life dies away, literally. She is the sole survivor of the catastrophe. From then on, she has to live in complete seclusion, left to her own devices and to fend for herself. Her only companions are a small group of animals giving sense to her existence. The sense of responsibility she feels for those living beings, her care for them, and the total isolation and sense of hopelessness become the determinants of her everyday life. This paper aims to present the main character’s uncommonness of daily living conveyed by the title and caused by an unexpected disaster. It seems important to investigate the protagonist’s attempts to reconstruct her own social space, where human interactions are replaced by interactions with animals. It is no less important to investigate her survival strategies, which are based on the strategies she had known before the disaster. The character has to take on a new role in a new reality that turns out to be a kind of reflection of her previous social role. This paper attempts to review the established social rules which had to become devalued to a certain extent when the character was faced with a radical change. Haushofer’s work can also be interpreted as a parable of the present time, in which fear of what is unknown (a disaster, a war, a pandemic) determines the way that the individual lives day by day. This paper is based primarily on the source text, namely M. Haushofer’s The Wall, and the analysis in this paper refers to feminist discourse, ecocriticism and animal studies.
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The subject of the article are two little-known monuments from the Samokov region, partially painted by the Samokov painter Kostadin Gerov-Antikarov – the temple “St. Peter and Paul” in the village of Dospey and the church “St. arch. Michael” in the village of Prodanovtsi. In addition, the research examines the expertise and restoration of movable and immovable cultural values requiring restoring old and acquiring new knowledge. This necessitates leave the framework of pure history and classical art studies and locating the research in the field of modern theory and new technological research.
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In the spring of 2023, R. Malchev made a donation for restoration and conservation of a throne cross with a Crucifix of Jesus Christ from the altar of the “Dormition of the Holy Mother-of-God” Metropolitan Church in the town of Samokov. The work process reveals that the Crucifix of the Christ was overdrawn probably in the late 19th – early 20th century. The original Crucifix was made in a studio outside Samokov, and the cross itself was made on the spot. The revealing of the original testifies that this is the work of a fresco master from the late 17th – first half of the 18th 78 century. Presumably, the author is representative of the Cretan-Venetian Art School. The artists from this art school are strongly influenced by the work of western authors, which is displayed in their works. Future research works will reveal how and why this particular Crucifix appeared in the town of Samokov.
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The text presents songs from the repertoire of the region of Golo Bardo, Albania, with a focus on geographical names and spatial ideas used in their lyrics. They illustrate the knowledge of its own, neighboring and foreign space and, more generally, of the location of the area on the Balkan map as a part of the Bulgarian historical territory.
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The study examines the development of architecture and urban planning in the decades of Bulgaria’s strongest Europeanization after the liberation from Ottoman rule. In 25 years, Bulgaria was transformed from an oriental province into a country with a European look and style, and its major cities successfully approached the progress of Central European capitals. The work and lives of the most important foreign and Bulgarian architects who contributed to this wave of modernization are examined in detail. The study is a serious investigation aimed at both a specialist audience and an interdisciplinary readership.
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In the text, I discuss the problems of the genocide experience in the context of mass tourism. I point out that large-scale Holocaust memorials and genocide museums incorporated into the mass-tourism industry are drowning out cries of remembrance. I propose three categories of commemoration: “Captions”, “Monuments” and “Stand-alone Works”. The latter category includes fine art photography among others. Using the case of the photographic series Koenigsgraben, I point out that the category of “Stand-alone Works” seems to have the greatest potential (next to historical enviro mental activeness) to free the cry of remembrance from beneath the concrete of the monuments.
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This paper discusses: Basic terms in the field of copyright and related rights, author and his basic characteristics and powers and holders of related rights and their powers, as an introduction to the topic; Public performance of musical works as a legal regulation; What, where and how is performed in public; What is the royalty payable for public performance in commercial and other public venues and is such royalty always payable to copyright and related rights holders; Examined are rulings of the ECJ related to the public performance of musical works in commercial and other public locations; Relevant conclusions and recommendations on the subject are made.
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Interview with Jan KREMER by Adam Kysler
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Speech by Georgi Lozanov at the opening of the exhibition "Dvoitsa" on February 15, 2024.
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Ventsislav Dimov's interview with Orlin Spasov on the occasion of the exhibition “Both of us”(“Dvoitsa”). Spassov's answers show photography as a hobby and part of his professional interests.
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Orlin Spassov's interview with Ventsislav Dimov on the occasion of the “Both of us” (Dvoitsa”) exhibition. Dimov's answers present art as a child's play, as an escape from words, as a search for meaning through invention.
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