Doświadczenie Zagłady w "Ocalałym z Warszawy" op. 46 Arnolda Schönberga: geneza, dzieło, interpretacja

Author(s): Iwona Sowińska-Fruhtrunk / Language(s): Polish Issue: 02 (29)/2016

The purpose of this paper is to examine the way in which the experience of the Holocaust can be represented, embodied and even relived in or through music. The category of experience thus serves as a main methodological tool in this survey, helping to reconstitute the process of expressing it through music, specifically in Arnold Schoenberg’s A Survivor from Warsaw Op. 46. A related point to consider is the composer’s engagement in the fight for human rights just before the World War II, a fact that is not yet widely recognized. A brief overview of Schoenberg’s religious, social, and political environment is followed by the history of the Survivor’s… origins, analysis of its literary text, and, finally, interpretation. While discussing the ethical limits of the Holocaust representation, the opinions of Theodor W. Adorno, Ernst van Alphen, Berel Lang, and Giorgio Agamben are consulted.

Spór o "The Death of Klinghoffer" Johna Adamsa. Opera w opinii krytyków muzycznych

Author(s): Maryla Zając / Language(s): Polish Issue: 02 (29)/2016

In October 1985, several members of the Palestine Liberation Front hijacked the cruise ship Achille Lauro during its Mediterranean cruise. After the surrender of the terrorists, it came to light that a disabled passenger, Leon Klinghoffer, was killed by one of the kidnappers. The news of the attack was all the more disturbing that Klinghoffer belonged to the Jewish community. The case of abduction of Achille Lauro has been one of the most important topics in the field of international politics and the Israeli-Palestinian conflict for a long time. The idea of creating an opera based on those events came from one of the most distinctive directors of our time, Peter Sellars (1957–), who invited composer John Adams (1947–) to cooperation. Libretto was created by Alice Goodman (1958–). Stage presentation of the fate of the passengers of Achille Lauro was to be a musical background for the wider topic: Israeli-Palestinian conflict. The main aim of the authors of The Death of Klinghoffer, what they repeatedly stressed in interviews, was to present both sides: Jewish and Muslim; not only the design of the libretto and musical development, but also the right direction. Despite these assumptions, since the premiere in 1991 at the Brussels Théâtre Royale de La Monnaie, this opera is consequently dividing the audience into its hot enthusiasts and declared opponents. Demonstrations and protests, accusations of anti-Semitic content, presentation and justification of terrorism have led not only to a change in the score, but today they are almost inseparable elements of issue. This article focuses on the opinions on the opera by critics and music journalists. After presenting the context of creation, examples of the reception, analytical and creative works are shown, such as the opinions found in the reviews of the printed sources, as well as the online ones.

Muzykalia w zbiorach Państwowego Muzeum Auschwitz-Birkenau

Author(s): Hubert Szczęśniak / Language(s): Polish Issue: 01 (32)/2017

The article presents the conclusion of the research conducted by the author in the collection of the State Museum of Auschwitz-Birkenau, former German Nazi concentration and extermination camp. The sources are fully featured and described for the first time. The article focuses on showing a complicated post-war history of the camp items connected with music (musical instruments, printings, manuscripts, handwritten copies of instrumental books), which are auxiliary sources to reconstruct the repertoire of chapels in KL Auschwitz-Birkenau. The main aim of the article is to also discuss the preserved repertoire. In the last chapter, the author presents a short characteristics of original works composed by musicians and composers in slavery with a short analysis of all of them. Presented musical printings are a reflection of tastes of the German public in the 1930s as well as an example of ridiculous anthropological establishments of Nazi music scientists and no ability to implement it on listeners practice. In addition, the work contains annexes: musical instruments, original works composed during camp existence, and musical printings – a list of music materials which survived in the collection of the Auschwitz-Birkenau State Museum.

Chopin na barykadach, czyli o socrealistycznych narracjach w 1949 roku

Author(s): Michał Bruliński / Language(s): Polish Issue: 01 (36)/2018

The main aim of this paper is to examine the discourse on Frédéric Chopin that took place in Poland in 1949, when the 100th anniversary of his birth coincided with the culmination of the socialist realist propaganda in the field of Polish culture. The discourse, initiated and moderated under effective surveillance of the Polish People’s Republic’s government, was filled with communist ideology. The authorities aimed at creating a sense of com-munion in the Polish nation, therefore they undertook numerous actions in the area of cultivating memory of Chopin and reception of his works. The composer was used as a banner under which culture of socialist realism was to be consolidated. Chopin was presented by the narrators in the socialist realist context in various dimen-sions. “Deep humanism”, “truth”, “optimism”, “sincerity” and “democratic features” of Chopin’s music were the crucial notions used by them. Chopin was depicted, among others, as a revolutionist and a prophet of tri-umph of communism. The oeuvre of Chopin was said to bring together “fraternal countries and nations”, Polish People’s Republic and Soviet Union, while being simultaneously a crucial element of class conflict. The authori-ties had a tendency to overemphasize folk roots of his compositions, thus among musical genres composed by Chopin the importance of Mazurka was exaggerated. Other genres without such strong folk connotations, as sonatas, ballades and scherzos, were marginalized in the discourse.

На бойното поле на символите: безследно изчезналите в Косово между паметта и историята (Част 1)

Author(s): Dimitar Atanasov / Language(s): Bulgarian Issue: 2/2018

The paper is the first part of a research, dedicated to the problem of how national identity of Kosovo is forged. It is analysed from the point of view of a particular case study – the missing persons and how their character is represented in the public discourses of Prishtina, Belgrad, and how the international community is involved.The problem of national identity building is considered in its complexity, taking into account numerous rival projects. The museum exhibition, dedicated to missing persons and cultural heritage artifacts could be regarded as case study.All the actors on the terrain apply their own ideological strategies, which could be identified in the concept of the “Missing” exhibition: how the personal memory is being domesticated and turned into history of the nation, how the transition from text to action was carried out, how memory, oblivion and history were (ab-)used as social building ideological toolkits. Particular attention was paid to the problem of the conceptualization of the recent past: how it was interpreted and attributed signs of prestige by the social actors involved in accordance to the interests of each of them.The ethnic conflict paradigm as a key concept widely used in contemporary humanities for explaining the Kosovo case as well as the disintegration of Yugoslavia is put under question. The history of the Museum of Kosovo is also involved, the debate between Belgrade and Prishtina for returning 1247 initially taken artifacts transported to Gračanica monastery and then to Belgrade in 1998 along with the withdrawal of the Yugoslav administration of the region is traced in its history and ideology, establishing references to the Kosovo myth, based on the folklore epics which were first published by Vik Karadžić in the 1820s and later became a canonized version of late medieval Serbian history.

On Public Representation of Trauma: A Review of Jane Goodall and Christopher Lee’s Trauma and Public Memory (Houndmills, Basingstoke and New York: Palgrave Macmillan, 2015)

Author(s): Arleen Ionescu,Rongrong Qian / Language(s): English Issue: 01/2018

This is a review article of a collection of essays entitled Trauma and Public Memory, edited by Jane Goodall and Christopher Lee.

Периодика 2018

Author(s): Emiliya Voleva / Language(s): Bulgarian Issue: 37/2018

Научни форуми 2018

Author(s): Nikola Kazanski / Language(s): Bulgarian Issue: 37/2018

Data about scientific events in the field of the humanities in Bulgaria in 2018.

Научен отзив за международната научна конференция „На терен в културата: автентично, зрелищно, (не)видимо”

Author(s): Niya Neykova / Language(s): Bulgarian Issue: 6/2019

Conference report on the International Science Conference ‘Culture as Fieldwork: Authentic, Spectacular, (In)visible'

„Нашият труд е песента“

Author(s): Dimov Ventsislav / Language(s): Bulgarian Issue: 3/2018

peoples music, state socialism, people's democracy, Bulgarian radio, soft powerThe article describes the main power concepts and practices, related to music in Bulgarian radio during the first years of socialist Bulgaria – the Fatherland front period (1944-1947), when the authorities start to take possession of state radio, under the guise of “people’s democracy”; and the totalitarian period (1948-1956) – a period of “classical Stalinism”, a time of the completed control of radio and media music by the communist power. The focus is on the so called folk music in radio, which turns out to be one of the main conduits of “soft power” in the first years of Bulgarian national socialism. Its presence in the narratives of communist power, its place in radio programs, its main figures and formats, its power uses as “music for the people” and some discourses as “correct” and “incorrect” music, according to authorities, are examined.

Уеб телевизиите в България през 2017: от мечтата за кабелна телевизия към мечтата за високо дигитално качество

Author(s): Zhana Popova / Language(s): Bulgarian Issue: 3/2018

The text presents the state of the web TV in Bulgarian based on the results from the project ‘Web radio and TV in Bulgarian language’ funded by the Research fund of Sofia University with supervisor prof. DSc Snezhana Popova.It is hard to show precise data about the number of web TVs in Bulgarian or with Bulgarian addresses in 2017. The platforms do not use the term web TV, ‘online TV’. In 2017 three types of web TVs prove to be sustainable: regional, lifestyle and radio and TV. The announcement style TVs that present service information as well as the only regional station ‘Epohi’ TV have disappeared. The sports TV projects do not function (with the exception of the TV of FC ‘Levski 1914’). At least formally the ‘music online TVs’ are the largest number. However, the research showed that behind this title on some of the platforms exist websites with pornographic content. Most of them are announced as pop-folk music TVs. The main problem in making web TVs in Bulgarian is the ambiguity of who is expected to watch them. Apart from regional TVs everyone else say they a looking for their audience instead of building a message for a specific group.The text presents the state of the web TV in Bulgarian based on the results from the project ‘Web radio and TV in Bulgarian language’ funded by the Research fund of Sofia University with supervisor prof. DSc Snezhana Popova.It is hard to show precise data about the number of web TVs in Bulgarian or with Bulgarian addresses in 2017. The platforms do not use the term web TV, ‘online TV’. In 2017 three types of web TVs prove to be sustainable: regional, lifestyle and radio and TV. The announcement style TVs that present service information as well as the only regional station ‘Epohi’ TV have disappeared. The sports TV projects do not function (with the exception of the TV of FC ‘Levski 1914’). At least formally the ‘music online TVs’ are the largest number. However, the research showed that behind this title on some of the platforms exist websites with pornographic content. Most of them are announced as pop-folk music TVs. The main problem in making web TVs in Bulgarian is the ambiguity of who is expected to watch them. Apart from regional TVs everyone else say they a looking for their audience instead of building a message for a specific group.

За първи път магистърска програма „Дигитални медии и видеоигри“ в историята на катедра "Радио и телевизия" във ФЖМК на СУ „Св. Кл. Охридски“

Author(s): Zhana Popova / Language(s): Bulgarian Issue: 3/2018

In 2018/2019 the Radio and Television Department stated the Master’s program Digital Media and Video Games in the Faculty of Journalism and Mass Communications of SU St. Kliment Ohridski. The program is developed together with leading companies on the video games market.

Demontaż idei wolności. Degeneracja dydaktyki w humanistyce?

Author(s): Agnieszka Doda-Wyszyńska / Language(s): Polish Issue: 48/2024

Didactics is a function of an educational system based on examination-observation of the people who participate in the process of teaching and learning. In the process of conveying knowledge this observation of a student by a teacher/master, and vice versa, every now and then builds a practice of independent thinking. On the one hand, the process enables the development of ideas, but, on the other hand, also distorts them and exposes a humanities student to the pitfall of ideology. In my reflections about the disassembly of ideas and deteriorating education I shall make use of the concept of cognitive bias, the polemic about the contemporary University (Bill Readings), the concept of Jacques Lacan’s discourses, Hannah Arendt’s findings about willing and ideology, and Niklas Luhmann’s assumptions of social systems theory understood as autopoietic systems of codified rules of operation.

Humanistyczne zakorzenienie vs. egzystencjalna bezdomność: debata Iwanow-Gerszenzon w świetle dylematów historiozofii nowoczesnej

Author(s): Michał Kruszelnicki / Language(s): Polish Issue: 48/2024

The paper revisits the dialogue between Vyacheslav Ivanov and Mikhail Gershenzon in order to present two essentially different orientations in the approach to humanistic heritage and its meaning in human life. The first of these two perspectives is represented by V. Ivanov who feels amongst the great works of culture “at home,” who praises their charms and spiritual-aesthetic riches. The second perspective – as evoked by Gershenzon – is more pessimistic, existentially inclined, filled with tragic awareness. It points out to the problem of crucial importance to the historiosophical self-awareness of modernity: the accumulation of cultural knowledge and the release of theoretical reflection have alienated the human being and cast it into existential homelessness. The paper further argues that (1) there exists an irreducible hiatus between culture and the reality with its power of negativity, and that (2) the ambassadors of culture, such as Ivanov, conceal this hiatus in an attempt to convince us that theoretical humanistic reflection intensifies our perception of the world, while in Gersenzhon’s historiosophical view it ruins the immediacy and spontaneity of life.

On Fragments: A Piece of Art and the “I” – or Not

Author(s): Stanley E. Gontarski / Language(s): English Issue: 2/2024

This essay explores the philosophical implications inherent in Samuel Beckett’s most enigmatic and metonymic late theater work, Not I, even as he frequently abjured any interest in philosophy, which he claimed neither to read nor to understand. The play is profoundly ontological, however, and its metonymic stage image engages the classical philosophical conundrum of the relationship of the part, a piece or fragment, say, to the whole, an issue with which Beckett has at least been intrigued for most of his creative life.

ЗАКРИЛА НА СВЕТИНИ: СВЕТИ ОБЕКТИ, ПРЕДПАЗЕНИ ОТ РАЗРУШАВАНЕ И/ИЛИ ОСКВЕРНЯВАНЕ ЧРЕЗ ЗАТРУПВАНЕ ИЛИ ВКОПАВАНЕ

Author(s): Lyubomir Tsonev / Language(s): Bulgarian Issue: 23/2024

The report presents specific monuments from different periods in Thrace – megalithic, Thracian, Roman, early Christianity and Ottoman period. These monuments are sacral buildings or remains of destroyed sacral buildings, which on some occasion were buried with an earth mound. The most likely reason for this act is the desire to protect the holy places from destruction, further destruction, or desecration. This ritual tradition has survived on our lands for almost three millennia, although not universal and with varying intensity in different epochs.

ВИНА И ПАМЕТ. СЪВРЕМЕННИ МЕМОРИАЛНИ ПРАКТИКИ В ГЕРМАНИЯ. ЧАСТ 4

Author(s): Dessislava Tiholova / Language(s): Bulgarian Issue: 23/2024

The text presents a possible anthropological perspective on the topic of memorial practices in Germany, linked to the problem of guilt and its overcoming through the dynamization of cultural memory. The thesis of guilt, being an element of the contemporary process of creating places of memory, is based on observations on memorial places for deserters. They may not be many in number (compared to monuments of other social or political victims in the history of Germany), but are becoming a catalyst of the dynamic process of building monuments called Denkmalarbeit. Indicative of the problem are the long, sometimes even paradoxical processes surrounding the decision-making for such monuments: their place, the artistic realization of every project, the accompanying public events, speeches and comments, the forms of implant. The mentioned factors, together with the conclusions of the observation, create a new sphere in the cultural memory of German society, related to changes in public attitude towards deserters and a search for new forms of memory in the process of acknowledging and overcoming guilt.

Медии и социални движения в битките за смисъла. Образът на медиите в разказите на протестиращи от лято 2020 г.

Author(s): Valentina Georgieva / Language(s): Bulgarian Issue: 16/2024

Текстът си поставя за цел да възпроизведе образа на медиите вразказите на участници в масовите протести от лято 2020 г. и стъпва върхуданни от 32 интервюта, проведени по имейл и онлайн конферентна връзкапрез есента на 2020 г. Основният въпрос е как протестиращите виждатролята на медиите в демократичния процес.Медиите нямат устойчив образ в представите на протестиращите задемократичния процес – те би трябвало да са там, но не присъстват,премълчават или създават изкривена репрезентация за действията напротестиращите.Анализът ще открои три фигури на медиите: а) медиите катоприсъстващ/отсъстващ партньор на протестиращите в битките засмисъла б) медиите като източник на изкривена репрезентация напротестиращите; в) медиите като „сянка на институциите“.

Рецензия за монографията "Процесуален подход в образованието. Развиване на ключови компетентности чрез философия и гражданско образование. Теория и практика"

Author(s): Svetlana Alexandrova / Language(s): Bulgarian Issue: 16/2024

A review of the book "Process Approach in Education. Development of Key Competences through Philosophy and Civic Education. Theory and Practice" (published by the Bulgarian Academy of Sciences "Prof. Marin Drinov", 2024, 350 p. ISBN 978-619-245-430-2). The monograph examines the theoretical and practical aspects of the possibilities of forming the competencies of critical thinking, creativity, civic engagement and media literacy through the teaching of philosophy and civic education.

Музей „Патоковата къща“ – нова етнографска експозиция в гр. Разлог

Author(s): Yoana Lilova / Language(s): Bulgarian Issue: 2/2024

The text is dedicated to the opening of a new museum in the Town of Razlog.