„Краят на истината“ и технологията на интернет медиите

Author(s): Peter Ayolov / Language(s): Bulgarian / Issue: 4/2018

This article is а part of a larger study called “Manufacturing Dissent” about the effects on human communities after the introduction of the new technologies of Internet, online and social media. Here the focus is on the understanding of truth and untruth in online media as well as the connection of Internet media technology with the increase of disinformation online. The thesis of the “Manufacturing Dissent” model is that in the context of the Internet, instead of generating consent within the national state, the new online media model creates hostile groups through disinformation, pseudo-communication, manipulation, delusion, lies, propaganda and deliberate causing of moral anger. „The end of the truth“ means that the truth on the Internet is beginning to be lost among the vast amount of information and the lack of regulation regarding the correctness of the published data. Instead of truth, media researchers formally talk about „post-truth,“fake news,“ and „alternative facts“. Truth on the Internet is more like „truthiness“ or а belief that a statement is true based on the intuition or understanding of individuals, regardless of evidence, logic or facts. The subject of research is the connection between every new technology in mass media and the truth of the information and the effects on the consensus in society. Since the beginning of the 21st century, disinformation on the Internet has increased with the development of online media and social networks, and it is a problem of social peace and consent in every country.

„Кризата на идентичността“ и българското анимационно кино през 90-те години на ХХ век

Author(s): Nadezhda Marinchevska / Language(s): English,Bulgarian / Issue: 4/2018

The paper focuses on the identity crisis Bulgarian animators were experiencing in the 1990s. In that decade, established authors stuck to the well-tried models they themselves had developed as early as the 1960s and the 1970s. Bulgarian animated film failed to fit in the new discourse of the society and art processes were crisis-ridden: no fresh ideas, no new art forms were in place. The work of such doyens of Bulgarian animated film as Todor Dinov, Donio Donev and Stoyan Dukov among others is dealt with along with the ability of such authors as Anri Koulev to cope with the crisis by switching to successful producership. A marked change occurred as late as the end of the decade with the release of a multitude of student animations, a trend that was sustained and further gained momentum at the turn of the twenty-first century. Young people are easily addressing communicative animated forms, humour and entertainment with globalisation of images being their natural way of self-expression.

„Латвийският стил” в изкуството и културата на всекидневието (Към постановката на проблема)

Author(s): Svetlana Ryzhakova / Language(s): Bulgarian / Issue: 3-4/2009

Cultural imagination plays an extremely important role in the construction of cultural identities of different ranges and functions, including ethnicity. Several factors seem to precondition this organization, namely traditions of historical writing, that exist in a particular society, the quantity and variety of historical sources, methodology of analysis and common context for comparison, as well as “national styles” as peculiar cultural constructions. Contemporary concepts of ethnic and national cultures, in my view, give the possibility to introduce the concept “of style”, also, into the ethnographical studies: with its aid some processes, investigated by precisely this discipline, can be more accurately determined and classified. And moreover: the formation of the ethnos and the nations can be considered as the formation of this “style”. As language, style can be analyzed according to it’s “thesaurus” (emic items) and “grammar” (principles of the organization of elements), which makes style as the cultural code, “style of life”, “style of behavior” etc. The article deals with the most typical characteristics, being described as features of “Latvian style” in the waste texts of Latvian folklore, fine literature and publicistics.

„Латерна магика“ след 60 години: къс разказ за дълга история

Author(s): Petr Christov / Language(s): English,Bulgarian / Issue: 2/2017

Article aims the story of “Laterna magika”, a multi-medial performance form which was presented by the Czechoslovak theatre makers for the first time during the EXPO 1956 in Brussels. The audience could encounter a brand new type of performance which was “not only theater and not only cinema” but a sophisticated multi-media mixture, where theatre, cinema, dance and new technologies meet in one place, within one stage design, on one stage. The productions invented and created by stage designer Josef Svoboda and theatre and movie director Alfred Radok were overwhelming and opened new ways of the use of multimedia in theatre and on stage. Author focuses not only on the initial ideas of the Laterna Magika but on later development of its principles as well. He tries to analyze shortly the possibilities and position of this “stage-multimedia” in contemporary world of performative arts.

„Лъжливите последования извън пределите на строя“ и „кръговите модулации на Римски-Корсаков - първият опит за теоретично обяснение на симетричните ладове

Author(s): Nikolay Gradev / Language(s): Bulgarian / Issue: 1/2015

Korsakov’s theory about the false progressions beyond the boundaries of mode and circular modulations [ложные последовательности вне пределов строя и круговые модуляции], as cited from the first, lithographic edition of his Harmony Textbook [Учебник гармонии] (1884-1885) is the first link forming the theory of symmetric modes. It gives the key to understanding not only his discoveries, but also discoveries typologically related to the 19th century music. Korsakov introduces his own terminology, applicable today, based on his creative sense, that hints at a different way for musical thought to envelop, within the boundaries of false solutions. (Circle and sequence-like modulation, modulating sequence, false progressions through the circle of large thirds, false progressions through the circle of small thirds, whole-tone scale.) While interpreting chords within the new context of harmonic relations as being the essence of tonality, and equal-interval false progressions beyond the boundaries of mode as being the result of intertonal interaction, Korsakov manages to explain them adequately by means of his theory of key relations. While the theorist Korsakov becomes more conservative in his scientific discourse, 21 Вж. Римский-Корсаков, Николай. Полное собрание сочинений \ Т. IV доп. Литературные произведения и переписка. Москва: Музыка, 1970. 93 marginalizing further his theory of false progressions in his Practical Harmony Textbook [Практический учебник гармонии] (1886), Korsakov the composer becomes more creative and innovative in his late operas, discovering anew every time symmetric modal harmonic solutions. Korsakov the theorist bases his false progressions entirely on the vertical chord principle, but the evolution of his composer’s style points to affinity towards chromatics and linearism, often leading to polymodality and sharp dissonant vertical structures of linear origin. And while Korsakov the theorist (despite the novel character of his concept) always reasons from the standpoint of major and minor, Korsakov the composer finds his own original creative way in the same system, where constructivism and rationalization are particularly important part of composer technique. This is one of the creative paths with a great potential and significance of 20th century music.

„Маре Балтикум“ и викингите: проблематика и изследвания в българската наука

Author(s): Konstantin Kolev / Language(s): Bulgarian / Issue: 1/2011

The geographic and cultural distance of Mare Balticvum to the Balkans and Bulgarian cultural development seems at first glance to hinder the research on the contacts between the two regions. However, Bulgarian researchers have given their contribution to this theme, although the amount and thoroughness of the investigations are still not to the desirable level. The aim of this article is to point out certain important questions, which are to be further discussed in science in order the mosaic picture of cultural relations between the North and South to be more complete. It is obvious that these assumptions in the text can not be quite full and could not cover the complex problematic circle of the theme.The first question which is discussed in the article concerns the duality of “center-periphery” view in historical and cultural development. The main issue here is that at certain times these regions did not play peripheral role and the centropomorphic view on European development should be overruled. The second question refers to the problems of ethnicity in the past, revealing the theories of origin of the Scandinavian peoples. The accentuations here are that the written evidence should be read carefully and used with attention, especially from the present point of view on varieties of peoples and multi-ethnicity in different levels of cultural areas. The third question deals with differentiation between Varangians-Vikings-Rus’, which is still a great focus-point of discussion, reflecting on the events on the Balkans and Byzantine empire.One important question connected to all mentioned above discusses the mythical basis of the ideas about the East serving as an archetype for the way of the Vikings to the South. This will be my task in my doctoral dissertation – to reveal and interpret different mythological structures – oral kennings, written inscriptions and other literary sources (having encoded mythical ideas and saved them in oral and literary texts), and which, combined with material given by the artifacts (having encoded the mythical ideas according the pictorial language in the visual image), will enable a re-construction of a better picture of the cultural past.

„Младежка тема“ и лирика в българското игрално кино от 70-те и 80-те години на ХХ век

Author(s): Maria Panova / Language(s): Bulgarian / Issue: 6/2019

The present text deals with the specific characteristics of the so-called “theme of youth” in Bulgarian cinema during the 70s and 80s of the 20th century. The development of the discussed theme is analyzed in the films “Trampa” (1978), “Mass Miracle” (1981), “Reflections” (1982) and “Megi” (1989). Special emphasis is placed on the role of the verses which are incorporated in these films as well as on the possibilities of interpretation that this creative gesture offers.

„Млади“ и „стари“ или за профила на поколенията- новатори, в началото и края на 20-ти век

Author(s): Miroslava Kortenska / Language(s): Bulgarian / Issue: 1/2018

The article deals with two periods of growth in the search of new directions in our culture at the beginning and the end of the 20th century in the field of two arts - literature and theater. This is the clash of the “young” from the “Misal” circle - Pencho Slaveykov, Yavorov, Petko Todorov and Dr. Krastev and the "old" - the circle around Vazov. At the end of the 20th century, after the fall of the "Iron Curtain", a generation of reformists in our theater - the directors Stoyan Kambarev, Boyko Bogdanov, Vazkresiya Viharova created experimental forms of impact on the audience, a new profile in our cultural landscape. In this historical context of the 20th century, the clash and also the solidarity between the generations, and the line of modernity emerge in the Bulgarian cultural processes.

„Музикалнокултурни практики”

Author(s): Rossitsa Draganova,Mihail Lukanov,Diana Danova-Damianova / Language(s): Bulgarian / Issue: 1/2016

Since September 2015, a permanent seminar has been conducted at the Institute of Art Studies by the Musical Culture and Information research group. They make every effort the seminar’s editions to be attended by as many active participants as possible. Various topics are proposed every time by different members of the research group, who then open the discussions with keynote papers. Bulgarian Musicology journal would publish some of the papers as well as statements and communications made during the seminar. The topic of the first session, Short forms in music: aesthetics, history, modern times, was introduced by Assoc. Prof. Dr Rossitsa Draganova, who made a statement on Short forms in music and the other arts. Asst. Prof. Dr Mihail Lukanov and Asst. Prof. Dr Diana Danova-Damianova joined in, delivering papers on Short forms in music and Bulgarian schlager of the 1930s and Short forms in music in the programmes of ppIANISSIMO International Festival of Contemporary Piano Music respectively. Nadia Sotirova, director of Pancho Vladigerov’s museum, Sofia and Svetlana Avdala, a full-time doctoral student, Department of Music, presented the realised project Microcosm, performance of 60 one- minute pieces. Assoc. Prof. Dr Lubomir Kavaldjiev, founder of the research group, Prof. Elisaveta Valchinova- Chendova, DSc and Prof. Dr Rumyana Karakostova joined the discussion. The second session held in October dealt with the so-called free forms in music and particularly, with the free forms in the sixteenth-century lute repertory. Assoc. Prof. Dr Yavor Genov delivered a keynote paper on the topic. He believes that these forms have later generated a number of vital trends in instrumental thinking. Colleagues invited especially to take part in the seminar, Prof. Yavor Konov, DSc from NBU and Assoc. Prof. Dr Ivanka Vlaeva from SWU, an associate member of Department of Music, joined the discussion. The third session held in November was devoted to the nineteenth- and the twentieth-century song forms in music and to research aspects and issues related to them. A keynote paper on the specifics of some forms of the twentieth-century popular music (strophic, verse/ chorus, 32-bar and blues forms) was delivered by Asst. Prof. Dr Mihail Lukanov. Talking and arguing about these untraditional and at the same time topical issues, never broached for now in a special or a long-term study by any of the members of the Musical Culture and Information research group, proved to be intriguing and fruitful. There was a general sense of innovativeness, of refreshment of notions, generating resources of new approaches. New areas for discussion were established and formulated for the forthcoming editions of the seminar.

„Музиката е емоция – изгаряш без остатък…“

Академик Васил Казанджиев, доктор хонорис кауза на НМА „Проф. Панчо Владигеров“

Author(s): / Language(s): Bulgarian / Issue: 1/2009

„Небето на Велека“ – хронология на потопените мечти

Author(s): Wassja Ivanova / Language(s): Bulgarian / Issue: 3/2015

The Sky over Veleka was Eduard Sachariev’s feature film debut, based on the eponimus novel of Diko Fuchedjiev. Along with cinematic methods typical of the 1960s, Eduard Sachariev established his own manner, both visually and socially. Very much like Lubomir Sharlandjiev’s The Prosecutor, Eduard Sachariev’s experiment with The Sky over Veleka to try and review the period of the coercive methods of collectivisation of the farms in the early years of socialist government failed. The 1960s were among the most dynamic periods in the history of Bulgarian socialist film. The ups and downs of liberalisation of the part of the Communist Party brought forth some of the most emblematic Bulgarian films such as Monday Morning, The Prosecutor, The Attached Balloon. Despite all their superior art qualities and innovative cinematic language, these works remained ‘locked’, becoming ghost movies, repository films. The Sky over Veleka was one of them. Archival materials kept in the film’s dossier allow following the chronology of the making and the destruction of the movie. The Sky over Veleka was not officially banned by censorship: the Central Committee of the Bulgarian Communist Party had already adopted and skilfully honed other methods for destroying people’s lives and careers and robbing Bulgarian cinematic art.

„Нему да бъде слава, чест и почит“ (Изложба в чест на 1150-годишнината от Успението на св. Константин-Кирил Философ)

Author(s): Totka Grigorova / Language(s): Bulgarian / Issue: 4/2019

„Низшите“ жанрове (натюрморт, интериор, голо тяло) в системата на жанровата йерархия през първата половина на 50-те години

Author(s): Milena Blazhieva / Language(s): English,Bulgarian / Issue: 2/2017

The present paper is focused on the place of still life, interior scenes and nude figures in the genre hierarchy, established in mid-twentieth century in Bulgarian art. Normative criticism views still life as immanently “devoid of conceptuality”, i.e. as barely touching any major topics or significant conceptual issues which in itself implies lack of any artistic value. Nudes and interiors in which the decadent spirit is much more tangible are far less likely to get admitted to the official art exhibitions. Among the rare examples of works which got to be admitted to a representative exhibition are “An interior scene” by Pencho Balkansky and “Resting after work” by Elena Paneva. These works were exhibited at the General Art Exhibition in 1954 which was the last of its kind, held before the April Communist Party Assembly. This fact may be interpreted as one the first manifestations of the established model’s impending internal crisis.

„Нови идеи в етномузикологията”

Author(s): Ivanka Vlaeva / Language(s): Bulgarian / Issue: 2/2015

The article points out the important stages in the development of ethnomusicology in Bulgaria. This is done in order outline the place and role of the already well established seminar “New ideas in ethnomusicology.” It is created and organized by the research group “Ethnomusicology” at the Institute of Art Studies – Bulgarian Academy of Sciences. The aim is to meet the need for dialogue in a community of like-minded people united by common ideas and topics in the ethnomusicological research. The article also presents a meeting at the seminar, that discusses the Bulgarian participation in the ICTM (particularly in the Study Group “Music and Dance in Southeastern Europe”), as well as prospects of the Bulgarian group in the ICTM and establishment of a national committee.

„Образователни кинохоризонти“ в полето на медиа образованието

Author(s): Penka Kozhuharova / Language(s): Bulgarian / Issue: 5/2019

Educational Cinematic Horizons in the Field of Media Education

„Отвъд границите“. Десета българо-американска конференция

Author(s): Anisava Miltenova,Mariyana Tsibranska-Kostova / Language(s): Bulgarian / Issue: 33/2016

„Падането на разбунтуваните ангели”

Author(s): Maria Spiridonova / Language(s): Bulgarian / Issue: 6/2010

The story about the demonic powers started with the casting away of the angels led by Lucifer – the fallen angel. The moment of the downfall has been depicted in Byzantine and Post-Byzantine as well as in Western Mediaeval and Renaissance art. Subject of this report’s research is the Bulgarian version of the theme which we discovered in the church from the Revival period St Petka in the village of Chuipetlovo, Pernik region. In order to ‘decipher’ the meaning of the image the textual sources – canonic and apocryphal literature has been studied. Searching for similar iconographic parallels the scene is examined in a wider context. Presented are some examples from Eastern and Western art by showing the history of the scene – its origin and development.

„Песни без думи“ от Менделсон – Крушев. Транскрипции за виолончело и пиано и за две виолончели и пиано

Author(s): Atanas Krastev / Language(s): Bulgarian / Issue: 7/2016

This article examines Yovcho Krushev’s transcription of ten pieces of Felix Mendelssohn’s piano cycle “Songs without Words” (“Lieder ohne Worte”). Displayed is the way Krushev has “discovered” the cello and piano rendition concept; and how the cello is “heard” within context of the original piano score. For the sake of future performances, important artistic and practical guidance is explained too. The author of this article is the first performer of these transcriptions.

„Петрунините метаморфози“ за две пиана от Георги Костов. Интерпретационни трудности в творбата и изпълнителски насоки

Author(s): Lilia Kostova / Language(s): Bulgarian / Issue: 9/2018

The work “Petruna’s Metamorphoses” for two pianos by Georgi Kostov was completed on 29.07.2015. First performance was given by Lilia Kostova, to whom the author dedicated the work, and Evgenia Simeonova, on 19.10.2015, in the framework of “New Bulgarian Music” Festival. The author had the creative inspiration to base this work on the folk song “Petruno”, written years before. Author’s idea is the emphasized transformation of Petruna’s musical image, originally portrayed by the beautiful melody, undergoing significant changes while going through different musical styles. Each musical metamorphosis is realistic and animated, with thematic motive transformations that are varied, yet related, serving the overall work construction by acquiring a unified thematic basis.

„Пирин пее 2018“ – между изворния фолклор, художествената самодейност и професионалното изкуство

Author(s): Petyo Krastev / Language(s): Bulgarian / Issue: 2/2019

Pirin Pee Festival is an event which demonstrates in a specific way the concepts for safeguarding and popularization of tradition. In its core is the scenic representation of examples of traditional local culture. All this provokes mutual interaction between different points of view to ancient singing and music making – authentic folklore, the motors of the event who are the performers and the organizers (they are mainly connected to amateur art practiced in the different chitalishta) and, on the other hand, those who stay behind the artistic interpretation of the local culture within the frame of professional art. In this context the festival is a place for active keeping to the tradition and its influence in the present as well as in the future. All that contributes to the specific, colorful contemporary picture displayed on the festival that is further observed or enriched by specialists, performers and connoisseurs.