Чавдар Мутафов и естетическото влияние на немския модернизъм

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

Munich is the place where Chavdar Mutafov has matured, the town, where he returned twice - to complete his study, tragically interrupted by the wars, the town, which challenged by deprivation his love to the master of history novel - Fany Popova-Mutafova, and finally, this is the place where his son - Dobry - was born. Yet another fact, in 1923 the Mutafov family met a true impressive colony of Bulgarian artists in Munich - poets, writers, architects, musicians. Together with the subjects of machine engineering and art of architecture which Mutafov studied, he got to know thoroughly the history and theory of painting, admired the innovative synthetic cinematography art, which influenced strongly his manner of work. The present article "restores" the vital relationship between Mutafov and Munich through Mutafov's letters and aims to reveal the creative influence which the European capital of arts has exerted on the works by the Bulgarian modernist. During the first period of stay – from 1908 to 1912 - Mutafov still found the climax and witnessed the end of the Munich Secession. He was at Munich when the second group of German expressionism - "Der Blaue Ritter" - was established. As he wrote "all famous and unknown authors of the Munich satirical and humorous "Simplicissimus" and "Jugend" magazines had been my teachers - all these masters of mockery and style tricks". During his second stay - from 1922 to 1925 - Mutafov witnessed further development of expressionism, part of which was the fraction "Neue Sachlichkeit" (the "new materiality"). Contemporary critics are inclined to think that it is Bauhaus' "new materiality" which has influenced Mutafov's manner of neorealistic expression in his short stories from the 30 s of the last century. Munich, in this sense, is the place which has created this unconventional modernist, the philosopher, who, being sensitive to the newest in art, has written magnificent essays and art critic studies with the significance of a manifest for Bulgarian culture between the World Wars.

Чавдар Попов. Тоталитарното изкуство. Идеология, организация, практика

Author(s): Ivan Marazov / Language(s): Bulgarian Issue: 3/2003

Чаробњак сцене

Поводом 40 година од смрти Виктора Старчића (1980-2020)

Author(s): Vesna Krčmar / Language(s): Serbian Issue: 190-193/2020

Чашата на причастието. Към семантиката на съдовете от благороден метал в орфическата ритуална среда на тракийската аристокрация

Author(s): Michaela Yordanova / Language(s): English,Greek, Ancient (to 1453),Bulgarian Issue: 25/2020

The exposition analyzes the semantics of Thracian vessels of precious metal; an attempt was made to discuss their function in the context of sacred mysterious logos; a reinterpretation of the ritual symposial practices characteristic of the Orphic communities of Thracian political elites is proposed. Precisely because of their sacred functions, vessels of precious metal with inscriptions are found in the funerals and treasures of the aristocratic elite. They function in a certain way in the symposium rituals during the ruler’s symposia, and such practices in Thrace, are part of the Orphic religion and are associated with aristocratic political elites. There are several reasons for this topic: There is discussion in the literature and there is still a lack of a systematic and consistent thesis about the function of precious metal vessels in the Thracian cultural model. Despite the fundamental research of Al. Foul, the connection between the Thracian basic model of Orphism as aristocratic ideology and its projections in artifacts and folk narratives has not yet been sought. No effort was made to illuminate the function of the Thracian sacral artifacts in parallel with the Greek orphic sources.

Черепишката манастирска църква „Успение Богородично” – история, архитектура и живопис

Author(s): Maya Zaharieva / Language(s): English,Bulgarian Issue: 1/2020

Tough arousing researchers’ interest for decades now, the Catholicon of the Assumption, Monastery of Cherepish, is an understudied Bulgarian monument. This study seeks to summarise and complement the already existing ones. Fieldwork and an analysis of all the information (historical data, archival items, photographs, earlier publications) provide an opportunity for a more comprehensive overview of the history of the Cherepish catholicon. Among the sources adduced are records from manuscripts and incunabula such as the Cherepish typicon (Church-Historical and Archival Institute, no. 44), Cherepish Gospel (inv. no. 33), A bead-roll of church donors (Sts Cyril and Methodius National Library 292), etc., as well as various artefacts of applied arts from reliquaries to silver paftas (female belt buckles). Initially, the church was dedicated to the Annunciation, and after the 1830s, was renamed the Church of the Assumption. Built at the turn of the seventeenth century, the main church was refurbished on more than one occasion: shortly before 1834, in 1888 and between the late nineteenth century and the 1940s. For the first time, were identified in their entirety the extant scenes and images of the four paint layers: of the sixteenth and seventeenth centuries, of the 1830s, 1908 and the 1940s. The history of the iconostasis at the catholicon has been traced since the 1830s by using archival photographs.

Черният квадрат – от Але до Малевич

Author(s): Alexandar Gyoshev / Language(s): Bulgarian Issue: 1/2019

The study observes some of the most important details hidden in Kazimir Malevich’s abstract painting“Black Square on a White Background” (1915). Of central concern for the more adequate understanding of this intriguing piece of art is the tracking of its supposed relationship with the work of Alfons Alle – French writer known for his extravagant style and ideas. The differences between Alle’s painting entitled “Negroes Fighting in a Cellar at Night” and Malevich’s composition, both sharing similar themes, are analyzed in their specific historical and cultural context. Finally, there is a hypothesis about “Black Square on a White Background” as a work marked with a psychological projection that unfolds itself through the dark figure of the square, as an iconic image that still has an impact on the contemporary art and may serve as a key to some symbols of the present.

ЧЕРНІГІВСЬКА КОМПОЗИТОРСЬКА ШКОЛА НОВІТНЬОЇ ДОБИ: ОСОБЛИВОСТІ ТВОРЧОГО ВТІЛЕННЯ

Author(s): Oleg Vasyuta / Language(s): Ukrainian Issue: 1/2018

Purpose of the article is to substantiate the features of the creative identification of the Chernihiv composer school, based the work of Ukrainian composer Andrei Zimenko. A methodology of the research is based on the use of the dialectical method of the musicological schedule and generalization; it makes it possible to elucidate the laws of the basic structure of the musical work, the principal internal contradiction between its content and the form of embodiment as a source of musical self-movement. The comparative method in combination with the problem-musicological helps to identify the uniqueness of the artistic representation of the Chernihiv composer school of the modern period. Scientific novelty of the work is to expand the art criticism of the composer creativity of the Chernihiv region as a component of the contemporary Ukrainian musical space. The characteristics of the patterns of musical morphology from concrete creative incarnations are rhythmic, textured, formative. Comparative timetable and generalizations of the development of the Chernihiv composer school as a sphere of dialectically interrelated factors of musical creativity that find their manifestation in the particular composer's thinking of Andrei Zimenko. The projects of differentiation of school components are realized as an integral and substantial qualitative level of mastering the means of expressiveness and involving various musical styles. Conclusions. The understanding of the features of the Chernigov composer school is examined on the concrete example of Andrei Zimenk's creativity. It is based on the progressive increase of the musical quality, the variety of genre and thematic orientation of style evolution in the field of symphonic, vocal-choral, chamber-instrumental music. In the proposed vision, the Chernihiv composer school is a meaningful artistic phenomenon of Ukraine.

Черното в живописта на авангарда

Author(s): Valentina Ganeva / Language(s): Bulgarian Issue: 3/2003

Четейки „Скопичните режими на модерността“ на Мартин Джей

Author(s): Vyara Popova / Language(s): Bulgarian Issue: 1/2018

The work builds on Martin Jane’s text “Skopic Regimes of Modernity” and follows the set rhythm. Text has a fund of physical, physiological, psychological, artistic, and artistic knowledge as a broad cultural gnoseological network of information tendentiously put into the notes; it produces a resource for constantly correlating meaningfully and referring to it focuses on their own visual research issues. In this way, it can bring the vision of a dominant sense to perception in no way as conception, presentation, understanding of reality, and the way this visual perception is expressed in the Italian Renaissance painting and in the Flemish one from the 17th century.

Четириевангелието НБКМ 1356 от Националната библиотека

Author(s): Elissaveta Moussakova / Language(s): Bulgarian Issue: 2/2018

Even though not unknown, the Slavic Four Gospels from the National Library in Sofia represents a remarkable example of 14th-century manuscript illumination, which has not been discussed in details. In this paper a full description of the preserved fragment is given, with emphasis on the ornamental embellishment of the text. Besides the hypotheses about the manuscript’s origin, offered in previous publications, the author attempts now to reveal the meaning, which the teratological headpiece on f. 6r and the architectural headpiece on f. 81v were invested with by the scribe (or the artist). In regard to the first one, the fantastic creature in the animal, so called heraldic, motif, is identified as a senmurv. For this image, rare in the Byzantine and South Slavic book illumination, a typological link is established through a 13th century Gospel manuscript of provincial Byzantine origin, in which Axiniya Dzhurova detected the possible source for the couples of monstrous creatures in the Slavic teratological ornament. A significant change of the composition is made by introducing in it the cross on top of the headpieces in the codices NBKM 1356 and Hilandar 12, a Serbian Four Gospels of the first half of the 14th century. As to the second headpiece, representing the Tree of Life by an overall, stepped form, surmounted by vegetal motifs and accompanied by tetragrams, usually written around the Cross, a reading of the letters ABMK is offered. In view of the gathered evidence, both headpieces may be interpreted in the aspects of the Cross, the Life-Giving Tree in the Christian soteriological doctrine. The refined execution, the parallels to distinguished artistic examples in Byzantine manuscripts, make possible to ascertain that the anonymous commissioner of the manuscript belonged with the higher social ranks. Also, attention is given to the copy of the older pattern in the teratological headpiece in the 17thcentury Strelcha Gospels from the collection of the Church-historical and Archival Institute in Sofia. Due to the insufficient or lacking data about the date and place of origin, or about the provenance of the two Gospel manuscripts, many questions remain unanswered but what could be confirmed is that the codex NBKM 1356 is a real witness to the processes of re-activating the old literary heritage in the 17th century, recognized long ago by the scholars.

Четката на евангелист Лука

Author(s): Elka Bakalova,Ivan Biljarski / Language(s): Bulgarian,German Issue: 1/2004

Четыре интерьера и один диван. Романтическое эссе

Author(s): Natalia Iurievna Guseva / Language(s): Issue: 20/2015

The article is dedicated to the analysis of interior decoration details captured on 4 paintings. It’s notable that two of them, the picture painting by Kapiton Zelenzov (from Tretyakov gallery) and the canvas of an unknown author (from the State historical museum) have the image of the same room based on the upper level of a landlord’s house, but with a 20 year difference. The first picture is dated 1830, the second — the beginning of 1850s. The interior decoration of a room from Zelenzov painting is typical for the «Alexander Empire style». The furniture made of mahogany has strict and compact lines. The design from the second picture looks brighter and more colorful. The furniture is the same, but it’s changed because of gold plated details that added to a view a romantic sense of style of Nicolas I. The sofa attracts a particular attention as is decorated at the bottom with three-dimensional gold plated details in form of swans, which give it a unique view. But the most astonishing thing is that the very same sofa «with swans» the author of this article found on another picture from the private collection. The picture was published in the journal «Pinacoteca» in 1998 (Vol. 4). It was believed to be one of the variants of a work from the collection of State historical museum, dated 1820s. But the fact that it shows the sofa from 1850s doesn’t allow us to date it back to 1820s as it was thought before. In other words, the picture from a private collection dates 1890s and presents a so-called «remake» of two mentioned canvases from the collection of State historical museum. Thus the image of the same sofa on the three out of four mentioned pictures allows us not only to state a more exact date of one of them, but also to refer the origins of all four to one family collection. The article also has assumptions about those people who are shown on the paintings; the author believes that all of them are members of Golizyn-Golovkin family, whose progenitor was a famous figure of Peter the Great’s époque, a chancellor count G. Golovkin.

Чехът Йозеф Шмаха, артистически директор на Народния театър в София, през погледа на критиката

Author(s): Nikoleta Patova / Language(s): Bulgarian Issue: 4/2019

The article deals with the critical reception of Josef Smaha’s work in Bulgaria. The intentions to find a reputable foreign director for the upcoming opening of the National theatre in Sofia, materialized when Smaha accepted the invitation. He was expected to find and train Bulgarian acting troupe and prepare a theatre repertoire so that it become a real national cultural institution. Difficulties in this process undermine the reputation of the Czech director and after only four seasons he loses his reputation and position. This process is presented through the reports of the critics which gradually became more negative. The theatre history appreciates positively Smaha’s contribution to the Bulgarian theatre but his contemporaries gradually deprive him of their support.

Читалищата по време на пандемия – политики и практики

Author(s): Stela Nenova / Language(s): Bulgarian Issue: 1/2021

The measures for limiting the distribution of COVID-19 that have been undertaken by the state during the last months affected many institutions and people engaged with the preservation of local cultural heritage, both tangible and intangible. The article discusses the official policies towards the community centres (chitalishta) in the current complicated situation caused by the pandemic crisis. Additionally, it utilises direct observations in the field, in the media and in internet milieu, and interviews with community centre workers and representatives of communities that are successors of cultural heritage. Based on concrete examples, the study offers a general and up-to-date picture of preservation practices, developed on local level, such as the ethnographic collections at the community centres, the non-professional groups for folklore, and different initiatives related to the popularisation and socialisation of cultural heritage.

ЧИТАЛИЩЕ „ПРОСВЕТА 1927” – ОЩЕ ЕДНО СЪВРЕМЕННО ГАЛЕРИЙНО ПРОСТРАНСТВО В ГРАД ВАРНА

Author(s): Zhivko Donchev / Language(s): Bulgarian Issue: 1/2019

Asparuhovo Art Gallery was founded in 2006. It appears on the cultural scene of Varna as a space for new pursuits and connects tradition with modern art. The gallery features both works from our folklore and contemporary installations. It is the initiator, creator and principal exhibitor of the FUTURO International Festival of Digital Arts

ЧИТАЊЕ РЕКЛАМНОГ ТЕКСТА / ГЛОБАЛНА COCA-COLA КАМПАЊА „KISSED BY“

Author(s): Irena R. Knežević / Language(s): Serbian Issue: 60/2016

Culture in the modern society is perceived very broadly, i.e. culture is approached from the point of view that is an integral part of all the aspects of human life in which the process of meaning production is realized. Semiology, structural and post-structural ideas influenced the attitude that culture can be interpreted and analyzed as a text and that each cultural phenomenon can be interpreted, read, and decoded. Roland Bart pointed to the fact that everything which surrounds an individual, from clothes and food, through music, commercials, films, to the way people behave and move, can be read into. This paper deals with reading into within the framework of the commercial/advertising discourse, where the accent is placed on the global campaign by which the Coca-Cola Company marks one hundred years of existence of the packaging of its most well-known product. The campaign “Kissed By“ offers possibilities for different reading into the subject positions which the consumer can take. The commercial texts are increasingly complex, the narrative levels pile up, and as a consequence the consumer is faced with a dilemma in which way to read into such a text. The meaning of a text depends on the process of reading, on the interpretation, i.e. the text exists in relation to individuals or groups it addresses, or the ones who use it. In the modern media surroundings, the audience does not perceive any longer the passively served commercial contents, but on the contrary it actively takes part both in reading and its re-arrangement and its further marketing.

Читать или не читать? Чтение как метод изучения иностранного языка в вузе

Author(s): Irena Kudlińska,Natalia Mospan / Language(s): Russian Issue: 9/2019

The article is coauthored and analyses reading as a method of learning foreign languages and touches upon students’ perception of the issue. To this end the survey was carried out involving the students of Wyższa Szkoła Gospodarki w Bydgoszczy. This paper is based on a brief theoretical overview, the analysis of the questionnaires and their data. The authors analyze the results of the survey and define the prospects for development and use of reading as a means of learning foreign languages in the present paper. The article highlights possible practical use of the findings by means of adjustment of the existing academic curricular, making changes when preparing to university classes, etc.

Човекът във виртуалната общност

Author(s): Gergana Georgieva / Language(s): Bulgarian Issue: 4/2018

The introduction of the term “virtual community” is accredited to the American writer, critic, teacher and freelance journalist Howard Rheingold and his seminal book from 1993 The Virtual Community: Homesteading on the Electronic Frontier. He theorizes the virtual communities as “social aggregations that emerge from the Net when enough people carry on those public discussions long enough, with sufficient human feeling,to form webs of personal relationships in cyberspace.” In his book Rheingold reflects on computer-mediated communication based on his own experience with one of the oldest and still functioning virtual communities The WELL (from Whole Earth ‘Lectronic Link), created in 1985. What are the types of the virtual communities and their characteristics and attributes? What is the life cycle of a virtual community and what are the different levels of interaction of its members? What are the main elements of the digital citizenship? Ever since the 90s of the 20th century the definition of the virtual community has been evolving and upgraded by a number of researchers in the field of the new technology-mediated communications. The rapid development of technology and their growing presence in everyday life pose more and more questions in front of theorists and practitioners.

Човешката коса в културата на Древна Тракия

Author(s): Miroslav Izdimirski / Language(s): English,Bulgarian Issue: 25/2020

In the analysis suggested, I make an attempt first and foremost to gather in one place all evidence on the function and meaning of human hair in Thracian culture. Human hair, save for being a biological factum, is an object of impression in human culture, i.e., it is a unique cultural phenomenon. I consider written evidences on the specific Thracian hair-do, as noted by the ancient authors, as well as the evidence according to which Thracians were red-haired. I pay attention to the archeologic findings of human hair in ancient Thrace, to visual evidences about hair-dos and colour in human hairs, as well as some folklore evidences on treatments of human hair, precisely as the object and subject of human culture.

Човешката мярка като академичен етос

Отзив за юбилейния сборник „Социологията като граждански ангажимент“, посветен на 65-ата годишнина на професор Петя Кабакчиева, София: Универс

Author(s): Snezhana Popova / Language(s): Bulgarian Issue: 11/2022

A collection of works ‘Sociology as a civic commitment’ dedicated to the 65th anniversary of Professor Petya Kabakchieva, (Sofia, St. Kliment Ohridski University Press, 2022) contains articles and studies written by established Bulgarian sociologists and social scientists and their younger followers. Compilers of the collection are Maya Grekova, Mila Mineva, Lea Vaysova and Dimitar Blagoev.