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The ancient village Dospey, near Samokov, has a legend that before Bulgaria fell under the Ottoman rule, the local people “collected every¬thing from the other nearby churches and covered it completely with earth.” Another legend claims that manuscripts handwritten by Patriarch Euthymius, which were sent from Tarnovo to the Rila Monastery but never arrived at their final destination, are inside some of the buried sacred church vessels. The mound, which allegedly contains the hidden sacred vessels, exists to this very day. The author of this book strongly believes that it should be explored and urges the archeologists to conduct the needed research.
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The Bulgarian Orthodox Church Community “St. George” is founded on 05.09.2009 to create and provide conditions for religious Ortodox practices to all Bulgarians, living in Switzerland. “Maria Krönung” Church, situated on Carl-Spitteler-Strasse 44, 8053 Zürich, became the center for regular Orthodox Christian services, organised by the Community. The holly cervices are open to all people, to teach by both word and deed, to inspire all to lead a life of Orthodox Christian belief, worship and service to others. In 2015, our Bulgarian Orthodox Church Community organized Orthodox services in Zürich, Bern and Geneva.
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The article deals with some aspects of the spiritual development, social activity, and the relationship between Vasil Cholakov and Marin Drinov. V. Cholakov is one of the first Bulgarians to receive training in Russia. Later, it was he who helped M. Drinov and N. Bonchev to follow in his footsteps. The article reveals the relations between them in the process of publishing the “Bulgarian Folk Collection” by V. Cholakov. The importance of the national culture for the preservation and development of the Bulgarians within the Ottoman Empire is also examined. The second problem addressed in the article is the attitude of M. Drinov and V. Cholakov to foreign religious propaganda and their struggle for the preservation of Orthodoxy. These aspects of their activities are essential in examining the struggle for the spiritual elevation and preservation of Bulgarians.
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The artworks of Anna Jossifova (born Haehn), kept in the private collection of Prof DA E. Staycheva in Sofia - the richest known collection of this artist’ s creations - represent Anna Jossifova as one of the most original Bulgarian masters, working in the field of both painting and decorative arts during the first quarter of 20-th century. In the Bulgarian letters, this is the first specilised art-historical study, dedicated to the artist’s splendid life and works. Based mainly on the investigation of the applied art forms found in the collection, the study identifies their styles and techniques of execution; and outlines their key significance for the real artistic appearance of this period in the history of our culture, when the very concept of the decorative and style has been evaluated and fruitfully accomplished in practicing art as a way of life. Born German, in the old European cultural centre Braunschweig, Anna Haehn trained fine and applied arts in her native town, and in the Hague, Netherlands, with the leading still-life painter M. Rosenboom. In 1899 she married the Bulgarian eng. Petar Jossifov, and came to Sofia, where she stayed until her death in 1931. During the whole of her active creative life Anna Jossifova identifies herself as a Bulgarian artist, and regularly participates in the intensive activities of the painters’ associations “Savremenno izkoustvo” (“Modern art”) and “Lada”, keeping close relations and confessing similar artistic values with such painters as Haralambi Tachev, Nikola Mihaylov, Goshka Dazov. Her creative dignity has been also recognized and highly appreciated by prominent Bulgarian writers, art-critics and intellectuals, such as Konstantin Velichkov, Andrey Protich, Dobri Nemirov, etc. Through her oil paintings and watercolours, A. Jossifova introduces the genre of floral still life into the domestic fine art and elaborates it to individual achievements of universal European value. Being a relative and inheritor of Anna Josifova, Prof. DA Staycheva has managed to save in very good condition a great deal of watercolours, paintings, woodcut furniture, porcelains, textiles and other creations by the artist, in the past forming an integral Secessionist interior of the house of Jossifovi, itself built and furnished as a Gesamtkunstwerk. The very house, designed by the eminent Bulgarian architect Pencho Koychev in 1903 in the manner of Brussels’ modem, occurs to be the earliest ex ample of the Bulgarian Secession in architecture. (Unfortunately, although notified as a monument of culture, the original house has been illegally destroyed by the communist city authorities in 1987.) Besides of Josifova ‘s magnificent still life paintings of flowers, that adorn different collections in our country and abroad, and for which she is mostly known, she is also the first Bulgarian artist who worked out fine decorative wooden furniture in the technique of coloured pyrography, skilfully combined with carving, oils, veins martin, varnish, etc. She also decorated porcelain vessels with a rich palette of overglaze enamels; and refined objects of textile, employing experimental techniques of the age. In addition to a profound familiarity with most outstanding traditions of ornamental decoration, her various decorative works demonstrate a special affinity to old-Bulgarian and Byzantine ornamental motives. Their remarkable author’s transformation into unique art forms of a Secessionist mentality and sensibility suggests a phenomenon of great cultural value, revealed in the artistic personality of Anna Jossifova. Estimating the decorative work of the paintress, we should rank her among the most important artistic figures, creating the neo-Byzantine manner of the modem architecture and decorative arts, idiomatic of the image of Bulgarian Secession. In the context of the Bulgarian “modem” movement’ s search for a distinctive style, symbolising the revived continuity of the national cultural identity, as well as its re-integration in the old European “common home’’, revered elsewhere in the international mode of Art Nouveau, the artistic presence and significance of Anna Haehn Jossifova should be treated as central.
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Undoubtedly, when we talk about the publishing activity of the Bulgarian libraries, we should mention the fact that it was in Plovdiv in 1885 that the first printed library catalog was published in Bulgarian language. The National Library in Plovdiv is a rich cultural and literary venue, among the leading institutions in the country. Throughout different periods, eminent people like Nikolay Raynov, K.M. Apostolidis, Tsanko Lavrenov, Dr. Alexander Peev, Boris Dyakovich, Dimitar Tsonchev, Prof. Benyo Tsonev, Prof. Krassimir Stanchev, Prof. Radka Koleva and many others have worked in the library and published their works there. In the past and today, a primary task of the library is the display of the valuable collections of the largest southern Bulgarian book depository. With its rich publishing activity for more than a century, the National Library in Plovdiv has made a significant contribution to constructing and supplementating of the national bibliography.
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On the grounds of documental sources and memories of contemporaries the author investigates the different and contradictory attitudes of the main ethnicities, represented in Varna and Dobrudzha (Turks, Bulgarians, Greeks, Tatars, Wallachians), toward the European (chiefly French) soldiers and officers who used to sojourn in the region during the Crimean War (1853-1856). The similarly quite contradictory attitude of the French toward the local people has also been examined in the article. The French introduced to the native population the achievements of the modern civilization. Among them were the newest innovations in the area of the communications (the post, the telegraph), as well as the ideas of the Modern Age, which rejected all kinds of violence on the human personality, the injustice, the Oriental habits. Thus, the initial reticence of the local Christians toward the French gradually turned into sympathy. The Crimean War stimulated important processes in the Bulgaria’s revival society, in its economic, political and cultural development.
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Founded in 1880, the organization of Bulgarian students in Prague “Bălgarska Sedjanka” had served for many years as a “cultural bridge” between Czechs and Bulgarians. Through its cultural activities it highly contributed to disseminating Bulgarian culture among Czechs and, vice versa, the Czech cultural traditions among Bulgarians. While the earlier history of the student organization (1880s–1910s) were explored to a certain extent by both Bulgarian and Czech historians, its cultural activities during the postwar period (1919–1938) have been hardly touched at all, or these have been assessed through the prism of the Marxist ideology. The decade of 1930s has not been an object of research yet. Therefore, the current study explores the history of “Bălgarska Sedjanka” in interwar Czechoslovakia. It relies on archival sources, published documents, the Czech periodical press and secondary literature available on the subject. The study focuses on several issues –the cultural activities of the organization, its relationship with the Bulgarian embassy and with some other Bulgarian organizations in Prague. One might characterize the early 1920s as a period in which the leadership of “Bălgarska Sedjanka” made constant efforts to overcome the isolation in which Bulgarian society found itself after the end of the WWI. For this purpose the organization initiated cultural events in Prague (public lectures and evening celebrations), closely cooperating with leading Czech (Vladislav Šak, Vladimír Sis, prof. Ivan Mrkvička) and Bulgarian (Christina Morfova, Kiril Christov) intellectuals as well as with Bulgarian ministers plenipotentiaries (Stefan Balamezov, Dimităr Michalchev, Boris Vazov, etc.). Furthermore, in order to improve Bulgaria's image in the Slav world, the leadership of the student organization strove to establish close cooperation with Southern Slav students in Prague. The relationship of “Bălgarska Sedjanka” with the Bulgarian embassy in Prague was marked both by cooperation and conflicts during the period in question. For example, the troublesome events in Bulgaria in 1923 brought about tense relations between the Bulgarian diplomats and the organization. Also, these events resulted in an open split within “Bălgarska Sedjanka” and in the establishment of the leftist organization “Narstud”. Last but not least, “Bălgarska Sedjanka” strove to keep alive the Bulgarian cultural traditions and the memory of the historical past among Bulgarian students in Prague through commemoration of glorious events of Bulgarian history and of Bulgarian “dead heroes”(Christo Botev, Ivan Vazov). In doing this, “Bălgarska Sedjanka” closely cooperated with another organization in Prague called “Československo-bulharskávzájemnost”.
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Bulgarian Golden Age is, on the one hand, a time of territorial expansion and significant presence on the political map of Europe; on the other hand, it is the period of the first major peaks in Slavic literature, and, probably, in arts and architecture. At its core, the Golden Age is joining the spirituality and mentality of the Byzantine world and adoption of the achievements of its centuries-old philosophical tradition. The Byzantine models in literature were borrowed by using two co-existing principles: copying and adaptation. The former might be observed in most of the works intended for non-liturgical individual or monastic reading, which were translated in full. The latter is found in miscellanies compiled from partial translations and excerpts, or in Old Bulgarian translations that were abridged, edited, or reworked. The article aims at examining the most important examples of such adaptation and its features, pointing out the role of the aristocracy and the ruler himself in guiding these processes.
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(Неизвестни рилски певчески ръкописи в Зографския манастир)
This paper discusses contacts between Rila Monastery and Zograf Monastery in the realm of musical manuscripts. It sheds light on unknown musical manuscripts produced in Rila Monastery that are now housed in the library of Zograf Monastery. Their authorship and contents are focused on. The study of thеsе manuscripts is part of research programme for cataloguing of the manuscript collections of the Athonite monastery.
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The paper aims to add some elements to the portrait of hired workers (ter oglani, irgat) or share croppers (ortakci) in the askeri cifliks. The inheritance documents of several men and one woman who had died in the cifliks present a rare opportunity to examine aspects of the life of this category of people. The inheritance inventories (terke/ muhalleft defters) of these people were registered in the kadi court registers of the towns of Sofia, Vidin and Ruscuk (mod. Rousse). The first part of the paper analyses the main elements of the contractual relations between ciflik owners and the people they had hired and taxation of the workers. The second part of the paper examines some aspects of the portrait of these workers, based on a structural analysis of inheritance inventories of their representatives, who were either peasants or town dwellers.
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The formation of the Bulgarian intellectual elite in the nineteenth century can be examined through the prism of macro-history, but it can be seen in more detail and more specifically through the fate of individual prominent artists, through the prism of the microhistory. Based on the available documentary material and the existing historiographic achievements, the article tracks the formation and growth of two of the leading Bulgarian intellectuals in the nineteenth century, as is undoubtedly Marin Drinov and Nesho Bonchev. Special attention is paid to the conditions, factors and individuals who influence them during their school years in Panagyurishte, their teachings at the seminary in Kiev and their student years at the Moscow University.
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Straipsnis skirtas vokiečių kalbos potencialo nagrinėjimui šimtmečio bėgyje. Tai žodžiai, kurie funkcionuoja skirtinguose vertinimo diskurso lygiuose kai yra taikoma pažintinė-diskursinė analizė, kuri nustato mokomų žodžių pažintinės ir vertinimo charakteristikos tarpusavio ryšį bei šimtmečio bėgyje vartotų žodžių vertinimo potencialo aktualizavimo būdus leksikos lygmenyje ir pragmatinės reikšmės realizavimo ypatumus sintaksės lygmenyje. Gauti rezultatai gali būti panaudoti antrinės kalbinės asmenybės formavimo procese mokant vokiečių kaip užsienio kalbos.
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The aim of this paper is to trace the development of journalism history as an independent subfield in English and American historiography beginning with its spring from the sphere of book printing. Comparing the pioneering works of Anglo-American authors of the 19th century with those of their followers, the evolution of journalism history has been traced through the phases of formation, natural and social histories, and cultural history. The phase of formation was marked by the emergence of such groundbreaking works as those of A. Andrews in England and F. Hudson in the United States, who both treated the development of journalism as an inherent part of human history as a whole. The second phase starts with the opening of first Journalism Schools in the early 20th century. Contrary to their predecessors, the subsequent generation of historians believed that journalism and print media have their own “natural” history, which follows specific patterns. Having been manifested initially in two famous essays of R. Park and W. Lippmann, this approach was further developed in the well-known and still popular books of F.L. Mott, E. Emery, H.L. Smith, and others. However, during the second half of the 20th century, the “natural history approach” faced growing criticism for its limitations as well. This challenge should be answered by transition to the next phases of social and cultural histories. Finally, this paper un-derlines the importance of journalism history in overcoming the current journalism crisis, but journalism history in England and the United States should overcome its protracted staying in the phase of natural history to fulfill this purpose.
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The article describes and generalizes finds of game/divination dice from the sites of Srubnaya-Andronovo cultural area which occupied almost the whole territory of the Eurasian steppes and forest-steppes in the 2nd millennium BC. The authors offer information about 31 finds of dice (28 intact and 3 damaged pieces) and more than 50 half-finished items which demonstrate different stages of their manufacturing. All of them are found in the course of excavation of 15 archaeological sites including 13 settlements, anthropogenic part of a mine and only one cemetery. The area of finds in the Srubnaya-Andronovo period in contrast to cultures of the Early and Middle Bronze Age points to the shift of “active game zone” in the Late Bronze Age to the Southern Ural and adjacent western and eastern territories. Dice seem to have been used both for game and ritual purposes. We do not know the rules of the game practiced by the contemporary archaeological cultures, that is, algorithms of usage of dice, and we are inclined to consider the signs on the dice as “differentiating” pictograms which did not progress yet to be numeric ideograms.
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Podbolotje cemetery situated at a distance of 12 km to the south-west from the town of Murom excavated in 1910 by V.A. Gorodtzov drew expert’s attention many times. Classification and division into periods of female adornemts of this cemetery are offered in the article. According to correlation of different ware types 5 stages in develorment of adornment set were distinguished (A, B, C, D, E). The stage B breaks down into three periods.Stage A. Haloes of type 1 (Fig. 1, 18), earrings of department 1, type 1 (Fig. 1, 26), beads made of red glass, plaque of type 2 (Fig. 2,15), sulgams of type 1 (Fig. 1, 35), spiral 7-twisted and round wire blacelets are specific for this stage. Temporal rings of department 1, type 2 (Fig. 1, 28), haloes of type 2 (Fig. 1, 20), noisy pendants of department 1, type 1 and of department 2, type 2 (Fig. 2, 10, 12), finger-ring of type 2A (Fig. 2, 6) appear.Stage B. Back pendants of type 2 (Fig. 2, 2), multicoloured glass beads are the common feature of the stage. Head straps of type 1 (Fig. 1, 23), grivnas of type 1 (Fig. 1, 31) are basically typical for it. White paste beads and sulgams of type 2 (Fig. 1, 33) appear at this stage. In the first period of stage B haloes of type 3 (Fig. 1, 19), noisy pendants of department 1, types 1 and 2 (Fig. 2, 10, 11), of department 2, type 2B (Fig. 2, 13), department 3, type 1 show up. Plaits of type 1 (Fig. 1, 28) are specific. Among earrings large murom type oh them predominate (Fig. 1, 24). In the second period head plaits are represented only with type 2 (Fig. 1, 24), earrings relate basically to the department 1, type 2B (Fig. 1, 28), grivnas of type 2 appear (Fig. 1, 32), umbo-shaped noise pendants of variant A are specific, side straps of, type 2 are widely spread. In the third period small earrings of murom type (Fig. 1, 30), plaques of type 1 (Fig. 1,4), haloes of type 4 (Fig. 1, 21), back pendants of type 3 (Fig. 2, 3), noisy pendants of department 3, type 2 (Fig. 2, 18), and bottleshaped pendants appear.Stage C. Haloes of type 4 (Fig. 1, 21) appear, head straps of type 2 (Fig. 1, 2, 5) are widely spread, earrings and noisy pendants are extremely various, back pendants pertaicyonly.to type 3 (Fig. 2, 3). White paste spherical beads are more .widely spread among glass ones,. Plaques are very popular, they are represented basically with type 3 (Fig. 2, 16), spiral bracelets of type 1B and finger-rings of type 2A and 2B (Fig. 2, 6, 7) are often met, foot-wear adornments of type 1 (Fig. 2, 21) are specific.Stade D. Adornment set becomes much more poor. Head plaits and straps, back pendants, and side straps vanish. Haloes are represented only with type 3 (Fig. 1, 19). earrings and beads are very.rare, blue, small beads are.specific among them. Bracelets are atill used, lamellar bracelets with unbent ends appearing. In the stage D noisy pendants of department 3, type 4 (Fig. 2, l’,4) are used, footwear adornments become more plain.Stage E. Finno-ugreian. adornments almost vanish, noisy pendants, earrings of a murom type and spiral finger-rings are very rare. Bracelet-shaped rings with tied ends, silver-glass beads, and lemon-shaped piercing appear. Lamellar bracelets with the ends in the form of beast head are spread.The absolute dates of stages are determined: A – the second half of the 6th – the beginning of the 7th centuries; B – the 7th – the beginning of the 9th centuries; C – the 9th – the beginning of the 10th centuries; D – the 10th century; E – the end of the 10th – the first half of the llth centuries. It is illustrative that in the 10th century (stage D) a smooth course of female adornment evolution gets broker and afterwards the ware popular in Slav culture starts to prevail. This phenomena demonstrates assimilation of autohtonic Finno-peshle by Slav migrants.
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The paper considers whether it is possible and appropriate to differentiate between the types of saints in the Middle Ages and the early Modern Era in Europe. The study is based on the analysis of various types of sources, such as saints’ lives, protocols of canonization processes, and other church acts. The typologies of “old” (late antique and medieval) and “new” (represented by the so-called beati moderni) saints were compared. The differences between the medieval and the modern vision of sanctity in Catholic Church were revealed. The classifications of saints proposed by A. Voshe and M.Yu. Paramonova were discussed. A new classification of beati moderni was suggested. The specifics of canonization of “new saints” and the phenomenon of their emergence were explored. Using the results of the comparative analysis, it was concluded that “new saints” must be distinguished from the medieval ones, because they are a reflection of the realities and values of the early Modern Era. In many cases, they determined a new image of saints in Catholic Church, which has been common since the Council of Trent until the present times.
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This article focuses on the stages of Marina Tsvetaeva’s works before emigration (before 1923), which signaled changes in her use of Christian motives. During this period Tsvetaeva’s use of these motives underwent a number of changes. At first these motives were perceived traditionally, then Tsvetaeva experienced a crisis of faith and reduced her interest in Christian subjects. At the end of the analysed period Tsvetaeva made an attempt to rethink them.
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