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OPERA AND MODERNIZATION: THE CASE OF BULGARIA

Author(s): Alexandra Milanova / Language(s): English Issue: 2/2020

Opera music may be much more central to our understanding of urban modernity than is habitually thought. Since its beginnings in Bulgaria around 1890, opera has had a strong relationship with urban space and the public sphere. Most opera houses were built in urban centers and came to be seen both as secular temples and sites of entertainment, in which the appreciation of high art coexisted with conviviality. This paper aims at demonstrating that development of opera art is inextricably linked to the process of modernization of Bulgarian cities. By addressing the impact of this classical art on urbanity, the paper will also attempt to show how opera houses have been among important in towns‘ transformations and alteration from the late 19th to the second half of the 20th c. By studying the inception and development of opera theaters in particular Bulgarian cities and through its focus on the liaison between music and localities, this paper should add to the vast body of scholarship in social and cultural history to do with the city, and the meaning of urbanity in Bulgaria.

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On Ruins and the Place of Memory. A Bosnian Post-Script to Communism

Author(s): Rusmir Mahmutćehajić / Language(s): English Issue: 01/2011

In this article, the author explores the nature of traditional wisdom and the ways it came under attack in the most terrible century of human history. The Bosnian town of Stolac suffered the violent depredations of fascists, Communists, and extreme nationalists, culminating in a veritable orgy of destruction, murder, and expulsion during the 1992 to 1995 war, with the systematic “liberation” of the town of every and any trace of the historical existence of difference or the other. The author sees this situation as arising out of the very nature of modernity, the age of alienation and human arrogance. We have become the slaves of our fantasies of mastery and domination, seeking justification not in the transcendental or the divine, but in the works of our own hands, in utopian dreams of this-worldly perfection, and in group identities in which we hope to hide the smallness of our souls. This work of disconnection, deracination, and ideological deformation has found its most terrible expression in great historical projects of destruction and slaughter in the name of Man, Society, and other false gods. This modern folly has turned us against our own cultures, our common spiritual heritage, and all forms of traditional intellectuality and wisdom. It has stripped us of compassion and respect for the other and of understanding for the different. It has made us deny our most crucial debts to the vulnerable and to the dead.

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Përqasje historike e zhvillimit arkivor në Kosovë

Author(s): Fikrie Berisha / Language(s): Albanian Issue: 1-2/2019

The birth of documents has historically occurred when writing was born as a way of communication in society, as an objective requirement of social development and as a need for the functioning and solution of various human problems. The first documents are found early, sometime in the third millennium BC in the slave-owning states of the ancient East, then later in ancient Greece and Rome. While in the Albanian territories we find documents and archives in very early periods, since the ancient Illyrian cities, such as stone inscriptions, various chronicles or documents which protected the interests of slave owners and were kept mainly in libraries. Meanwhile, when it comes to archives and archival service in today's territory of Kosovo during the time of the Illyrians, namely the Dardan tribe, which was located in the territory of today's Kosovo and not only, we have no written evidence that speaks of archives and for staff who have manipulated written documents. We find such traces in various inscriptions, in stone inscriptions, in cemetery monuments, stelae, inscriptions dedicated to the gods, votes, on stones, etc. The first concrete efforts in terms of archives and archival service in Kosovo were made after the Second World War, the establishment of the new communist government within the former Socialist People's Federation of Yugoslavia, of which Kosovo was an administrative part, specifically in in 1951 when the Provincial State Archive was established.

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Normalization and the Limits of the Law: The Case of the Czech Jazz Section

Author(s): Peter Bugge / Language(s): English Issue: 02/2008

The Jazz Section was one of the most remarkable cultural institutions in “normalized” Czechoslovakia. Established in 1971 as part of the official Musicians’ Union, the Jazz Section used its legal status to arrange jazz and rock concerts and to publish a variety of books without the permission or consent of the Communist authorities. From the late 1970s, the regime strove hard to close the Section; however, it survived until 1984. Only in 1986 did the regime find a way to prosecute its leading activists. This article investigates why persecution proved so troublesome. It focuses on the impact of the Jazz Section’s legalistic strategy, and on the role of legal concerns in regime behavior. It argues that references to “law and order” had a central legitimizing function in the social discourse of the Husák regime, and that the resulting need to translate policies of repression into legal measures inhibited the authorities in their assertion of power and created an ambiguous window of opportunity for independent social activism.

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Морската Майка на Боговете от Дионисопол (Балчик) и Морска майка от Созопол

Author(s): Kalin Porozhanov / Language(s): English,Bulgarian Issue: 25/2020

In the dedications of the temple of the Pontic Mother of the Gods (4th century BC – 4th century) in Dionysopolis (now the town of Balchik) on Bulgarian Northern Black Sea Coast the goddesses‘ references are Pontic Mother of the Gods, Pontic Mother, Pontic Goddess Mother, Mother of the Gods. In other inscriptions from the Black Sea region is used Mother of the Gods (Bizone, Istros/Histria, Tomis, Olbia), Pantikapaion – Phrygian Mother, Mesambria – Kybele Mother, Marcianopolis – Heavenly Mother of the Gods. The concept of Pontic is found in inscriptions for Aphrodite from Histria and Olbia, from Tiristasis, Kyzikos/Cyzicus and the island of Kos, where it is a protector of sailors. Obviously, in the case of the Pontic goddess of the Temple of Dionysopolis, it is a protector from and into the sea. It is certain that behind the term Pontic lies the meaning of the sea, and this characteristic as the Sea Mother of the Gods, according to the use of forms of the Ionic dialect, probably originates in Asia Minor. In the traditional culture of the town of Sozopol (ancient poleis Apollonia Pontica) and in the others towns of Bulgarian Southern Black Sea coast, the Sea Mother (Greek Kiratalassa = mistress, lady soveraign, ruler of the sea) is the Goddess of the Sea. Its strength and power is so great that it can both break the sea and the worst storm to make it subsided. To express their esteem to her, fishermen portray her as a bust of a female figure made of wood. It is placed at the front of the boat’s nose to protect them in the sea. The comparability of the deities of the Sea Mother of the Gods from Antiquity in Dionysopolis (now town of Balchik) on Bulgarian Northern Black Sea Coast and the Sea Mother of the Twentieth Century in the town of Sozopol on Bulgarian Southern Black Sea Coast – allows for the problem situation to come up with a working hypothesis that would say it is for the Great Goddess Mother as a Thracian-Anatolian Deity, honored in Thracian environment in Hellenic poleis on the Thracian coasts.

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The Painted Trumpets in the Kazanlak Tomb: Parallels with Tutankhamun’s Trumpets, Instrumental and Performance Hypotheses

Author(s): Alexandra Fol / Language(s): English Issue: 25/2020

The article examines the depiction of the two female trumpet players from the Kazanlak tomb’s fresco and focuses on the instruments themselves. Fol discusses the parallels in estimated size, conical bore shape and funeral rite purposes between the Kazanlak tomb’s trumpets and the Egyptian pharaoh Tutankamun’s trumpets. The author uses physical and experimental evidence from ancient and folk trumpets to support her theory for existence of detachable mouthpieces carved from organic materials in ancient trumpets. She deduces the possible make-up and sound of the Kazanlak tomb trumpets from the recordings of Tutankamun’s trumpets, and from evidence presented in the fresco. She strengthens her 2009 hypothesis about a just-intonation based Thracian mode.

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IGBulg III, 1, 998 и културният синкретизъм в римския Филипопол

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

The paper examines a Greek inscription from Philippopolis (IGBulg III, 1, 998) which illustrates the complex dynamic in the local religious and cultural life. The inscription contains a grave imprecation reproducing models from Asia Minor. However, the practice of using supernatural protection against grave violations is quite uncommon for the Thracian context and is clearly related to the fact that the owner of the grave identifies himself as a native from Nicaea. The foreign element of the grave imprecation is mixed in the inscription with a reference to the city’s mail cult of Apollo Kendrisos, itself a result of the religious syncretism between the Greek Apollo and a local Thracian deity. The double protection of the grave entrusted both to the local gods and to the native supernatural forces is enhanced by adding a third protective element – a grave fine. Thus, the use of profane, legal means of protection, typical only for the Roman law, demonstrates the owner’s integration also into the dominant Roman culture.

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Тракийското наследство в българския графичен дизайн: пощенска марка от втората половина на 20 век

Author(s): Sasha Lozanova,Stela Tasheva / Language(s): English,Bulgarian Issue: 25/2020

As is well known, postage stamps now have existed in Europe for about 160 years. They are a type of applied graphic (or graphic design) artifacts – small paper elements with visible prints, which are intended for wide, public use. Postage stamps were introduced in Bulgaria in 1879 – immediately after the state Liberation. Until 1980, over 3000 stamps had been issued. Following the laws of the genre, they reflect a rich register of themes, motives and images, and were created by talented Bulgarian artists. Here, we explore the images on stamps, representing the ancient material heritage of Bulgarian lands. A number of them reproduce and promote specimens of Thracian artifacts. The focus of the study is on the systematization of these images, traced in the second half of the 20th century in Bulgaria. We looked for the answers to the following questions: Who are the artists – authors of such stamp images? When (and how) do they depict motives and images from our Thracian heritage? What are the semantic and symbolic messages of these graphic artifacts? The base of our report is traditional: art samples from ancient Thrace. The chosen perspective on them however, is new: their inclusion in contemporary graphic design, and their massive circulation in stamps. Their images have an administrative (documentary, commercial, etc.) application, but also significant social functions: informative, educational, artistic, advertising. Traditionally, postage stamps also make a significant contribution to the global knowledge and culture dissemination network.

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Erik Fischer: Beiträge zur Geschichte der Musik und Musikkultur in Danzig und Westpreußen

Author(s): Hartmut Möller / Language(s): German Issue: 3/2020

Review of: Hartmut Möller - Erik Fischer: Beiträge zur Geschichte der Musik und Musikkultur in Danzig und Westpreußen; (Berichte des interkulturellen Forschungsprojekts „Deutsche Musikkultur im östlichen Europa“, Bd. 5.) Franz Steiner Verlag. Stuttgart 2018. XX, 453 S., Ill. ISBN 978-3-515-09325-5. (€ 66,–.)

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Българският национален въпрос: поява, характер, състояние, перспективи

Author(s): Angel Dimitrov / Language(s): Bulgarian Issue: 3/2020

The “National Question” is a topic that remains insufficiently researched and even inconvenient from the perspective of both areas for which it is of vital significance: academic research and politics. The reasons are entirely political in nature, but by ignoring the issue or keeping silence about it scholars and politicians cannot solve the problem, they just turn it into a means of radicalizing political attitudes and complicating the interstate relations. This state of affairs, burdened by an alarming uncertainty, stood out particularly clearly after the collapse of the communist system and the disintegration of some of its affiliated states that had imperial or federal structures. The proposed text is an attempt at a comprehensive analysis of the Bulgarian National Question and its development throughout the Modern Age up to the present day. The formation of the Bulgarian nation and the efforts of the restored Bulgarian state to unite the Bulgarians and the territories where they constituted a majority using political or military means, are highlighted as this paper’s central foci. Bulgaria’s political mistakes and military failures are discussed along with the more significant regional, continental, and global events, as well as the subsequent international decisions, which exerted direct impact on the contemporary state of the Bulgarian National Question. The text pays special attention to the prospects for the mitigation of the National Question and its reevaluation in the context of Bulgaria’s radically altered present-day position as an EU and NATO member state.

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Проекция на метамодерен метод за изследване на глада в Бесарабия през 1946–1947 г., отразена в историческата живопис

Author(s): Yona Tukuser / Language(s): Bulgarian Issue: 3/2020

The article uses a metamodern method of research with scientific and artistic techniques, which serves as a basis for the connection between science and fine arts. The results of the study of literature on the subject and newly discovered documentary sources are used to recreate the famine in Bessarabia in 1946–1947 in picturesque historical paintings. Visual images reveal the influence of the tragic consequences of the famine and support the understanding of the socio-cultural and moral-psychological state of the Bessarabian Bulgarians. The emotional artistic expression in the paintings is a means of deep penetration into the atmosphere of abuse of human dignity in Bessarabia, through purposefully provoked hunger.

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The Cultural Roots of Estonia’s Successful Transition: How Historical Legacies Shaped the 1990s

Author(s): Li Bennich-Björkman / Language(s): English Issue: 02/2007

This article investigates the cultural roots of Estonia’s surprisingly successful transitions in the 1990s. Taking the point of departure in historical institutionalism, two layers of political cultural legacies are identified as particularly crucial in preparing Estonia for the democratic government installed after independence. First, the article argues that even in a Baltic context, Estonia stood out as a hotbed for social initiatives and elite networks during Communist times. Second, to understand why such liberalisation within the authoritarian Communist regime started earlier in Estonia than elsewhere in the Soviet Union, there is a need to acknowledge the importance that the historical experiences of the inter-war republic played. Estonia then developed a civic culture that partly survived even during the Päts regime from 1934 to 1939. These experiences surfaced once the yolk of Stalinism was lifted in the 1950s and shaped Estonia under Communism into a society of “collective mobilization” where democratically inclined counter-elites could form.

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LA LANGUE, L’ÉCOLE ET LA NATIONALITÉ DANS LA BASSE ALBANIE DU XIVe AU XVIIIe SIÈCLE

Author(s): Pëllumb Xhufi / Language(s): French Issue: 02/2016

Dans la partie sud de l'Albanie, dans ce que l’on appellee communément « la Basse Albanie » les phénomènes culturels, et dans ce contexte même l’usage de la langue albanaise, ont connu un processus particulièrement difficile, surtout après le XVe siècle. Ici, le pouvoir ottoman semblait plus stabilisé et les effets des graves défaites que l'Empire ottoman commençait à subir sur le front du Danube, après le XVe siècle, étaient moins importants que dans les zones plus au nord.

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The Transition of Albanian Art and Culture Facing the Future Challenges

Author(s): Ermir Nika / Language(s): English Issue: 18/2019

After the end of the communist regime in Albania, culture and its institutions were the areas which had to suffer the most extreme damages and transformations. It was not only the way of thinking for a new way of managing, but its infrastructure as a whole, on a regular basis has suffered from considerable damages. In a different point of view, there was also a further considerable departure of individuals and the artistic community with the phenomenon of emigration.In these conditions, the first step that was taken was the drafting and implementation of legislation through which cultural and artistic institutions could operate, as well as free private initiatives. Firstly was first introduced the concept and were taken steps for drafting an intellectual property legislation, the law on cinematography, theater, cultural heritage, libraries and the book, in accordance with the recommendations of the expert representatives of the European Union authorities. Further, the first efforts were made by setting up working groups to draft the first strategic drafts on art and culture as well as medium and long-term budget projections. Consequently, the first effects of a cultural policy aimed at implementing a new administrative-legal platform were felt. This policy would firstly respect the principles of decentralization and secondly the cooperation with the homologous structures of the countries of the Balkan region and further with those of Europe and beyond. The various phases of the reform did not always brought the expected expectations with the projected objectives. As a result, the transition to art and culture institutions lasted somewhat longer than in different sectors of Albania’s socio-political development.

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The Hungarian Idea at the Millennial Crossroads

Author(s): Daniel M. Pennell / Language(s): English Issue: 03/2005

The review of: 1) A History of Hungary: Millennium in Central Europe by Lázló Kontler. New York: Palgrave Macmillan, 2002. pp. 527. 2) The Hungarians: A Thousand Years of Victory in Defeat, by Paul Lendvai. Princeton, NJ: Princeton University Press, 2003. pp. 572. 3) A Concise History of Hungary, by Miklós Molnár. Cambridge: Cambridge University Press, 2001. pp. 370.

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MEVLUDI NA RAZLIČITIM JEZICIMA I PRIJEVODI MEVLUDA SULEJMANA ČELEBIJA

Author(s): Muhamed Okić / Language(s): Bosnian Issue: 81/2020

Muhamed Tajib Okić je rođen 1. decembra 1902. Godine u Gračanici, od oca hadži kurra hafıza Mehmeda Teufik-efendije i majke Hasibe. Njegov otac hadži kurra hafiz Mehmed Teufik-efendija Okić je bio upravitelj medrese i član Ulema-medžlisa. U Gračanici mu je otac radio u Osman-kapetanovoj medresi. Kada je 1910. godine imenovan članom Ulema-medžlisa, s porodicom se preselio u Sarajevo. Obrazovanje u Sarajevu je započeo u Hadži Hasan Bozadžinom mektebu 1913, a nastavio u rušdiji na Bentbaši. Nakon toga završava Okružnu medresu u Sarajevu 12. maja 1920. godine. Poslije toga je upisao i završio Šerijatsku sudačku školu. Na Fakultetu književnosti u Zagrebu je stekao diplomu 12. oktobra 1926. godine. U isto vrijeme je pohađao Pravni fakultet u Zagrebu, a kasnije se prebacuje na Pravni fakultet u Beogradu, koji završava 29. oktobra 1930.godine. Svoj daljnji obrazovni put nastavlja u Parizu gdje boravi na Sorboni i u tom periodu je na Fakultetu za književnost stekao diplomu magistra. U Školi orijentalnih jezika stječe diplomu iz arapskog jezika i književnosti, turskog jezika i književnosti 1928. godine i perzijskog jezika i književnosti 1930.godine. Nakon toga profesor Muhamed Tajib Okić odlazi u Tunis na Univerzitet Zejtunija, gdje specijalizira arapski jezik s književnošću na Višoj školi za arapski jezik i književnost.

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TEKSTOVI O HISTORIJI ISLAMSKE KULTURE I CIVILIZACIJE U BOSNI I HERCEGOVINI OBJAVLJENI U NOVOM MUALLIMU I NJIHOV ZNAČAJ ZA ODGOJ I OBRAZOVANJE

Author(s): Elvir Duranović / Language(s): Bosnian Issue: 82/2020

Keeping in mind the professional orientation and the focus of Novi Muallim, the author in this article analyses the texts dealing with the history of Islamic culture and civilisation in Bosnia and Herzegovina published on the pages of this magazine in the past twenty years. He also discusses here the significance of these texts for the Islamic education and upbringing of Bosniaks. This analysis includes 47 articles which deal with religious, educational and cultural institutions of Muslims in Bosnia and Herzegovina. In order to have more clear view, the article deals with following topics separately: mosques, tekkes and hanikahs, wqfs and Muslim educational institutions: maktabs, madrasa, Daru-l-mullimin i Mektebi-nuvvab. After critical analyses of these texts the author also offers some directions for further studies and research work to any future contributors of Novi Muallim.

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Die erste historische Fachbibliothek im Donau-Karpatenraum? Martin Schmeizel und seine Büchersammlung

Author(s): Attila Verók / Language(s): German Issue: 2/2012

Auf den folgenden Seiten will ich versuchen, eine heute unverständlicherweise vergessene Persönlichkeit, den Hungarus, den siebenbürgisch-sächsischen Historiker und Polyhistor Martin Schmeizel (1679-1747), und – mithilfe seiner einzigartigen Büchersammlung – seine wissenschaftliche Tätigkeit kurz vorzustellen. Dies halte ich für notwendig, da die historischen Schriften Schmeizels vom ersten Drittel des 18. Jahrhunderts bis zum Beginn des 19. Jahrhunderts die Geschichtsschreibung in Siebenbürgen grundlegend bestimmt haben, doch auch in den Werken der in anderen Regionen des Donau-Karpatenraums tätigen Geschichtsschreiber kann ihr Einfluss nachgewiesen werden.

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Die Siebenbürger Sachsen im Blick der Luxemburger

Author(s): Philippe Henri Blasen / Language(s): German Issue: 2/2012

Das gemeinsame Kulturjahr 2007 Luxemburg/ Großregion Luxemburg–Hermannstadt hat zu einem Zeitpunkt, zu dem die Idee von Kulturkreisen und Nationalstaaten von der Wissenschaft kritisiert wird, in Luxemburg wieder alte nationalistische Thesen aufleben lassen beziehungsweise neue geschaffen, folgt man dem Luxemburger Soziologen Fernand Fehlen. Offizielle Diskurse und polemische Schriften weckten erneut die Aufmerksamkeit der Luxemburger Öffentlichkeit an Siebenbürgen und an seinen sächsischen Einwohnern. Dieses Interesse hatte seit Ende des Zweiten Weltkriegs nachgelassen, nachdem die Karpatenregion siebzig Jahre lang, von etwa 1870 bis 1940, immer wieder in Luxemburg für begeisterte Artikel gesorgt hatte.

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Betrachtungen zur Entwicklungsgeschichte der Schwarzen Kirche in Kronstadt aufgrund neuer archäologischer Untersuchungen

Author(s): Daniela Marcu Istrate / Language(s): German Issue: _/2019

Die evangelische Stadtpfarrkirche in Kronstadt, nach einem verheerenden Brand im Jahre 1689 vor allem als Schwarze Kirche bekannt, ist eine der bedeutendsten Kirchen Siebenbürgens. Die Marienkirche, vor der Reformation als Pfarrkirche für die katholische Gemeinde der Kronstädter Sachsen erbaut, war zu jener Zeit – und ist, so scheint es, immer noch – das größte gotische Bauwerk östlich von Wien. Der Bezug des beeindruckenden Gotteshauses zu bedeutenden europäischen Bauvorhaben betrifft nicht nur die gotische Formensprache, sondern vielleicht auch einen ganz konkreten handwerklichen Beitrag. Ihre wie auch immer geartete Bauhütte arbeitete seit den letzten Jahrzehnten des 14. Jahrhunderts fast durchgehend über einen Zeitraum von einem Jahrhundert vor Ort und brachte ein für seine Zeit modernes Bauwerk hervor, bei dem sowohl Chor als auch Langhaus je drei gleich hohe Schiffe besaßen. Diese Bauform, als Hallenkirche bekannt, war in Siebenbürgen im Aufkommen begriffen; als erster ausgeführter Bau dieser Art gilt der Chor der Mühlbacher Kirche. Doch nur in Kronstadt war es gelungen, das Bauprinzip der Hallenkirche sowohl bei den Kirchenschiffen als auch beim Chor anzuwenden, weswegen das Bauwerk als Hauptvertreter der siebenbürgischen Spätgotik betrachtet wird (Abb. 1).

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