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The text discusses the pertinent problems connected to the debates about the intangible cultural heritage and the politics of UNESCO about its safeguarding. The author presents in particular the Italian context and the discussions within Italian anthropology taking into consideration the characteristics of the ethnographic knowledge as cultural heritage, as well as the functions of the ethnographic museum. The problem about the safeguarding of cultural heritage is debated on the basis of the dichotomies: safeguarding versus evaluation and tangible versus intangible heritage.
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When interpreted through the memory prism, football offers rich information about the attitudes and the processes in the socium and thus offers fruitful grounds for an ethnological and anthropological study. This study is based on interviews and autobiographical narratives which are an important source for the personal and the family histories of the heirs of the footballers and the fans of the Pavlikeni team.The football memory which was formed reveals a state of desired timelessness which unites past and present. The leading version, which is exhibited in the museum on the occasion of every celebration of a particular event from the history of the team, helps to form the cultural memory of the local population. Thus there is a coherent narrative that remains in the memory of the local people and allows to construct the cultural memory of the community as a one which corresponds to the identity sought by the group.
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As the title of this work suggests the main purpose of this work is to use the conceptual tools of social-cultural anthropology in order to understand albanian modernity. In itself the article calls out for an anthropology of albanian modernity. In order to illustrate this position the article draws heavily on the notion of myths, and their social relevance and relation to the social morphology within the context of Albanian nation-state. Until recently, the so-called albanalogical studies oriented their studies toward the finding of Albanian’s original culture or traditional way of life. Such perspective might be seen as reductive because it either sharpened researchers deficiency to coop in understanding social change or at best it help to produce a romanticised view on society. This article proposes that besides the traditional focus on traditional Albanian culture and society, the time has come for albanian researcher to shift their studies toward the understanding of the effects that modernity in the ideological format of nation-state, communism or neo-liberalism have had and continue to have on albanian social structure and culture. Such perspective would enable albanian researchers, especially those focused in albanalogical studies, to overcome the trap on an ever-disappepering past harbored in memories of dying old man and women that were seen as guardians of the traditional and original Albanian culture and way of life.
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The article traces the regained popularity of a healing water source, promoted by the feigned healer and wonder worker Angelush. The activities of Angelush are connected with the appearance of the Great Comet, which was observed in Europe in 1861. Many newspapers from this period reflected the miracles and the impressive crowds of people that visited the healing water source in Northeast Bulgaria, near the Danube River. The present-day“intervention“ in media context seems to result from the need of shedding light on the visible traces of the “heroic time,“ which were pertinent due to the proximity with the anniversary of the April 1876 uprising and with the exploit of Hristo Botev’s troop and the use of “Radetzki“ steam boat in that year. The text analyzes a concrete case of inventing a tradition, which has appeared necessary for present-day political and social purposes. The significance of Angelushevo water source as a sacred place is construed entirely in media context, creating the myth that “Radetzki“ steam boat was built with the money earned from transporting visitors to the healing water source. In this case, the theme of the “heroic time,“ and the immediate relation with the national narrative were used to testify the significance of a religious site,the belief in which should have been sufficient justification of its existence. Thus, in 21st century we are witnessing how an increasing number of churches and monasteries in Bulgaria are construing their past through the links they establish with nationally significant topics,characters and images. They do so by emphasizing not that much the spiritual and religious aspects – as connected with faith or with sacred scriptures, but rather – with the presence of traces of heroic time, which inscribe the cult sites in the toponymic space of the nation.
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Historical reenactments gradually turned into a compulsory element in public ceremonies and rituals commemorating since late 19th c. the national liberation struggles in Bulgaria. Regarded usually as phenomena of popular culture or as expressions of the popular nationalism, these forms of public reenactment of the past are still insufficiently studied in Bulgaria. The current text attempts to outline a research program for an anthropological analysis of the historical reenactments of the “heroic time,” influenced by the inquiries of the performative and the affective turns in the social and human sciences. Taking grounds from the viewpoint of thereen actors, the outlined exploratory directions include: personal motivation, collective cause and emotions related to the experience; relationship with the audience;spectacular, theatrical and performative effects; scenography and dramaturgical aspects; considerations of authenticity and historical veracity. The analysis is based on commentaries in specialized online forums about historical reenactments.
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Przystanek Woodstock is one of the most important cultural events in Europe.The evidence for that are massive attendance and concerts of valued Polish and foreign artists who represent various music styles. The article is an attempt to define the identity of the 21st century festival community. To achieve this the author compares Przystanek Woodstock to the original Woodstock Festival and the Jarocin festivals the symbols of which are the actual slogans, subcultures and ideologies. In the case of the Przystanek Woodstock the ideological element has been replaced by the carnivalesque element and the event reminds of the Muggleton’s supermarket of styles and a fancy dress costume party. As a consequence, the community of the Przystanek Woodstock is internally dispersed what makes it difficult to find the right terminology covering such a multi-level phenomenon. In the final part of the article the author concludes that the 21st century Przystanek Woodstock may find its identity if there is, in the nearest future, integration resulting from defining an object of rebellion.
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Po II wojnie światowej twórcy musieli przepracować żałobę, na nowo poukładać wartości, znaleźć klucz do epoki, która odbiera godność, sprowadzając człowieka nie tylko do pozycji zwierzęcia, ale – co gorsze – cyfry w statystykach, bezosobowego bytu w masie.
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The article compares the copy from the Zograf miscellany 107 of the Encomion for archangels Michael and Gabriel with some of the closest to it witnesses. A separate group of copies is this way wihdrawn and a new critical edition is proposed.
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Sofia University “St. Clement of Ohrid” is the first Bulgarian university. Its history is related to the educational tradition of the Bulgarian nation. The day of St. Clement of Ochrid, 25th of November, became a patron holiday of Alma Mater. This is attested for the first time in the Rules of the University from 1905. Sofia University is officially named “St. Clement of Ochrid” since the beginning of 1935. In 1936–1941, a few articles were published in our periodic press (by M. Arnaudov, I. Raev, B. Nedkov, G. Pashev). The current report aims at looking at their meaning as a reflection in times when even the choice for Alma Mater’s patron was historical and political related to particular events and traditions.Sofia University “St. Clement of Ohrid” is the first Bulgarian univer¬sity. Its history is related to the educational tradition of the Bulgarian na¬tion. The day of St. Clement of Ochrid, 25th of November, became a patron holiday of Alma Mater. This is attested for the first time in the Rules of the University from 1905. Sofia University is officially named “St. Clement of Ochrid” since the beginning of 1935. In 1936–1941, a few articles were published in our periodic press (by M. Arnaudov, I. Raev, B. Nedkov, G. Pashev). The current report aims at looking at their meaning as a reflection in times when even the choice for Alma Mater’s patron was historical and political related to particular events and traditions.
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Yugovo is a village in the Middle Rhodope Region, which belongs administratively to the Plovdov province. The village has a rich culture, representative for the habitations that lay at the boundary between Thrace and the Rhodope Mountains. Since 1995th, the Association for Anthropology, Ethnology, and Folklore Studies has persistently studied the village. This article publishes the results of the realization of the project “Docu¬mentation and Analysis of an Unknown to Science Sepulchral Structure from the Late Antiquity in the vicinity of Yugovo Village”.
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Cultural history of the city of Shtip and its surroundings, thanks to the geomorphology of the terrain, suitable climatic and geographical condi¬tions, road traffic arteries which passed and pass through Shtip in Prehis¬tory, Antiquity and the Middle Ages, contributed to its development start from deepest prehistory or the late Paleolithic and continuously through the ages to last until today.The paper will present the cultural history of Shtip from Antiquity until the arrival of the Ottomans, through archaeological artifacts, marble sculpture and fortification of medieval fortress Isar Stip.
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The text interprets the ethnographic film as a document and research tool of visual anthropology, as a form of preservation or renewal of memory, but also as an object of documentary filmmaking, i.e. as a visual art. By presenting of different dominants, the text defines different functionality and meaning of the ethnographic film.
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In 1912–1913 during the Balkan wars, after declaring of the indepen¬dence of Albania and the constitution of its new boundaries, the region of Dolni Debar was situated on the territory of Albania. The text presents the history of the population from the region according different Bul-garian sources and also the information about the realized in 2015 and 2016 two expeditions by a team of ethnologists. One of the results is an ethnographic film from the collected visual ethnographic materials. It presents the current situation in the region through the narrations of the local Christian population and through the documentation of the feast of the Transfiguration.
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The present works suggests an analysis of two Bulgarian folklore songs in which the hero has been lowered down a deep well, his goal be¬ing to bring back water; down there he is swallowed (gorged) by a mythi¬cal serpent like monster (snake, “lamya”, “hala”). The semantics of this song motif are hereby clarified when compared to different episodes of Bulgarian folktales as well as ancient mythopoetical texts (of ved. Trita and avest. Θraētaona). The astro-calendrical base of this motif is tightly connected to the spring-summertime period of invisibility of the Pleiades constellation (nadir = ‘well’).
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The research is based on 140 000 Bulgarian folk songs taken from the Archive of the Bulgarian Literature Department’s Electronic Fund at St. Cyril and St. Methodius University of Veliko Turnovo. The distribution of eight groups of folk songs is presented as aggregated data in the form of graphs and maps. These eight groups are: 1. Carols, 2. St. Lazarus songs, 3. Easter songs, 4. Wedding songs, 5. Harvest songs, 6. Sedenka (women’s gathering) songs, 7. Round-dance songs, 8. Table songs. Choosing a specific group of songs covers different aspects of the folklore culture – calendar and family rituality, social and labor customs and rites. The territorial distribution is based on the administrative division of Bulgaria by districts, which was in force until 1959. The research determines the quantitative parameters of the studied functional groups as well as their percentage share against the overall number of songs in the different regions. Based on this information, there have been made maps (Map 1–8), which present the distribution of these groups in the different Bulgarian districts and enable the traceability of some basic trends and regularities.The research is based on 140 000 Bulgarian folk songs taken from the Archive of the Bulgarian Literature Department’s Electronic Fund at St. Cyril and St. Methodius University of Veliko Turnovo. The distribution of eight groups of folk songs is presented as aggregated data in the form of graphs and maps. These eight groups are: 1. Carols, 2. St. Lazarus songs, 3. Easter songs, 4. Wedding songs, 5. Harvest songs, 6. Sedenka (women’s gathering) songs, 7. Round-dance songs, 8. Table songs. Choosing a specific group of songs covers different aspects of the folklore culture – calendar and family rituality, social and labor customs and rites. The territorial distribution is based on the administrative division of Bulgaria by districts, which was in force until 1959. The research determines the quantitative parameters of the studied functional groups as well as their percentage share against the overall number of songs in the different re¬gions. Based on this information, there have been made maps (Map 1–8), which present the distribution of these groups in the different Bulgarian districts and enable the traceability of some basic trends and regularities.
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What is the contemporary Bulgarian interested in? What excites him, what bothers him, impresses him, who does he admire? Are there people, whose example he is following? The answers of all these questions probably depend on the age, occupation, hobbies, and even the gender of the people. The present text emphasizes on different groups of people, united by their interest towards famous people, and the attention is drawn towards the worldwide famous Lady Diana. The content of the text is based on informers with various social status, varying age, and gender. Their opin¬ions and comments for Diana Spencer are the result of personal impres¬sions and understandings, but also undoubtedly affected by the media coverage of her life and her relations with the Royal family through the years.
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