„Съвършеният капелмайстор“ на Йохан Матезон – повратна точка в историята на идеите за музиката

Author(s): Kristina Yapova / Language(s): Bulgarian Issue: 2/2019

The paperdiscusses the fundamental Mattheson’s work The Complete Music Director (Der vollkommene Capellmeister) in the context of the historical transition from the Baroque era (17th century) to the landmark of musical aesthetics (19th century). In developing the postulates setting up by the doctrine of affects Mattheson reveals perspectives for re-thinking the questions about content and form in music. Without destroying the Baroque paradigm related to the concept of affect, The Complete Music Director offers a new hierarchy of the musical means of expression where the melody goes to the fore. The relation between vocal and instrumental music is of a particular importance. It is examined by Mattheson in a way that leads directly to some basic ideas of the musical aesthetics coming into being with Hanslick’s The Beautiful in Music (Vom Musikalisch Schönen).

„ТЕШКОТО“ – СИНОНИМ ЗА ТЕШКО ОРО ОД ТИПОТ НА „ЛЕСНОТО“

Author(s): Stojance Kostov / Language(s): Macedonian Issue: 7/2019

Why Teshkoto (the hard one) as a synonym for a dance like Lesnoto (the easy one)? No matter how paradoxical it sounds, there are certain indicators that indicate and can support this claim. In this text we will look at some of these indicators, such as ethnochoreological features of Teshkoto and Lesnoto, the structure of the dance pattern, the style and the manner of performing the dance. We will also try to make a comparison between the two dances through which we will try to clarify the mentioned phenomenon.

„ТЕШКОТО“ ПОМЕЃУ ПОЕТСКОТО И ТАНЦОВОТО

Author(s): Sonja Zdravkova-Džeparoska,Ivona Tatarchevska / Language(s): Macedonian Issue: 60/2012

The text is an attempt to discover the relations and influences in three different forms of "Teskoto" - traditional dances, ballet version and its transformation into a Koneski literary work. Respective of traditional dance, which is undergoing many changes in the stage performance, the ballet version, and his literary works were correlated and interact. The paper noted that changes in specific historical, social and cultural conditions are made in the traditional performance needs first stage of the ensemble "Tanec" which contextualise the format of the dance itself. Analyzed and the key conceptual changes present in the ballet version of "Teskoto" in the ballet "Macedonian story" and they are compared with parts of the poetic version. Each of these masterpieces of their own medium (poetic work, traditional dance and ballet version) allow "Teskoto" to become one of those markers of national identity only at the time of the previous social system, but continues to successfully survive in the years of the constitution and creating a new Macedonian state. Chassis only linked the game with specific historical context and helped build the matrices filled with content from various artistic profiles.

„Тракийски танци“ на Петко Стайнов – от историческите архиви до присъствието в съвременните учебници по музика в общообразователното училище

Author(s): Penka Marcheva / Language(s): Bulgarian Issue: 2/2020

Тhe article presents an exploration of the “life” of one of the 20th century's symbolic symphonic works in Bulgarian musical culture – composer Petko Staynov’s “Thracian Dances” suite. The starting point of this study is research into some of the archival documents related to the work’s first performance in 1927. The next stage goes through the analysis of the piece’s presence in textbooks from the last third of the last century to the adoption of the Law on Pre-school and School Education. The final stage of this study is focused on the presence of the work and the educational context it is linked to in some of the contemporary Bulgarian textbooks.

„Цаката била в кацата…“ или как градският шлагер преживя социализма

Author(s): Anton Angelov / Language(s): Bulgarian Issue: 1/2020

Between the mid-1940s and the late 1950s the centralization and ideologization of culture marginalized the schlager-song practice from pre-socialist times. Performing and listening to this musical genre was recognized by the authorities as a relic of the bourgeois past and was at the same time regarded as non-aesthetic by the professional composers. In the 1960s the generational change and the penetration of the new modern Western popular culture in Bulgaria altered the focus of the institutions of the regime. The old-fashioned pre-war schlager lost its political incorrectness to a significant extent and gradually became a convenient instrument in the hands of the institutions thus allowing to cover the attention of the elderly generations.

ЄВГЕН СТАНКОВИЧ. ПОЕМА-КОНЦЕРТ ДЛЯ СКРИПКИ ТА ОРКЕСТРУ: АВТОРСЬКІ ПРИЙОМИ ТЕМБРОВОЇ ДРАМАТУРГІЇ

Author(s): Yevheniya Sirenko / Language(s): Ukrainian Issue: 3/2014

This article is dedicated to Yevhen Stankovych, a famous Ukrainian composer of modernity. Yevhen Stankovych was born in 1942 in Svaliava (Transcarpatian Region, Ukraine). His works are the recipients of several awards, among which is his Chamber Symphony № 3 that was selected by UNESCO’s World Tribune as one of 10 best works of 1985. The composer’s works have been performed in Canada, the U.S.A., Germany, France, Switzerland, Finland, Spain, China, the Filipines and Yugoslavia and his works have been recorded on Melodiya, Analekta, ASV and Naxos labels.In this article "The Poem-Concert for violin and orchestra" is viewed in details for the first time. The composition was written in 2004 and it was the year of it's premiere at Taras Shevchenko National Opera House of Ukraine, performed by Dmytro Tkachenko (violin) and Ukrainian National Symphony Orchestra conducted by Volodymyr Sirenko. This composition is remarkable for its very unusual and interesting instrumental team: Violino solo, Percussion (Timpani, 5 Temple blocks, 4 Tom-toms, Campanelli, Tam-tam, Vibrafono, Marimba, Wind chimes, Piattosospeso, Gran cassa), Corno, Arpa and string orchestra. Violin is the voice of hero, striking with lyrical and dramatic content. Timpani is the voice of fate and Corn is the voice of truth that gives a lyrical and philosophical conclusion to the whole art composition and has a separate status in the dramatic art overall. Unusual combination of instruments in the Poem-Concert gives to performing ensemble its own structure and detects solo instruments in addition to Timpani and Corn, a basic violin solo. Timpani has significant melodiousness and Corn appears only at the end of the composition carrying out fundamentally new musical material. So, we can say that this composition’s music idea is mainly built by certain tone colors combinations, contrasts of tone colors, matching tone colors and because of content given to these tone colors by author. That is to say the connection of scenario development with tone colors changes and tone colors combinations is particularly prominent.At the heart of the dramatic composition development arises a conflict that is presented in details in the beginning and is a genetic feature of all is the composition’s tone colors. This is a conflict of timpani and violin, rhythmic conflict within the theme, conflict of manner of execution of material – solo and orchestra, genre and intonation conflict – recitation and arioso. Overall figurative and emotional composition development is directed from the imperative statement of the main theme to the gentle lyrical image of the final and relatively enlightened image of Coda.Violin compositions by Stankovych are characterized by a combination of various genres, overlay, intersection, etc. In this composition, author states in the title used basic genre models – Poem and Concert. Features of Poem are manifested primarily in the form of composition, its softened, imperceptible transitions between parts, lasting for a couple of measures. In other words, there is no formal, clear structure. And second unquestioning feature of Poem is the monothematic principle that is very convincing in this composition. Features of concert-like are determined primarily by the presence of violinist, the leading solo party and appropriate differentiation among orchestral groups.It can be declared that Stankovych is a modern tonal composer who uses within one composition different types and models of tonalities that agree with individual instruments and certain way: the more complex with simpler, the more modern with classic. Timpani themes and violin solo inherent complex tone colors of chromatic nature and horn theme is distinguished by a classic D-dur mode.Composition form may have several interpretations but the author himself defines the form as "chain", consisting of seven major episodes that are continuously connected. Also it is possible to interpret the first part as the sonata’s form. Composition’s themes are developed in two main directions: 1) modification of the main construction (the original topic); 2) the introduction of a new, contrasting thematic material. Also there are two main types of themes: 1) "laconic", 2) "singable" and composer integrally combines them in the Poem-Concerto where intro the theme of Timpani is basis. Its elements and rhythmic formulas are present in all episodes of composition. Using various means of intonation renewal, including polyphonic, they develop intensively. In the end of composition the main theme is confronted by a completely different thematic model: light and lyrical theme with brightly evinced cantillation and"endlessness" of sound. We can distinguish three main thematic complexes of this composition: 1) the theme of Timpani– "the call of fate"; 2) the monologues of Violin – lyrical reflection; 3) the solo of Corn – "the voice of truth".So, the Poem-Concert for Violin and Orchestra by Y. Stancovych is a significant composition in modern Ukrainian violin and symphonic music. This opus encourages listener to focus on his own soul and deep inner feelings, it’s the art in which Yevhen Stankovych, the composer and philosopher is fluent in.

Європейська музична соціологія першої половини ХХ століття: основні підходи та напрями розвитку

Author(s): Olga Dovgan / Language(s): Ukrainian Issue: 2/2013

The article considers the problem of research of the basic approaches and directions of the European sociology of music in the first half of the twentieth century. Based on analysis of Western European and Soviet traditions attempt to identify the general trends of the development of music sociology and outline conditions of its formation as a direction, describe its philosophical basis as the European tradition. Music is a form of self-assertion of individuality, which accompanies the changes in society. Music can be considered as a kind of "book of life" for all mankind and means of communication between the generations. Sociology of art was a scientific theory based on a synthesis of disciplines such as aesthetics, musicology, pedagogy, psychology. New approaches in the study of art began from O. Baumgarten and E. Kant. The real development of the sociology of art was in the XIX century under the influence of the philosophy of positivism, the founder of which was O. Kont. Due to the philosophy of Kont, social issues in art and man as a social problem became extremely relevant. In the end of XIX – beginning of XX century on the basis of positivism naturalism occurs as artistic direction. Naturalism as a literary tradition laid the foundations for the development of the sociology of art in artistic projections and strengthened attention to scientific problems that investigated these projections. A significant contribution to the development of the sociology of art was made by the representatives of the Italian verism. It was a realistic direction in Italian literature, music and fine art of the late XIX century. A typical reflection of veryzm in music were operas by P. Maskanyi, J. Puccini and R. Leoncavallo. So, the social problems in the art activates interest to the theory of art, to its theoretical problems. Music sociology understood within the history and theory of music, but its subject – not only the process of creating a piece of music, but also the future life of music in society, how it spreads and perceived. That is, the sociology of music has been the fate of a piece of music mostly after its completion, when it begins to function in society. In the early twentieth century European musical culture attained a high level of development. It was connected with the rapid processes of democratization and wide spread of art. At this time there is aggravation of social struggle, resulting in a crisis developing the relationship between art and the public. Music as an indispensable factor in social life attracted the attention of scientists. It contributed to the formation of a new conceptual apparatus and the formation of the main problems of sociology of music. During this period created works by C. Bellah, H. Kretzschmar, P. Becker. Twentieth years of the twentieth century – the period of accumulation of theoretical experience of research on the social functions of musical art, the specific circumstances of its life in society as in Western European and Soviet art sociology. Create works of K. Blesynher, M. Weber, articles by R. Rollan, G. Moser and Zh. Kombarye, A. Zilberman and others. From the twenties of the twentieth century, prominent Soviet musicologists, such as: A. Lunacharsky, B. Asafiev, B. Jaworski – also studied the basic problem of musical sociology. Soviet sociology of music composed as a separate branch that has formed different views on musical creativity based on musical theory. Its meaning is interpreted as a direct dependence of the changes taking place in society. In the 30-50s in the Soviet Union sociology of music was declared bourgeois science. It was under the ideological ban, but its interest in the problems do not disappear, but moved to the practical sphere of pedagogy. The situation changed only in the sixties of the twentieth century, when there were new conditions of social and cultural life associated with changes in policy, scientific and technological revolution, the growing influence of the media. This has led to a revival of the musical sociology. So, in the European sociology of the first half of the twentieth century, there are different approaches to the definition of a subject of musical sociology. Search and experiments European sociology of music art formed a sufficiently complex field of studies. Thus, we can identify the general trends of the development of European sociology of music: a study of the specifics of interdependence with other sciences, social function of music, structure of musical culture (public, economic and socio-psychological state of the composer and performers), the structure and behavior of the public of a musical life of different social groups, the relationship between music and media. So, social problems, which got more and more importance in the musical art and reflected in musical works, contributed to drawing attention of scientists at it as a theoretical problem.

Європейська романтична культура ХІХ ст. та вітчизняна рок-культура 1970-80 рр.: компаративний аспект

Author(s): Natalya Liva / Language(s): Ukrainian Issue: 1/2009

In the article have been compared musical culture of romanticism of the XIX century and home rock culture of 70-80th. This comparative analysis has been made for the purpose of ascertaining common traits of the two cultural phenomena. It contains different aspects, such as: historical and art situation, thematic spectrum of the works of art, type of creative personality, specificity of musical language.

І. Карабиць «П’ять музичних моментів» для фортепіано з оркестром: присвята чи заповіт

Author(s): Oleg Kopeliuk / Language(s): Ukrainian Issue: 9/2017

Purpose of Research. The purpose of the research is to reveal the genre specifics and performance concept of the last monumental music piece by I. Karabyts (1999). The mystery behind how the composer semantically represented this piece is determined by the unpredictable dramaturgy of the cycle, which consists of five music moments. At first glance, the fact of dedication to V. Silvestrov points at the stylistics of the music tribute. There are semantical signs of the 5th and the 6th symphonies by V. Silvestrov, which can be recognized in the Concerto; they are represented by the piano as the most important element of the timbre dramaturgy. The piano style of the last music piece – “Five music moment” – acquires the messianic power of the spiritual bequest. At the same time, it does not lack the early and the mature way of thinking. The premiere of the 3rd piano Concerto by I. Karabyts was in Kharkiv on 10th of April 2016 at the concert hall of I.P. Kotlyarevskiy National University of Arts in the format of “Concertportrait. Ivan Karabyts”. Methodology. The methodology of the research is based on the genre stylistic and the interpretational approaches towards studying the music piece, which is not fully covered in the national musicology. Scientific Novelty. The scientific novelty of the obtained results lies in how the complex artistic synthesis of the genre form of the music moment and the cycle form of the Concerto is justified from the scientific interpretological point of view. Conclusions. The analyzed music piece represents the essence of the artistic principles and music thinking of the composer. Five chapters, called «music moments» by the author, are recognized as the artistic unity of the music dramaturgy, which makes the live path of the composer more distinct through the presence of real and unreal worlds. The author generalized the stylistic attributes of the piano music language of I. Karabyts and V. Silvestrov: crystal-clear sound, semantics of quietness (p and pp dynamics). The role of tempo shifting within the framework of the cycle dramaturgy; meditation as the active factor of the author’s self-consciousness; the sound symbolic are highlighted.

Электромузыкальные инструменты в России в 20м веке

Author(s): Nino Barkalaya,Angelika Komissarenko / Language(s): Russian Issue: 1/2019

This paper offers insight into the processes associated with electro-musical instruments (EMI) in Russia and the USSR (1910s – 1990s), and the real stories of the instruments and their owners. The main focus is on the use of EMI in the field of academic music and educational practice. The article also highlights the uniqueness of the Russian experience in the development of EMI and their use in various areas of life in the context of the aesthetics of the modernist state that the USSR then was.

Эми Бич и Эллен Таафе Звилич: женские страницы американской камерной музыки Цель работы.

Author(s): Alisa Smarichevskaya / Language(s): Ukrainian Issue: 37/2016

This research is related to highlighting of genre features chamber music of women-composers Amy Beach and Ellen Taafe Zwilich. Methodology. The methodology of research is based on the principles of comparative and integrated analysis a chamber trio of American composers Amy Beach and Ellen Taafe Zwilich. Scientific novelty. The scientific novelty of the research consist in the implementation in Ukrainian musicology the intonation and dramatic analysis of little-known musical works of American musical culture of the 20th century, particularly the chamber trio of composers Amy Beach and Ellen Taafe Zwilich. These composers represent an original approach to interpretation of genre on the compositional and imaginative levels. The analysis of chamber trio of Amy Beach and Ellen Taafe Zwilich allows us tracing the evolution of genre trio in the musical works of these composers and also identifying the differences in its interpretation. Conclusions. The unexplored in Ukrainian musicology the musical works of American composers Amy Beach and Ellen Taafe Zwilich open for the domestic musicology a new prospects for a thorough study not only the chamber and instrumental music of these composers, but also as a whole of the American musical culture of the 20th century. This research enables to comprehend the emotional and imaginative depth of chamber trio Amy Beach and Ellen Taafe Zwilich and trigger the interest for their concert performance, in particular, on the big stage.

Этнолингвистические и типологические параллели в фольклорном творчестве народов (на материале свадебно-обрядовых песен башкир)

Author(s): Rozalija Asfandijarovna Sultangareeva / Language(s): Russian Issue: XXIII/2018

In Turkic (Bashkir) wedding folklore, in the heritage of world spiritual culture, centuries-old knowledge of philosophy, life-concepts and ideals, as well as language, etiquette, moral and moral values of peoples are concentrated. This article covers the wedding and ritual culture of the Turks and Slavs. Using Bashkir ritual as an example, typological features and parallels in folklore genres associated with common situations of marriage festivals, clan interests and emotions are revealed.Wedding genres of lamentations, good wishes and praise, whose origins go back to the magic of kind words, tears and crying after a complex transformation, create a picture of universal ritual codes.

ЭТНОМУЗЫКАЛЬНЫЕ ТРАДИЦИИ В СТРУКТУРЕ КУЛЬТУРНОЙ ИДЕНТИЧНОСТИ НАРОДОВ ДАГЕСТАНА

Author(s): Medina Abdulaeva / Language(s): Russian Issue: 10/2013

In the layered structure of the peoples of Dagestan identities play a special role Ethnomusical tradition. If instrumental music can be noted ethnoculture environmental, safety in a multi-ethnic region, the art song is in the dynamics and was less stable in the transformation taking place in the field of music. In the space of the sacred-religious music genre took the crystallization of new phenomena - Mawlid, the songs in the ritual of dhikr, nasheed. A proportion of the "closed" ethnic culture, providing her safety, due to the priority role of tradition in the culture of indigenous peoples of Dagestan.

Юбилейно

Author(s): Vassil Stefanov / Language(s): Issue: 2-3/2003

Я КАК ДРУГОЙ В ТВОРЧЕСТВЕ ДИАНЫ АРБЕНИНОЙ

Author(s): Anton Sergeyevich Afanasiev / Language(s): Russian Issue: 2/2014

The article deals with a topical problem in modern humanities studies, i.e. the problem of personal self-identification. The investigation covers the methods of representation of this problem in the works of Diana Arbenina. Based on the play “Motofozo”, it is proved that Arbenina’s philosophy is remarkable for the perception of the Self as the Other. For the harmonious existence of a person, it is necessary that the external Self be united with the internal Self (the Other).

Явища східно-західної конвергенції в композиторській практиці

Author(s): Zhu Chanlei / Language(s): Ukrainian Issue: 1/2007

Тема даної статті продовжує популярну в дослідженнях постмодерністської концепції тенденцію розуміння конвергенції культур як позитивного процесу. Сьогодні здається прогресивним існування на різних рівнях взаємодії близьких та віддалених культур фактів їх сутнісного «перетину»: в сфері лінгвістики і мовних форм різних мистецтв (І.Франко, М.Потебня, Л.Гумільов), традиційної та масової культури (Н.Урбіс, А.Стьопін), фольклорного та професійного мистецтва (С.Грица, І.Юдкін), естетики музики та композиції (О.Маркова, Фан Дінь Тан) та ін.

Явор Конов: „Лексикографско, историографско & библиографско наследство на Себастиан дьо Бросар (1655–1730) – духовник, музикант & ерудит”

Author(s): Svetlana Kujumdžieva / Language(s): Bulgarian Issue: 2/2009

The recently published book of Prof. Yavor Konov is a valuable edition. After the introduction to the Bulgarian musicology of one of the earliest Western music tractates from the end of 17th and the very beginning of the 18th century Principles of the Harpsichord by M. de St. Lambert, now subject of presentation is the first music dictionary, published in spoken French by Sébastien de Brossard Dictionaire de musique, contenant une explication des Termes Grecs, Latins, Italiens, & François, les plus usitez dans la Musique. With this dictionary, as Prof. Konov highlights, has been put the beginning of the modern music lexicography. The author translated de Brossard’s dictionary into Bulgarian, studying it in the broad context of its theory subject matter – from polyphony through counterpoint to basso continuo, with a glance into the vocal sacred music (the Gregorian choral), the sacred instrumental music, as well as the secular vocal and instrumental music. Analyzed are the music terminology used in the dictionary and the collection of de Brossard’s manuscripts and books. Although with stipulations about the limited space, the discussed problems are numerous. The author succeeds to extract maximum information from the sources he worked with, outlining panoramic picture of the epoch and especially the studied aspects of its music. Namelythis picture, that brings up and discusses a number of questions related to an unknown topic in the Bulgarian musicology, makes the book especially valuable. Its importance is that diverse aspects might be discussed from the point of view of crossing a bridge between the European West and East. Provocative materials for comparison in this direction are given by a number of author’s observations and conclusions in the field of music methodology, history, theory and aesthetics, as well as in other still insufficiently studied music disciplines, all part of Sébastien de Brossard’s work.

Явор Конов: „Падре Атанасиус Кирхер (1602 – 1680) и неговата Musurgia Universalis (Рим, 1650)”

Author(s): Kristina Yapova / Language(s): English,Bulgarian Issue: 4/2018

Yavor Konov’s latest book is a novelty for Bulgarian musicological literature, as no other book has been devoted to Athanasius Kircher for the time being. This fact has been taken into consideration with its content modelled on the classical ‘life and career’ pattern. Even the title has put a special accent and has shown the professional affinity of its author, musician (pianist) and musicologist, for Kircher’s fundamental Musurgia Universalis. The book came to life because of its author’s will to share what has drawn his attention, to make available in the public domain the legacy of a figure of three centuries ago still igniting discussions, affinities and oppositions. (Yavor Konov was also behind the Bulgarian reception of Gioseffo Zarlino and Sébastiеn de Brossard). Yavor Konov’s presentation of the parts of Kirher’s work is clear, wellstructured and balanced. Aware of the fact that he can’t afford to follow consistently several steps first, a rigorous scientific research, then the results, requiring a dialogue with and possibly, a consensus among specialised communities, sink in and verify them, and only then promotion – Konov unites these steps into one, developing the panorama of this incredible oeuvre in terms as comprehensible, readable and even attractive as possible. The author’s views, evaluations and interpretations take the same synthetic approach. We’d agree with some of them and disagree with others, and still others would seem markedly subjective to us, but in any event, we’ll have a basis for communication. Providing a wealth of facts about Kircher’s life, illustrations (Yavor Konov specifies that the illustrations are available on free websites), an index of the works of this prolific scholar, testifying to his wide range of research fields, Yavor Konov’s book would attract various readerships, widening like circular ripples and depending on the interests of Kircher himself, who has gone down in history because of his unique place between the fairytale and the scholarly, whose works have always over the centuries attracted readers, followed now by Bulgarian readers as well.

ЯКУТСКИЕ ОЛОНХО В КОНТЕКСТЕ ЭПИЧЕСКИХ ПАМЯТНИКОВ НАРОДОВ МИРА

Author(s): Anatoliy Burtsev / Language(s): Russian Issue: 08/2013

In the article typological connections of Yakut heroic epos Olonkho, recognized as “a Masterpiece of Oral and Intangible Heritage of Humanity”, with epic monuments of Turkish – Mongolian and other Eurasian nations are being observed.

Яна Язова – музикални и културни паралели

Една хипотеза за драмата като inventio за музикалното произведение. Arnold Schering, Beethoven und die Dichtung

Author(s): Neva Krysteva / Language(s): Bulgarian Issue: 5/2014

Yana Yazova’s work brings us back to the cultural environment integrity problem, the interaction between the arts, the critical thought, i.e. the components of placing Bulgaria into European culture, from the Antiquity to Nietzsche’s time – without missing any stages, without ignorance and darkness (“in which theft and murder take place”), without forbidden books and burnt manuscripts. Reality has turned Yana Yazova into an example of cultural hermitage that is rare among Bulgarians, one that reminds of Nietzsche’s own. According to Schindler, at the heart of a musical work there is only discovery (inventio), a spark, an idea. Here we outline our main points: 1. how Beethoven’s thinking, apparently both literary and musical, inspired the Late Romantic Gesamtkunstwerk (Wagner); 2. comparison of French programmatic music, such as Berlioz’, and the characteristic genre music of the 13th century, such as Beethoven’s Pastoral Symphony; 3. the absolute music towards the end of the 19th century, Hanslick’s Tönend bewegte Formen and Geistfähiges Material, and more musical interpretations (see the correspondence of Liszt with Wagner and Brahms with Joachim); 4. musical work is considered autonomous when compared to what; 5. the dispute between formalists and hermeneutics. Similarly to Beethoven’s thoughts, the existential layer of Yana Yazova’s work, her cultural hermitage, is inseparable from all she has left us in her carefully prepared and edited writing. In European cultural environment, Schering’s time, which coincides with Yana Yazova’s, is still within European cultural situation’s unity and integrity.