Книги 2015–2016
Selected bibliography in the field of Bulgarian Studies published in 2015-2016
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Selected bibliography in the field of Bulgarian Studies published in 2015-2016
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Selected bibliography in the field of Bulgarian Studies published in the current year.
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Inclusive education is a dynamic process that is constantly developing, seeking and implementing different opportunities to meet the needs of all children and to ensure their successful learning and development. In this context, the article examines the importance of music in the inclusive process, of its developmental potential; the help that various musical activities do in the process of overcoming problems in the cognitive and emotional sphere; their role in motivating the child to communicate and stimulating the adoption of values that are particularly important in inclusive school; to create the feeling of being supported and upheld in their efforts; for the successful inclusion of the child in the class and the child’s active participation in the school as well out of it.
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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.
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Audiovisual media services providers play informational, educational, social, cultural roles and therefore it is of extreme importance all parts of their programmes to be easy of reach for every consumer. At high level that is to be obligatory for people with specific difficulties of usage of the media, such as the visually and hearing impaired persons/blind or deaf –TV media content should be naturally accessible via various tools and no extra charge. At high extend the legislation in Bulgaria is appropriate and well prescribed but in practice that presentation is out of time and humiliatingly small in quantity and access tools.The media providers should deliver to that specific part of the audience full access to their programmes by using different approaches – the sign-language translation, audiodescriptions and audiosubtitles, subtitles in multiplex platforms, as well as news scrolls as an alternative tool. That is a mark of the democratic society – not to exclude that part of the public but on the contrary – the visually and hearing impaired persons should get media content at ease anytime and anywhere.
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The text presents Bulgarian language web radio based on research in 2014 and 2017. It touches on highlights of its development after the first web radios appeared at the beginning of the new century. The article studies the changes in practices of listening portals. It compares data on web radio stations: number, distribution by format and address. It identifies trends: development of music web radios toward alternative group offers, sustainability of radios of idea-based communities, establishment of the 'marketing' radio, emergence of web radio community initiatives.
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The text examines the web documentary in its relations with other productions, the names used for it and the variants claiming its own importance. An overview of publications has been made, which follow its development and emphasize some of its highly appreciated realizations
More...(Рецензия за „Народният дух“ в авторските песни от България“ на Лозанка Пейчева)
The book by Lozanka Peycheva ‘The folk spirit’ in author’s songs from Bulgaria’ (Sofia: “St. Kliment Ohridski” University Press, 2019) is part of research work on the scientific project “The soft power of popular music in media (by examples from Bulgaria and the Balkans”, financed by the Bulgarian national science fund.
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The text focuses on the messages broadcast by the lifestyle and rhetoric of politicians and public leaders during the Covid-19 pandemic. The imposition of a central media trend is being studied - the machismo lifestyle, emphasizing the characteristics of the patriarchal type of masculinity: aggression, threats, austerity, military rhetoric. The focus on this type of patriarchal-masculine lifestyle can be used as a tool to study the consequences of infodemic.
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Né en 1947 à Bucarest, dans une famille d’intellectuels del’entre-deux-guerres, Costin Petrescu fait preuve d’un talent musical natif. À l’âge de 12 ans, il fonde avec ses collègues le groupe Pop-Rock The Pioneers, devenu en 1964 – année des JO de Tokyo – Olympic ‘64. Le groupe se fait connaître, il apparaît à la télévision nationale roumaine et à la radio. En1968, Costin Petrescu est étudie à l’Institut d’architecture ‘Ion Mincu’ de Bucarest. En 1971, il devient percussionniste du groupe Phoenix, participant à la renaissance de ce groupe. Il a pris sa retraite de Phoenix pour obtenir son diplôme en1974. Il devient architecte-scénographe aux Studios Buftea, puis architecte dans un institut de bâtiments et travaux publics à Bucarest. Il collabore avec les jazzmen Mircea Tiberian, Marius Popp et Johnny Răducanu, de même qu’aux projets Pop-Rock de Mircea Florian et Nicu Alifantis. Il fait de la musique d’avant-garde dans l’Ensemble Hyperion de Iancu Dumitrescu. Lors d’une tournée européenne de l’Ensemble, il reste à Paris et devient chef de projet dans l’une des agences françaises les plus réputées. Il apparaît rarementen Roumanie après 1992, à l’occasion des anniversaires de Phoenix et des collaborations avec Mircea Florian ou Mircea Baniciu. En 1997, il fonde la société ‘Magic Sign’, une entreprise de longue date, consacrée à l’importation de technologie française dans le bâtiment et l’architecture.
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The traditional tamboura performance style is part of the folklore culture of Southwestern Bulgaria and, more specifically, of the Velingrad district. This style is deeply tied to the specifics of the musical dialect of this region. The preservation of tamboura performance style into modern times is characterized by interaction with the modern tamboura and the combination of traditional techniques with new instrumental means of expression. This article traces the renovations and changes in the traditional style in relation to its basic parameters, such as bourdon playing, the specifics of splitting note durations, metro-rhythmic patterns, ornaments, sound lines, morphologies, and the functions of the instrument in accompanying mostly male solo singing. The complex relationships and the way in which they have interacted, have been traced to the individual performance manner of a particular musician.
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The current anthropological study focuses on memes as a cultural phenomenon dating back to the end of the last century. Given that this is a relatively new cultural practice and the small number of humanitarian studies devoted to the subject, the concept is often vague, and its characteristics are immersed in the vast pool, which includes all sorts of 'viral' content. The common belief about memes is that they are a digital form of jokes and are often commented on as retrograde art, in the logic of the frivolous and funny. Due to the fact that they are a picture (collage, photo, comic, etc.) with text, which takes a few seconds to review (as opposed to reading an entire article or watching a news program), they are becoming more and more more influential media of all kinds. The meme genre is becoming an inspiration for marketing strategies, and advertising memes are multiplying rapidly. The text will consider the way in which the phenomenon is described by well-known Bulgarian online news media, and based on interviews with meme activists - the activity will be considered in its potential to be understood as a profitable business and in itself - information media.
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This article examines commercial gramophone records and focuses on their functioning as a medium in the first half of the twentieth century. During the first stage of the development of the shellac gramophone record (from the 1900s to the late 1920s), the gramophone record became the main medium of the music industry, had global distribution and sales, and competed with the leading media and forms of music and art reproduction: cinema and radio. The article focuses on several highlights. It asks how old commercial gramophone records should be studied today: as historical object, sound document, or media? Some methodological problems and directions for future research are pointed out. Examples are given of the history of the Bulgarian music industry and media music in the first half of the twentieth century.
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The article analyses the artistic concepts and the production of the “Folk Art” Experimental Studio, which was founded and was operating during the 1990-s. Most of the performers in the studio were students from the Secondary Musical School in the village of Shiroka Laka (today National School of Folk Arts – Shiroka Laka) in the Rhodope region. The aesthetic values of the artists were formed in the context of dynamic changes and tendencies in a specific sociocultural milieu. Today, most participants in “Folk Art” are outstanding musicians, artists, and conductors, and are at the head of leading institutions in the sphere of professional art based on folklore. The creative ideas and alternatives of this experimental studio became a source for the development of modern tendencies in the interpretation and reconsideration of traditional culture.
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National identity in Bulgarian socialist cinema and especially in the films of the program 1300 years of Bulgaria is understood mainly as a plot – to reflect events from our native history and way of life. Very cleverly, they glided over only those events that, even in their drama, are positive for our self-esteem. But the constructive direction was in the films about migration and guilds as a native modification of the results of industrialization and modernization. In the time of transition, national identity appeared as a problematization – ethnic minorities, ideological, religious, and other repressions came into focus. I define the third stage of identity as confusion. There is no magnetic energy, innovative ideas, deep truth, and sincerity – the screen is 18 percent gray.
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The article explores current phenomena - the relationship between war, radio and music. The focus is on the army radio stations of two warring countries: Russia's Radio Zvezda and Ukraine's Army FM. The research examines the programming policy, funding, music content and audience attitudes of the two radio stations. The question is raised how the media and their musical contents are mobilized and "dressed" in a uniform. Observations on the radio stations and the changed music in them related to the wartime and regime in 2022 point to some new features of the radio propaganda mobilizations and the musical "weapons" used in them
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The text examines the narrative of the video game Hellblade: Senua’s Sacrifice through Jean-Noël Thon’s three-part perspectivist model, focusing on its third dimension - the ideological perspective. It states that the elements of the gameplay, usually defined as purely ludic, in fact play a prominent narrative role. The game manages to trick the player without lying to them by relying on classic video game relations such as believing in what is seen and told, the self-identification of the player with the avatar, and uncritically accepting the game’s instructions/information as relating to their own actions, not to those of the avatar. The ideological perspective of the characters combined with the thus created ‘misleading’ gameplay question the game-player relationship, while at the same time succeeding in an original way to distance the player from the avatar and ultimately succeeding to make the player feel towards the game as the character feels within in his own world. Accordingly, if the gameplay has a message, i.e., allows itself to be semanticized independently of and in conflict with the cinematic cuts in the game, it functions narratively and creates a dissonance resulting from two different and parallel forms of storytelling.
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The edited volume “Journalism, Values, World. A Jubilee Collection in Honour of Prof. Dr. Maria Neykova” (University Press “St. Kliment Ohridski”, 2022) contains 20 articles united by 5 common themes that contribute to the understanding of a wide range of issues of journalistic practice and to professional debates in the field
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