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In the Olena Rebrova’s article “Artistic Identification as the Factor of Music and Choreography Teacher’s Training in Multicultural Education Condition”, two concepts: “artistic identity” and “artistic identification” are clarified. This paper then defines pedagogical functions of artistic identification and helps establish the artistic competence for music/ choreography teachers. In addition, this article discovers and evaluates experimental results of music/choreography students based on the surrounding multicultural environment as well as their artistic identity.
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The article deals with the phenomenology of the artistic mentality through its attributive constituents and functional processes. As the attributes of the artistic mentality are the artistic phenomena: thinking, images, symbols, methods and tools, reflecting the picture of the world in art. The functionality of the artistic mentality is designated within the boundaries of the cultural paradigm within which the artistic-communicative, artistic- ideological, ethnic-identifying and professional-creative functions are highlighted.The article focuses on the polymodality of artistic mentality that is manifested most clearly and characteristically in the choreographic art. The choreography is the most syn- thesized form of art among the historically ancient forms of human creativity. elected attributes of the artistic mentality and its functions are manifested in the choreography, which gives grounds to define the essence and uniqueness of the choreo- graphic thinking, the choreographic image, the concept of the plastic-intonation character, energy of dance movement as a means of transmitting emotional information, chore- ographic-image thesaurus, and other specific artistic-mentality attributes.The specificity of artistic-mentality functions of the choreography provides intensive development of this form of art in the contemporary society as a socio-cultural space, covering all groups of the population by age, occupational, subcultural and other classi- fications.From a professional point of view the artistic mentality of choreography involves labeling the essence of the choreographic-performing and choreographic-pedagogical mentality.
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Албер Ками, чију стогодишњицу рођења обележавамо овом изложбом, био je вишеструки стваралац: романописац, филозоф, драматург, есејиста и ангажовани новинар, борац у француском Покрету отпора и моралним биткама у времену после Другог светског para, непоколебљиви борац за укидање смртне казне, добитник Нобелове награде за књижевност (1957), три године пре трагичне и апсурдне смрти (I960). Његово разноврсно дело - које обухвата романе: Странац (1942), Куга (1947), Пад (1956), Први човек (1994)з новеле Изгнанство u краљевство (1957), позоришне комаде у којима су играли познати глумци и глумице тога времена: Неспоразум (1944), Ка- лигула (1944), Опсадно стање (1948), Праведници (1949), адаптацију романа Зли дуси Достојевског (1959), есеје: Лице и наличје (1937), Свадбе (1939), Мит о Сизифу (1942), Побуњени човек (1951), Лето (1954) - изражава његов ху- манизам, заснован на стицању свести о апсурдности човекове судбине и на побуни против апсурда, која даје смисао свету и човековом постојању и буди радост.
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Bulgaria’s intellectuals of the National Revival period are not the only ones faced with the “enlightenment or revolution” dilemma. The same issue is of concern to Bulgarian intellectuals throughout the age of socialism. The paper looks into the peculiarities of Tsvetan Stoyanov’s stance on the “problem”; these peculiarities manifest themselves in the literary texts and in the criticism written by the erudite author. Tsvetan Stoyanov and Georgi Markov are contrasted as polar opposites in terms of the possible choices for the Bulgarian intellectual before the fall of the Berlin Wall.
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Introductory article about the prospects of publication of the magazine "Teren" and a brief survey of literary periodicals of Volyn region. The article deals with a lack of periodicals that highlight art themes, and reluctance of the authorities to provide support for literary-artistic publications. A short account of the achievements of the publishing project entitled "Teren" in 1998-2000 ends with a description of changes and innovations in the publishing programme.
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The article explores the recently acquired status of Sofia Central Cemetery as a cultural monument and the ensuing ideas that it could be developed as a site of the so-called dark tourism. The text discusses comments on the cemetery park and its changed status published in various media. On this basis, the author reconsiders administrative and public attitudes towards the cemetery. The analysis draws on the conceptualization of the cemetery as a heterotopic space and focuses on its uses seen in the dynamic of power relations in the site.
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The text presents the digital activities of the New Bulgarian University (NBU) Center for the Book during the time of pandemic, declared state of emergency and the closure of the university. The publication covers the work of the Publishing House, the Library, the University Archives and the Readers’ Club. In the period of isolation, the NBU Publishing House published new books in various fields and presented them via Facebook due to the impossibility to hold live meetings in the bookstore of the Center. During this period, the NBU Library (which is a combination of traditional and electronic resources and services) supported online learning through remote services. The University Archive presented virtually the personal archives of Prof. Milcho Leviev and Prof. Miroslav Yanakiev. The NBU Readers’ Club maintained its interest in reading by publishing video reviews of books selected before the pandemic, as Arthur Haley’s Airport, Svetlana Aleksievich’s Chernobyl Prayer, and Olga Tokarchuk’s Flights.
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