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Националната библиотека „Св. св. Кирил и Методий“ участва в годишната среща на Конференцията на европейските национални библиотеки
In June, the annual meeting of the Conference of European National Libraries (CENL) was held in Paris, France. The director of the National Library “St. St. Cyril and Methodius ” Prof. Dr. Krasimira Alexandrova participated in the meeting, which was dedicated to sustainable development and the green future of libraries. Directors and delegations from 38 European countries participated in the three-day forum.
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This article aims to review the current tendencies of the application of serious games in the context of institutions, which specialize in textual cultural heritage, such as libraries and archives. The employment of gamification in the field of cultural heritage allows for the creation of digital learning possibilities and creates new ways to promote historically significant texts, thereby providing users with the opportunity to learn about cultural heritage in an innovative and engaging way. The article will look at the application possibilities and some specific areas where the literary heritage can be helped by serious games.
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The third event of the “Ethnocafe” format took place on May 10, 2023. The guest was the writer Eddy Rumyan, author of the collections “Banitsa with Turkish Delight”(2019) and “Last Chance” (2022).
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Krastyo Pishurka is a heavily underrated Bulgarian Renaissance leading figure. His ‘Bulgarian-made’ translations allowed society back then to understand everything clearly and precisely. This is exactly why we must not forget to salute him. He is one of the few people who carried our nation on his shoulders and helped us grow and awaken.
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Stoyan Shivachev (1854–1914) is a little-known actor of the Bulgarian revival, a teacher and participant in the national liberation movement of the Thracian Bulgarians, a lawyer, a public figure and a historiographer of Odrin Thrace.
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Rev. of the boock: Velikiy bibliotekar: Eduard Rubenovich Sukiasyan = The Great Librarian: Eduard Rubenovich Sukiasyan / Rossiyskaya gos. b-ka; [sost.: T.A. Bakhturina, N.N. Golodnova i dr.]. – Moskva: Pashkov dom, 2023. – 588 s.: il. – Paralel. tit. l. angl. – In Rus. ISBN 978-5-7510-0848-2.
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The National Library “St. St. Cyril and Methodius” published the second part of the “Inscription of documents on the economic history of Bulgaria”, compiled by Vera Vasileva, which covers the period 1879–1920). The idea to continue efforts in this direction arose after the release in 2019 of the first part of the inventory and the rapid exhaustion of the edition. The author continues the topic of the economic development of Bulgaria in order to cover it in its entirety, at least as far as the documentary array stored in the BIA at the National Library “St. St. Cyril and Methodius ” (NBKM).
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Napisana przez Marka Dobrzenieckiego książka pt. Ukrytość i Wcielenie. Teistyczna odpowiedź na argument Johna L. Schellenberga za nieistnieniem Boga (DOBRZENIECKI 2020) precyzyjnie referuje dyskusje z ostatnich trzydziestu lat, dotyczące tzw. argumentu z ukrytości Boga na rzecz nieistnienia Boga, jednocześnie jednak jej Autor formułuje własną odpowiedź na ateistyczny argument Schellenberga, a to w postaci odwołania się do chrześcijańskiej doktryny głoszącej, że Jezus z Nazaretu był Bogiem wcielonym (ibid., rozdz. 4) . W ten sposób polska literatura filozoficzna wzbogaciła się z pewnością o bardzo wartościową pozycję.
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Dobrym kontekstem do przedstawienia sporu o „Boga ukrytego” są z pewnością prace Miłosza Hołdy Źródło i noc. Wprowadzenie do współczesnego absconditeizmu (HOŁDA 2020) i Marka Dobrzenieckiego Ukrytość i Wcielenie. Teistyczna odpowiedź na argument Johna L. Schellenberga za nieistnieniem Boga (DOBRZENIECKI 2020), pierwsze całościowe monografie w języku polskim poświęcone temu zagadnieniu. Niniejszy tekst nawiązuje przede wszystkim do rozprawy Źródło i noc Miłosza Hołdy.
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Ksiądz Marek Dobrzeniecki przynależy do kręgu filozofów analitycznych, świadomie akceptując zalety i ograniczenia tego sposobu myślenia. Cieszy go, że za sprawą Petera Fredericka Strawsona, doszło w tym środowisku do odczarowania pojęcia metafizyki i powrotu do zagadnień powszechnie uznawanych za godne stałego namysłu. Mimo to pozostało przekonanie, że w filozofii niezbyt istotne są ustalenia esencjalne, liczy się natomiast niezależny od danej kultury jeden wielki dyskurs, w którym można formułować jak najbardziej racjonalne za i przeciw stanowisku innych badaczy. Nie jestem zwolennikiem tego typu postaw teoretycznych, ale doceniam ich wymowę metodologiczną.
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The contents of the current issue of Roczniki Kulturoznawcze [Annals of Cultural Studies] represent the initial stage of work on the project of integral aesthetics, which was outlined in this journal in issue 4/2021. This project is characterized by two main determinants: an integrated approach to aesthetics of an intercultural character, and the integration of artistic and aesthetic values with moral values.1 The initial stage of this project is designed as an intercultural and cross-social groups overview of viewpoints concerning “art,” which is particularly focused on the clash between creators and recipients of art. This overview is carried out as a forum for the voices of individuals from a wide range of social and cultural backgrounds because the editors wanted to capture the essence of the ongoing confrontation of both social positions, as authenticated by the experiences of the person.
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Art does not express emotions. Art is not the expression of emotion; it is its embodiment. Expressing means ex-pressing, pressing out, through an exit. What is expressed is some stuff that comes out formed and expressed. Orange juice is expressed, pressed out. Emotions are expressed, pressed out, put out into the world in statements and other demonstrations of feeling. Art is not among them. Art is not a demonstration of feeling. If art demonstrates anything, it is mastery, genius, but don’t expect the artist’s emotional biography.
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What is art is a broad question, not only because of the multiple forms of art but what art means to an individual. Art is music, literature, paintings, pottery, weaving, spoken word, acting and sport to name a few forms. Each of these forms there are subsets that expand the art. If you enjoy art in a specific form, you may not know about other forms or subsets that are foreign to you. There are so many forms of art, lovers of art usually focus on what appeals to them and don’t often venture into other forms. Do they want to go beyond their area of comfort and knowledge? It happens but usually as a result of someone introducing them to the art.
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My whole life dance has been an inspiration for me. Ever since I was a child I loved dancing and singing. My everyday life was passing in the rhythm of music. It was that experience that got me into the philosophy of dance and that is when I first encountered Shusterman’s pragmatist aesthetics. It was interesting to me because Shusterman kept on saying it was his own experience with actual dancers that inspired its development. I started to wonder if performances such as Xavier Le Roy’s Untitled fall within the assumptions of somaesthetics.
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This spring, when I accepted the invitation to be one of the three curators of the National Theatre Festival, a major yearly event in Romanian theatre, I realised that organising such a festival implies an honest and lucid reflection not only on theatre, but also on art in general. Parenthetically, the previously mentioned Festival was, traditionally, a showcase of the most important 30–40 productions from the previous year, a kind of summary of the most notable events from our couple hundred stages. For every edition, a concept is sketched, meant to reflect a dominant coordinate, a major topic around which the event is put together
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To say that the question “What is art?” is intimidating is, of course, an understatement. It has exercised the greatest minds in history and yet if any consensus has emerged, the claims that can be agreed upon tend to be minimal, vague, or capacious to the point of simply raising further questions. And perhaps this should not be surprising — “What is art?” is an ontological question, and ontological questions tend to be inherently flawed by the fact that they seek to establish objective fact and yet they are, inevitably, articulated from a subjective position that is ultimately inescapable.
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This issue poses, once more, the centuries-old question: “What is art?” and invited respondents to answer this question either from the perspective of the “creator” or the “recipient” of art. We were invited to answer a question about “the essence of art”, and to specify the position from which we write in terms of this creator-recipient duality.
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Art can be looked at from the perspective of its creator and viewer. At the same time, it is possible to make a philosophical reflection on it, taking into account its nature and the mission it has to fulfil. These reflections have two elements. One concerns the general view of the reality of art in the light of the values of truth, goodness and beauty. The second part of this statement concerns my encounter with art and describing some impressions as a viewer of it.
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In a pivotal scene in Singin’ in the Rain (1952), whose tagline reads, “a silent film star falls for a chorus girl as he and his delusionally jealous screen partner are trying to make the difficult transition to talking films in 1920s Hollywood,” a screen-test audience boos and heckles the quickly revised production of the Dueling Cavalier.1 The audience laughs, guffaws, and mocks the changes in the film where the machinations of silent film are revealed to be trite. At this plot point, the film within the film The Dueling Cavalier appears to be doomed. The heckling at the screen-test made it clear (within the realm of the narrative) that more needed to be done to make the transition from silent to talkie successful. While this is but one dramatic representation of the Hollywood practice of screentesting, one might argue that the screen-test audience blurs the lines between artist and audience.
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