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From the beginning of the 21st century and especially in its second decade, a lot of folklore festivals, sabors, singing and music making competitions, fairs, exhibitions and feasts have been created and organized. In almost every town or village (predominantly these are towns) the events take place once a year – a fact which suggests that they are in a way substitutes of the local fairs from the past. In all these cases there is folk music – either processed or unprocessed. Its role and significance determine to a great extent the type, the format and the level of the particular event.The article reveals different phenomena, certifying for the influence of the music performed on the festival where it is performed – played by professionals or by amateurs, having a main or an accompanying role, used or not with different functions and with different cultural aims.
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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
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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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This article focuses on the emergence of the paradigm of solidarity economy and of the commons in the field of professional cultural production. We unfold the possible mutual cooperation of cultural producers and commoning social movements by examining the case studies of the Resonate music streaming co-op and of the Dutch Stad in de Maak housing-initiative. The case of the Resonate exemplifies how cultural producers can reorganize their industry in a cooperative way to hinder capitalist value extraction. Another type of encounter takes place between culture and commons when cultural producers utilize their knowledge and skills in various solidarity economy projects. We demonstrate this possibility through the case of the Rotterdam-based Stad in the Maak, where the artist-architect founders launched a long-term community housing initiative.
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The present study focuses on expert knowledge as the most relevant information during crisis and the role of media in the selection and identification of experts whose knowledge and experience is presented to the audience. The coronavirus crisis was one of the most unexpected crises in Bulgaria and that is why the experts and their knowledge turned out to be in the focus of attention of the public, the institutions, the national operational headquarters, and the media. The purpose of this study is to examine how journalists find and impart the experts knowledge to their audiences during crises; which scientists and experts they invite for interviews; how they present them to the audience; what kind of dialogues they form and whether their attitude towards the different types of experts they talk to changes. Are there any differences in the dialogues with the experts in the two media selected – Bulgarian national radio and Darik radio – and what specifics and tendencies could be marked in the conversations with them during the period 8th of March – 8th of April 2020.
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The article presents the results of a survey of BNT and BNR news on social networks during the state of emergency in Bulgaria in connection of COVID-19 pandemic (March 13 to May 13, 2020). The aim is not only to explore how the both media are presented on the different social platforms for media activity, but also whether and how they build their social networks (including on their websites) and what news agenda they set in the conditions of crisis.
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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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For the last years in Bulgaria there are more and more examples about the capturing of the big media, indecent flirtation between the media, the government and the ruling parties, pressure on editorial content, expulsion of critical journalists in the media periphery. The public space is highly radicalized due to political and economic confrontations. This negative trend is also creating new forms of alternative, opposition journalism, which is even waging a guerrilla war with the powerful political and financial centers. And probably for the first time in Bulgaria we see an opportunity for changing the dominating model – new media platforms seek financial support from the citizens.
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La présente étude analyse une enluminure du bréviaire de Domonkos Kálmáncsehi (Országos Széchényi Könyvtár, Cod. Lat. 446), daté vers 1481 et rédigé à la cour du roi Matthias Corvinus. Sur le f. 88v, une image décorative et surprenante a été insérée dans une série d’illustrations consacrées à la Vierge : deux couples nus font l’amour autour d’une fontaine. L’auteure considère qu’il ne peut pas s’agir de l’amour vulgaire et pécheur (nuditas criminalis), ni d’une fonction strictement ornementale. Puisque la cour de Buda était influencée par les modes de la Renaissance florentine, notamment par le néoplatonisme de Ficino, il est fort possible que l’image doive être décryptée selon l’interprétation de Panovsky sur la diffusion de la conception ficinienne de l’amour dans les milieux humanistes, surtout si l’on considère que l’un des amis de Ficino, Francesco Bandini, était arrivé à la cour de Buda en 1476. Dans ce cas, les deux couples enlacés ne représenteraient pas l’amour charnel en tant que péché, mais la force génératrice de l’amour sur terre. Selon l’interprétation ficinienne du Symposium, l’amour est l’expression même de l’émanation du pouvoir divin, qui crée le monde dans sa beauté.
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Salvador Dali’s words are actually the embodiment of surrealism1, founded in 1924, in Paris, by André Breton with his Manifeste du surréalisme. This literary and art movement was based on surprising and unexpected juxtaposition of elements of reality. These startling transformations of the real world bring forth new objects that are the creative expressions of imagination, “free of the conscious control of reason and free of convention” 2. The plunge into the subconscious or spontaneous thought could be actually linked to the physical state of headache, mentioned by Dali when starting to paint watches. The combination between the hard metal texture of watches and the softness of the molded watches relies on the “principle of paranoiac metamorphosis” in tangible form (Descharnes, Néret, 2001: 171). My paper is actually a “digging into” the process of creating (of spinning) the nonverbal and verbal images of some indices (threads) of time, watches becoming such a semiotic object. The theoretical background used in the understanding of the reasoning beyond the subjective depicting of some real objects is epistemological in nature, dealing with traditional and social semiotics. The empirical data4 will be provided by Salvador Dali’s The Persistence of Memory (Soft Watches) and Carl Sandburg’s Solo for Saturday Night Guitar. These two verbal and visual images are closely connected, the former being the picture accompanying the discursive representation of time by Sandburg.
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In this essay, I aim to study comedy and humour from an ethical perspective. My main proposal is that comedy and humour can be understood alternatively in the light of ethics, and in one sense, they actually begin, more effectively, with an ethical sensibility. Effective comedy and humour initiate through an ethical sensibility called “hospitality”; ideally, they are preceded by this ethical openness. I will argue that it is this pre-original ethical hospitality and openness that can give rise to more effective moments of comedy, humour, carnival, festivity and also laughter, opening the Self to the Other in order to be able to enter into a disinterested humorous (dialogic) experience. Hospitality is of prime importance here because it turns out to be part and parcel of comedy as it also underlies the ethics of alterity. I therefore suggest that the thoughts of both Emmanuel Levinas and Mikhail Bakhtin can give rise to a fruitful study of ethics, comedy and humour. I will “reduce” socio-political complexities of our daily life-world to comic moments through Bakhtin, and then expose the reader to a Levinasian simplicity and ethical openness that actually takes place before effective comedy and humour can begin. In this essay, I mainly have literary/critical aims, and to fulfil that aim, I will briefly discuss two Shakespearean works and contextualize my thesis. The matter of studying comedy, humour and ethics in a broader cultural, social and/or philosophical context is open for other thinkers.
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The paper problematizes the work and evolution of a Bulgarian artist from the point of view of the biographical approach, his artistic interventions and his re-legitimization as a contemporary artist. It discusses various aspects of contemporary art from the point of view of the artist, his interventions, market demands, the underlying contradictions, as well as the transformative tendencies in the small graphics. The paper argues that it is necessary to expand the understanding of contemporary art with certain actions of artists.
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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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