A kultúra közjó

Author(s): Virág Buka,Kristóf Nagy / Language(s): Hungarian Issue: 27/2020

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.

The Eagle from the Apse of the Church Saint-George in Karinia (1281). Puzzling Heraldry, Defaced Inscriptions, and Odd Iconographic Choices in Inner Mani after the Second Council of Lyon.

Author(s): Panayotis Katsafados / Language(s): English Issue: 4/2020

L’église de Saint-Georges à Karinia (Magne intérieur, Laconie, Péloponnèse) a été peinte en 1281. La présente étude est consacrée à l’analyse d’une représentation très rare des Maccabées ; de celle, grandeur nature, du couple de ktètors ; de trois inscriptions fragmentaires ; et d’un aigle héraldique peint dans l’axe du sanctuaire. Cet aigle d’inspiration évidemment occidentale n’a pas de correspondant dans la région. Les in*uences occidenta- les sont très faibles dans le Magne, occupé par les Latins pendant une brève période (1250-1262). Le programme iconographique de l’église est byzantin, témoignant sans doute d’une in*uence macédonienne. Saint Geor- ges ∆ΙΑCΟΡΙΤΗC est accompagné par l’enfant sauvé et saint Démétrius est identifié en rapport avec sa sépul- ture à Salonique : (Ο ΑΓΙΟC) ∆ΙΜΙΤΡΙΟC Ο ΕΝΤΕΘ[ΕΙ]C ΕΙC [ΘΕCC]Α /ΛΟΝΗΚΗΝ. Seule l’énorme représentation du groupe des Maccabées sur la paroi septentrionale pose problème. Le thème est rare, mais ce choix iconogra- phique peut être mise en rapport avec une communauté juive (ou de juifs chrétiens) a1estée par la présence de noms juifs dans une série d’inscriptions maniotes des 5Ie-5IIIe siècles. Malheureusement, une grande partie de l’Inscription A de Karinia, peinte sur l’architrave du templon, témoigne d’une destruction du type damnatio me-moriae. Les noms de l’empereur Michel VIII Paléologue (ΗΜων ΜΕΓΑΛΟΥ ΒΑCΙΛΕΟC) et du patriarche œcu-ménique Jean 5I Vekkos (ΑΡΧΙΕΡΑΤΕ[…] ΟΙΚΟΥΜ[…]) ont été détruits, de même que celui du métropolitain du Magne (Ο ΚΑΤΕΠΙCKΟΠΗC ΜΑΙΝΗC). Les seuls noms partiellement conservés sont celui d’un certain fteonikon, sacellaire d’un archevêché inconnu ([.]Ε[.]ΝΙΚΟΝΟC ΤΟΥ. Κ(ΑΙ) CΑΚ[…] ΕΠΙΣΚΟΠΗC) et le nom du peintre Georges(ΓΕω/[…]) dans le module chronologique, suivi par l’année (6789 = 1281), le mois et le jour ([..]ΝΗ ΜΑΡΤ΄Ϊω ΕΙCΤ(ΙC) ∆~ Η[…] / ΕΤ(ΟΥC) Я~ Ψ Π~ Θ~ :~), voire par le signe de l’indiction. L’Inscription B, peinte au-dessus de la repré- sentation des ktètors, mentionne l’archiprêtre Démétrius et son père Michel (ΚΑΓω` ∆ΙΜΗ΄Τ[ΡH]ΟΣ ΙΕΡ(ε)ασ Κ(ΑΙ`) Α~ΠΑΠΑC. υιKσ ΜΙΧΑΗΛ ΤΟΥ ∆ΕΥ[ΤΕ]ΡΕΒΟΝ/ΤΟC), le dernier étant probablement représenté dans le por-trait votif. Lant à l’Inscription C, très eMacée, elle constitue une prière de Michel et de son épouse. La compa- raison de ces inscriptions fragmentaires avec d’autres inscriptions contemporaines, peintes dans les églises de la région, permet la reconstitution d’une grande partie des données perdues. C’est en partant de ces acquis que l’analyse de l’aigle héraldique du sanctuaire doit être faite. L’oiseau peut être interprété en clé iconographique (latine ou juive), commémorative (en rapport avec une sépulture), purement héraldique (témoignant de la pré- sence d’une autorité latine) ou purement ornementale (comme une conséquence de l’évolution du registre infé- rieur de peintures). Formellement, l’aigle de Karinia n’appartient pas à la catégorie d’aigles byzantins utilisés pour désigner l’empereur. Il a été copié d’après un modèle occidental. Cela ouvre la voie à quatre interprétations possibles : 1-2) symbole impérial byzantin adapté (pour des raisons variables) à partir d’un prototype occidental (avec ou sans rapport avec une communauté locale juive) ; 3-4) témoin d’une présence latine après le Deuxième Concile de Lyon, 1274 (avec ou sans rapport avec ce1e même communauté). Le choix de représenter cet aigle ne pouvait pas être fait par le peintre Georges, qui peut être identifié avec Georges Konstantinianos, peintre local de l’église de Polemitas. L’aigle, les Maccabées et les inscriptions qui accompagnent les saints militaires té- moignent d’un niveau culturel éclectique de l’élite locale. Ce choix culturel pourrait être a1ribué à Michel, ostiaire de l’archevêché du Magne. Son fils Démétrius aurait pu poursuivre un telle initiative après la mort de son père. Lelque temps après (post-1282) les noms des personnes liés à l’Union de Lyon ont été eMacés.

Philosofia Picta.On the Reception of the Neo-Platonism of Florence in Buda.

Author(s): Edina Zsupán / Language(s): English Issue: 4/2020

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.

L’art médiéval est-il contemporain? Acte IV

Author(s): Cécile Voyer / Language(s): French Issue: 4/2020

“Spinning the thread/(t)s” around images of time

Author(s): Camelia Cmeciu / Language(s): English Issue: 1&2/2016

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.

Рада Славинска. Предпоставки за възникване на жанра „песен за народен хор“. Пловдив: Академия за музикално, танцово и изобразително изкуство „Проф. Асен Диамандиев“, 2019

Author(s): Natalia Rashkova / Language(s): Bulgarian Issue: 4/2020

Book review

Концептуализирането на художника в артист: иновации, игри и импровизации

Author(s): Todor Yalamov / Language(s): Bulgarian Issue: 4/2021

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.

Sacred versus Profane or the Rublev-Berlo Controversy in Mogoșoaia (2021). Invitation to a future collective investigation

Author(s): Roxana Donaldson,Ana Negoiță / Language(s): English Issue: 5/2021

At the end of each year, the Cultural Centre of the ‘Brancovan Palaces’ (Centrul cultural ‘Palatele Brâncovenești’)in Mogoșoaia organizes a call for projects. In the application form, artists present their projects and the scientific council of the institution makes the plan for the following year’s exhibitions, selecting the best proposals. Such was the case of the exhibition ‘Time Rush’, proposed by Eugen Berlo, a Romanian-American artist who lives and works in New York City and Bucharest. ‘Time Rush’ was approved for the year 2020

Il était une fois... un rêve. La chute d’une grande troupe du Levant

Author(s): Costin Petrescu / Language(s): French Issue: 5/2021

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.

Renewing Traditional Tamboura Style in Individual Performance

Author(s): Petyo Krastev / Language(s): English Issue: Special 2/2020

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.

Меметата в новините и меметата като новини

Author(s): Maria Ivanova / Language(s): Bulgarian Issue: 11/2022

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.

Към някои възможни интерпретации на грамофонната плоча като медия

Author(s): Ventsislav Dimov / Language(s): Bulgarian Issue: 11/2022

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.

Експериментално студио „Фолк арт“ – творчески алтернативи в процес

Author(s): Petyo Krastev / Language(s): Bulgarian Issue: 4/2021

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.

Представата за идентичност в българското кино по време на кризи

Author(s): Petia Alexandrova / Language(s): Bulgarian Issue: 12/2022

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.

Война, радио и музика: радиопропагандни мобилизации и настъпления на руско-украинските фронтове

Author(s): Ventsislav Dimov,Ventsislav Dimov / Language(s): Bulgarian Issue: 12/2022

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

Украинските бежанци в българските медии (25 февруари-10 май 2022 г.)

Author(s): Author Not Specified / Language(s): Bulgarian Issue: 12/2022

The text presents results of research carried out by students of European studies (Simon Weil graduation, academic year 2021/2022), centered on the image of Ukrainian refugees and the ways in which it is constructed in the Bulgarian media. The results of the study refer to the first two and a half months of the war in Ukraine. 35 online and Internet-based media were tracked. Basic aspects of media representation are summarized in concluding text

Наратив и преживяване в "ХЕЛБЛЕЙД: жертвоприношението на Сенуа"

Author(s): Severina Stankeva / Language(s): Bulgarian Issue: 13/2023

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.

Рецензия за „Журналистика, ценности, свят. Юбилеен сборник в чест на проф. д-р Мария Нейкова“

Author(s): Mariyan Karagyozov / Language(s): Bulgarian Issue: 13/2023

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

REINTERPRETATION OF ‘SACRED SPACE’ AT THE NEWARK EARTHWORKS AND SERPENT MOUND: Settler Colonialism and Discourses of ‘Sacred’

Author(s): Sandra Garner / Language(s): English Issue: 1/2023

Moundbuilding was a preoccupation for the original, Indigenous occupants of the eastern portion of North America for at least six centuries. Approximately two millennia ago, the inhabitants of a broad swath of land primarily east of the Mississippi River and extending from the gulf to the Great Lakes, engaged in the production of conical, geometric, and effigy shaped earthen mound constructs. The efforts, from small to monumental, reflect a precision, often reflecting astronomical phenomenon. The proliferation of mounds and astronomical focus suggest the moundbuilder cultures privileged these activities, they had purpose. Today many remnants of these extraordinary efforts remain despite the systems of erasure that are characteristic of settler colonialism.Two such sites are the focus of this paper on “sacred space”: the Newark Earthworks and Serpent Mound. Both sites are short-listed for UNESCO World Heritage status. The Newark Earthworks as part of a larger package referred to as “The Hopewell Ceremonial Earthworks” and Serpent Mound is a stand-alone nomination. The names of the sites are exemplary of the “logic of elimination,” central to settler colonialism in the Americas (Wolfe). Newark, Hopewell, and Serpent all names given by dominant culture with no relation to the Indigenous architects and builders. They endure and resist, despite a long and complicated history of dominance. While the focus of this paper is on contemporary contestation surrounding the sites, this paper begins with a close description of the sites and offers a brief overview of contact. This historical contextualization serves to demonstrate the ramifications of settler colonialism, which ruptured connections between Indigenous people and this land while simultaneously reinterpreting the sites as distinctly American. This lays a foundation for the web of narratives refashioned and recirculated in today’s contest over World Heritage status. Central to these narratives is ascribing the label of “sacred” to the sites. The vast number of constituents who claim a seat at the table regarding “ownership” and a voice regarding the sites is astounding. These include governmental agencies from the local to global, historical societies, Native peoples, academics, golfers, and small pockets of the public. Into this mix we can include those with religious/spiritual claims such as the Mormons, new-agers, fundamentalist Christians, and contemporary Native tribes. Many of these stakeholders have come together to work toward the coveted World Heritage Status. But, if and when it happens, whose story will dominate, who will make decisions, which voice will be heard?

ОТРАЖЕНИЕ НА САКРАЛНОТО ПРОСТРАНСТВО-ВРЕМЕ В ЕДИН ДРЕВЕН МЕНХИР

Author(s): Nikolay Sivkov / Language(s): Bulgarian Issue: 22/2023

Space and Time are parameters of the universe. They are also the basis of the ideas of ancient societies about the world, which are reflected in the archaeological monuments. The article presents an anthropomorphic menhir from Midwestern Bulgaria, which contains information about an anthropo-cosmological model of the world from the age of megalithic cultures.