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Флуктуации на доверието в президентската институция в мандатите до 2017 г.

Author(s): Ani Dimitrova / Language(s): English,Bulgarian Issue: 5/2019

The Presidential institution is comparatively new in the Bulgarian tradition of state administration. In the historical aspect, it is essentially a democratic version of the figure of the Chairman of the State Council and of the monarch. Since its inception, the new institution has been called upon to respond to the expectations of society and to adopt standards familiar to traditional democracies.Fluctuations in confidence reflect a change in attitude, contribution, presence, and behavior of the holder of the position in times of social or political crisis.Envisaged as equally distanced from, and with different functions than, the three levels of government (legislative, executive and judicial), while not representing a branch of power, the presidential institution is the highest and only state body that derives its legal status and powers directly from the Constitution; it embodies the unity of the nation and the dignity of the state. The fact that the President is directly elected by all eligible voters gives the institution additional legitimacy. This enables it to serve as the foundation of forms of direct democracy, such as referendums on important national issues. This legitimacy allows the President to form cabinets in times of political crisis, as he/she is an institutional figure holding a mandate that embodies the sovereign, i.e., the people. In this sense, it is of interest to trace the behavior of the presidential institution, which is recognized as being one of the factors maintaining public order and democracy, preventing chaos and violence in Bulgaria. This study is focused on how, and why, public perceptions of the figure and activity of the President change over time.

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Ритъмът на Радев и на Хемингуей е светът

Author(s): Simeon Vassilev / Language(s): English,Bulgarian Issue: 5/2019

In the article, a comparison is made between the journalism and writing styles of Simeon Radev and Ernest Hemingway. Their journalism is a point of reference for their work. For both authors, books were their personal destiny. Radev the journalist, a master of “the art of conversation”, helped Radev the historiographer; similarly, Hemingway the correspondent helped Hemingway the novelist.Hemingway's compass had one direction - from journalism to literature, while Radev’s went from journalism through diplomacy to history. Their style of writing was drawn from their journalistic experience. The compass of these “feverish slaves of the moment” was the same during their travels through Europe, even though Hemingway lingers in the memory of readers with his cap and sailor’s T-shirt, while Radev, with his diplomat’s top hat and walking stick.

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Рози Брайдоти: различие и номаден субект

Author(s): Tatyana Batuleva / Language(s): English,Bulgarian Issue: 5/2019

Sharing François Laruelle's thesis on heterogeneity in the use of the concept of difference, which imparts a specific color to philosophy in the twentieth century, the author examines Rosie Braidotti’s specific interpretation of difference, which, being inspired by differentialism and the nomadic project, creates one of the most interesting contemporary philosophical conceptions. The various roles of difference are sought – first, in the context of Braidotti's understanding of the stages of the feminist project as a set of degrees of difference; second, by viewing difference as a defining element in her theory, the construction of the nomadic subject and his or her becomings in a posthuman and postanthropocentric context; third, in the political projections of the feminist brand of nomadism, based on the politics of location. The article argues the conclusion about the positive structure of the nomadic posthuman subject as opposed to the classical subject on the one hand and the deconstructed subject on the other.

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Конструиране на фантастичния образ. Кант и Шелинг

Author(s): Silviya Kristeva / Language(s): English,Bulgarian Issue: 1/2020

The paper offers a discourse and approach to Kant’s and Schelling’s vision of imagination and fantasy and attempts to illuminate the construction of the fantastic image. Kant separates fantasy as a spontaneous play of productive imagination, even though he admits its ability to create objects that “are not given in the experience”. According to Schelling, the total human activity in art is already a separate research object. This activity unfolds in the universe as a form of the absolute, in which the first images of ideas form the ideal world and determine each specific artistic image. The deduced conditions of the construction of the fantastic image (the pure continuum of intuition and a possible apperception of the image) establish the framework of a new thematic field – the philosophy of the fantastic.

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Онтология на художествената творба при Гадамер

Author(s): Silvia Borisova / Language(s): English,Bulgarian Issue: 1/2020

The article is a comment on Hans-Georg Gadamer’s concept of the work of art presented in his most significant work, Truth and Method. Gadamer’s view of the being of the artwork is consistently deduced from the broader context of the problem of truth in the humanities compared with truth in the natural sciences; and from the immanent positioning of the idea of aesthetic consciousness in the field of the humanities alongside historical, philosophical and hermeneutic consciousness, so that it attains the receptive-aesthetic interpretation of the artwork as playing that has gained an increase of being in terms of a “transformation into a figure”.

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Понятие за символ у Алексей Лосев

Author(s): Galin Penev / Language(s): English,Bulgarian Issue: 1/2020

The article considers different plans of symbolic cognition and being, examined in Losev’s earliest works. Throughout all of Losev`s works, myth is consistently established as a symbolic representation of being. Every usual thing becomes a symbol of an absolute individuality when it takes part in a dialectics of part and whole. This dialectics is just a skeleton of the intuitively grasped body of the vital being of the symbol. The genuine symbol overcomes the decomposing antinomies and restores the unity between image and word, present and absence.

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Aвтор и герой в естетическата дейност

Author(s): Mikheil Bakhtin / Language(s): English,Bulgarian Issue: 1/2020

Essentially important for the adequate understanding of Bakhtin’s multi-layered aesthetics is his great work Aesthetics of Verbal Creativity, written in the early 1920s and dealing with the correlation between author and character in aesthetic activity, in the act of artistic creativity and in the work of art. The book, for its part, belongs to its time, which is reflected in its difficult, complex and multi-faceted terminology. But it assumes the topical significance that the problem of the author acquires not only for Bakhtin, but also for contemporary aesthetics and poetics in general. Bakhtin's scientific position in the 1920s can be defined as a withdrawal and repulsion from those fields of art and poetics that he generally defines as "material aesthetics". The work in question also provides a thorough and precise critique of the author's attitude towards the hero – philosophically developed here as a critique of the reduction of vital values to material ones. Another object of fundamental critique is the concept of "feeling"(Einfuhlung), which was highly influential in aesthetics in the late 19th and early 20th centuries. Here, Bakhtin defines his own field of study as "the aesthetics of verbal creativity", and this too broad and multi-layered in its meaning formula was justifiably chosen by the publishers as the title of the manuscript book.

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Комуникативната функция на танца като предмет на философската естетика

Author(s): Avrora Andreeva / Language(s): English,Bulgarian Issue: 1/2020

This study focuses on an essential aspect of dance that is often neglected or rejected in dance research. The being of dance is viewed and considered as an aesthetic and social phenomenon. At the same time, the study postulates that dance – as an art form and as a social phenomenon – is a way of communication, of non-verbal expression, and a miscellaneous means for interchange of thoughts, feelings, perceptions and ideas between the participants in dance reality, an invitation to the outside world to enter within. The article holds the view that dance necessarily carries some kind of message and content. The means of expression involved in dance reveal their potential to transcend, transmit, to imply or hint, and sometimes even to hide meaning within the realized dance reality. In addition, the detailed analysis of the ballet-mime scene in Swan Lake traces a conversation, a “silent dialogue” between the two main characters, which is probably one of the best illustrations of the direct act of communication through art in general, and dance in particular.

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От танцa Сема до съдбовната среща между Руми и дервиша Шамс по пътя на Любовта

Author(s): Vyara Popova / Language(s): English,Bulgarian Issue: 1/2020

The text offers a formal and meaningful analysis of the ritual dance-prayer Sema; on this basis, the author: 1) briefly presents Sufism as a specific mystical movement in Islam, and 2) introduces expository concepts and terminology specific to Sufism. The text proceeds from the premise that Sema is a visual demonstration of Rumi's ideas, expressed in his poetry, regarding the Path, Love, and the Beloved as symbols of the relation of the human being (as created) to the Creator. Thus, the dance Sema becomes a visual-figurative cipher for the adequate reading and understanding of Rumi's mystical poetry.

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Улицата като място на превращение при немските експресионисти, Гео Милев и Асен Разцветников

Author(s): Vasil Vasilev / Language(s): English,Bulgarian Issue: 1/2020

This text deals with the dynamics and dialectics of the street as a special space of multifaceted impacts and transformations, which are in many cases of a borderline and ecstatic kind. From the viewpoint of the authors under consideration, the street is seen and experienced as a topos of crisis, of revelations, but also of secrets, of apocalyptic visions revealed primarily in the depths of affect, but also through morbid expressionistic reflection; visions that seem to come together and unite within hypnotic prophecies...

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Социалната значимост на завещанията и даренията на д-р Петър Берон

Author(s): Dimitar Ganov / Language(s): English,Bulgarian Issue: 2/2020

The article presents new facts and original analyses of the donation activities and the Wills of Dr. Petar Beron. A number of confirmed opinions about specific donations, teacher support, etc., are found to contain serious omissions and inaccuracies. Many important, but hitherto supressed or unknown, data about abuses involved in the donations are pointed out and analyzed in detail ford the first time in the article. The author reveals so far unknown, or barely touched upon, aspects of the social, political, and economic context of the Wills.

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Просветителският идеал на един възрожденец

Author(s): Bisera Koleva / Language(s): English,Bulgarian Issue: 2/2020

The article argues the historical relevance of a non-trivial Enlightenment view – that of Marko Balabanov regarding higher education in Bulgaria as an urgent historical necessity even under the conditions of lack of political freedom, and regarding the creation of a Bulgarian higher school as a public institution within the boundaries of the Turkish Empire. The author claims that Marko Balabanov's view attests to an enlightened and sound reasoning in the context of his socially responsible political philosophy; the idea in question was much more adequate to the historical needs of Bulgarian society in the second half of the 19th century than was the revolutionary and democratic ideal of political independence, an ideal that assigned a subordinate place to education. The article dwells in particular 1) on Balabanov’s more general view about education as the vital component of human development and 2) as the unavoidable precondition of political freedom; on 3) his idea regarding the catch-up role of a “purely“ Bulgarian higher school in the context of the rather low educational level of the mass of people; and on 4) his understanding of the autonomous value of scientific knowledge.

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Ницше на „Острова“ Славейков

Author(s): Kamelia Zhabilova / Language(s): English,Bulgarian Issue: 2/2020

The text highlights the problematic presence of Nietzsche on the “Island” Slaveykov. Why do we say problematic? Yes, “the voice Nietzsche” is very clear and easily traceable not only to Pencho Slaveykov's creative activity but also to his life / existence. The use of “voice” is as metaphorical as it is symptomatic of our effort to be heard, or rather “eavesdropped” on, through the various ranges in which the ideas of the Sils-Maria loner sound in the works and personal biography of Slaveykov.

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Бележки за неравноделния ритъм на битието, или що е това – философия с душа?

Author(s): Nikolay Turlakov / Language(s): English,Bulgarian Issue: 2/2020

If what is revealed to man and his native world in Haitov’s essay “A Meeting with the Song” is viewed in terms of the question “What is song and whistle with a soul?”, then would it make sense to look at philosophy in terms of a similar question, and what could we discover thereby? Is it possible to use the example of a query in Haitov's story about a whistle and a song in order to raise, and expand, the question “What is Philosophy with a Soul?” This essay starts by drawing a distinction between the “creative basis” of the philosophical work and its “theoretical role”; in this way, it is a preparatory attempt to elaborate and answer this question.Philosophy with a soul is the philosophy that, in the depths of everyday life and simplicity, discovers a gap in the authentic rhythm of being – the rhythm that is unexpected in terms of logic, surprisingly bizarre, unequal. This is exactly the Rhythm that fundamentally posits, and acts as, the Meaning of all meanings in our homeworld.

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„Поетическа теология“: херменевтиката и завръщането на древните богове в платонически контекст

Author(s): Bogdana Paskaleva / Language(s): Bulgarian Issue: 3/2020

Renaissance Platonism is linked to the revival of the interest in the deities of the Ancient pantheon. The present text traces back some of the origins of this process (the tradition of the Dolce stilnovo in Tuscan language and Dante Alighieri’s commentaries on his own works), arguing that the genre of the allegorical commentary on poetic texts is one of the main instruments facilitating the return of Ancient gods in the Christian context of 15th-century Florence. The key moments of the analysis regard Giovanni Pico della Mirandola’s commentary practice.

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Сравнительный анализ религиозно-философских доктрин хуруфизма и единства бытия (вахдат ал-вуджуд)

Author(s): Zaur Rashidov / Language(s): Russian Issue: 3/2020

Hurufism is an historical mystical-philosophical worldview, part of the Islamic spiritual culture. The founder of this teaching is Fazlullah Naimi (Astarabadi) (1339–1401). In his teaching, Fazlullah attached divine meaning to 28 Arabic and 32 Persian letters. According to Naimi, the letters, numbers, and also traits and features of human face have a hidden secret meaning. Divine signs (letters and numbers) are revealed in the human face (traits and features). Thus, through divine signs, he transferred divine qualities from God to man. Accused of spreading anthropomorphic and anthropocentric ideas that are unacceptable in Islam, Hurufism has been criticized and persecuted since its founding. Its founder, Fazlullah Naimi, and one of his most famous followers, Seyyed Imadeddin Nasimi (1369–1417), were brutally executed. The views of the Hurufites were declared heretical throughout the Islamic world. For this reason, in the following centuries, the Hurufites were forced to hide and their original ideas dnf teachings began to transform rapidly. During that process, Hurufism gradually dissolved in such mystical and philosophical teachings and trends as Bektashism, Alavism, Calendaring, the ideology of Kyzylbash. The ideas of Hurufism enriched the theoretical foundations of these Islamic teachings.

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За човека като техническо животно (ортегианско размишление)

Author(s): Nikolay Tsenkov / Language(s): Bulgarian Issue: 3/2020

The article focuses on José Ortega y Gasset's understanding of technique. According to this Ortegian understanding man imposes on nature his technological power not simply to satisfy his needs, but also as a manifestation of the continual conquest of reality. Through the prism of technique, the article presents an interpretation of the Spanish philosopher’s vision on the creation of being through incessant activity: man creates his own existence not only economically, but also metaphysically.Ortega y Gasset's conception of technology is also linked to another central theme in his philosophy – life as a radical reality. This issue is also discussed together with some pejorative social phenomena related to technological development like the crisis of desires, the acceleration of life, and the lack of interest on the part of the masses in the cultural conditions that make technological progress possible.

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Художествената кариера на кича

Author(s): Ivan Stefanov / Language(s): Bulgarian Issue: 4/2020

The advent and development of kitsch is genetically related to the specific sociocultural context of 19th-century second half, when art became an autonomous and independent reality. It can no more rely on mythology, religion, philosophy, and politics, and pretends to be only and solely a ‘pure art’. Art narrows, and in the vacuum opened, the new aesthetic phenomenon of kitsch ensconces. Kitsch has become an intrinsic, aesthetically immanent element of the system of art as a totality. An infinite internal transition between these two so cognate and so different, opposite spheres has emerged. The dialectics of these relations shows that kitsch is not only a waste of art.

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„Сляпото петно“ в индексикалните аналогии на опита

Author(s): Kristian Enchev / Language(s): Bulgarian Issue: 4/2020

This is a text-experiment of thinking simultaneously intentional implication and transitive intentionality, with a focus on the affective side of perceptions harmonized in subjectivity. Kinesthetic activity is a permanent immanent transcendence. The technique thrown outside is the ‘blind spot’, the ‘point of the gaze’ behind the ‘point of view’. The exteriority of technique is not objective, we touch or see it when we touch or see the image: we see the invisible and touch the untouchable on the surface – this is the contact with the impossible possibility of the image. In technique, recognition and conceding by anonymous others is an inseparable part of our own kinesthetic organization: a permanent, intrinsic transition within ourselves as something other than ourselves. Our horizons of expectations do not remain unaffected by indexical analogies, by the ‘pinning’ of a related to habitually assimilated context ‘blind spot’ in the midst of ‘doing-work-as-if’. The affective tissue that accompanies the indexical analogy in mimesis, inscribes into the ‘scene’ of space the ‘scene’ of its own habitualized space, and thus a change of optics and perspective becomes possible, decentering becomes possible. This decentering makes the image fluctuating by analogy – “indexical analogies of experience” – with the indexical history.

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„Изкуствата на тялото“: автор, творба, публика

Author(s): Nikolina Deleva / Language(s): Bulgarian Issue: 4/2020

The work is devoted to different forms of body art, where the author uses his own body as a material for making art. These art practices are related to questions about their ontological nature and the criteria for defining and distinguishing art and reality, object and subject, author and work of art. An Identification of different components of the art process - author, work, public, as well as the relationship biological–mechanical–virtual have also been considered.

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