Around the Bloc: Balkans Slam Doors on Migrants
Would-be asylum seekers lacking valid documents could be stranded.
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Would-be asylum seekers lacking valid documents could be stranded.
More...Навлизането на хелоуинския маскарад в празничната система на българите
The text analyses the spread and the popularization of the Halloween holiday in Bulgaria. The invasion of foreign models and patterns, their quick adaptation to the contemporary urban environment is at the core of the discussions about the celebration of the foreign holiday, as well as in the discussions about the traditional, “ours” and “theirs”, urban and village, eastern and western, moral and satanic, etc. Is Halloween a holiday on Bulgarian grounds, how and to what extent the traditional holidays of the other nations can be emulated by the Bulgarians, does the Bulgarian mentality also experiences the foreign holidays as sacral, does it internalize their meaning and symbols or does it simply understand them as rejoicing – these are part of the questions discussed in the text. The analysis of the comments in the Internet forums, blogs, events, articles and sites, as well as the interviews with schoolchildren offer different points of view to these problems, connected with the contemporary individual approaches to the traditional – both native and foreign, as well as to the creation of festive events or experiences, disseminated as marketing products.
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The song ‘1944’ decries Stalin’s deportation of ethnic Tatars from the peninsula that Russia annexed two years ago.
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This article offers the concept of folklore nostalgia, derived from Michael Herzfeld’s definition of structural nostalgia as an aspect of the broader notion of cultural intimacy. The concept is discussed in regards to the areas of fieldwork within Bulgarian ethnology and folkloristics. The aim of creating this juxtaposition is not to formulate theoretical propositions, but rather to discuss the extent to which and directions in which the use of this concept would be applicable for the methodology of anthropologically oriented disciplines. The place of the internet is of particular importance here as a ‘new’ field and, at the same time, a ‘new’ source for anthropological research. Studying the specific type of communication on the internet—the characteristics of which resemble the folk(lore) interaction—it is highly interesting to explore this private sphere where interpretations of the official discourse, as presented by the media, take place.
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Alleged political pressure stalls move for change and tens of thousands demonstrate.
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Station pleads with government to solve its chronic under-funding problem, as debts from users and entity stations mount.
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The paper is an attempt to study the production of cultural identity in the hospitality industry, based on materials from a specific archive: the online self-presentation of the restaurants offering national cuisine. The questions driving the investigation are: is there an established new standard, new consensus among the caterers what is the national cuisine and culinary heritage. And if the answer is affirmative, how does it relate to past standards and how are they communicated to the consuming audience. The analysis of the advertised meals or the units (of R. Barthes) and the menus or the syntactic systems (ibidem) makes possible to offer a few observations: 'the past', 'the authentic', 'the Bulgarian' quality is modelled on the pre-World War II Bulgarian peasant home. We witness an ongoing and dynamic process of constructing and naming the structures of the national cuisine and this process is, essentially, a bricolage, which leaves ample space for individual contributions. In contrast to popular nationalistic rhetorics, the national cuisine incorporates freely Turkish names and products, identified and accepted as "Bulgarian". The vocabulary of the national style is open, flexible, inventive and benignly contradictory (a restaurant offers "chorbadzhi saladlet with balsamic dressing") as with any living language.
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The paper presents the contemporary family in terms of the social doctrine of the Church. Firstly the Christian concept of family is presented as a nuclear family. Then the article continues with presenting the family transformation as a dynamic process, both social, economic and cultural. The article concludes with a presentation of the catholic social teaching position towards the current situation of the family, which is expressed in an effort to promote the family in times of anthropological and cultural crisis. The literature of the article is mainly papal social teaching contained in the documents and statements, published in the years 2005–2015.
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This article is about the features of the third period of the development of television series which has become a source of new meanings and values in popular culture. Modern television series differ by the usage of new visual language, detailed description of main characters' nature and details of the plot and good literary basis. The television series of the third period are named "smart" by the author. It is associated with the significant intellectual progress of modern viewers and popular smart technologies in today’s world.
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Communication in cinema is not limited to presenting and perceiving information, managing the message or the creation of meaning. Communication in cinema creates experience of film reality that has been born in the process of communication between the screen image and the viewer. An experience that brings forth the phenomena of spontaneously emerging reality.
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This papers aims to emphasize the importance of discussing the relationship between positivism, critical pedagogy and the politics of new media production of information and knowledge, claiming that the critical information divide is far more problematic than the digital (divide). In other words, if standardization of information literacy competencies shows its limits for upholding unbiased authenticity and relevance, then such a position also asserts a deficit in recognizing focal points needed in analysing the digital epistemology of today. The latter should encompass advocacy of critical media, literacy and ethics as the core components for socially responsible production and distribution of information in the new public domain: Internet. When practices of collaborative production of knowledge or p2p – commons based production – is neither fully understood nor actualized in contemporary education, then free/open distribution of (digital) commons is prevented by instrumentalized depolitization (culturalization) discourses in a commodified information society. For that reason, I argue for denunciation of information literacy models through the lenses of Paolo Freire’s concept of a banking model of education, hacktivism, as well as Samek’s argument that “there is nothing more practical than learning how to build the self-confidence to weigh in with professional opinion and defend it as critique (not obstructiveness).”
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The author of the article proposes the following theses: political transformations enabled the democratisation of the Polish educational system and the creation of non-public (private) schools in Poland after 1989; the creation of the Educational Social Association initiated the creation of non-public schools in Poland; the creation of Szczecin International School (SIS) as a response to the needs of the market of the international community settling down in Szczecin; the activities of SIS, a school that runs an inter-cultural education: international programmes that make it possible to teach in a culturally diversified environment; familiarisation with another culture as a way to the acceptance, tolerance and understanding.
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The purpose of this article is to demonstrate differences in prices tickets of communication in cities of West Pomeranian Province in terms of competitiveness. Authors provide in the article a working thesis that prices of public transport tickets inversely depend on a size of city. This thesis turned out to be not quite true, because a clear relationship between a population of city, its area and ticket prices can be seen only in the case of monthly tickets. In conclusion of the article authors emphasize that Szczecin has the most diverse ticket pricing structure, and this fact can be an asset that creates competitiveness of the city. The study highlighted that the advantage of Szczecin has been built by other elements also, not only prices of communication tickets, so further research should embrace comparisons between cities with similar conditions and potential
More...Między sztuką a polityką.
Born in Szczecin Heinrich George was one of the most outstanding theatre and cinema actors of the Weimar Republic and the Third Reich. He appeared in the films that played an important part in the history of the cinema (Metropolis directed by Fritz Lang, 1927; Berlin-Alexanderplatz directed by Phil Jutzi, 1931). When Hitler seized power in Germany, Heinrich George supported the Nazi regime in spite of his leftist convictions. After 1933 he appeared in many films both neutral in their meaning and the ones that were a pure Nazi propaganda such as Jud Süss directed by Veit Harlan. Heinrich George arouses controversy even in the present-day Germany. Appreciating his achievements as an actor it is not possible to ignore his involvement in Nazism.
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The women’s requirement for access to the nude in the Athens School of Arts in 1903-1904 raises a lively debate, in which different arguments and positions are submitted. The debate on women’s access to the nude is affected and affects gender power relations and challenges the way masculinity and femininity are conceived and lived out in art and society. Women’s demand to study the male nude in the School of Arts, related to feminism and emancipation, defies the existing power relations in the practice of art. Their participation in the life-class challenges the dominant definitions of the ,,woman artist”, the artist-model polarity in the scopic field of art, and the ways the male nude is perceived. In a period where more modernist discourses on art and on the body appear, women artists may expect to participate in the production of meanings for the nude and specially for the male.
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The article explains the notion of European revolution, Revolution of Dignity, Revolution of the Fire, Euromaidan. There is also an analysis of women participation in the events that took place at the turn of 2014, as well as examples of various kinds of initiatives which appeared during the revolutionary events in Ukraine.
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