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The article examines the processes of the development of the Bulgarian communities in North America. The main focus is on the history and the current state of the Bulgarian organizations, schools, media contributing to the preservation of the Bulgarian culture and traditions overseas.
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This article analyzes different social practices of denunciation of informality through the analysis of cinematic discourses in Eastern European societies. More precisely, two case studies have been chosen, the Romanian and the Bulgarian one, due to their shared communist past and due to the large protests against the corrupt elite and social injustice, that took place in both countries during the last decade. Therefore, we will discuss what type of references and representations of the communist past related to practices of corruption can be found in four recent Romanians and Bulgarian films. These Romanian (Cristi Puiu, Cigarettes and coffee, 2004; Alexandru Solomon, Kapitalism our improved formula, 2010) and Bulgarian (Kristina Grozeva, Petar Valchanov, Gloria, 2016; Vesela Kazakova, Mina Mileva, The Beast Is Still Alive, 2016) films that address corruption will be studied comparatively from a theoretical perspective situated at the intersection of pragmatic sociology and memory studies, in order to show the local specificity of this type of denunciation and the circulation of certain discourses.
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At the beginning of the 11th century, in the aftermath of the long rule of the Macedonian dynasty (867 – 1056), the Byzantine Empire was going through a political, cultural and economic upsurge. After winning victories over Bulgarians, Arabs, Georgians and Armenians the Empire extended its borders by consolidating many of its former territories. At that time city life in the Byzantine Empire was making headway at a scale unknown since late Antiquity. A century later some Norman adventurers, on pilgrimage to Monte Sant’ Angelo – Gargano, lent their swords in 1017 to the Lombard cities of Apulia against the Byzantines. From 1016 to 1030 the Normans were pure mercenaries, serving either Byzantine or Lombard. In the second half of 11th century their leaders joined in the organized attempt to wrest Apulia from the Byzantines, who had lost most of that province by 1040. Bari was captured by the Normans in April 1071, and Byzantine authority was finally terminated in Italy, five centuries after the conquest of Justinian I.
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The purpose of the current study is to examine Maurice’ Strategikon – its genre specifics and the way they affect the nature of the information regarding the state and social evolution of the various barbarous people scattered through the Eurasian Barbaricum. We will focus mainly on the differences and similarities in the images of the nomads – Turks and Avars, and the sedentary Sclavs, living both on the border regions of the Roman Empire. We shall distinguish the sustainable antique topoi form those specific and objective characteristics – resulting from the development of the Roman-Barbarian relations from the late fifth century, which formed the image of the other in the minds of the Romans through the Late Antiquity and the Early Middle Ages.
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This study aims to trace in detail the development of demographic and religious processes in the settlements along the river Vacha during the last quarter of the 15th century – 16th century using data from Ottoman registers.
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For many centuries, the Volga Bulgarians maintained close economic, cultural and religious ties with Muslim countries and especially with the peoples of Central Asia. Traditionally, relations between them were good and clashes were rare. But after the Battle of the Kalka River (1223), Mongolians turned against Volga Bulgaria. The first attack was repulsed, but after a long fight, Volga Bulgaria was conquered in 1236 by the Mongols and ceased to exist as an independent state.
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The article reveals main facts of the historical development of the Museum of Bulgarian book publishing (second half of 19th and early 20th century) founded in the city of Plovdiv by the end of 1960s. The permanent exhibition was inaugurated at 22nd of May 1975 in the house of the founder of our national typography – Hristo Gruev Danov (1828 – 1911). The key events, related to emergence and evolution of publishing business were shown in six exhibition halls, via artifacts, documents, pictures, etc. The old Revival house, in which the Museum was arranged, deserves a special attention. It combines the vision of a typical medieval tower and the artistry of а Renaissance edifice. Nowadays, the Museum of typography is a pleasing cultural topos located just to the entrance of the Old town and very close to the Orthodox cathedral. It attracts a lot of visitors, mainly Bulgarians, who are inspired by intellectual dignity of Revival period and by the personal magnetism of the popular originator of our national typography – Hristo Gruev Danov.
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L’église de Saint George, un édifice en croix inscrite avec coupole, de type complexe à quatre colonnes, est située au pied de l’acropole de l’ancienne Acraephia. À l’époque de l’occupation franque, le village portait lenom de Karditsa et faisait partie du duché d’Athènes. La recherche s’est longtemps accordée sur l’idée que la constructionde l’église devait être attribuée à Antoine le Flamenc, un chevalier français mentionné par l’inscriptionvotive. Le donateur aurait fait bâtir l’église en l’honneur de saint George, saint militaire auquel il devait sa surviependant la bataille de Halmyros (1311), lorsque les Catalans anéantirent l’armée franque. Les récents travaux deconservation, financés par le programme opérationnel régional Thessalie-Grèce continentale-Épire 2007-2013, ontcependant révélé que l’évolution architecturale de l’édifice est bien différente: le chevalier franc n’aurait fait querénover une église qui existait déjà. Le présent article propose donc une nouvelle lecture de l’inscription, recentréesur une analyse des transcriptions précédentes faites par J. A. Buchon et W. Miller, et montre que les anciennesinterprétations du texte étaient sans doute erronées. Bien qu’il soit actuellement impossible de déterminer laséquence précise des événements mentionnés par l’inscription, il est certain qu’ils se sont produits avant et après 1311 (date de la bataille et également date de l’inscription). Des observations détaillées, associées aux phases deconstruction du monument et aux couches ultérieures de sa décoration murale, viennent confirmer ces idées.
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