Vanya Lozanova-Stancheva
Bulgarian Academy of Sciences, Institute for Balkan Studies, Department Member
A series of remarkable images on mosaics from sepulchral buildings or ritual halls, textile works of art within a Christian context, as well as pyxides, introduce strange and unusual mythological figures into the widespread theme of... more
A series of remarkable images on mosaics from sepulchral buildings or ritual halls, textile works of art within a Christian context, as well as pyxides, introduce strange and unusual mythological figures into the widespread theme of Orpheus taming wild animals. A special place in the pictorial composition is occupied by the figure of a centaur, who seems
to have had complex functions indicating the space of the events. This paper aims to systematise the source base, to analyse “the narrative,” and to offer new details to the interpretation of the remarkable and enigmatic scene, which – in combination with the fragmented poetic evidence – allows the reconstruction of a possible mythological precedent for the journey of Orpheus to the World Beyond, where he attained the mystic theological knowledge and that allowed him to lay the foundations of the
mysterial initiations. Those eschatological notions were projected in some early Christian or Christian gnostic communities in the period between the 2nd and the mid-6th century, as indicated by sacral and funerary monuments.
Keywords: Orpheus, Chiron, centaurus, the World Beyond, the scene of Orpheus Taming Wild Animals
to have had complex functions indicating the space of the events. This paper aims to systematise the source base, to analyse “the narrative,” and to offer new details to the interpretation of the remarkable and enigmatic scene, which – in combination with the fragmented poetic evidence – allows the reconstruction of a possible mythological precedent for the journey of Orpheus to the World Beyond, where he attained the mystic theological knowledge and that allowed him to lay the foundations of the
mysterial initiations. Those eschatological notions were projected in some early Christian or Christian gnostic communities in the period between the 2nd and the mid-6th century, as indicated by sacral and funerary monuments.
Keywords: Orpheus, Chiron, centaurus, the World Beyond, the scene of Orpheus Taming Wild Animals
Research Interests:
To the setting sun: If you go into the hollow of the earth in the Land of the dead, send a truthful prophet from the innermost part, I bet you.
Research Interests:
It is widely believed that Emperor Constantine the Great introduced in the year 325 AD at the first Council of Nicaea the celebration of Christmas on December 25 as the day of the Nativity of Jesus Christ. The paper suggests some... more
It is widely believed that Emperor Constantine the Great introduced in the year 325 AD at the first Council of Nicaea the celebration of Christmas on December 25 as the day of the Nativity of Jesus Christ. The paper suggests some counter-arguments to the hypothesis that the institutionalization and popularization of the Christmas holiday are tied to the personality of Emperor Constantine the Great and aims to debunk some myths imposed in historiography about the role of Emperor Constantine in the introduction of Christianity.
A specific focus of these contra-arguments is sought in Constantine's religiopolitical behavior during Constantinople's consecration in May 330 AD with two significant ritual centers: The Constantine Forum and the Hippodrome. The emperor’s behavior did not demonstrate any personal intolerance to pagan deities, and he remained pontifex maximus for the rest of his life. In all his manifestations during the consecration ceremonies in Constantinople in May 330 AD, there is not a hint or a trace of Christian religious elements. There is neither direct nor indirect evidence of any connection of Emperor Constantine I with the establishment of Christmas or Nativity on December 25 neither in Rome nor in Byzantium/Constantinople.
Keywords: Constantine I, Christmas, Byzantium, December 25, the fleshly birth, Jesus Christ
A specific focus of these contra-arguments is sought in Constantine's religiopolitical behavior during Constantinople's consecration in May 330 AD with two significant ritual centers: The Constantine Forum and the Hippodrome. The emperor’s behavior did not demonstrate any personal intolerance to pagan deities, and he remained pontifex maximus for the rest of his life. In all his manifestations during the consecration ceremonies in Constantinople in May 330 AD, there is not a hint or a trace of Christian religious elements. There is neither direct nor indirect evidence of any connection of Emperor Constantine I with the establishment of Christmas or Nativity on December 25 neither in Rome nor in Byzantium/Constantinople.
Keywords: Constantine I, Christmas, Byzantium, December 25, the fleshly birth, Jesus Christ
Research Interests:
The Ancient Drama on the Stage of the New Greek Theater: The New Stage (1901–1906) and The Royal Theater (1901–1908) The article treats the dominant trends in the development of modern Greek theater in the late 19th and early 20th... more
The Ancient Drama on the Stage of the New Greek Theater: The New Stage (1901–1906) and The Royal Theater (1901–1908)
The article treats the dominant trends in the development of modern Greek theater in the late 19th and early 20th century in the context of efforts to Europeanize the modern Greek scene in the horizons of modernism in theater. The foundation of the two important institutions of the period, New Stage (1901–1906) and The Royal Theater (1901–1908), marked the institutionalization of the New Greek theater scene, which went hand in hand with the professionalization of modern Greek theater both in terms of directing and acting techniques and the approach to
scenography. Leading in these processes are two large-scale theatrical figures – Konstantinos Christomanos and Thomas Oikonomou.
Keywords: the modern Greek theater; The New Scene; The Royal Theater, Konstantinos Christomanos, Thomas Oikonomou
The article treats the dominant trends in the development of modern Greek theater in the late 19th and early 20th century in the context of efforts to Europeanize the modern Greek scene in the horizons of modernism in theater. The foundation of the two important institutions of the period, New Stage (1901–1906) and The Royal Theater (1901–1908), marked the institutionalization of the New Greek theater scene, which went hand in hand with the professionalization of modern Greek theater both in terms of directing and acting techniques and the approach to
scenography. Leading in these processes are two large-scale theatrical figures – Konstantinos Christomanos and Thomas Oikonomou.
Keywords: the modern Greek theater; The New Scene; The Royal Theater, Konstantinos Christomanos, Thomas Oikonomou
Research Interests:
ON THE MYTHOLOGY OF BYZANTION‘S BIRTH (BY NUMISMATIC DATA) Vanya B. Lozanova-Stancheva The article systematizes and analyzes the mythological narratives about the emergence of the city of Byzantion in order to locate the original... more
ON THE MYTHOLOGY OF BYZANTION‘S BIRTH
(BY NUMISMATIC DATA)
Vanya B. Lozanova-Stancheva
The article systematizes and analyzes the mythological narratives about
the emergence of the city of Byzantion in order to locate the original Thracian settlements in the Golden Horn region from which synoikismos gradually originates the phenomenal city that fell into the sight of the ancient authors only after the appearance of the Hellenic apoikia named after the local heros-eponym Byzas. Its unique geographical and strategic location has not always been desired and appreciated – especially at the turn of the 2nd and 1st millennium BC in an age of dynamic ethno-cultural situation in Southeastern Europe. The reinterpretation of the images on Byzantion coins in the light of local mythological narratives and in the context of the mythologeme of the “blind“ being Hellenic literary treatment of a paradigmatic anecdote could reveal the processes of interpenetration and harmonization of at least two religious traditions:
the local pre-colonial tradition on the one hand and that of the Hellenic apoikists on the other reflecting the anatomy of their complex relationships in the process of creating a new city of Byzantion.
(BY NUMISMATIC DATA)
Vanya B. Lozanova-Stancheva
The article systematizes and analyzes the mythological narratives about
the emergence of the city of Byzantion in order to locate the original Thracian settlements in the Golden Horn region from which synoikismos gradually originates the phenomenal city that fell into the sight of the ancient authors only after the appearance of the Hellenic apoikia named after the local heros-eponym Byzas. Its unique geographical and strategic location has not always been desired and appreciated – especially at the turn of the 2nd and 1st millennium BC in an age of dynamic ethno-cultural situation in Southeastern Europe. The reinterpretation of the images on Byzantion coins in the light of local mythological narratives and in the context of the mythologeme of the “blind“ being Hellenic literary treatment of a paradigmatic anecdote could reveal the processes of interpenetration and harmonization of at least two religious traditions:
the local pre-colonial tradition on the one hand and that of the Hellenic apoikists on the other reflecting the anatomy of their complex relationships in the process of creating a new city of Byzantion.
Research Interests:
Ancient Thracia and the Thracians as paradigm of otherness and other in Old-Attic comedy Vanya Lozanova-Stantcheva The paper examines the paradigm of the relation-interpretation of the ancient Thracian world and the Thracians applied by... more
Ancient Thracia and the Thracians as paradigm of otherness and other in Old-Attic comedy
Vanya Lozanova-Stantcheva
The paper examines the paradigm of the relation-interpretation of the ancient Thracian world and the Thracians applied by classical Old-Attic culture, and accordingly by the Old-Attic comedy in constructing the polis identity of the Athenian citizens. The Otherness is – in general – the result of a discursive process in which the dominant group (We) constructs one or more dominated groups (They, Other) by stigmatization of difference – real or imaginary, presented as a denial of identity, but also as a motive for potential discrimination. A conclusion is proposed that Ancient Thrace, transformed and reduced to dramaturgical and cultural topos, was interpolated in the Old-Attic comedy so as to materialise the system of otherness and to be modelled as a paradigm of otherness, but also as an effort to overcome it by constructing models of increasing closeness.
Vanya Lozanova-Stantcheva
The paper examines the paradigm of the relation-interpretation of the ancient Thracian world and the Thracians applied by classical Old-Attic culture, and accordingly by the Old-Attic comedy in constructing the polis identity of the Athenian citizens. The Otherness is – in general – the result of a discursive process in which the dominant group (We) constructs one or more dominated groups (They, Other) by stigmatization of difference – real or imaginary, presented as a denial of identity, but also as a motive for potential discrimination. A conclusion is proposed that Ancient Thrace, transformed and reduced to dramaturgical and cultural topos, was interpolated in the Old-Attic comedy so as to materialise the system of otherness and to be modelled as a paradigm of otherness, but also as an effort to overcome it by constructing models of increasing closeness.
Research Interests:
Melpomene Through Tears and Laughter: The Art Theater of Karolos Kuhn Vanya Lozanova-Stancheva In 1942, Karolos Kuhn (1908-1987) founded the Theater of Arts (Θέατρο Τέχνης) as an alternative to the National Theater of Greece. Along... more
Melpomene Through Tears and Laughter:
The Art Theater of Karolos Kuhn
Vanya Lozanova-Stancheva
In 1942, Karolos Kuhn (1908-1987) founded the Theater of Arts (Θέατρο Τέχνης) as an alternative to the National Theater of Greece. Along with the works of theatrical modernism, the troupe and their artistic director turn to ancient tragedy and comedy in an unconventional and provocative manner, transforming them into aesthetic and ideological turning points in the reception of Aristophanes on the modern Greek stage.
The article aims to trace and analyze the processes of generating the alternative to the “tradition” of the National Theater of Greece in the stage approach to the ancient Greek drama and the formation of a specific approach to the understanding of the ancient text and giving it a new up-to-date sound through the balance between European models of modernity, on the one hand, and elements drawn from Greek folk traditions, on the other. In the focus of attention is the figure of Кarolos Kоun and his director's approach, defined as the „folk expressionism“, towards the ancient Old Attic tragedy and comedy, not only in the stage space of the modern Greek theater, but also beyond its borders.
The Art Theater of Karolos Kuhn
Vanya Lozanova-Stancheva
In 1942, Karolos Kuhn (1908-1987) founded the Theater of Arts (Θέατρο Τέχνης) as an alternative to the National Theater of Greece. Along with the works of theatrical modernism, the troupe and their artistic director turn to ancient tragedy and comedy in an unconventional and provocative manner, transforming them into aesthetic and ideological turning points in the reception of Aristophanes on the modern Greek stage.
The article aims to trace and analyze the processes of generating the alternative to the “tradition” of the National Theater of Greece in the stage approach to the ancient Greek drama and the formation of a specific approach to the understanding of the ancient text and giving it a new up-to-date sound through the balance between European models of modernity, on the one hand, and elements drawn from Greek folk traditions, on the other. In the focus of attention is the figure of Кarolos Kоun and his director's approach, defined as the „folk expressionism“, towards the ancient Old Attic tragedy and comedy, not only in the stage space of the modern Greek theater, but also beyond its borders.
Research Interests:
Towards the Sources of the Legend of the Dragon of Rhodes Vanya Lozanova-Stancheva The present article is an attempt to search for the sources of the legend of the fight of Deodat de Gozon (Dieudonné de Gozon), the future 27th Grand... more
Towards the Sources of the Legend of the Dragon of Rhodes
Vanya Lozanova-Stancheva
The present article is an attempt to search for the sources of the legend of the fight of Deodat de Gozon (Dieudonné de Gozon), the future 27th Grand Master of the Knights Hospitaller of Saint John at Rhodes (1346–1353) with the monstrous dragon of Rhodes in the period during which the island was ruled by the Order of the Knights Hospitaller and also for its possible primary literary sources in the mediaeval tradition of the Alexander Romance, resp. of its version Historia di preliis J3-Recenzion.
Keywords: Deodat de Gozon, the Rhodes Dragon, the Order of the Knights Hospitaller of Saint John at Rhodes, the Alexander Romance, Historia di preliis
Vanya Lozanova-Stancheva
The present article is an attempt to search for the sources of the legend of the fight of Deodat de Gozon (Dieudonné de Gozon), the future 27th Grand Master of the Knights Hospitaller of Saint John at Rhodes (1346–1353) with the monstrous dragon of Rhodes in the period during which the island was ruled by the Order of the Knights Hospitaller and also for its possible primary literary sources in the mediaeval tradition of the Alexander Romance, resp. of its version Historia di preliis J3-Recenzion.
Keywords: Deodat de Gozon, the Rhodes Dragon, the Order of the Knights Hospitaller of Saint John at Rhodes, the Alexander Romance, Historia di preliis
Research Interests:
Towards the Sources of the Legend of the Dragon of Rhodes Vanya Lozanova-Stancheva The present article is an attempt to search for the sources of the legend of the fight of Deodat de Gozon (Dieudonné de Gozon), the future 27th Grand... more
Towards the Sources of the Legend of the Dragon of Rhodes
Vanya Lozanova-Stancheva
The present article is an attempt to search for the sources of the legend of the fight of Deodat de Gozon (Dieudonné de Gozon), the future 27th Grand Master of the Knights Hospitaller of Saint John at Rhodes (1346–1353) with the monstrous dragon of Rhodes in the period during which the island was ruled by the Order of the Knights Hospitaller and also for its possible primary literary sources in the mediaeval tradition of the Alexander Romance, resp. of its version Historia di preliis J3-Recenzion.
Keywords: Deodat de Gozon, the Rhodes Dragon, the Order of the Knights Hospitaller of Saint John at Rhodes, the Alexander Romance, Historia di preliis
Vanya Lozanova-Stancheva
The present article is an attempt to search for the sources of the legend of the fight of Deodat de Gozon (Dieudonné de Gozon), the future 27th Grand Master of the Knights Hospitaller of Saint John at Rhodes (1346–1353) with the monstrous dragon of Rhodes in the period during which the island was ruled by the Order of the Knights Hospitaller and also for its possible primary literary sources in the mediaeval tradition of the Alexander Romance, resp. of its version Historia di preliis J3-Recenzion.
Keywords: Deodat de Gozon, the Rhodes Dragon, the Order of the Knights Hospitaller of Saint John at Rhodes, the Alexander Romance, Historia di preliis
Research Interests:
Статията анализира новите проблемни ситуации, породени от настъпилите дълбоки промени в българската държава и българското общество в края на ХХ и началото на ХХI в., които налагат предефиниране на задачите и инструментариума на... more
Статията анализира новите проблемни ситуации, породени от настъпилите дълбоки промени в българската държава и българското общество в края на ХХ и началото на ХХI в., които налагат предефиниране на задачите и инструментариума на тракологията с оглед актуализирането на темата за тракийското културно-историческо наследство и въпросите около неговото конструиране. Фокусът е насочен върху квазинаучния дискурс в българската история с акцент върху сегментирането на новите „участници“ в генерирането и преекспонирането на тракийското културно-историческо наследство.
Ключови думи: тракология, тракистика, Георги Раковски, Цани Гичев, Ганчо Ценов, Найден Шейтанов, living history
Ключови думи: тракология, тракистика, Георги Раковски, Цани Гичев, Ганчо Ценов, Найден Шейтанов, living history
Research Interests:
Am 11. März 1880 wurde bei Ausgrabungen in der Umgebung einer Grabstätte auf Rhodos neben verschiedenen anderen Gegenständen und Gefäßen auch eine attisch rotfigurige Hydria gefunden, die heute im Britischen Museum (NE 818) aufbewahrt... more
Am 11. März 1880 wurde bei Ausgrabungen in der Umgebung einer Grabstätte auf Rhodos neben verschiedenen anderen Gegenständen und Gefäßen auch eine attisch rotfigurige Hydria gefunden, die heute im Britischen Museum (NE 818) aufbewahrt wird. Sie wurde 1890 von S. Smith (1890, 343-351) veröffentlicht. Die Verfasserin bestätigt die attische Herkunft der Hydria und datiert sie an den Anfang des 4. Jhs. v. Chr. Die grobe, sichtbar nachlässige Linienführung bzw. die ausgesprochen groteske Manier der Malerei deutet darauf hin, dass das Bild der Vase eine Theaterszene darstellt, deren Identifizierung unter den populären attischen Dramen der Zeit zu suchen ist. Die Darstellung besteht aus drei Figuren. Im Zentrum, den Zuschauer anstarrend, steht frontal ein bärtiger Mann in einem kurzen, an der Taille gegürteten Chiton. Über dem Chiton trägt er ein langes Kleid, eine Zeira, das mit Rapporten von pflanzlichen Motiven-Efeu-und Rebenblättern-reich dekoriert ist. Auf seinen Kopf hat er einen seltsamen Hut mit hängenden Enden gestülpt, der von der Autorin als die von Herodot (7.75) beschriebene, typisch thrakische alopeke identifiziert wird. Mit der rechten Hand führt er-offensichtlich mit der Absicht es anzubeißen-ein Bein, vom Körper eines toten Kindes abgetrennt, zum Munde. Das tote Kind ist vollkommen nackt, seine langen Haare hängen am leblosen Köpfchen. Rechts der schrecklichen Figur ist ein weiterer bärtiger, gleich gekleideter Mann zu sehen, der-sichtbar entsetzt-den Kopf nach hinten wendend wegläuft. In der rechten Hand hält er einen langen Stab oder einen Speer. Leider ist die Darstellung genau an dieser Stelle beschädigt, doch lässt der Erhaltungszustand eine Rekonstruktion der Szene im Großen und Ganzen zu. Rotfigurige attische Hydria Britisches Museum; N E 818 Links der Gestalt in der Mitte ist eine weitere groteske, männliche Figur zu sehen, die die Mittelfigur anstarrt. Sie ist im Profil dargestellt, bärtig und mit einem langen, in Falten herabfallenden Gewand bekleidet. Die langen, efeubekränzten Haare sowie der Thyrsos in seiner Linken weisen in eindeutig als Dionysos aus. Die linke Hand ist ausgestreckt, als ob er versucht, den bärtigen Mann an seiner grausigen Missetat zu hindern.
The focus of this paper is on some aspects of the early pre-emporial (Thracian) stages of Byzantion. The mythological evidence on the city’s emergence, combined with the numismatic material, is systematised and analysed with a view to... more
The focus of this paper is on some aspects of the early pre-emporial (Thracian) stages of Byzantion. The mythological evidence on the city’s emergence, combined with the numismatic material, is systematised and analysed with a view to localising the initial Thracian settlements in the region of the Golden Horn: their synoecism gradually gave birth to the phenomenal city that attracted the attention of the ancient authors only after the emergence of the Greek apoikia. Its unique geographic and strategic location between the Orient and the Occident was not always desired and appreciated, especially during the first half of the first millennium BC, at the time of a dynamic ethnic and cultural situation in Southeastern Europe, and strong military and political activity of the Thracian tribes. The legendary figures, dramatised in the mythological events of the emergence and founding of the city, are extremely deeply rooted in the toponymy of its region, which betrays their profound pre-emporial antiquity. On the other hand, the combined evidence of the ancient authors outlines the roots and the genesis of the local solar cult that is at the centre of the religious traditions of Byzantion. A new interpretation is proposed for some images on the city’s coins in the context of the local mythological traditions. Keywords: Byzantion, pre-emporial (Thracian) stages, Greek apoikia, Thracian tribes, Byzas, local mythological traditions.
Research Interests:
The paper examines the religious, ideological, and political manifestations of Emperor Constantine I the Great during the consecration ceremonies of the city named after him, which have been the subject of heated discussions and... more
The paper examines the religious, ideological, and political manifestations of Emperor Constantine I the Great during the consecration ceremonies of the city named after him, which have been the subject of heated discussions and contradictory interpretations. The focus is on the policy of tolerating and encouraging local cults in Byzantion, which Constantine clearly preferred and pursued. Historical sources can be grouped into at least two groups organized around the events related to the consecration of Constantinople in May 330 AD, in which two remarkable ritual and cult centres stand out: 1) The Constantine Forum: the consecration of the solar statue of Emperor Constantine at the newly constructed Constantine Forum on the famous porphyry column the day before or on the first day of the 40-day celebrations, accompanied by numerous additional ceremonies and rituals; 2) The Hippodrome: The ceremony of the Hippodrome on the first day of the 40day celebrations in which the gilded xoanon of Constantine, holding a small sculpture of Tyche on the city in his right hand, was carried in the "Helios Chariot". In the worship of the Emperor Constantine I the Great during the consecration ceremonies of the Constantinople two important religious ideas were intertwined as central:-Reviving and incorporating the ancient mythological tradition of the founding Byzantion in the new context and traditions of Constantinople;-The specific role of Zeuxippus, the central solar deity of the Thracian population in the city identified with Helios / Zeus Helios / Zeus Hippios, in this religious-political context. With this public behaviour, perhaps the emperor sought a balance between the traditional urban religion and local cult practices, on the one hand, and those of the imperial cult of the ruler or even his personal cult, on the other.
Research Interests:
The genesis of modern Greek national identity: At a first level of analysis, the topic is placed in the context of the genesis of the modern Greek national identity along the axis of Hellenism, dominated by the intellectual influences of... more
The genesis of modern Greek national identity: At a first level of analysis, the topic is placed in the context of the genesis of the modern Greek national identity along the axis of Hellenism, dominated by the intellectual influences of factors external to the Greek nation. The first attempts to stage an ancient Greek drama and mainly a tragedy are related to the beginnings of the formation of national consciousness by returning to the cultural heritage of the ancestors. In the context of the formation of the independent Greek nation, interest in ancient dramas increased
and they began to be presented more and more often, burdened with the linguistic and ideological debates of the time. In the same context is posed the problem caused by the specific interests and artistic tastes of the Greek theatrical audience and its ascending to the processes of spiritual Revival preferences. The ancient Greek Theatre as a function of the cultural policy of the Greek state towards the classical heritage. At a second level of analysis, which is a kind of continuation of the first, the phases of imposing the ancient Greek theatre as a function of the cultural policy of the Greek state towards the classical heritage are traced. The focus is on the interpretation of the dramaturgy of the ancient classical authors on an open stage in the authentic context of the ancient amphitheaters: the theatre of Dionysus Eleutheros under the Acropolis, the Odeon of Herodes Atticus, the amphitheater in the sanctuary of Apollo at Delphi with a strong emphasis on the two Delphic festivals in 1927 and 1930. Thus, in the time horizon of the 19 th – beginning of the 20 th century, two relatively parallel tendencies can be perceived in the stage models and interpretations of the ancient Greek dramatic works, in which the linguistic and ideological debates of the time are reflected. The first relatively earlier tendency is characterized by a philological approach to ancient drama as a text requiring “a correct” interpretation based on archaic grammatical and syntactic rules. From the 19th century onwards began the professional theatrical approach to the ancient dramatic text, which placed the new Greek scene in the context of the prevailing modern trends of European perspectives.
and they began to be presented more and more often, burdened with the linguistic and ideological debates of the time. In the same context is posed the problem caused by the specific interests and artistic tastes of the Greek theatrical audience and its ascending to the processes of spiritual Revival preferences. The ancient Greek Theatre as a function of the cultural policy of the Greek state towards the classical heritage. At a second level of analysis, which is a kind of continuation of the first, the phases of imposing the ancient Greek theatre as a function of the cultural policy of the Greek state towards the classical heritage are traced. The focus is on the interpretation of the dramaturgy of the ancient classical authors on an open stage in the authentic context of the ancient amphitheaters: the theatre of Dionysus Eleutheros under the Acropolis, the Odeon of Herodes Atticus, the amphitheater in the sanctuary of Apollo at Delphi with a strong emphasis on the two Delphic festivals in 1927 and 1930. Thus, in the time horizon of the 19 th – beginning of the 20 th century, two relatively parallel tendencies can be perceived in the stage models and interpretations of the ancient Greek dramatic works, in which the linguistic and ideological debates of the time are reflected. The first relatively earlier tendency is characterized by a philological approach to ancient drama as a text requiring “a correct” interpretation based on archaic grammatical and syntactic rules. From the 19th century onwards began the professional theatrical approach to the ancient dramatic text, which placed the new Greek scene in the context of the prevailing modern trends of European perspectives.
Research Interests:
THE SEA IN THE CINEMATIC LANGUAGE OF EARLY GREEK CINEMA Vanya Lozanova-Stancheva The proposed article aims to analyze the genesis and functions of the image of the sea in the emerging film language of early Greek cinema in the context of... more
THE SEA IN THE CINEMATIC LANGUAGE OF EARLY GREEK CINEMA
Vanya Lozanova-Stancheva
The proposed article aims to analyze the genesis and functions of the image of the sea in the emerging film language of early Greek cinema in the context of building the modern Greek national identity and reproducing national memory. The focus is on the first period from the birth of film art in Greece from the early 20th century to the mid-1930s, when many Greek filmmakers left the country due to the imposition of the Metaxas regime with a coup in 1936. The outbreak of the Second World War and the German occupation (1941–1944) stifled the successful aspirations of early Greek cinema, and turbulent political events would not allow it to enter its mature period until the 1950s.
Keywords: Sea, early Greek cinema, film language, Greek national identity, national memory
Vanya Lozanova-Stancheva, Prof., DSc, PhD
Institute for Balkan Studies with Centre of Thracology,
Bulgarian Academy of Sciences,
E-mail: [email protected]
Vanya Lozanova-Stancheva
The proposed article aims to analyze the genesis and functions of the image of the sea in the emerging film language of early Greek cinema in the context of building the modern Greek national identity and reproducing national memory. The focus is on the first period from the birth of film art in Greece from the early 20th century to the mid-1930s, when many Greek filmmakers left the country due to the imposition of the Metaxas regime with a coup in 1936. The outbreak of the Second World War and the German occupation (1941–1944) stifled the successful aspirations of early Greek cinema, and turbulent political events would not allow it to enter its mature period until the 1950s.
Keywords: Sea, early Greek cinema, film language, Greek national identity, national memory
Vanya Lozanova-Stancheva, Prof., DSc, PhD
Institute for Balkan Studies with Centre of Thracology,
Bulgarian Academy of Sciences,
E-mail: [email protected]
Research Interests:
Статията анализира филма на Жан Кокто „Орфей” (1950) от неговата „Орфическа трилогия”: „Кръвта на един поет” (1930);„Орфей” (1950) и„Заветът на Орфей” (1959), в която представя един мистичен герой, ясно асоцииран и синонимен със самия... more
Статията анализира филма на Жан Кокто „Орфей” (1950)
от неговата „Орфическа трилогия”: „Кръвта на един
поет” (1930);„Орфей” (1950) и„Заветът на Орфей” (1959),
в която представя един мистичен герой, ясно асоцииран
и синонимен със самия него. Потърсени са източниците
на неговото „орфическо” вдъхновение и художествени
провокации. Въпреки множествеността на тези източници
във времето и авторитетите, Жан Кокто твори своя
митология, насочена към самия него. Орфей е идеалната
матрица за изследване на поета в неговите отношения с
любовта и смъртта, както огледалото – за природата на
художественото творчество, респ. поезията, отразяващо
реалността в идеален, нематериален образ.
Ключови думи: Жан Кокто, „Орфей” (1950), „Орфическата
трилогия”, Орфей, орфизъм
от неговата „Орфическа трилогия”: „Кръвта на един
поет” (1930);„Орфей” (1950) и„Заветът на Орфей” (1959),
в която представя един мистичен герой, ясно асоцииран
и синонимен със самия него. Потърсени са източниците
на неговото „орфическо” вдъхновение и художествени
провокации. Въпреки множествеността на тези източници
във времето и авторитетите, Жан Кокто твори своя
митология, насочена към самия него. Орфей е идеалната
матрица за изследване на поета в неговите отношения с
любовта и смъртта, както огледалото – за природата на
художественото творчество, респ. поезията, отразяващо
реалността в идеален, нематериален образ.
Ключови думи: Жан Кокто, „Орфей” (1950), „Орфическата
трилогия”, Орфей, орфизъм
Research Interests:
Research Interests:
Key-words: Euripides, Hecabe, dreams, Dionysian characters. Abstract: The paper proposes a new analysis and interpretation of Hecuba’s dream in Euripides’ tragedy Hecabe (Euripid, Hecabe, 68-97), produced in 425 BC. The play begins with... more
Key-words: Euripides, Hecabe, dreams, Dionysian characters.
Abstract: The paper proposes a new analysis and interpretation of Hecuba’s dream in Euripides’ tragedy Hecabe (Euripid, Hecabe, 68-97), produced in 425 BC. The play begins with an introduction by the ghost of the dead Polydorus – Priam and Hecabe's youngest son, who was sent away with treasures to stay with a family friend, Polymestor, in Thrace for safekeeping. The motive of the dream is an integral part of Polydorus’ monologue in the prologos (1-58); it is embedded in a specific manner throughout the development of the entire tragic action.
The analysis offers a new interpretation of Hecabe’s dream vision in a purely Dionysian context. It finds exact matches in vase-painting plots and allows the identification of the vision images with specific Dionysian characters and ritual situations.
Abstract: The paper proposes a new analysis and interpretation of Hecuba’s dream in Euripides’ tragedy Hecabe (Euripid, Hecabe, 68-97), produced in 425 BC. The play begins with an introduction by the ghost of the dead Polydorus – Priam and Hecabe's youngest son, who was sent away with treasures to stay with a family friend, Polymestor, in Thrace for safekeeping. The motive of the dream is an integral part of Polydorus’ monologue in the prologos (1-58); it is embedded in a specific manner throughout the development of the entire tragic action.
The analysis offers a new interpretation of Hecabe’s dream vision in a purely Dionysian context. It finds exact matches in vase-painting plots and allows the identification of the vision images with specific Dionysian characters and ritual situations.
Research Interests:
Research Interests:
Research Interests:
Ancient Thrace and Thracians: Modern Reading of Old Authors summary The aim of this article is to systematize the main trends in the development of Thracian source study in the context of the formation of Bulgarian research on the... more
Ancient Thrace and Thracians: Modern Reading of Old Authors
summary
The aim of this article is to systematize the main trends in the development of Thracian source study in the context of the formation of Bulgarian research on the antiquity and of the process of diffusion and reception of ancient verbal heritage in Bulgaria as a whole. The focus is on the processes, methods and forms of excerpting and selecting, translation and publication of ancient sources about the Ancient Thracian history and culture.
Basic forms and trends in the research of Thracian Sources can be summarized as follows:
- Readers with selected passages by ancient authors on ancient Thrace and the Thracians in Bulgarian translation;
- Source studies on evidence given by ancient authors on Thrace and the Thracians;
- Translations of whole works of ancient authors.
- Much later will start the use of computer technologies and digitization of the ancient sources on Southeastern Europe.
The generation of new ideas and means in the sphere of Thracian source analysis is a permanent and stable process uniting the efforts of several generations of scholars over many years. The brief schematic chronological presentation above does not cover all their aspects and details. Time and the evolution of the studies on the antiquity will be the best test and criterion for evaluating what has been done and what remains for the years ahead.
summary
The aim of this article is to systematize the main trends in the development of Thracian source study in the context of the formation of Bulgarian research on the antiquity and of the process of diffusion and reception of ancient verbal heritage in Bulgaria as a whole. The focus is on the processes, methods and forms of excerpting and selecting, translation and publication of ancient sources about the Ancient Thracian history and culture.
Basic forms and trends in the research of Thracian Sources can be summarized as follows:
- Readers with selected passages by ancient authors on ancient Thrace and the Thracians in Bulgarian translation;
- Source studies on evidence given by ancient authors on Thrace and the Thracians;
- Translations of whole works of ancient authors.
- Much later will start the use of computer technologies and digitization of the ancient sources on Southeastern Europe.
The generation of new ideas and means in the sphere of Thracian source analysis is a permanent and stable process uniting the efforts of several generations of scholars over many years. The brief schematic chronological presentation above does not cover all their aspects and details. Time and the evolution of the studies on the antiquity will be the best test and criterion for evaluating what has been done and what remains for the years ahead.
Research Interests:
The present essay deals with the origin and development of the mythological figure of Polydorus (translated, his name, Πολύδωρος means “Many-gift[ed]”) and its eventual roots in well-known ritual practices in Ancient Thrace. Although this... more
The present essay deals with the origin and development of the mythological figure of Polydorus (translated, his name, Πολύδωρος means “Many-gift[ed]”) and its eventual roots in well-known ritual practices in Ancient Thrace. Although this name had already been mentioned in Homer’s Iliad, in ancient Greek literary tradition it is generally associated with Euripides’ tragedy Hecuba (dated to ca. 425 BC). The concept of the tragedy Hecuba seems to be organized explicitly namely with a view to the localization of the tragic plot in Thrace, in a prominently Thracian context. This fact has presumably led a number of researchers preoccupied with its study to the assumption that the mythological figures of Polydorus and Polymestor, the Thracian king, are not to be regarded as the result of Euripides’ purely poetical fantasy – they have rather being taken from some local „gloomy” myth originating in the Thracian Chersonese.
The conclusion leads to the hypothesis that we may be facing a probable literary, i.e. staged re-interpretation of a cult situation surrounding an underground mystery sanctuary (tumulus or cave) with an anthropodaemonized „Bacchus’ oracle” prophesying there – in this case identified with the (pseudo-) Homeric hero Polydorus, generally associated with Dionysus – and the figure of the local Thracian anthropodaemonic prophet, idea, suggested by the presence of a sanctuary with an oracle site of Dionysian type, thus laying the beginnings of a new literary tradition. The pattern of the mythical creation might appear identical with that of the tragedy Rhesus, ascribed to Euripides. The steady mythological core and the ritual complex related to the foundation of a new city lend themselves to reconstruction, along with the required underground mystery sanctuary (tumulus or cave) with a prophesying (anthropodaemonized) oracle („Bacchus’ prophet”) there, as an alternative to Delphi.
The conclusion leads to the hypothesis that we may be facing a probable literary, i.e. staged re-interpretation of a cult situation surrounding an underground mystery sanctuary (tumulus or cave) with an anthropodaemonized „Bacchus’ oracle” prophesying there – in this case identified with the (pseudo-) Homeric hero Polydorus, generally associated with Dionysus – and the figure of the local Thracian anthropodaemonic prophet, idea, suggested by the presence of a sanctuary with an oracle site of Dionysian type, thus laying the beginnings of a new literary tradition. The pattern of the mythical creation might appear identical with that of the tragedy Rhesus, ascribed to Euripides. The steady mythological core and the ritual complex related to the foundation of a new city lend themselves to reconstruction, along with the required underground mystery sanctuary (tumulus or cave) with a prophesying (anthropodaemonized) oracle („Bacchus’ prophet”) there, as an alternative to Delphi.
The present article is an attempt to search for the sources of the legend of the fight of Deodat de Gozon (Dieudonné de Gozon), the future 27th Grand Master of the Knights Hospitaller of Saint John at Rhodes (1346 – 1353) with the... more
The present article is an attempt to search for the sources of the legend of the fight of Deodat de Gozon (Dieudonné de Gozon), the future 27th Grand Master of the Knights Hospitaller of Saint John at Rhodes (1346 – 1353) with the monstrous dragon of Rhodes in the period during which the island was ruled by the Order of the Knights Hospitaller and also for its possible primary literary sources in the mediaeval tradition of the Alexander Romance, resp. of its version Historia di preliis J3-Rezension.
Keywords: Deodat de Gozon, the Rhodes Dragon, the Order of the Knights Hospitaller of Saint John at Rhodes, the Alexander Romance, Historia di preliis
Keywords: Deodat de Gozon, the Rhodes Dragon, the Order of the Knights Hospitaller of Saint John at Rhodes, the Alexander Romance, Historia di preliis
As in the first volume of the ‘Between the Worlds’ series, this collection includes chronologically, geographically and thematically diverse topics concerning the phenomena of magic, wonders, and mysticism, and are reflecting the... more
As in the first volume of the ‘Between the Worlds’ series, this collection includes chronologically, geographically and thematically diverse topics concerning the phenomena of magic, wonders, and mysticism, and are reflecting the different scholarly backgrounds of our authors. The new e-collection ‘Between the Worlds: Magic, Miracles, and Mysticism’ presents a variety of viewpoints and analytical perspectives related to magical and mystical perceptions, experiences, views, beliefs, and practices in different historical periods – from Antiquity and the Middle Ages, to Modernity and the contemporary globalised world. The articles are focused on the individual and communal magical rituals, the wonders of nature, sacred places, icons, and cultural monuments, which continue to gather many believers each year in different parts of the world. The analysed magical and mystical practices testify to the fact that people still want to know the unknown and touch what cannot be seen. Thus, the created contact spaces between humans and supernatural forces bring different social and cultural aspects to the fore and in this way directly influence the identification strategies of the communities. As a result, magical and mystical perceptions, experiences, views, beliefs, and practices are becoming more visible today.