OCR Output

544

Katerina Gadjeva

to a “theatrical illusion” that makes them take a pure fiction as something true and
real, allowing an artistically created reference world to manifest itself as real. And
this delusion was what the authorities used, having understood well that “the ideal
subject of totalitarian rule”, as Hannah Arendt wrote, “is not the convinced Nazi or
the convinced Communist, but people for whom the distinction between fact and
fiction (i.e., the reality of experience) and the distinction between true and false
(i.e., the standards of thought) no longer exist” (Arendt 1962: 474).

Sources

TsDA 1948. F 310, op. 1, ae 6. TsDA. Llemrpanen appxasex apxus (Central State Archive‘).
JTepacaeno cmonancko npednpusmue “Bankanmypucm”, 1948-1965 (‘State Economic Enterprise
“Balkanturist”, 1948-1965’).

References

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Bäcs G. 1972. Bulgaria. Budapest: Panorama.

Bazin A. 2005. The Ontology of the Photographic Image. In: What is Cinema? vol. 1. Berkeley: University
of California Press, pp. 9-16.

Berry R. 1963. A Riviera on the Black Sea. Resorts in Bulgaria, vol. 1, p. 28.

Beyer E. & Hagemann A. 2013. Sun, Sea, Sand ... and Architecture. How Bulgaria’s Black Sea Cost Was
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Boev P. 1966. Golden Sands. Sofia: Nauka i izkustvo.

Bulgaria’s Relentless Progress as a Land of Tourism 1964. Balkantourist News, vol. 3, pp. 1-3.

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Eco U. 1986. Mirrors. In: U. Eco, Semiotics and the Philosophy of Language. Bloomington: Indiana Uni¬
versity Press, pp. 202-226.

Editors Note 1966 = Benexka or peaakuuara 1966. In: Brneapcxo omo (‘Bulgarian Photo’), vol. 1, p. 1.

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Gadjeva K. 2015. Between Tradition and Modernisation. Representations of Women in Photographic
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Bohlau Verlag, pp. 33-48.

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