Oldal 566 [566]
OCR
564 Evgenia Iroeva century and on the revolutionary class struggles in the first half of the twentieth century, while the medieval past remained in the background. This is a kind of counterthesis of the emphasis on the Middle Ages from the previous interwar period evaluated negatively during socialism. In the 1960s, the Middle Ages gradually returned as an object of monumental presentation. Several films and sculptures on medieval themes appeared, almost all devoted to the period of the Second Bulgarian Kingdom and the Asen dynasty. The emphasis was placed on figures of rulers and clerics who were perceived as leaders of the Bulgarian people against external and internal enemies (e.g. Tsar Kaloyan against the Latin knights; Tsar Ivan Asen II against the Byzantines; Tsar Ivaylo against the boyars, Tatars, and Byzantines; Tsar Svetoslav Terter against the Tatars; Tsar Ivan Shishman and Patriarch Evtimiy against the Turks). The first Bulgarian state and its rulers were returning to the public stage in the context of the growing nationalistic trend in the 1970s, culminating in the celebrations of the 1,300-year anniversary of the Bulgarian state in 1981. The large-scale campaign for the jubilee made use of works of film art, painting, and sculpture, which left a significant footprint in the Bulgarian culture of the late socialism. ‘The interpretations of medieval history were strongly influenced by the official Marxist-Leninist understandings of the class struggle and about the common people as a moving element of the historical process, especially in the first decades of communist rule. In the years to come, the socialist state started to use increasingly the medieval past as a “symbolic capital”, using Bourdieu’s term, in its policies for constructing the notions of continuity, of identity, and of self-esteem among the Bulgarian citizens. References Angelov A. 1969 = Anreaos A. 1969. Jumumep Irodscenos. Monoepagiuuen ouepx (‘Dimitar Gyudzhenov. Monographical Essay’). Cocbua: BBATApCKH XYAOXKHHK. Bond G. & Gilliam A. 1994. Introduction. In: G. Bond & A. Gilliam (eds.), Social Construction of the Past: Representations as Power. London: Routledge, pp. 1-23. Bozhkov A. 1978 = Bomxxos A. 1978. Beneapekama ucmopuuecka »cusonuc. Bmopa uacm (‘Bulgarian Historical Painting. Second part). Cou: Brarapcku xyAoxHmKk. Bratoeva-Darakchieva I. 2013 = Bparocsa-Aapakunesa M. 2013. Braeapcxo uepanno Kuno: om “Kaaun Opensm” do “Mucua JIondon” ("Bulgarian Historical Cinema: From “Kalin the Eagle” till “Mission London”). Codust: Cumoanum. Chakarova K. 1969 = Uaxpposa K. 1969. Eana canuuxa aya (‘A Single Word’). Kapno6amcxa npaeda, vol. 25, no. 5, p. 2. Doncheva G. 2012 = Aonuesa T. 2012. 3HadgeHHero Ha eMONMHTE B ŐBATApCKHA HCTOPITTECKH CDHAM (The Importance of Emotions in Bulgarian Historical Film’). In: H. Aperos (cxcr.), “pea adocm e 3a mene”: Emoyuonannomo cedop2canue Ha OeAzapcKama HAYUOHAAHa UdenmuuHocm »
