Philosophy & Culturology

 

1.  Introduction to the Categorial Analysis in Musicology
PhD Thesis.
Completed in Moscow 1973; defended in Sofia 1978 

2.  Three Categorial Models of Musical Being/Existence
Published in Bulgaria 1977-1978, 3 Articles, in Bulgarian
The three articles were published consecutively in the musical magazine Musical Horizons. They are consecrated to the different 'time status' of the musical works – in the past (as a crystallised structure), in the present (as a dynamic process of unfoldment) and in the future (as a creative act-impulse). Each ‘time requires a different categorial apparatus for description of the musical works and results in a different model of the musical reality. From a wider philosophical perspective these three categorial models could be applied to the Universe to describe it as a) a static, crystallised, well established Universe; b) a dynamic Universe in constant recreation and development; c) a demiurgic Universe in the moment of a spiritual Big Bang.

3.  Philosophical Theories of Art and Culture
Official Paper, Bulgaria 1976 (in Bulgarian)
As part of the theme General Tendencies in the Development of Human Culture until the Year 2000 commissioned in 1974 by the Government Council, I presented some philosophical theories of art and culture. Among them were the concepts of Ernst Cassirer (Neo-Kantian), Henri Bergson (Intuitivism), Oswald Spengler (Philosophy of Culture), Edmund Husserl (Phenomenology), Martin Heidegger and Karl Jaspers (Existentialism) and others.

4.  Two Models of the Organisation and Functioning of Art Culture
Official Paper, Bulgaria 1975 (in Bulgarian)

This theme was a part of the bigger theme General Tendencies in the Development of Human Culture until the Year 2000 commissioned in 1974 by the Government Council. The first model is that of professional Art culture - the macro-culture of the large social groups as part of the whole socio-cultural organism. The second model is the micro-culture of the small social groups (the informal, private or semi-professional clubs, groups, seminars, etc). From a culturological point of view they are two completely different models of the organisation and functioning of Art culture, but at the same time they complement each other and form the wholeness of Art culture. The models are developed in great detail and could be implemented into many other systems of human society, especially in religion.


 

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