LInC.

Hristina MARKOU
(Democritus University of Thrace, Komotini, Greece)

https://doi.org/10.69085/linc20262243

THE CONCEPTUALISATION OF REBELLION IN BULGARIAN

243

Margarita DIMITROVA
(University of Porto, Portugal)

https://doi.org/10.69085/linc20262257

EXPLORING NEGATION IN BULGARIAN YES-NO QUESTIONS

257

Blagovest TODOROV
(Neofit Rilski South-West University, Blagoevgrad)

https://doi.org/10.69085/linc20262274

ENGLISH LOANWORDS IN BULGARIAN FINANCIAL DISCOURSE: A CORPUS-BASED STUDY WITH A FRENCH COMPARATIVE PERSPECTIVE

274

Galin TIHANOV
(Queen Mary University of London)

https://doi.org/10.69085/linc20262290

COSMOPOLITANISM AND THE MISSION OF THE HUMANITIES

290

Stefan RUSINOV
(Paisii Hilendarski University of Plovdiv)

https://doi.org/10.69085/linc20262306

THE QUESTION OF THE SOUL IN AVANT-GARDE LITERATURE (WITH A FOCUS ON CHINESE LITERATURE)

306

Alexander PANOV
(Institute of Literature at the Bulgarian Academy of Sciences, Sofia)

https://doi.org/10.69085/linc20262337

THE EMBLEM AS A PRINCIPLE OF VERBAL ORGANIZATION IN “SEPTEMBER” BY GEO MILEV

337

Boris NAIMUSHIN
(New Bulgarian University, Sofia)

https://doi.org/10.69085/linc20262354

DIPLOMATIC AND CONFERENCE INTERPRETERS IN BULGARIA IN THE FIRST DECADES FOLLOWING SEPTEMBER 9, 1944

354

Galina DEKOVA
(Pernik Art Gallery)

https://doi.org/10.69085/linc20262387

VISIONS OF THE CLASSICAL FORM IN LYUBOMIR DALCHEV’S SCULPTURE

387

Derek GIMPEL
(University of Berlin)

https://doi.org/10.69085/linc20262408

HOW TO USE THE CAMERA TO CONTINUE THЕ WRITING. “THE TALES OF HOFFFMANN” THROUGH THE LENS OF DIFFERENT MEDIA – ON STAGE, IN FILM AND ON TELEVISION

408

Angel MARINOV
(Agricultural University, Plovdiv)

https://doi.org/10.69085 /linc20262428

PANTOMIME AS A COMMUNICATIVE STRATEGY IN CHARLIE CHAPLIN’S SOUND FILMS AND TALKIES

429