Филология

The article is devoted to the inscriptions found in the Odessa Damaskin № 38 (64). The manuscript is part of a collection of manuscripts of Viktor Grigorovich the prominent, professor of Slavik history and literature. As a specific subject of the research, the author uses several inscriptions of significant value, that provide information about the history of the book. The purpose of the article is to contribute to the history, localization and existence of a specific written monument, which will enrich the knowledge of Bulgarian linguistic, literary, cultural and ecclesiastical history during the period.

The article outlines the international discussions surrounding the evaluation of research to demonstrate the evolution of the concept of "impact" – from impact solely as a contribution to knowledge, through impact as a contribution to knowledge and the economy, to impact as a contribution to knowledge, the economy, and society. It discusses two approaches to evaluating societal impact and analyses the current state of research evaluation in Bulgaria. In conclusion, the argument is made that societal impact should be systematically evaluated also in Bulgaria.

This study examines the shift in the prosecutorial strategy of Ernest Pinard in the cases against Gustave Flaubert (“Madame Bovary”) and Charles Baudelaire (“Les Fleurs du mal”), offering an interpretation that explores the ways in which legal professionals read literary works. Using examples such as the poet-detective Gabriel Syme, a character in G. K. Chesterton’s “The Man Who Was Thursday”, and the investigating monk William, a character in Umberto Eco’s “The Name of the Rose”, the article investigates potential connections between poetry and law. These connections create legal spaces where both laughter and music become possible. Particular attention is given to the relationship between text and music within the framework of court proceedings (the so-called “courtroom acoustics”) as well as in the formation of judicial practice (understood as a harmonious performance).

The article examines the unfinished final chapter of Tzvetan Stoyanov’s “The Genius and His Mentor” in light of a recent claim according to which Smerdyakov is not the actual perpetrator of the murder in “The Brothers Karamazov.” How will our understanding of Dostoevsky’s incomplete novel change – if at all – in the case that it turns out that its plot incorporates not only a judicial error but also a cunning trap for its readers, that is, an intended readerly error? Stoyanov’s analysis, which is also a dramatic “novel about the novel,” brings the problem of doubles in Dostoevsky’s work and the splitting in the psychoanalytic sense of the word (Spaltung) to the forefront. At the same time, it constantly renews the question, “Who killed our father?”

The article analyzes allegories and metaphors in Franz Kafka’s “Before the Law.” The literary text is interpreted through the philosophical lenses of Giorgio Agamben, Jacques Derrida, Hannah Arendt, Slavoj Žižek, and Gershom Scholem. The central motif of the “door” is explored as a symbol of access to law and as a dual phenomenon of transcendence and immanence. The ambivalence of law is examined as well. On the one hand, it is read as a sacred, inaccessible authority (in the eyes of the man from the country). On the other, the law is interpreted as an intrusive force in everyday life (as exemplified by the judge’s repeated incursions into the painter’s studio). The present analysis links Kafka’s vision of law to the structural ambiguities of the legal system and the tension between legality and justice.

The article examines the translation of novel titles containing quotations from the Shakespearean corpus. The quotation title is considered as both paratext and intertext. Translators’ approaches to the rendering of titles with Shakespearean intertext in different target languages are compared, with a particular focus on Bulgarian examples. The aim of the study is to search for characteristic solutions in translations that deserve to be discussed. The article proposes and problematizes three translation strategies: the search for dynamic equivalence, neutralization, and compensation. The collected data, which do not claim to be exhaustive, are presented in tables, followed by analytical comments. Rather than presupposing conclusions, the comparative analysis interprets the data as they are.

The reception of Cervantes’ work in Bulgaria is a complex process that has continued for over a century and a half. An interesting case and integral part of the latter is represented by the “Novels,” which have remained in the shadow of “Don Quixote” in terms of the quantity and quality of their translations, the critical approach to them, and their artistic assimilation. The study traces their gradual entry into the Bulgarian literary context, focusing on their early translations from the 19th century, made through the mediation of the French language, the 1976 edition of two of the novels, and the only complete edition from 2004. A significant part of the analysis is devoted to the translation strategies used in the recreation of semantically charged names, metaphors, realia, archaic elements, stylistic choices, proverbs, and idioms