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    Аз писах преди време, може би преди седем-осемгодини книгата "Болки от текущото",че Институтът тема за роман. Сега не знам точно, защото малко или много гледам отстрани. Но според това, което съм чувал, което съм заварил което съм участвал, сега мога да добавя, че този роман трябва да епически, старомоден роман, както се пишеха едно време каквото беше времето, когато се основаваше Институтът. То неслучайно роди романи като тези на Димитър Талев, на Димитър Димов, на Емилиян Станев, на Павел Вежинов. Те си вървят заедно тези неща. Времето беше белязано някакъв род монументализъм,ако мога така да го нарека. Всичко изглеждашеогромно,необятно, ако не изглеждаше,трябвашеда се направи да изглежда такова. Иначе никой не го забелязваше. Дребните съдби на хората, конкретните случаи живота - всичко това беше под похлупак. Важното беше ходът на историята.
    Проблемна област: Литературни изследвания
    Ключови думи: романът, Института, литература

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    Един юбилей ме връща четири десетилетия миналото, включва ме диалог със събития личности, става повод да преценядоколко как научна структуракато Институтаза литературапри БАН прие предизвикателствата на времето, как се вписа летописа на литературознанието.Наблюденията споменитеlV[И са богати противоречиви,свързани аспирантурата, перипетиите, през които преминах като технически сътрудник, научен сътрудник, старши научен сътрудник професор, работата ми като секретар ръководителна Секцията по българска литературадо Освобождението (по-късно Секция по старобългарскалитература и Секция "Литература на Българското възраждане"), като научен секретар на Института председателна Научния съвет; конгреси, симпозиуми, сесии, национални международни,организираниот Секцията и Института, издания, индивидуални колективни. Онова, което се съхранило паметта ми, незаличимо. Споделям частица от него признателносткъм уважавани от мен учители колеги, някои от които са вече покойници. От тях на първо място поставям акад. Пеnьр Динеков, мой преподавателпо българскалитература до Освобождението фолклор. Той ме привлече ерудицията, отзивчивостта, широката си култура. Прие ме кръжокапо българскалитература до Освобождението, чийто създател ръководител бе продължение на няколко десетилетия. Поощри интересите ми към ВъзраждаI-Iето, гласува ми доверие за асп:ирант стана мой научен ръководител. СпомеНllте от срещите ми него от студентскитеми години до последнитедни на живота му са живи, вълнуваrп:и съдържателни.
    Проблемна област: Литературни изследвания
    Ключови думи: Отломки, възпоминания, Личности, Издания, институции

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    Дъщеричкатами Алинка веднъж ми бе казала: - Владко винаги сме знаели, че за теб сме най-важните. Ние, не работата ти. Това истина. Децата ми винаги бяха за мене най-важното, но работата, особено откакто бях започнала да работя Института за литература (при Българската академия за науките) стана за мен нещо тъй необходимо като храната. Обичах учителската професия, но творческият труд областта на литературознанието се оказа моя стихия. На колко малко хора на земята дадено щастието да вършат работа, която обичат най-много! На мен то бе подарено, въпреки че не съм сигурна дали вършех това, което обичам, IIайдобре. Във всеки случай, правех го, колкото можех, най-съвестно. Института за литература започнах да работя, след като издържах конкурсен изпит, края на 1960 г. Наш директор беше проф. Георги Цанев, известен още отпреди войната литературовед критик, свързан комунистическата партия ОII~е преди тя да започне да властва. По това време Институтът ни се намираше на улица "Витошка". Това беше много скромно помещение, СЪСТОЯII(О се от няколко стаи не много голям хол, където се събирахме за нашите заседания конференции. Но беше някак уютно, защото все още не бяхме много. Моята секция носеше помпозното наименование "Секция за славянски западноевропейски литератури". действителност обаче по това време имахме специалисти само по югославска, чешка, полска и немска литература. Едва по-късно се появиха сътрудници - специалисти по английска, американска, италианска френска литература. Директорът ни, човек огромна ерудиция големи заслуги към българското литературознание, не беше обаче напълно свободен от онзи печат на известна сектантска ограниченост, какъвто по-продължителната принадлежност към комунистическата партия слага върху своите членове. Спомням си, че още самото начало след постъпването ми Института един гимназиален учител, възрастен човек, ни донесе изключително интересен много изчерпателен труд върху композицията на "Божествена комедия" IIa Данте. Естествено никой от нас не беше достатъчно компетеIIтен, за да реПIИ до каква степен тази работа оригинална.
    Проблемна област: Литературни изследвания
    Ключови думи: институт, литература, небе

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    Полувековенюбилей на един научен институт добър повод да се види какво всъщностса успели да свършат за обществотохората, които са работили него. Вярно е, че условиятабяха тежки, над главите на всинца виснеха непрестанни идеологически ограничения. Академичните традиции обаче донякъде смекчаваха строгите партийни изисквания. Те бяха значително по-жестоки към колегите литературнитеиздания издателствата. Не съм бил Институтаот неговотоосноваване затовамоите страници не са отчет. Прекрачих прага на "Витошка" 39 (тогавашната квартира на Института) едва през декември 1969 г. като уредник на сп. "Литературна мисъл", издание на Института. След една скандална дискусия за съвременната поезия списанието през 1975 бях отстранен преназначен като специалист. Тогава се включих пряко работата. Мога да разказвам за последните 20 от тези общо 50 години живот на Института. Според мен смисъл на съществованието на подобно научно учреждение дават преди висчко колективните изследвания. Своите лични книги всеки може да си ги пише сам къщи. нашият Институт създал достатъчно значителни трудове, за да не се срамува на рождения еи ден. Преди да вляза това научно обll~ежитие, там вече са били написани издадени томовете на "История на българската литература". Може да имат куп кусури тези обемисти жълти книги, но години наред те бяха IIОЧТИ единственопомаГaJIО за студенти ученици. Сектантството при подбор на автори проблеми тях значително смекчено сравнение писанията на мнозина автори от онова време. По мое време се осъществи подготовката на тритомния "Речник на българската литература". Първият том бил готов няколко години преди моето идване. Всички разказваха каква всеотдайност работил върху него покойният вече Минко Николов. И, разбира се, не само той. Томът обхващал стотици страници. Но... Както винаги I-IаС при значително дело ще стане някакъв сакатлък. Грамадната папка ръкописа изчезнала от нечие бюро Института. Копия имало само от няколко статии. Наложило се да бъдат писани наново от колегите. момента на моето влизане Института томът отново бе готов.
    Проблемна област: Литературни изследвания
    Ключови думи: Институтът, като, инициатор, научни, изследвания

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    Има винаги различие между погледана оня, който вътре, на стоящия отвън, встрани. Това, разбира се, баналност, но ми се иска върху нейната очевидност да построя (оправдая) кратките си беле.жки за Института по литература.Вероятноне зная много неща за Института- за неговата история (годината на създаването му - 1948, ми изглежда по-приветлива за идеологическо, отколкото за истинско хуманитарно начинание), за принципите му на работа, за проектите му пр. Онова, което зная, са познанства, впечатления, книги. Всички те ми дават представа - съвсеl\1 фрагментарна, но способна по своему да се прибере под названието Институт по литература. Нека да опитам, маниер, подсказан ми от едно писание на Жорж Перек, чрез спомените.
    Проблемна област: Литературни изследвания
    Ключови думи: Погледи, отвън

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    Искам преди всичко да благодаряна колегите от Институтаза литература от Секцията по теория на литературата - то не от куртоазия - за тоя разговор. Когато ми поискаха да дам някакво заглавие за моите нестройни мисли тоя разговор, аз имплицирах него намерението си да засегна някои недостатъци на нашия литературнонаучен живот. на първо място ми дойде мисълта за недостаlъчната диалогичност него. Съществуват вече доста голям брой хора, които считат за своя професия, призвание, заlшманието литературознание. Но това не общност, множество специалисти, пръснати из цялата страна предимно университетските центрове. Но съществува ли понятието бl~лгарски литератор, има ли той свой статут. Аз няма да се заловя да отговарям на тоя въпрос. Заrцото отговорът му не еднозначен. Дано разговорът ни доближи до по-точен отговор. Оrце повече, че дискусията развърза коравия Вl>зел напред излязоха някои въпроси. ВеЧIIО старите старо-новите въпроси на нашата литератутна ситуация Що това литературознание има ли то почва нас. Национален или международен статут тр~бва да има JПIтературната наука доколко едното пречи на другото.
    Проблемна област: Литературни изследвания
    Ключови думи: българско, литературознание, литературознание, Български

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    Както отдавна известно, но твърде често се забравя, през май 1885 г. кн. 3 на пловдивското сп. "Зора"- основано редактирано от Иван Вазов Константин Величков, излиза необичайна за тогаваuпните литературнокритически изяви проблемна сравнително обширна статия, озаглавена "Осветление на българската поезия" подписана трудни за идентифициране някой от тогавашните книжовни дейци инициали ,,г.3-ч". нея изящен стил богат език се обсъжда въпроса за пътя, по който трябва да се развива следосвобожденската ни поезия, се обосновава идеята за необходимостта тя да преодолее утилитаризма на възрожденската "изключително патриотическа", според определението на автора, литература да отговори на изискванията на новото време, обхващайки вдъхн:овенията си цялата вселена. Защото след изживените исторически преврати "в българина се полусъбуди вече човекът всичката сила на широките си стремления". Проблемът кой се крие зад инициалите "Г.3-ч", които подписана тази симптоматична за завършването на възрожденския период българското естетическо съзнание статия, за съжаление не заел литературната ни историография онова място, което заслужава. За съжаление - защото съвсем не проблем само на един добросъвестен текстологически педантизъм. Пренебрежението към него незаслужено отпраща най-ярката литературнокритическа изява от първото следосвобожденско десетилетие маргиналното пространство на случайните явления, където тя не се проблематизира, това пречи да се види, че статията "Осветление на българската поезия" действително "осветлява" показателни нови тенденции, проявили се българския литературеlI живот още първите следосвобожденски години. Неслучайно все още редица литературни историци продължават просто да отминават този така красноречив литературен факт, непобиращ се утвърдената схема за основните линии на българския литературен процес от 80-те години на миналия век.
    Проблемна област: Литературни изследвания
    Ключови думи: подписа, черните, дупки, литературната, история

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  • Summary/Abstract
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    В българската култура понятието "свободен стих" се използва, за да означи както неметричен стих (при който само графичното разчленяване на текста определя стиховия ред), така стих метрична организация.Тази употреба на понятието се наблюдава от първото въве)](дане на понятието "свободен стих" манифести на българския модеРНИЗ1)М, през критически изследвания на новия тип стих до настоящата ситуация, когато ямб различнадължинана стиховияред същински свободен стих функционират едновременно, без да има потребност от тяхното противопоставяне или взаимно обособяване. Появата на свободен стих означава наличие на културна ситуация, при която метричният стих качеството си на предсказуема, предварително дадена форма, качеството си на общовалидна конвенция започва да се възприема като културен ритуал, изпразнен от лично решение избор. Стихът вече не конвеНI~ИЯ, органичен израз на неповторима индивидуалност. Но това означава, че опозициятаметричен - свободен стих би трябвало да се замени опозицията предсказуем - непредсказуем, създаден за дадена творба неподлежащ на мултиплициране стих.. Но противопоставянето на двата члена на тази опозиция не се осъществява аспекта на метриката, защото непредсказуеми стихови форми концепт, чието съдържание не може да се опише със средствата на бинарното мислене. Един стих можем да определим дали метричен, или не зависи- . мост от това дали притежава, или не даден признак. IIапример, ако един стих няма ударения на многосрични думи върху нечеТJНИ срички, той написан ямб. Щом по отношение на разпределението на ударенията вътре стиховия ред налице предсказуемост, то този стих метричен. Но ако дължината на стиховия ред се променя, без да подчинена на някаква традиционна закономерност, или ако разпределението на ударенията зависи от промяната анакрузата, макар метричен, този стих се възприема като нова стихова организация, заменяща традиционната. много от стихотворенията на Яворов строфата сложно уникално IIостроение.
    Проблемна област: Литературни изследвания
    Ключови думи: Яворовият, свободен, стих

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  • Summary/Abstract
    Резюме
    Можем голяма доза основание да твърдим, че rrоезията на Яворов една от най-провокативнитереализации българскаталитературана идеята за наличието на някакъв свръхсложен вътрешен текст/живот, определящ уникалността ценността на личността. Не трудно да се открои имплицитно заложеноторазбиране за истинскотолице, което закопано дълбоко може да се разкрие чрез екстатикитена душевното,чрез трансцендиращия импулс на словото. Преградата, бездната, маргиналията, блянът пр. изчертават следата на трайно болезнено надмогване, етически естетически оценностено усилие, което се превръща знак на човешката оплетеност трагичност живенеето. Поетическите текстове поемат ангажимента да убедят читателя уникалния опит на разкъсаната азовост чрез реторично напряганена изживявания културникодове. Плътно ~I,зад" творбите,знаем това, най-дълго стояла услужливата сянка на Яворовата биографема, на неговия "роман". Тук обаче ще ни интересуваповече ролята на поетическата поза като специфична инстанция текста. Позата снет антропологичен режим на жестовете интонациите,ритуал на себеполагането света-текст - идентификационен модус на вписване оразличаване. атрактивно организираната сценография на душевното особено важна функция отредена важената. Както поетът призовава "Не бой се ела", жената-"дете" трябва да свидетелства за драмата на изживяванията за мощта на дихотомиите - за силата слабостта, доброто злото, за надеждата отчаянието. Струва си да се замислим повече върху настоятелния призив за свидетелстване, върху тази привидно случайна фигура на свидетеля. споменатата творба свидетелят оня, който поема ангажимента, той трябва да надмогне едновременно силата на съдбата слабостта на живеенето, за да заеме мястото си "съдната зала". Свидетелят сам заразен от двойнственост, той въвлечен ситуацията, прекосил волево пътя до нея, за да преживее докаже. Но пак той извън нея - винаги отвъден, оторизиран за една реч "отстрани", реч-доказателство. За настоящата интерпретация свидетелят интересен като фрагмент от образа на поетическия Друг. Питаме се доколко как другият има дял себеразбирането, как очертава полосата на продуктивен смислов обмен.
    Проблемна област: Литературни изследвания
    Ключови думи: Парфюм, маска, Яворов

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  • Summary/Abstract
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    Цитираните стихове са от две произведения, много ва:>КНИ за разбиране на Яворовата поезия, посветена на любовта. По наше мнение тези стихове са кодови за вникване исконната двойственост на Яворовата поетизация на любовта; кодови за интерпретиране на антитезата ВЯРА - БЕЗВЕРИЕ, ЧИИТО модулации трепти драматичния сблъсък между религиозното изживяване на любовта съмнението (респективно неверието) трансце,центната значимост на moбовното чувство. Сънение-неверие присъстващо както имплицитно, така експлицитно, както вътрешнотекстово (в "Две хубави очи"), така междутекстово (чрез двойката "Проклятие" "Благовещение" например). На вярата любовта като сила, трансцендираща битието на влюбените във вечността, се противопоставят чувството за нейната непостижимост (в "Сенки" например) трагичното осъзнаване на нейните порочни измерения, идентифициращи опозицията духовно-плътско (в "Не си виновна ти" "Чудовище"). Имплицитно религиозните измерения на Любовта се сблъскват концепцията за любовта-смърт, защото вярата caMoI~eHHocTHOTO трансцендиране на любовта смъртта органически чужда на християнското светоусещане. Подобно деструктиране на религиозното изживяване на любовта предлагат текстовете на "Без път" "Демон". Безспорно, правомерно твърдението на Малчо Николов, че любовната си лирика "певецът на смъртта безверието преживява истинско духовно възкресение"
    Проблемна област: Литературни изследвания
    Ключови думи: Мистическата, същност, Любовта, Яворовата, Поезия

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    След намирането на мястото Сократ, който ходи бос, възлегва, за да чуе как Федър ще изложи съхраненото свитък "Слово на Лизий за предимствата на невлюбения пред влюбения". Мястото обаче се оказва толкова удобно, че постепенно кръгът на дискутираните теми се разширява неимоверно - обсъжда се лудостта, природата на ДУIIlата, отношението словесно изкуство - истина, видовете говорения (диалектически ораторски), отношението устно - писмено слово - памет, писменост - живопис... Какво представлява това к'ьтче природа, чийто вид разположение не само възхищава Сократ, но стимулира бездруго проницателния му ум към евристичност убедителност сложните дискусии?
    Проблемна област: Литературни изследвания
    Ключови думи: Locus, Amoenus, Диалогът, между, класическо, модерно, конципирането, пейзажа, Поезията

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    Преди години, когато бях невръстен не подозирах,че някога ще участвам конференциякато настоящата*,баща ми ме заведе кварталнатамесарница да купим някакъв продукт, чието естество вече не си спомням. Но месарят, както евфем[истичнонаричахме касапина бай Дико, се запъна не щеше да дава парчето от съответното животно, преди да му изрецитирам едно стихотворение. Случи се, че тъкмо бях наизустил учебна цел "Неразделни"на Пенчо Славейков след известни подканвания бай Дико чу звънкия ми глас. Бях приключил пресъздаването на трагедията на двамата влюбени въздействието върху "унесения" слушател очаквах да последват дежурните покровителствени одобрения. Но за моя пълна изненада бай Дико стоеше "там, над свинското унесен", единственото, което излезе от него този момент на вцепенение, беше фразата: "Брей, толкова да се обичат, че да си теглят ножа!" Тогава си нямах понятие от реторика не знаех, че суровият бай Дико всъщност боравеше скакология (KaKOAoyta) хипербола. Наричайки самоубийството "теглене на ножа"., той се изразяваше неуместно затова преувеличаваше. Пак поради дефицити познанието не ми беше известно, че всъщност Славейков описва смъртта на Иво литоти: "право се убол сърцето - ножчето му още тамо." Днес вече съ,м убеден., че бай Дико лирическият говорител на Славейков притежаваха съвсем различни мирогледни призми ако имаlпе някакво общуване ме)l(ДУ тях, то се осъществяваше чрез av'tavaKAaOll~, Т. е. всеки вземаше думите на другия чрез противоположен похват им придаваше различно значение. Но още онези години останах впечатлението., че неrцо Славейковия текст., не смутната душа на месаря беше накарало бай ,[~ико да изрече фразата си.
    Проблемна област: Литературни изследвания
    Ключови думи: Реторика, нарацията, Неразделни, Пенчо, Славейков

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    Издателските критическите идеи на Гео Милев за Едгар По са представени тук като сумарен вектор от две взаимодействаI1~И си литературното пространство време художествено-мисловни направления. Първото са представите за американския писател модернистична Европа - преди всичко във Франция Русия - много по-слаба степен Съединените щати. Второто са силовите линии българския модернизъlV[ по-тесен смисъл - естетико-критическото движение на самия Гео Милев. Този сумарен вектор ще бъде представеlI следващите страници.
    Проблемна област: Литературни изследвания
    Ключови думи: Начален, монумент, пред, Прага, един, обет, Милев, Едгар

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    Настоящатастатия посветена на проблемаза изгражданетона смисъла повествователниятекст. Надеждатана автора е, че дина:мичнатаориентация по отношениена смисъла повествованието,изследванетому процеса на неговотоизграждане,би могла да добавиново измерениекъм семантичните наратологични теории, които се запазват почти непроменени от времето на разцвета на школата на Гремас до днес. Предложен.иятподход ще бъде илюстриран чрез анализа на романа "Идиот" на Достоевски, по-точно на централнаталиния на интригата него, свеждащасе до отношениятамежду княз Мишкин, Настася Филиповна Рогожин.
    Проблемна област: Литературни изследвания
    Ключови думи: Екзистенциалният, преход, романа, Идиот

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    Книжнината, създадена във Великоморавското княжество по време на мисията на КОIIстантин-Кирил Методий, както нейната съдба през следващите НЯКОЛКО столетия земите на южните източните славяни представляват един от централните за славистиката проблеми още от времето на зараждането като наука. Не може да се каже същото обаче по отношение на историята съдбата на общославянското книжовно наследство на великоморавския период неговите традиции културноисторическия контекст на раннофеодалните западно славянски държавни обединения, частност на Чешкото KI-IЯЖество. Научният интерес тази област се поражда хронологически по-късно провокиран от множеството новооткрити публикувани средата края на XIX в. старославянски ръкописи, оrrpеделяни, предимно въз основа на езиковите си характеристики,като текстове от чешки произход. Един от дискусионнитеднес въпроси това ОТНОlпение въпросът за наличието или липсата на пряк континуитет между книжовните традиции на великоморавскияпериод началнатафазана писменатакултура Чешкото пршемисловскокняжество.Традиционнотоскепти:чностановище,поддържано от й. Добровеки изобщо от възрожденскитеславистикато цяло, преобладавадо 20-те години на ХХ в., днес продължавада бъде поддържано предимно от учените-историци В. Новотни, Р. Урбанек, Зд. Фиала, Фр. Граус, Ф. М. Бартош др. От края на 20-те години обаче особено през последните няколко десетилетия руската чешка славистика въз основа на трудоветена редица учени като М. Вайнгарт, й. Вашица, й. Вайс, Б. Хавранек, й. Храбак, В. Погорелов, Фр. Гривец много други, които правят повторен анализ дават нова оценка на наличния вече материал, започва да се оформя мнението,че напълно основатеЛIIОможе да се говори за съществуванетона Кирило-Методиевскаписмена традиция на територията на Чехия дО XIV в. рамките на общата проблематика се поставят множество въпроси от различен характер (културноисторически,литературноисторически,частно исторически,лингвистични др.). Един по-конкретен въпрос рамките на целия комплекс от проблеми въпросът били ли са познати използвани ПршемисловскаЧехия някои от произведенията, създадени през IX век във Велика Моравия.
    Проблемна област: Литературни изследвания
    Ключови думи: познати, били, пространните, жития, Константин, Кирил, Методий, Чехия, през

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    Представяното издание част от една престижна поредица на UTET (Unione Tipografico-Editrice Torinese), която досега са излезли многотомни истории на френската, английската, североамериканската испанската литературни цивилизации (в подготовка тази на немската). Следвайки общия план на поредицата, трудът проследява историята на руската литература от възникването до постсъветската епоха, отделяйки значително внимание на историческия контекст негови:те културно-политически идейно-естетически измерения. Това безусловно най-крупно колективно начинание на традиционно силната италианска русистика буди интерес не само своята русистична конкретност, но един по-общ план, като научен издателски подход - интерес, който се засилва от участието на такива световноизвестни историци теоретици на литературната култура като Рене Уелек, Юрий Лотман Борис спенски, редом тях на двамата съставители редактори: видния италиански русист проф. Микеле Колучи нену))щаещия се от представяне България проф. Рикардо Пикио. Именно на този културологичен аспект, сыlоo така на разработката на проблемите на старата литература прехода към нова, бих искал да се спра тук, ограничавайки се бегло резюмиране на частите, които остават извън моите професионални компетенции.
    Проблемна област: Литературни изследвания
    Ключови думи: Една, италианска, история, руската, Литературна, цивилизация

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    В тази статия ще става дума за полемиките българското литературознание от БО-те от 70-те години. Разбира се, самоцелното завръщане към тези събития безсмислено; несъмнено днес те изглежд;ат твърде далечни на самите участници тях. Предложеният поглед назад се основава на предположението, че именно по време на дискусиите преди четвърт век се открояват най-ясно характеристиките на новите насоки българското литературознание, по-специално на теоретическата наг.JIаса него.
    Проблемна област: Литературни изследвания
    Ключови думи: Интерпретации, идеологията, идеология, интерпретациите, върху, Полемиките, българското, литературознание

200 години от рождението на А. С. Пушки

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    1999 Книжка 1 Християнски топоси в лириката на А. С. Пушкин
    Проблемна област: Литературни изследвания
    Ключови думи: Християнски, топоси, Лириката, Пушкин

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    1999 Книжка 1 Медният конник: динамика на образа или когато статуите оживяват
    Проблемна област: Литературни изследвания
    Ключови думи: Медният, конник, динамика, образа, Когато, статуите, оживяват

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    1999 Книжка 1 Адриан Прохоров между дома и занаята или още веднъж за смисъла на Майсторът на ковчези от А. С. Пушкин
    Проблемна област: Литературни изследвания
    Ключови думи: Адриан, Прохоров, между, дома, занаята, веднъж, смисъла, Майсторът, ковчези, Пушкин

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    1999 Книжка 1 Химнът - страх и трепет
    Проблемна област: Литературни изследвания
    Ключови думи: Химнът, Страх, трепет, Архетипни, проекции, Пушкиновата, малка, трагедия, време, чума

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    1999 Книжка 1 Гръцката повест за Езоп и нейният старобългарски вариант
    Проблемна област: Литературни изследвания
    Ключови думи: гръцката, повест, Езоп, нейният, старобългарски, вариант

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    1999 Книжка 1 Типологически паралели между българската и сръбската агиографска книжнина през XIII век
    Проблемна област: Литературни изследвания
    Ключови думи: типологически, паралели, между, българската, сръбската, агиографска, книжнина, през, XIII

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    1999 Книжка 1 Ботев на английски. Посвещение в тайната на българския космос
    Проблемна област: Литературни изследвания
    Ключови думи: Ботев, английски, Посвещение, Тайната, българския, космос

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    1999 Книжка 1 Роман за невъзможната идентичност (Господин Уин на Ж. Бернанос)
    Проблемна област: Литературни изследвания
    Ключови думи: роман, невъзможната, идентичност, Господин, Бернанос

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    1999 Книжка 1 Символът на яйцето като интертекстуален сюжет
    Проблемна област: Литературни изследвания
    Ключови думи: Символът, яйцето, като, интертекстуален, сюжет, един, вътрешен, Диалог, Модерната, румънска, Поезия

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    1999 Книжка 2 Позитивизъм романтически метафори институционални метафизики
    Проблемна област: Литературни изследвания
    Ключови думи: Позитивизъм, Романтически, метафори, институционални, метафизики

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    1999 Книжка 2 Наративни текстове за Успение Богородично в старата българска литература
    Проблемна област: Литературни изследвания
    Ключови думи: Наративни, текстове, Успение, Богородично, старата, българска, литература

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    1999 Книжка 2 Различният единен свят. Към проблема за нюансизма в новата българска литература
    Проблемна област: Литературни изследвания
    Ключови думи: Различният, единен, свят, проблема, нюансизма, новата, българска, литература

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    1999 Книжка 2 Българският роман в преломните 50 и 60 години на XX век
    Проблемна област: Литературни изследвания
    Ключови думи: Българският, роман, преломните, години, Среща, историята, догматизма, художествената, измислица

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    1999 Книжка 2 Златото в символиката на ранновизантийската култура
    Проблемна област: Литературни изследвания
    Ключови думи: златото, Символиката, ранновизантийската, култура

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    1999 Книжка 2 Готическото срещу романтическото: преоценка на готическия роман
    Проблемна област: Литературни изследвания
    Ключови думи: Готическото, срещу, романтическото, преоценка, готическия, роман

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    1999 Книжка 2 В памет на Тончо Жечев - критика писателя приятеля
    Проблемна област: Литературни изследвания
    Ключови думи: Памет, Тончо, Жечев, критика, писателя, приятеля

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    1999 Книжка 2 Критик по съдба и призвание: в памет на Здравко Петров
    Проблемна област: Литературни изследвания
    Ключови думи: критик, съдба, призвание, Памет, Здравко, Петров

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    Virtual Communities vs. Imaginary Communities. Festivities. Reading. Chatting This text is an introduction to the next two articles ("Virtual Communities vs. Imaginary Communities. Festivities. Reading. Chatting" and "Gothicizing the Electronic Web") and offers their basis and their context
    Проблемна област: Литературни изследвания
    Ключови думи: четенето, епохата, медии, компютри, Интернет

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  • Summary/Abstract
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    The traditional phenomenology of reading presupposes a certain forms of the so called "implicit reader". From its methodological perspective this figure is seen as separate singularity of perception, as "lonely point of view" wandering through the text (so the early books of Wolfgang Iser). This study considers the "implicit reader" as partaking in a community - in a plural audience, which is implicit to the text, too. This rise the question about the nature, structure and function of this "fictional community" as well as about its relation to others communities - real or imagined. As a kind of short "historical" detour the second part presents a Bulgarian debate which in the middle of the 80-ies followed some ideas of W. Iser There were two confronting positions about the nature of this "implicit audience" in the works of B. Bogdanov and Al. Kiossev. The first one considers the reading act as symbolic operation restoring the unity and universality of the world, similar to the mythological and religious festivities. This operation, so Bogdanov, poses the reading individium in a community consisting from equal and universal individuals - in an imagined communities. The second position considers the reading act as a field of competing strategies and thus it see the implicit audience not so monolithic. It posed it in the tension between two limits - the universal communitas and the anonimous conventionality/ plurality of the typical reader's role. In the next part the analysis goes further, re-considering and revising all three positions mentioned. The methodological tool for this revision is the insight of Benedict Anderson's book The Imagined Communites. Anderson investigates the role and structure of the fictional reader's community, created in the great national novels during the late XVIII and XIX century. He demonstrates that these forms of fictional literary communication are necessary categories of the modern (national) solidarity and identification.
    Проблемна област: Литературни изследвания
    Ключови думи: Виртуални, общности, срещу, Въображаеми, общности, Празници, четене, Бъбрене

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    This paper observes the play of the Real and the Imaginary, actualized in a parallel dimension of cognitive and aesthetic ruptures. The ruptures are caused by two disparate phenomena: the Gothick Literary Revival (1764-1820) and the World Wide Web culture nowadays. Besides their external dissimilarities the two phenomena have important common places. Both the Gothick and the Web might be described as hosts of fictions haunting multidimensional architectural metaphors: the Gothick edifice and the Web site. My observations aim at naming and visualizing the modifications of such a powerful ghost-fiction as the Sublime. They are based on the back-and-forth oscillation between its (pre)romantic Burkean mode, the Kantian and the Romantic ones, and the (post)modern technological frames. The rise of the Gothick more than 200 years ago can be defined in terms of Wolfgang Iser's literary anthropology as a new kind of explanatory fiction, which grants primary importance to the instruments of fantasy and imagination. By means of them human beings stage out the strife between Nature and Culture crucial for the late 18th and the early 19th century. The Gothick fiction also acts as an anti-hierarchical and decentring agent disguised in the trappings of a faked or mock medievalism. As a result of the epistemological shift the inability of the Gothick writers/readers "to be present to themselves" is being transformed in a desire to produce uncanny fictions, in which the Imaginary considerably transgresses and even conquers the realms of the Real. This kind of fictionalizing of the unnameable in my essay is referred to as "Gothicizing". Its ultimate borderline is the Sublime. In the long run from the Gothick to the Web the Sublime has passed through various frames: The Burkean, the Gothick, the Kantian, the Romantic, the Lyotardian and the technological ones, to mention a few of them. Whether in the former more private and transcendental modes, or in the latter predominantly public.
    Проблемна област: Литературни изследвания
    Ключови думи: Готицизиране, електронната, паяжина

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  • Summary/Abstract
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    In relation to the empirical world, the imaginary as otherness is a sort of holy madness that does not turn away from the world but intervenes in it. Negativity provides the structure underlying the interaction between text and reader. Wolfgang Iser the two epigraphs chosen for this section contain in a nutshell the most pressing concerns in Iser's work. Literature as an instrument of “holy madness” figures as a kind of cultural broker whose main role consists in intervening in the empirical world. Defying ontology, fiction, Iser asserts, is most tangible in its impact on the reader: "The more fiction eludes an ontological definition, the more unmistakably it presents itself in terms of its use. If it is no longer confined to an explanatory function, its impact becomes its most prominent feature." Yet how are we to determine this impact? "It has always been assumed that fiction can produce realities," writes Iser almost laconically. Yet, in light of his claim that negativity structures the interaction between text and reader, his insistent question "Why do human beings need fictions?" leads to a quasi-paradoxical answer: fictions become our uncanny doubles, reflecting to us something we otherwise cannot perceive. This "holy madness," this haunting attraction to our self-produced doubles, eternally recreates our world, albeit to produce difference rather than similarity. Mirroring something in us we can never see or fully grasp, literature suspends us forever in a productive negativity, a "space between" the knowable and the unknown. This “space between” needs to remain free of empirical manifestations yet paradoxically manifests itself in our empirical world.
    Проблемна област: Литературни изследвания
    Ключови думи: само, длъжен, правя, изявление, естетика, отрицателността, Изер

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  • Summary/Abstract
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    When we browse the different and multifarious sites that deal with literary contents in the Web, and specially when we read hypertextual theory, there seems to be an amazing disproportion between the attention paid to hyperfictions and to what we could call, in general terms, hyperpoetry. It looks as if the electronic textuality were a more suitable or appealing medium for narrative than for lyric texts. Of course there are plenty of poems posted on the Web, but just a small part of them are explicitly intended for the new medium so that they may profit from the fresh possibilities offered. Anyway we could also be suspicious about the relevance of this sort of contentions and wonder whether we are not simply importing into a new frame a conceptual template that is strange to it. So when a supposed disparity in respect to the presence of these genres (literary genres, after all) is alleged, perhaps we are just in front of the misconception of the categories due to the new electronic environment. And certainly the prefix hyper- is not necessarily a warrant of proper theorizing.
    Проблемна област: Литературни изследвания
    Ключови думи: Поезия, хипертекст, чувство, предел

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  • Summary/Abstract
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    This text is an introduction to the next articles and offers their basis and their context. The author tries to define the key notions Identity, Other, and their variations. He also puts them in their Bulgarian context and presents two projects that stay behind them.
    Проблемна област: Литературни изследвания
    Ключови думи: идентичност, другост, мислим, Другото

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  • Summary/Abstract
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    The first part of the article is a short summary of the factors that formed attitude of Bulgarian national revival people towards the Jewry. During the Revival as it was during the whole Ottoman period the negativism towards them prevailed. Thou it had its deep ground in the very Christian religion tradition, that negativism was featured by real social-economic and political motivation also - the Bulgarians were antagonized from the more privileged statute the Jewry enjoyed in the Ottoman state, from the non-agrarian “parasitic” occupation of the Jewish population, from its underlined loyalty to the sultan’s power, etc. The negativism towards Jewry was also fed with the active “import” of anti-Semitism from neighbour Orthodox countries and Russia. And at the same time for Bulgarians the 19th century was an epoch of acquiring the contemporary bourgeois values and breaking the medieval religious attitudes. That process was stimulated by the reform acts during the Tanzima period, which founded certain favourable legislation and institutional atmosphere for gradual transition of Bulgarians and Jewry from the stage of “parallel co-existing” to that of adequate, unembarrassed from religious and ethnic prejudice communication. The second part of the article systematizes and analyzes the basic motives and plots concerning the Jewish item, and its performance on the pages of our pre-Liberation literature (press, fiction, religious literature, private letters, etc.) A clear tendency of gradual overcoming of the inherited from the past anti-Jewish stereotypes can be stated. But even having in mind that during the Revival epoch the negative approaches towards the Jewry more and more function like prints, the author nevertheless concludes that taken as a whole the Jewry image in the Bulgarian Revival literature is too close to that of the evangelic archetype for the “wicked Jew”.
    Проблемна област: Литературни изследвания
    Ключови думи: между, стереотипа, действителността, Евреите, българската, словесност, началото, Одвобождението

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  • Summary/Abstract
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    The author adduces examples from French travelogue books, as well as from novels and poetry, which reflect different contacts between Christians and Muslims in the Balkans. The presentation of the evil “Turk” is deduced against the background of the Christian virtues (16th-17th century) and the Western (Catholic in particular) interpretation of specific images. The evolution of France’s conceptions is followed about the Ottoman Empire and the image of “the Turk” related to it, which had acquired an enlightening colouring.
    Проблемна област: Литературни изследвания
    Ключови думи: Образът, турчина, между, Ренесанса, Просвещението

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  • Summary/Abstract
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    Establishing the food norm is perhaps the most important study in the Renaissance world. Its fluctuations are connected with the most significant change in regulations reaching the highest possible social context. The base change in the manner of feeding was connected with the fasting periods after the Bulgarians were converted into Christianity when the transition from one culture to another was realised. As a specific model of fasting in the Christian Orthodox community the behaviour of the Greeks whose Patriarchy was also the leading one for the Bulgarian Christians during the Renaissance. The fasting norm was observed and recovered by foreign travellers across the Bulgarian lands during this period. Fasting periods are the most stable religious ritual, which has remained essential in the Bulgarian mentality. During the period of the Turkish dependence the external signs of the Christian Orthodox church were strongly decreased. Some protection measures for preserving the fast were taken. A religious discourse was formed, nevertheless and it included some influences of ancient studies of Esculapus and Galaenus. By the respective food a given body status was achieved: prognosis and warnings to rule and regulate the body through following certain food and religious regime. This regime was based on a wide scope of hygiene, prophylaxis, feeding and labour habits. The food control grew into everyday control. Thus gradually a church and monastery discourse was formed based on the requirements of the Christian Orthodox church in order to keep the fast in the first place. The fast dogmas were gradually slackened in the 10th century due to the penetration of the ideas of the European Enlightenment from Serbia, Greece, etc. It is worth noting the food norms of the Bulgarian craftsmen's guilds as well as the introduction of Turkish administrative food portions and forms of Islamic charity, connected with the feeding of the population irrespective of their faith.
    Проблемна област: Литературни изследвания
    Ключови думи: Хранителната, норма, през, Възраждането

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  • Summary/Abstract
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    This paper presents the subject of the image of America in Bulgarian works of literature: from the traditional folklore on the subject of emigration, through the Bulgarian travelogue prose and poetry up to the present-day pop song. This broad framework, in terms of genres and time period, is offset by the emphasis laid on the period around the 1930s, when the most sweeping emigration wave began from Bulgaria to America, and when a number of works of art were produced in this connection. A sui generis centre of the comparative textological analysis is Atanas Dalchev’s poem “Novelette”, dated 1925. It builds the image of America as the radical Strangeness with respect to the modern Bulgarian of the post-Liberation period, who was becoming already europeanised. Gravitating around this were all the other pieces of writing on the subject of that time: the labour songs of the Banat Bulgarians of the 1930s, the travelogues by Boris Shivachev and Svetoslav Minkov, and the short stories by Matvei Vulev dated to that period. In a broader perspective, works preceding and appearing in the wake of Dalchev’s poem have been considered like Aleko Konstantinov’s travelogue “To Chicago and Back” of the 1890s, and pieces of contemporary Bulgarian poetry, mostly of the 1990s, including also a popular song of Todor Kolev from the last decade of the 20th century. The phrase “Rhapsody in Blue” featuring in the title of this paper points to the extraliterary criticism of the study which, alongside the Bulgarian literature in prose and in verse covers the songs from traditional folklore, to present-day pop music. It also presents the general idea of America persisting in Bulgarian arts and culture and converging around the semantics of the English word “blue”. The paper takes advantage of the homonymy of this word in the title of Gershwin’s Rhapsody, in order to consider the ambivalent image of America: as an image “in blue colour”, symbolising freedom...
    Проблемна област: Литературни изследвания
    Ключови думи: Rhapsody, Blue, Българският, Литературен, проект, Америка

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    La quête de l’autre est souvent associée, dans la littérature romantique, au mythe du barbare. L’homme du XIXe siècle est un passionné du voyage et, par conséquent, l’activité littéraire ne peut se concevoir que sous l’influence des pays que l’on visite. Las du monde dans lequel il vit, avide de sensations nouvelles et désireux d’entrer en contact avec les hommes d’ailleurs, l’écrivain romantique part à la découverte de l’Autre et le rencontre sur la terre de l’Orient. Etre naturel par excellence, débarrassé du social, vivant pleinement chaque instant de son existence, il constitue la figure essentielle de l’altérité et s’oppose à l’univers clos et prisonnier de ses règles que représente l’Occident. Le XIXe siècle permet, grâce au développement des échanges maritimes et à la modernisation des transports de côtoyer ces étrangers qui, jusque là ne nous étaient connus qu’au travers les livres. Ma conférence s’inscrit dans la perspective de ces nouvelles données et a pour ambition d’étudier la réaction des écrivains qui ne se contentent pas d’identifier l’Autre mais ambitionnent de le cerner et de le superposer à l’image de leurs semblables. Je propose donc de voir comment se forme, dans l’œuvre romantique, l’image de l’Autre, quels sont ses aspects fondamentaux, et d’appréhender l’approche que tentent les écrivains et qui les fait passer du stade de l’alter à celui de l’alter ego. Car la quête de l’autre n’est finalement qu’une autre façon de se découvrir.
    Проблемна област: Литературни изследвания
    Ключови думи: понятието, другостта, литературата, романтизма

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  • Summary/Abstract
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    A basic question for the text is the Geo Milev’s attitude to Europe and Europeans presented in his letters and articles published in Bulgarian newspapers and magazines. Analysis pays heed to several crucial concepts such as nationality, European identity and otherness (explicated in his articles) and Milev’s standpoint on them. According to his correspondence and works the examination differentiates two turning points in Bulgarian artist’s position: 1. From military nationalistic one to the cultural internationalism (in 1913), and 2. Transition to socially motivated internationalism (in 1923).
    Проблемна област: Литературни изследвания
    Ключови думи: гърците, хуроните, Западът, огледалото, примитивните, племена, образи, езичеството, Произведенията, Фонтенел, Лафито, Шарл, Брос

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  • Summary/Abstract
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    En 1724 paraissent deux ouvrages aux visées différentes mais à la méthode identique et foncièrement nouvelle : les Mœurs des sauvages américains, comparées aux mœurs des premiers temps, du père Joseph-François Lafitau, et le traité De l’origine des fables de Fontenelle. Le premier, jésuite qui avait longtemps séjourné dans le Nouveau monde, cherchait à prouver la rémanence universelle de la révélation faite par Dieu aux premiers hommes, déformée mais jamais perdue au fil des avatars des croyances humaines. Le second, rationaliste sceptique soucieux de remettre en cause les dogmes établis, cherchait au contraire à discréditer la croyance religieuse en montrant que son fondement est intrinsèquement lié à la fable. Malgré ces divergences de perspective, les deux auteurs eurent recours à la même stratégie : leur méditation sur le christianisme contemporain emprunta le détour d’une réflexion sur ce qui représentait l’altérité absolue au XVIIIe siècle, les sauvages d’Amérique du Nord, pour les comparer avec le peuple qui fondait la civilisation occidentale, les Grecs de l’Antiquité. Lafitau part du principe que les Iroquois et les Hurons, malgré l’étrangeté de leurs coutumes, longuement décrites et représentées dans son ouvrage, sont proches des nations anciennes qui ont vécu avant l’invention de l’écriture, et qu’ils offrent donc un vivant tableau de l’humanité originelle où l’on retrouve une étincelle, altérée mais toujours vivace, du monothéisme des premiers âges. Fontenelle, lui, met en parallèle les pratiques des sauvages contemporains et celles des anciens peuples pour éclairer la similitude des êtres humains à un certain degré de leur développement intellectuel. Il définit ainsi une mentalité primitive, indépendante du temps et du lieu, et met à nu la fonction fabulatrice inhérente à l’esprit humain.
    Проблемна област: Литературни изследвания
    Ключови думи: Европа, европейците, Публицистиката, писмата, Милев

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  • Summary/Abstract
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    An article is focused on the structuring ideological, aesthetic and poetical functions of the motif ‘Nevermore’ (presented in Poe’s poem The Raven) into Bulgarian literature. The first stage of examination deals with the adoption of the motif in Bulgarian symbolist poetry especially Debelyanov’s ‘Nevermore’ (1907, 1908, 1910), Yavorov’s ‘Shepot nasame’ and Trayanov’s ‘Tazhen privet’ (1909, 1912, 1928). Next stage of the analysis shows that the motif ‘Nevermore’ (in Elin Pelin work ‘Salza Mladenova’) can be used as a stepping-stone in the study of the parody dialog between Bulgarian modernist poetry and non-modernist literature. This way of thinking outlines two perspectives to analyze the motif: 1. Examination of relationship between The Raven and four famous Bulgarian literary works, on one hand, and, seeing the parody as a dialog, gives an opportunity to discuss much more complicated problems such as identity of Bulgarian literature and its European or/and Balkan belonging, on the other.
    Проблемна област: Литературни изследвания
    Ключови думи: квадратурата, кръга, Мотивът, nevermore, Българският, Литературен, модернизъм

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  • Summary/Abstract
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    The present text sets out to examine the transformation of the parody and satire in Jonathan Swift’s Gulliver’s Travels. Analysis is concerned on the problem of non-fictional discourse as an important issue of the parody, which is presented as a second plan of the text. Using the parody, as analysis shows, Gulliver’s Travels undermines the imperatively established manners of speaking typical of Augustan’s epoch in England. That is why non-fictional texts are very important in Swift’s work – not only functionally but as texts framing the epoch as well.
    Проблемна област: Литературни изследвания
    Ключови думи: Пародирайки, стила, нехудожественият, дискурс, Пътешествията, Гъливър

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  • Summary/Abstract
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    The text traces the cult of being first, a seminal phenomenon at the time of the Bulgarian National Renaissance. The semantic fields are reconstructed which encompass the ideological units about the priority of Bulgarian’s medieval civilisation vis-а-vis all Eastern Orthodox Slavs. The dogged insistence is evoked of ingenious bookmen and tireless non-fiction authors concerning the priority of a number of 19th century Bulgarian developments in a chronological or regional aspect. We touch upon some of the shadows of the primacy of various texts from the Bulgarian National Renaissance left upon the humanities in our time.
    Проблемна област: Литературни изследвания
    Ключови думи: възрожденски, първосказания

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  • Summary/Abstract
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    An account of Bulgaria’s history is here introduced classed as an “imagined text” which was in all probability the brainchild of Konstantin Fotinov (1785-1858). Evidence for the project for such a text has been garnered from material in the Fotinov archive, e.g. his correspondence, and the title of a manuscript which has by now disappeared: A Look At the Origins of the Bulgarians and the Beginning of Bulgarian History as well as excerpts from works by various writers who are still the staple of studies on the Middle Ages in Bulgaria, such as Ioan Zonara, Procopius of Kesaria, Nikita Choniat, Georgi Acropolit, Georgi Kedrin and others. These, and Fotinov’s published works, provide groundwork for reconstructing the content, the fundamental concepts and methodology of this “History”. The hypothesis for the presumed existence of the draft calls forth some thoughts on the role of historical studies in the emergence of the Bulgarian national identity.
    Проблемна област: Литературни изследвания
    Ключови думи: Една, въобразена, история, България

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  • Summary/Abstract
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    This text examines the specific life of Karavelov’s “Russian” belletristic works in Bulgarian and within a Bulgarian readership. It traces the implications of the premise that even outside the book Stranitsy iz Knigi Stradanii Bolgarskogo Plemeni (Pages from the Book of the Sufferings of the Bulgarian People”), substantially edited as they are in their Bulgarian translation, the individual works which are published on the pages of the Svoboda newspaper exhibit the author’s desire for completeness, accomplished in potentia in the shadow of the book. It is the present writer’s endeavours to describe the fresh justification for a search for over-textual completeness not only in a metamorphosis in the optics which serve to regard Bulgarian life but also through the structuring of the texts within the framework of the newspaper. The text discusses a special case of Karavelov’s book-desire.
    Проблемна област: Литературни изследвания
    Ключови думи: цялост, разпадане, сянката, книгата

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  • Summary/Abstract
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    The findings presented here are results of a more general research of the “geography” of Svoboda/Nezavisimost Newspaper (1869–1874). The texts under analysis were not only written, but they were also published on the pages of a periodical. Nevertheless these texts are in close relation to the sphere of imagining and the imagined. The topic of imagined texts is more or less inspired by the thesis about the nation as an imagined community. So the problem of the imagined geography calls for a discussion on the way in which certain texts perform an important function in the process of imagining the community, in our case – imagining the Bulgarian nation.
    Проблемна област: Литературни изследвания
    Ключови думи: Кореспондентската, мрежа, вестник, Свобода, Независимост, въобразена, реална, география

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    The article treats of translations of Schiller’s and Lessing’s dramas in which the “imagined” is present not only as written words, but as theatre acting, too. The following Schiller’s plays are included: Robbers, The Plot of Fiesko from Genoa, Wilhelm Tell and The Orleans Virgin. The first translation of Robbers, made by D. E. Shishmanov, is “imagined” in different directions. It was not published; its beginning – the first three acts – was thought to be lost, but there is information that the text has been found; the translation was made for the stage of the Community Centre of Svishtov, but there are no documents for a concrete performance. The second translation, made by Ivan Kasabov, is not known as manuscript and it was not published. The third one, made by Nesho Bonchev, was published and realized as a theatre event (1876, Ruse). Bogdan Goranov translated Fiesko. But only the first act without the last (13-th) scene was published. Announcements about two translations of Wilhelm Tell appeared in the press, but none of these translations is known. Nesho Bonchev planned to make a translation of The Orleans Virgin, but he did not accomplish it. Nencho Yu. Nenov translated the play and it was published a year after the Liberation. Lessing’s Emilia Galotti was translated twice: by Panayot Semerdzhiev (1873) and by Bogdan Goranov (1870). Semerdzhiev’s translation was published, Goranov’s one was documented but unknown. According to it the play was staged in Tarnovo (1871), and Goranov was a translator, an actor and a producer at the same time.
    Проблемна област: Литературни изследвания
    Ключови думи: Въобразените, драми, Шилер, Лесинг, през, Възраждането, Неосъществени, проекти, загубени, ръкописи, Недовършени, текстове

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  • Summary/Abstract
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    The article Three Models of the Development of Bulgarian Poetry for Children discusses the principal paradigms which are milestones in the development of the lyrical genre for children from the Bulgarian National Renaissance to the second half of the 20th century. The text outlines three principal models. The first, which obtained primarily up to the First World War, is represented through an appellative-didactic paradigm. The second, a mainspring for the image of poems for children between the 1920ies and the 1940ies, inspires thematic and stylistic layers, validating the nexus between poetry for children and that for adults. Paramount in this process is the automigration of individual images and motifs from one type of literature to the other and vice versa, the dipping into the treasure-store of traditional lore and the pronounced interest in the social and political issues of the nation. The third model traces the changes in the political context of the poetry for children after 1944.
    Проблемна област: Литературни изследвания
    Ключови думи: модела, развоя, българската, Поезия, деца

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  • Summary/Abstract
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    Stefan Launer’s study The Character of Slavdom (1847) is an original attempt at an interpretation of European history. The erudite author builds the hypothesis of Slav fragmentation and of Slavdom as a mirror image of Western Europe. It runs counter to the widely popular idea, current at the time of the Slav Renaissance, of Slavic mutuality. The consciously selected and established in European history Slavic communities 1. Croats, 2. Poles, 3. Russians and 4. Czechs, united with Moravians, Slovaks and Silesians are regarded as the heirs and successors of the Western “quartet”: 1. Italians, 2. French, 3. English and 4. Germans. Launer draws parallels between political principle and religious confession of the selected foursomes from Western and Slavic Europe which were current in the middle of the 19th century. The study was part of the debate from the middle 19th century about the linguistic standard of the Slovak community which negates L. Stur’s attempt at codification and elaborates on the author’s pro-Hungarian proclivities. Launer’s vision negates the opposition Western - Eastern (Slavic) Europe, offering mutual stimulation of European peoples and the “emancipation” of the Slavic nations in various spheres of state and cultural functioning by following in the Western European footsteps. Launer’s European model is based on an in-depth reflection (though flavoured with sophistic arguments) upon the cultural diversity of the Slavs, connected to their divergent historical destinies. It is a text doubtless pregnant with politological, culturological, scholarly and anthropological potential but remaining retrograde, delaying the path towards Slovak national self-awareness.
    Проблемна област: Литературни изследвания
    Ключови думи: огледалото, Западна, Европа

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  • Summary/Abstract
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    The article deals with the dialogue between cultures as seen through the picture of the Balkans drawn in British literature. Using as his starting point two valuable studies of these problems – Imagining the Balkans (1997) by Maria Todorova and Inventing Ruritania. The Imperialism of the Imagination (1998) by Vesna Goldsworthy, the author endeavours to set out the facts examined in them as well as the current methodology used to portray others in literature. The literary colonization starts with the notes taken by travellers, explorers and adventurers who ventured into this outlying region. In their steps came novelists, playwrights and poets in search of novel plots and novel locale to use as settings for their works. So, the territory in question is “put on the map” and invaded by popular novelists who exploit it and put the finishing touches to the imagined topography of the region. Many diverse images of the Balkans abound in British literature. The strongest effect upon readers’ minds was produced by the romantic poets Byron and Shelley. Less well known are the depictions of the Balkans in popular fiction of the turn of the century such as Anthony Hope, S.C. Grier, J.L. Lambe and others. Other stock images from the Balkans are vampires, spies and killers on the Orient Express. They are to be met with in novels by Bram Stoker, John Buchan, Graham Greene, Eric Ambler, Agatha Christie, in some films of Alfred Hitchcock and others. The Balkans are viewed from another angle by authors such as G.B. Shaw, Saki, E.M. Forster, Lawrence Durrell and Evelyn Waugh. British critics devote particular attention to the representations of the “real” Balkans in the works of women writers like Edith Durham, Rebecca West and Olivia Manning. What at first glance strikes the researcher into the British images of the Balkan Other is dialogue with oneself, the search for solutions of the one’s own problems. One possible answer to the question why the Balkans spawn so many texts in Britain, given the fact that the region is largely peripheral to British geopolitical interests is largely due to some of these disputes (principally that between Gladstone and Disraeli). To some extent the absence of geopolitical interest bears on the absence of scientific interest in the Balkans; poor factual knowledge, in turn, provides a breeding ground for popular romances, crime novels and thrillers about spies and vampires which are massively exploited by the powerful English speaking film industry. The facts under discussion can be handled in several ways. It is no problem to condemn or ridicule the negative (and inaccurate) images of the Balkans in British literature. A more meaningful approach is to seek out the underlying causes and mechanisms which engender them. A promising methodology of interpreting these causes and mechanisms are offered by non-colonial critique which however is not in itself immune from hurried and light-minded conclusions.
    Проблемна област: Литературни изследвания
    Ключови думи: образи, авторитетно, огледало, Стереотипите, Балканите, английската, литература

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    The author sets out his own typology of communing with the Other, derived from some current theories in the humantities and the disputes they give rise to. It is based on the concept of mimesis, emancipated from the requirement for verisimilitude. Four variants are delineated of the mimetic stance in communing with the Other, viz., sensualistic, dialogic, technological and catastrophic. They are illustrated with examples from literature and anthropological research; their time sequence is also inquired into.
    Проблемна област: Литературни изследвания
    Ключови думи: разбираме, Другото, Мимезисът, възможност, Общуване, Чуждото

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  • Summary/Abstract
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    The article The Novella. Problems of the Frame and Genre Coexistence views on those fundamental interpretations of the genre nature of novella that are representative of the classic hermeneutic controversy between theoretical model and actual writings. On the other hand, it treats the uncertainties of specifying the historical frames of the genre as a sign of such premodification of the genre conventions, which can give important information for the actual literary-historical situation. When focusing on the frame problems, instead of seeking for the features of the fore-form, the article puts forward questions for linguistic functional characteristics of narration; for the fictional bounding of the narrator; the mode of action of frame-defined argumentation systems. The partition into “narrating” and “commenting” world (Harald Weinrich) that is made by the frame is directed to the publicistic practices of the novella, distinguished as active in the twentieth-century fiction. The article takes on seeking neighbouring genres (the novella compared to casus, exemplum, anecdote, etc.) not only to classify it but to try to experimentally determine the historical changes of different types of linguistic functions, which invoke different narrating orientations. (Andres Jolles, Karlheinz Stierle)
    Проблемна област: Литературни изследвания
    Ключови думи: новелата, Проблеми, рамката, Жанровите, съседства

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  • Summary/Abstract
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    The article discusses the differentiation between poetry and prose in the context of ancient literature. In the beginning they are contrasted, poetry being literary, fictional discourse while prose being utilitarian. The purveyor of the literary essence is the poet, divinely inspired. The author dwells on three junctures in the history of literature where relations between poetry and prose change. As the author sees it, the ancients never pondered on genre from a theoretical point of view. An examination of the changing relation between poetics and rhetoric on the one hand and literary discourse on the other also features prominently in the article.
    Проблемна област: Литературни изследвания
    Ключови думи: Поезия, проза, поетика, Реторика

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  • Summary/Abstract
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    The symposium on “Vienna and Slavonic Languages and Literatures” which was held in the Austrian capital from October 1 to 3, 1999 commemorated the 150th anniversary of the establishment of the Department of Slavonic Studies at Vienna University. It was only natural that the Viennese tradition of scholarship should be most prominently featured at this commemorative forum. It was natural, likewise, that many of the themes should bear on the linguistic and literary development in the Slav nations which until 1918 were within the boundaries of Austria-Hungary. What were new were not the themes but the present-day methodology of analysing the problems. Participants from Eastern Europe made contributions on subjects which were banned to them. The symposium convincingly demonstrated that humanities in the Republic of Austria are still building bridges of the spirit between the East and the West with exemplary zeal and vigour.
    Проблемна област: Литературни изследвания
    Ключови думи: петдесет, години, славистика, Виенския, Университет

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  • Summary/Abstract
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    The article tackles the problem of the boundaries of literature via the primeval embedment of humans in the word. Depending on whether this word belongs to God or man, the author calls of Foulcault to postulate two basic statutes of language, which he takes to be markers of the boundary between literature and non-literary texts – referential speech, literary speech and speech in its literary status. These theoretical formulations are grounded in the 1100 years of Bulgarian literature. As a result of this analysis the author ascertains the existense of a special kind of language in Bulgarian literature – referential in nature yet mimicking literary models. This borderline and transitory language, merely mentioned in this text, is subject to another analysis.
    Проблемна област: Литературни изследвания
    Ключови думи: Статутът, литературата, през, статутите, словото

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  • Summary/Abstract
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    The material subsumed under the topic of the “national poet” involves several important and interconnected areas of study: intellectual and literary history, canon formation and reception theory, and that broad field of social and culture studies that deals with collective and symbolic representations, with collective memory, and with myth and mythmaking. An interdisciplinary focus presents its own special challenges, but the matter is complicated by the fact that, apparently by default, the topic has been left to literary historians, and in the main to those who in today’s idiom would be labelled “nationalist.” Whatever the other ramifications, it is evident that the discourse surrounding “the national poet” is somehow immanently autarchic – and this applies as well to recent scholarship that is not avowedly nationalistic. The traditional national scholarship, generated as it is by the symbolic-collective sense of, and social need for asserting identity, is, understandably, predisposed or indeed programmed to look inward and to keep what is outside at bay or at least out of focus. The comparative focus, that contextualization that is essential for seeing the phenomenon clearly and analytically has been largely absent. And it is a structured absence. In every national tradition the attention paid to the national poet has been immense and continuous, but it is precisely the comparative discussion that has been lacking – and made all the more obvious by the fact that the neighboring cultural, historical, and typological models have been so close at hand.
    Проблемна област: Литературни изследвания
    Ключови думи: Народният, поет, като

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  • Summary/Abstract
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    Every nation rationalizes itself through a system of images of sameness and otherness. These images, which define its identity, are involved in certain plots that can be interpreted as national mythology. One of the basic plots in Bulgarian national mythology refers to the mistreatment of faith. This motive can be found in of new martyrs’ passionals, in historical notes, folk songs and other texts. By analyzing and categorizing its numerous variants, this article tries to reconstruct the archetypal basis of this myth and its functional mechanisms and search for its context in real historical developments and processes as well as literary documents. The long-term goal is reconsidering the rhetoric of nationalistic mythological discourse, its development in time, the accents it uses and its means of operation.
    Проблемна област: Литературни изследвания
    Ключови думи: Похитената, вяра, българската, национална, Митология

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  • Summary/Abstract
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    The article treats the formation of the Czech Medieval pantheon, its “preservation”, partial rehabilitation and extending during the Czech Renaissance and its final completion. Its central points is about the specific verbal communication during the Haubsburg’s slavery in the Czech lands (and after it) and the formation of the silence language cult, whose patron became St. Jan Nepomucki (+1393).
    Проблемна област: Литературни изследвания
    Ключови думи: славянските, светци, Възраждането

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  • Summary/Abstract
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    The article examines a key episode from “Notes on Bulgarian Uprisings” by Zakharii Stoyanov – the suicide of Angel Kanchev, which serves as initiation of the narrator-protagonist. The author analyzes the dialogue between national ideology and Christian religion in the book and presents it as a kind of citation-identification. For Z. Stoyanov the revival patriotic discourse, while incorporating certain elements of the Christian religious system, corresponds with its general significance. The exceptional prestige of the religious and national-ideological systems during the Bulgarian Revival determines the specificity of their relationship as one of mutual identification. The powerful significance of Christian values for the axiological appropriation of patriotic ideas does not allow Christian motives and symbols to be merely quoted; they serve as communion in both life and literature. The ideologized man of the national revival period is not trying to instrumentalize the archetypes – he wants to identify and merge with them.
    Проблемна област: Литературни изследвания
    Ключови думи: смъртта, Ангел, Кънчев, Раждането, Захарий, Стоянов

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  • Summary/Abstract
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    According to the author, the notion of literary canon presupposes a shared heritage that can be considered self-evident and not immediately penetrable. The article covers different aspects of the canon – its relationship to the system of values, to the community it was generated in, to cultural institutions and its own development in time. The author analyzes the simultaneous existence of several competing canons and their interrelationship. He challenges the idea of the waning of canons and claims that they have specific functions in the postmodern era.v
    Проблемна област: Литературни изследвания
    Ключови думи: Блянът, сигурността, Формиране, канона, постмодерната, епоха

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  • Summary/Abstract
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    The paper deals with two issues: that of the canon itself, and the fields, institutions and segments of the society where this canon is manifested. After a review of some possible conceptions of the canon (a set or body of carefully selected texts, conceptions centered around the outstanding Great Works: “canon-as-texts” vision vs. conceptions with reference to a certain rule beyond the objects: “canon-as-language” view of the canon), it is concluded that canon does not belong to the sphere of realization or phenomena, but rather to that of the system, and canonicity is a version of the range of interpretations; canon can be regarded as an entrenched or even institutionalized variety of the interpretation which is canonical; what changes is a certain set of interpretive assumptions. In this respect, what is opposed is the idea that a text could be canonical by its own inner quality. Making, changing and maintaining the canon is the function of some groups of professionals. They are often characterized by their preoccupation with the canon and, conversely, canon is almost exclusively approached as the principal field of a specific group of people. Canon is a field of operation for them as well as a field of reward.
    Проблемна област: Литературни изследвания
    Ключови думи: Канонизирани, Интерпретации

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  • Summary/Abstract
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    In the examination the notion of interpretive community the author outlines three approaches to the concept of community – real community which can be described in sociological terms, a quasi-community not amenables to characterization (e. g. humankind in Kant’s view) and a third variant, a pastiche of the first two – an interpretation of the concept of intelligentsia of Karl Mannheim and the concept scholary community of Thomas Kuhn. In his understanding of interpretive community the author shares the view of Stanley Fish and agrees – partially polemicizing – with Ferenc Odorics, who, in his opinion, tries to delineate the boundaries of the concepts which are blurred in Fish. The author opposes the idea of extreme regulating and canonizing literary life and is against the reduction of literary interpretation to a common denominator. The interpretive community can indirectly be described in terms of more particular real communities the study of which requires a more refined analytical framework.
    Проблемна област: Литературни изследвания
    Ключови думи: Интерпретативната, общност, фикция, реалност

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  • Summary/Abstract
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    Our present study revitalizes a traditional set of rhetoric terms by relying on the works of Nietzsche and Paul de Man. The term “living rhetoric” does not only refer to the hermeneutic resuscitating of the old rhetoric but also to the continuous application of rhetoric instruments. Besides using, that is, keeping the set of definitions and the rigid taxonomic structure of the old (dead) rhetoric in motion living rhetoric takes into account the temporality of any definition, categorization and their exposedness to time (as a function and interpretation). Our study represents the tropologic functioning of language in scientific and in literary registers. The first chapter (entitled On The Tropology of Scientific Discourse: The Dialogic Function of Rhetoric) gives the de-Manian rhetoric deconstruction of the late structuralist works of Zoltan Kanyo. The second chapter (entitled On The Tropology of Literature: Where Paronomasia Lives) deconstructs Attila Jozsef’s poem Eszmelet (Consciousness) by bringing the trope of paronomasia into action while reinterpreting Paul de Man’s study Semiology and Rhetoric.
    Проблемна област: Литературни изследвания
    Ключови думи: Деманови, прочити, живата, Реторика, тропология, четенето

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  • Summary/Abstract
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    From its earliest days the Bulgarian human sciences have been ardently seeking the roots of Bulgarian culture, finding them in various "layers" and "substrata", affiliating Bulgarians to various communities, constituting, imagining and suggesting their millennial unity and intransigence. Though interesting in itself, this debate is doubly interesting as an illustration of human sciences' vulnerability to political influence and commitments, to marketeering, group or personal goals and unformulated conscious and unconscious desires. The issue in question represents a peculiar actualizing and unfolding of one element of the topical syntheses suggested by Svetozar Igov. The seeking of the "Mediterranean spirit" in Bulgarian culture is a useful and, in a way, pleasant endeavours that for a number of reasons have so far been shelved. It is charged with many questions and hides the usual risks of aberration.

    Проблемна област: Литературни изследвания
    Ключови думи: българската, култура, Духът, Средиземноморието

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    The article examines the model function of Macpherson’s Ossian poems in the Czech National Revival. It is focused on the phenomenon of “presenting” the glorious past of the nation by the construction of a written relic as a cultural and historical monument. This was the main function of The Manuscript of Dver Královi and Zelene hora (1817, 1818). While Macpherson and Blair construct the Ossian poems as a representation of an ancient epoch separated from the present by the timeless voice habitation of the bard, the forgers of The Manuscript emphasize the direct presence of history (in its relationship to the orality and in the form of material artefact, the deliberately fragmented text) in the life of the revival movement. In this way, the ideological and political nature of their work can be demonstrated. But in spite of effort to produce The Manuscripts as a support of claims for ancient Czech rights and lands, the language constructed by the forgers deconstructs itself and reveals the utopian orientation of nationalist ideology. This aspect is reflected in the poetry of Karel Hynek Mácha which radically rewrites the tropes of the nationalist discourse as well as the clichés of late Ossianism (e.g. in the story “Wahnsinn und Tod” by Ernst on Houwald).

    Проблемна област: Литературни изследвания
    Ключови думи: Възроденият, Осиан

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  • Summary/Abstract
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    The paper is a challenge to give the term “fantasy echo” some substance by finding a use for a psychoanalytic term such as fantasy in understanding historically specific phenomena. The wonderfully complex resonance of fantasy echo is used to recall the existence of retrospective identifications, related to the collective identity of the “women-orator” and “mothers”. The fantasy of the woman-orator is noticeable in different narratives of French feminist history. Joan Scott discovers that this fantasy has played a significant role in the articulation of similar women’s identity in the life-stories of Olympe de Gouges, Jeanne Deroin, Madeleine Pelletier and some others. This similarity functions as a basis for the idea of continuity in feminist history. The maternal fantasy spreads the echo that motherhood is a basis for similarity and sisterhood between women of various racial religious and social groups. The fantasy of the woman as a mother again calls for a collective identity, which gains importance when biological and social differences between men and women come into question. In both examples fantasy-echo functions as a designation of a set of psychic operations by which certain categories of identity are made to elide historical differences and create apparent continuities.
    Проблемна област: Литературни изследвания
    Ключови думи: фантазия, историята, конструирането, идентичността

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  • Summary/Abstract
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    Between 1871 and 1887 Georg Brandes delivered his lectures on "The Main Movements in 19th Century European Literature", where he not only launched the notion "the break of modernity" as the primary task of Scandinavian men of letters, but also stirred the cultures of Denmark, Norway and Sweden, pushing them towards a greater polemicity, topical problems, an increasingly categorical departure from the Romantic legacy and a greater proximity to the spiritual and aesthetic movements in Europe, for the overcoming of the provincial reticence and isolation. The Scandinavian literatures were permeated by new European tendencies, while the notion of loneliness broadened its meaning and became a key concept for the spirit of the time. The study analyses the basic types of loneliness principally distinguished by the researchers and their specific projection in the Scandinavian North, the changes induced by the various epochs. A special emphasis is laid on the attitude to loneliness - conceived not merely as an emotional state as an idea, an outlook to people and the world, - in the greatest representatives of the "break of modernity" in the region such as Ibsen, Bjornson, Schilan, Lie, Garborg in Norway, Strindberg, Jejerstam, Benediktson-Algren, Hanson - in Sweden, Jakobsen, Bang, Jelerup, Pontopidan in Denmark, almost without exception felt the strong influence of philosopher Kirkegaard, the "spiritual father" of that dynamic literary movement. The pattern from Romanticism through Naturalism to New Romanticism, applied to the personal and artistic development of its exponent, eloquently outlines its basic trends until the early 90s of the 19th century, when Knut Hamsun entered literature to take up in his turn the subject of loneliness, transforming it into a dimension of the increasingly important problem of the interrelation between Man and Nature, of the need for a balance between the biological and the spiritual. With his novels a new type of loner entered 20th century.

    Проблемна област: Литературни изследвания
    Ключови думи: Самотата, като, възглед, мотив, писателите, Скандинавия, осъществили, пробива, модерното

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  • Summary/Abstract
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    In the proposed second chapter "The Romantic Era of Drugs" from the treatise "The Imaginary Effigies of Drugs" by the French literary scholar Max Milner we are acquainted with the opium-induced characteristic features in the creative process of such emblematic Romantic artists like Alfred de Musset, Honore de Balzac, Theophile Gautier, Gerard de Nerval and Edgar Allan Poe. The analyzed works reveal the ability of drugs to remove space, time and the separation of the ego from the non-ego - something that has always been the deep goal of the Romantic Movement.
    Проблемна област: Литературни изследвания
    Ключови думи: Въображаеми, образи, дрогата

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  • Summary/Abstract
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    Due to the traditional views on metaphor and narrative, they are usually discussed in different contexts as if they had nothing in common. However, during the last decades the theories of metaphor and narrative underwent a number of changes, and what was taken for granted in traditional literary criticism is no longer evident. In particular, it should be investigated whether metaphor and narrative are wholly unrelated or they have some kind of common structure. In this essay, the possibilities and difficulties of comparing metaphor and narrative theories are illustrated with the example of Max Black's theory of metaphor and Mikhail Bakhtin's theory of the dialogical novel.
    Проблемна област: Литературни изследвания
    Ключови думи: метафора, повествование

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  • Summary/Abstract
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    The text interprets priest Mincho Kuntchev's "Vidritsa" as a classical book of the Bulgarian Revival in the light of its methodological commitment to building representative plots about the Balkan cosmos. The emphasis falls in its culture-generating as well as literary role.
    Проблемна област: Литературни изследвания
    Ключови думи: Видрица, Минчо, Кънчев, Възраждането, като, празник, Възрожденският, Всепразник

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  • Summary/Abstract
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    The article once again raises the issue of the most controversial or rarely asked questions related to medieval literature - is it literature per se and how its genres ought to be classified what is its terminological apparatus and the symbolic-mythologizing function of the Bible for each medieval work.
    Проблемна област: Литературни изследвания
    Ключови думи: Теоретични, Проблеми, сравнителния, анализ, средновековните, южнославянски, текстове

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  • Summary/Abstract
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    This academic report is dedicated to young Petar Dinekov's life in Plovdiv, where the future great scholar taught Bulgarian language and literature in the French college "St. Augustine". It includes two letters from Dinekov to the headmaster of the college Father Ozone Dampérat and the recently beautified Father Kamen Vichev, then assistant-director of the college, as well as a short article by Dinekov on Yordan Yovkov, publised in the “Le messager” issued by the college graduates.
    Проблемна област: Литературни изследвания
    Ключови думи: Петър, Динеков, Пловдивския, Колеж, асомпсионистите

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  • Summary/Abstract
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    Literary semiotics is not a science with its own object, history or terminology. It is a specific occupation, which appears to be overt, manifestly applied and semiotic (semiotics pursuit in the specified way) on the one hand, and covert, or in other words implicit occupation of literary theory (literary science pursuit in the specified way), on the other. The covertness sterns far in the past - 1928 being a safe start, although it was already predicted a decade earlier - in 1916. The overtness could be traced at the end of the 60s and the beginning of the 70s. When the name “literary semiotics” was first pronounced then, it just followed in the train of an already trodden road. The name can be attributed (an effort to) modernity but the occupation adheres to its own principles. Overt things often appear to be applicatory semiotic - semiotics deals, for one reason or another, with literature as a field in which certain semiotic postulates are applied; the text as a aggregate of signs, but also as a complete sign itself; the text as the practice of assigning meaning, as a process (semiosis); the problem of meaning in literature; the problem of the referent and so on and so forth. Covert things belong to literary theory and it has been difficult to understand them beyond a humanitarian debate since the end of the 19th and the beginning of the 20th century, in which literature does not stand on its own, although it often changes its partners; actually since the time it tries to be a science, to separate itself from aesthetics, sociology, psychology, philosophy. Covert things suppose profound relations to the study of language, to the shift of focus on literature as discourse. Their history is richer than the history of overt things. It is often insisted, and not accidentally, that semiotics has dual application in the study of literature.
    Проблемна област: Литературни изследвания
    Ключови думи: литературната, Семиотика, флирт, закономерност

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  • Summary/Abstract
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    Many works of Bulgarian writers reflect the same person or the same trait in opposing moral value. For instance, in Mihalaky Georgiev’s funny stories a patriarchal character may be presented as respectably positive or may be mercilessly ridiculed. Such examples are plentiful in the literary works of Ivan Vasov as well. In his novel “New land”, the sequel of “Under the Yoke”, some of the original characters have undergone a complete character makeover. The main reason for that is historical. The terms in our national life, often taking turns, bring out our existence in relation to the unknown “new land”, where old characters turn into new people, regardless of what they were in the “old land”. But also within the same “old time” framework emerge unexpected innovations - in patriarchal characters like Sultana Glausheva (“The Bells of Prespa”) for example. The changes in her relations towards her daughter-in-law Nia, sometimes unexplained, force us to search for explanation of secrets insufficiently elucidated in our moral heritage.
    Проблемна област: Литературни изследвания
    Ключови думи: между, старата, новата, земя

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  • Summary/Abstract
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    The feature makes retrospective review of the early Elin Pelin receptions. It recognizes the writer’s hesitation, which also gives cause to Dr. Krastev to treat him critically in his essay “Singer of country woe” (“Young and Old” 1907). The text marks the pro-Jungian conceptions of the critics, by which he makes the reading of Elin Pelin. But the instruments of the German psychological aesthetics proved to be insufficient for applying the critical conceptions, on Dr. Krastev’s side. He operates with the ideas for mythos-figure of the author and the overall personality, without problematizing their interrelations. This provokes the meeting between the critics and the writer. “The literary-critical risks of Dr. Krastev” emphasizes the gradual and independent imposition of Elin Pelin as a Bulgarian literature classic between two withstanding writers’ circle, who characterizes to a great extent the pattern of the literary epoch from the beginning of XX century-this of “Thought” as well as this of “Bulgaran”.
    Проблемна област: Литературни изследвания
    Ключови думи: литературно, критическите, рискове, Кръстев

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  • Summary/Abstract
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    The search, edition and study of the earliest narratives for the Dormition of the Theotokos are the most important stage in the investigation of the narrative texts for the festivity. The author of the present article makes an assumption, that probably a series of narratives in Greek linked with the subject of the Dormition of the Virgin Mary existed. The text which appears in Slavonic milieu which gathers the most important moments of that cycle of narratives, as in the Slavonic text individual subjects (the final part for example) are further developed, enriched and begin their own life. Yet another assumption is made, namely, that the hypothetical narrative in question was an entire, complete and contiguous narrative with an original final part. This final part sets the beginning of the apocryphal visions and revelations, as a continuation of the apocrypha for the Dormition.
    Проблемна област: Литературни изследвания
    Ключови думи: старите, Наративни, текстове, Успението, света, Богородица

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  • Summary/Abstract
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    The research is an attempt to reformulate the category paratext. The empirical material is taken not only from the speech text (traditionally connected with the paratext), but from media, aesthetics, religious, sports and other discourses. The enlargement of the phenomenon range as well as the enlargement of the theoretical base (textlinguistic and sociological analyses of the discourse and the formulations of prototype theory, developed by cognitive psychology), give an opportunity for a new rationalization of the concept paratext as a text structure, functioning in discourse order of communicative practices that obligatorily accompany texts, circulating in public in order to secure their entry in the social activities, which caused the text and are realized through it.
    Проблемна област: Литературни изследвания
    Ключови думи: категорията, паратекст, Опит, Ново, тълкуване

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  • Summary/Abstract
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    The paper studies Bakhtin’s prefaces to Tolstoy’s dramatic works as well as his novel “Resurrection”. Our aim has been to examine the prefaces in the light of Bakhtin’s early creative heritage in order to point out the fact that there - despite the prevailing opinion - the researcher has remained loyal and true to his “aesthetics of verbal creativity”. The principal landmark in outlining our arguments has been Bakhtin’s concept of the author (“the crisis of authorship”). We have detected it in two principal interrelated directions, both as an analytical instrument and as a criterion of evaluating Tolstoy’s creative works. Thus, the prefaces, on one hand, analytically elucidate the concept of “the crisis of authorship”. On the other hand, however, it is Tolstoy himself who illustrates it - up to the crisis and through it. Hence the assertion that the prefaces have emerged as an essential link in the unity as well as in the development of Bakhtin’s thought.
    Проблемна област: Литературни изследвания
    Ключови думи: Бахтин, предговорите, съчиненията, Толстой

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    In this article the religious attitude in the works of the greatest vanguard poet Velimir Chlebnikov (1885 – 1922) is discussed. Owing to his versatile religious, mythological and folklore knowledge and his ambition to experiments, Chlebnikov creates in his work an original religiousness in which far away from time gods and confessions are connected. In a peaceful dialogue between them. This para-religiousness the poet uses for definite purposes. Here are presented the other acts of para-religiousness in Chlebnikov’s works-universal religions and mythological sections, eastern gods and myths, Slavonic-Russian pagan pantheon.lt is pointed out that the Christian religion is almost missing in the para-religiousness utopia of Velimir Chlebnikov.
    Проблемна област: Литературни изследвания
    Ключови думи: религия, парарелигия, творчеството, Велимир, Хлебников

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  • Summary/Abstract
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    With the penetration of post-modernism, post-modernist formulae, metaphors and intellectual constructs Russian literature enters a new dimension, quite new and unusual for it. Actually and fully this process took place in the final decade of the 20th century but is preceded by a number of earlier brilliant episodes of writing in post-modernist vein; it has a quite rich and interesting prehistory. Without seeking to present a comprehensive portrait of Russian literary post-modernism the author of the article dwells on key stages of its development in its multi-faceted and conflicting nature, attempting to produce the approximate integral formula of a contingent Russian post-modernist text by outlining some of the more typical post-modernist bearings of the Russian text and showing the specifically Russian existence of universal post-modernist metaphors, seeking answers to the question as to how there, where still hovers the spirit of Pushkin, Tolstoy, Dostoyevsky, Chekhov and Bunin people accept and apply the “new rules of the game” in literature, i.e. how they respond to the challenges of post-modernist writing.
    Проблемна област: Литературни изследвания
    Ключови думи: Постмодернистичните, координати, руския, текст

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    The text interprets the “high” national-ideological use of history, which emancipates itself from myth in the parameters of the collective mind. The text makes this on the background of the entire process of imposing the scientific approach to history from Paisiy on. An essential problem of the text is how during the late Bulgarian Revival the national literature produces and exploits the myth of the Bulgarian Golden Age. An attempt for revealing the mechanisms of this process is made. In its ideological centre is the producing of the image of the April rebellion from 1876 as the Bulgarian initial cosmogony action and the time of the national liberating fights from the 1870s as the Bulgarian Golden Age insisting on its permanent reproduction. This mechanism is studied through the presence of the historical fact of Unity from 1885 in the “high” national-ideological literature (Ivan Vazov and Zakhari Stoyanov) as an attempt of palingenetical remake.

    Проблемна област: Литературни изследвания
    Ключови думи: българската, палингенеза, литература, Съединение

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  • Summary/Abstract
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    The present text sets out to examine the transformation of generally human, philosophical, mythological (also folklore) patterns into the literature of Bulgarian revival, as it concentrates its interest on the way different power and leadership models intertwine in this process. The attention is focused on the mechanisms of authority-display, as they are presented in V. Droumev’s masterpiece “Ivanko”. This drama has been acknowledged as a highly symptomatic manifestation of the specific manner of Bulgarian revival literature. It absorbs and gives new meaning to traditional heritage, as well as to the interpretation of power as a specific essence melting into one different sphere of the deeply human – religious, psychological, social, intellectual, ethnic. The network of different semantic layers, the mutual transformation of micro- and macro- segments of power ontology has been investigated. A basic question for the text is the place of power between the opposition’s strength (involving inducement) and justice. The study attempts to analyze this split and the paradoxical configurations, combinations and unexpected coincidences in various syntagmatic and paradigmatic dimensions. Power (being not only domination, supremacy, oppression, tyranny, control, but also authority, influence, arresting magnetism) is explored as simultaneously blending the oppositions and transitions between some basic reference points. Power is the peculiar unity which merges the worlds of might, intensity, vehemence and stamina with the rules of justice, fairness, equity, impartiality under the arch of the conditions of the ethnic and social wholeness and integrity. The double mutual identification is the main notion of power in the text. It is regarded as an activation of the archaic cosmogonic myth of ambivalence, which is semantically equal and relevant to completeness.
    Проблемна област: Литературни изследвания
    Ключови думи: парадоксите, господството, Властови, конфигурации, Иванко, убиецът, Асеня, Васил, Друмев

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  • Summary/Abstract
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    The image of the traitor takes a specific, intermediate place in the system of values, presented by the dramatic play literature of the Revival. The traitor is not a positive hero, neither an enemy of Bulgarians, because he himself is a Bulgarian. The otherness (the characteristic of difference) in the historic dramas is to be read as difference from the moral required (when the traitor is concerned) and as ethnic difference, combined with the inherent lack of morality (when the enemy is concerned). The dramatic play literature of the Revival presents the image of the traitor in an up-going scale. The most hesitant of them is the hero Mortagon of Voinikov. Ivanko of Vassil Droumev and Mitra of K. Velichkov illustrate next grades in the development of this character. The inner discrepancy of the Droumev’s hero, as well as the moral problem of the duty to the motherland, of the liberty to make choices, turns Ivanko into the most commented drama of the Revival. The elaborate review, conducted here, of the critics’ opinions and elated evaluations, of the various readings of the main hero’s image, prove his provocative character. The efforts of the critics seemed insufficient to comprehend Ivanko and literature further developed his image during the next decades. Ivan Vazov’s drama “Borislav” and Tsv. Minkov’s short novel “The death of the regicide” put in other situations and give other solutions to the hero of Droumev.
    Проблемна област: Литературни изследвания
    Ключови думи: провокативността, Иванко

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  • Summary/Abstract
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    The poem “One word” has in its main centre the interdependence between the subject and the existence on one hand and the subject and the Other from another (between the subject and the Logos and between the subject and the History), connecting link between two modalities is the act of the Saying that cannot utter the essence itself but problematisizes it. The main point in the article is whether the tension hidden between the Saying and Said is not the intentional base of Yavorov’s works, whether this process of moving to the essence is not the poet’s symbolizing model.
    Проблемна област: Литературни изследвания
    Ключови думи: символа, едната, дума, Поезията, Яворов

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  • Summary/Abstract
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    Geo Milev (1895–1925) is one of the most erudite, versatile, controversial, and enigmatic Bulgarian modernists. He is a poet; translator fluent in several European languages; literary, art, theatre and music critic; illustrator; theatre director; and editor of two of the most radical modernist magazines in Bulgaria – Vezni (Scales) and Plamuk (Flame). This study explores how Bulgarian Left criticism, from the mid 1930s to the end of the 1980s, interpreted Milev by means of the narrative of the Biblical prodigal son. Milev (and his Bulgarian modernist peers) are portrayed and interpreted by a story consisting of three stages: from 1913 to 1914 Milev created realistic art; then, from 1914 to 1922, he was interested only in modernism in the form of Symbolism, Expressionism, and avant-garde, and his greatest sin as a writer is that he avoided the burning social issues of his time; and, finally, from 1922 to 1925 Milev again shifted to realism in art that now, due to his newly acquired Marxist-Leninist worldview, made him a socialist realist and a poet whose martyr’s death elevated him to the Pantheon of Bulgarian literature. The essay critically outlines several aspects of the interpretive narrative about Milev: first, the story of Milev as a prodigal son is an ideological and teleological verbal construct; next, the critical fable of Milev as a repenting modernist has two forms–a detailed and short one which are used in different periods of Bulgarian cultural history; then, the narrative of the prodigal son is a form of the aesthetics of realism, whereas philosophically it bears some major resemblances with Cartesian idealism; next, rhetorically, the fable of Milev is rendered by means of metaphors of the path, whereas in terms of poetics the narrative is told always chronologically. The analysis concludes by sketching five corollaries of the narrative about Milev as a prodigal son that, in one form or another, can be perceived in Bulgarian culture down to this day.
    Проблемна област: Литературни изследвания
    Ключови думи: баснята, блудния, Милев, европейският, модернизъм, българската, лява, критика

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  • Summary/Abstract
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    In his novel Gods and Ants: Chronicle of the 20-th Century Stefan Tsanev uses some representing techniques, typical for the magic realism, to describe the fate of the Bulgarians in the context of the historical events. The fate of the characters is present in the light of Proto-Bulgarians’ heritage and Bogomilian tradition. In this way it attracts the readers’ attention to the roots of the common Bulgarian fate, closely connected to the history of the state. The succession of events in the novel’s world is presented as a matrix which reproduces itself during the centuries. The reality is presented as a demonic realm (like in the Bogomilian myths) and contrasts with Enlightenment’s ideas of people’s progress. The belief in collapse of all kinds of utopias leads to a typical postmodern loss of hope for the illusion of the sense.
    Проблемна област: Литературни изследвания
    Ключови думи: Паметта, историята, Една, равносметка, Стефан, Цанев

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  • Summary/Abstract
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    One of the first articles of the Bulgarian philologist Petar Dinekov Literary Legends (1937) provides the occasion for this analysis. Petar Dinekov wrote about the risks of making-up scientific legends for literature for the first time in Bulgarian scholarship, before its ideological stagnation in the period after 1944. This way of critical thinking and volition of re-examination of the historiography in the field of literary knowledge are defined as ‘first stasim’ of the drama of the Bulgarian humanitarian thought where Dinekov brings the academic history of literature in question. Scrutinizing Dinekov’s ideas, in terms of the last changes in the Bulgarian humanitarian context (after the crash of the communist regime’s ideology in 1989); we can speak about ‘second stasim’ in the literary history researches and about some kind of a reinforced scholarly interest in the problems of the folklore. This article analyzes Petar Dinekov’s history-theoretical conception about the place of the folkloristic in the humanitarian academic corpus. The actual question about the contemporary borderline position of the folkloristic is discussed in the following perspectives: 1. Folkloristic between “expert” knowledge of literary history and ethnography, on the one hand, and “ideological” knowledge of eclectic science as anthropology and philology – on the other hand. 2. Crossroad position of the folkloristic researches – between romantic-nationalistic intellectual project of philology and Euro-expansionistic intellectual project of anthropology. The third perspective discusses the place of the folkloristic between literary-philological understanding (about oral and written word) and ethno-anthropological knowledge about custom and nature of living.
    Проблемна област: Литературни изследвания
    Ключови думи: литературни, легенди, Втори, стазим, текст, Петър, Динеков

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  • Summary/Abstract
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    This article was influenced by two anniversaries – 300 years of St. Petersburg and 170 years of the poem “Bronze Horseman”. Special features and peculiarities of the St. Petersburg’s mythology and Poushkin’s poem were examined in the light of the category “boundary” – one of the most useful concepts in the contemporary Bulgarian studies in Russian literature. This approach helps the reader see different faces of the city: ceremonious and tourist advertising, on one hand, and nightly, sad, infernal – on the other hand, and their reflections in the poem (“Petra Tvorenie” and “Petropol”). In this new way of reading, special attention was paid to the interaction and the counteraction between the two main myths of the St. Petersburg’s mythology – the myth about creation and the eschatological myth. For the first time in the same text the fragmented eschatological myth was examined in its close connection with the myth of creation typical for before-Poushkin era and the attention was focused on the changes in “behavior” of the last one. Undermined by Poushkin in the contraries of its nature, the myth of creation was first compromised and then inversed. After all, due to dramatic conflict between History and Mythology (where they were in condition of dynamic balance), the myth of creation was absorbed in an anti-myth.
    Проблемна област: Литературни изследвания
    Ключови думи: Санкт, Петербург, Граници, лица, двойно, юбилейно

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  • Summary/Abstract
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    This study is a theoretical attempt at presenting the ideas of the famous theoretician of literature Jonathan Culler. Based on his interest in language and its nature of sign, the analysis is being focused on Culler’s literary studies, which make him one of the most provocative examiners of literature and its institutions. Along with literary criticism, the modern organized school and university, such institution is the language itself. In order to be complete the analysis pays heed to several crucial concepts of Jonathan Culler’s literary theory, examining them in discussion with the theoretical ideas of authors like Michel Foucault, Richard Rorty, Umberto Eco and Terry Eagleton.
    Проблемна област: Литературни изследвания
    Ключови думи: Идеалната, критика, Джонатан, Кълър, дискусия

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  • Summary/Abstract
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    This article is focused on two problems. First, there is the question of the role of the notion of fiction in the theory of fiction. It seems as though attempts to explain fiction and fictions end up either constructing fictions – imagined readers, stories of reading, imagined speakers – or appealing to structures which themselves turn out to rely on fiction, as in the case of the fictional emplotting that organizes the real-world discourses fiction is said to imitate. Second, there is the problem of the convergence of narrative studies and speech act theory, where the new emphasis on fictionality - the claim that literary works are fictional speech acts -paradoxically urges us to treat narrators as if they were real people, with all that that entails. There is a powerful humanistic ideology behind this claim. The theory of fiction needs to challenge this orientation and explore the possibility that literary narratives are, as in Pratt’s first account, real-world narrative display texts: not fictional speech acts but, if they must be acts at all, real acts of narration.
    Проблемна област: Литературни изследвания
    Ключови думи: Проблеми, теорията, фикцията

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    The subtitle of the present article, ‘Not Written on the Occasion of the Centenary of Chekhov’s Death’, clearly and emphatically indicates the fact that it is not a eulogy. In a distinctly non-celebratory tone the article makes the point that although well known, well respected and well analysed the world over, Chekhov’s work nonetheless remains homeless in the literary world. The peculiarities of his narrative and dramatic modes still puzzle critics and are yet to be comprehended. One approach to them – the more common one – attempts to justify and reconcile those peculiarities with earlier, accepted or even ‘classic’ rules. The opposite approach tends to align him with the modernist rebellion (a quiet rebellion, in Chekhov’s case) in European literature sinse Maeterlinck and Joyce, a rebellion in the face of which the new branch of literary studies, narratology, turned out to be nearly helpless. In semiotic terms, Chekhov’s narration enters into an iconic relationship with his main topics, boredom, and the virtually untranslatable poshlost’ (the closest one can get in trying to render it in English would perhaps be by using the adjectives ‘common’, ‘vulgar’, ‘trivial’). Adopting a contrastive-intertextual approach, the second half of the article shifts the attention from the more general concept of literary space to a specific comparison between Chekhov’s works and those of Nikolay Liskov, whose narrative mode seems to be in a relationshep of direct opposition to Chekhov’s. Intertextual links are suggested between two pairs of works by the two authors, Chekhov’s The Lady with the Lapdog and Leskov’s Lady Macbeth of the Mtsensk District, on the one hand, and The Daughter of Albion (Chekhov) and The Left-handed Craftsman (Leskov), on the other.

    Проблемна област: Литературни изследвания
    Ключови думи: творчеството, Чехов, литературното, пространство

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  • Summary/Abstract
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    The present essay attempts to find a new approach to the investigation of the famous lyrical digression and the motif of bird-troika in the finale to the first volume of ‘Dead Souls’. The genealogy of this motif is not sought in the borrowing from foreign poetical sources but in the working of a deep motif scheme determining the generation and the transformations of certain texts in Gogol’s oeuvre and the writer’s memory of them. The bird-troika motif is examined as a complex integration of the finales of ‘The Diary of a Madman’ and ‘Taras Bulba’ in the finale to volume one of ‘Dead Souls’.
    Проблемна област: Литературни изследвания
    Ключови думи: Гоголевата, креативна, Памет, веднъж, птицата, тройка

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  • Summary/Abstract
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    This text is a short presentation to the next five articles, which were delivered during the interdisciplinary conference Enlightened Laughter. The conference was organized by Bulgarian society for 18th century studies and took place at University of Sofia at 3 and 4 April 2004. The participants were scholars from Bulgarian Academy of Sciences, lecturers from several Bulgarian universities and guests from Macedonia and Turkey. Organizers had tried to encourage their colleagues to deal with several topics: Laughter as social, psychological and cultural phenomenon; Laughter, comic and parody in literature, art and culture from the age of Enlightenment and their effects in other periods of Bulgarian, Balkan and European culture; Laughter in popular culture, etc. Some observations on the text are offered, and some conclusions too.
    Проблемна област: Литературни изследвания
    Ключови думи: Обектите, просветения, смях

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  • Summary/Abstract
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    In the present article the author tries to reveal the attitude towards the laughter on the Balkan during the formation of bourgeois ethic code. The data, collected from many Bulgarian, Greek, Serbian and Ottoman texts from XVIII and XIX centuries, show that the image of Balkan’s homo ridens is not undivided but depends on the entire ideological atmosphere, as it is presented by different texts. The demonic image of the laughing person is categorically shown in the texts, representative of the conservative circles, which were connected with Patriarchate of Constantinople in the Ottoman Empire. The heralds of the Enlightenment’s new ideas defended a contrary opinion. The problem of the laughter is shown in the article as an intriguing issue in the context of the debates between church and the defenders of new ideas about modernization of society, burst forth on the threshold of the bourgeois era. It can be proved definitely by juxtaposition of the negative attitude of Nikodim of Mount Athos towards the laugh and the laughing person with the opposite viewpoints of Rigas Velestinlis, Adamandios Korais, Konstantin Fotinov, Neophit Bozveli, Emanuil Vaskidovich, Raino Popovich, etc.
    Проблемна област: Литературни изследвания
    Ключови думи: рече, Йоан, Златоуст

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  • Summary/Abstract
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    The paper is a critically informed commentary on Lady Elizabth Craven’s epistolary memoir A Journey Through the Crimea to Constantinople (1789), which is presented within a context defined by Thomas Hobbes’ pronouncements upon laughter, on the one hand, and key Enlightenment perceptions of ethnic and religious difference, on the other. Recent writing has tended to foreground Thomas Hobbes’ position as a political thinker while largely ignoring his contribution to moral philosophy. Hobbes, who is best seen as a major precursor of the Age of Enlightenment, strongly disapproves of the ‘passion of laughter’ on moral grounds and claims that the proper task of ‘great minds’ is ‘to help and free others from scorn’ while ‘compar[ing] themselves only with the most able’ (Leviathan, Chapter 6). In the context of the present paper, this is read as a plea for tolerance and acceptance of otherness. While Hobbes’ moral-philosophical legacy exercised considerable influence in the following century, there was also a fair amount of inconsistency and contradiction in the writings of his followers. Thus Voltaire emerges very much as his disciple in his Letters Concerning the English Nation and A Treatise Upon Toleration while his later correspondence with Catherine the Great reveals drastic non-acceptance of certain forms of otherness, most notably of the mores of Ottoman Turks. The paper attempts to shed further light on the apparent contradiction between Enlightenment strictures upon intolerance – especially when the latter is expressed through derisive laughter – and eighteenth-century practice as revealed in Elizabeth Craven’s memoir. The memoir tells of the writer’s 1785-6 journey across Europe, starting with France and Italy and ending with Constantinople, the Western Black Sea coast, and Wallachia. Craven’s tendency to privilege select ethno-geographical localities at the expense of others testifies to the emergence, in her time, of a conceptual model based on a gradation of intra-European ‘Orients’ and ‘Occidents’. The traveller identifies with some of the ‘Occidents’ (e. g. France and Austria) and respects the achievements of the Occidentalized aristocracy of Poland and Russia. However, she likewise projects a largely Orientalized image of Italy, has mostly contempt for the Islamic Orient as exemplified by the Crimean Tartars and Ottoman Turks, and indulges in derisive laughter at the expense of the Wallachian elite’s attempts at self-Occidentalization. Craven’s epistolary narrative thus embodies an attitude to certain forms of otherness that postcolonial criticism, inter alia, has taught us to regard as typical of the West. However, my argument differs from the arguments of most critics working within the postcolonial context in emphasizing Craven’s marked divergence from the prescribed Enlightenment attitude of tolerance and acceptance as typified by Hobbes’ strictures upon laughter and derision.
    Проблемна област: Литературни изследвания
    Ключови думи: Ориенталски, нелепици, просветеният, смях, лейди, Елизабет, Крейвън

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  • Summary/Abstract
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    Bulgarian national mythology was not unified and solid, even in the period of the National Revival. There were different rival variations competing in the sphere of the literature. There were parodies of the main myths too. Interestingly enough they were not only in the texts of radical authors like Luben Karavelov and Chisto Botev, but in the work of writers who build national mythology in other texts. Practically all mythical constructions were objects of parody. The paper is focused only at some cases: mock interpretations of the glorious past, the lives of the new martyrs, and the motif of the unfortunate family. The examples were driven from works of Vasil Popovich, and memoirs of Svetoslav Milarov, Zachari Stoyanov, Stoyan Zaimov, and Mincho Kunchev. The conclusion is that parodying some nationalistic constructions this text did not subvert the mythology as unit.
    Проблемна област: Литературни изследвания
    Ключови думи: пародии, националистическата, Митология

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  • Summary/Abstract
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    The kind of laughter that I call gothic is to be heard or produced primarily in literary works belonging to the British Gothic Revival (1764–1820). The peculiarities of such laughing are result of its paradoxical amalgamation with fear. Due to this mixed character it is akin to the dark romantic grotesque described by Wolfgang Kayser and Mikhail Bakhtin. Within the uncanny mixture of joy and grief, of laughing and crying, I differentiate a variety of roles played by the gothic laughter. We can observe the humour of the servants in Walpole’s and Radcliffe’s novels, the rebellious humour of the Freudian super-ego, the daemonic or Satanic laughter of Maturin’s Melmoth, the laughter caused by automated bodies, mechanical or ghost simulacra in M. G. Lewis’s The Monk and E. T. A. Hoffmann’s Der Sandman. In the analysis are applied concepts from theories of laughter by Baudelaire, Henry Bergson, Freud, and Helmuth Plessner. Self-reflective and eccentrically positioned, gothic laughter is a symptom of painful personal self-observation and self-knowledge, as well as of the insuperable cognitive, aesthetic and existential anxieties.
    Проблемна област: Литературни изследвания
    Ключови думи: Научи, смея, спаси, Душата, роли, готическия, смях

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  • Summary/Abstract
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    The paper is concerned with the striking abundance of nose images in the literature of the 18th century and their ambivalent relatedness to the carnavalesque imagery. Focused on Sterne’s Slawkenbergius’s Tale from The Life and Opinions of Tristram Shandy Gentleman and considering evidences such as Voltaire’s Candide and Zadig, it explores also the tradition of literary thematizing of noses in a wider historical perspective. The assumption suggested is that during the Enlightenment the literary interpretation of noses played a clearly expressed subversive role in relation to the official ideological bias and it was during the same 18th century that literary “nosology” took a specific turn that predetermined significant thematic developments in later European literature.
    Проблемна област: Литературни изследвания
    Ключови думи: Просвещенската, носология, смях, подривност

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  • Summary/Abstract
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    The article tackles the evolution of characters from the point of view of the time in the novel, analyzing the transformation of certain techniques used by Balzak in Proust’s novel. Balzak created a kind of narrative presence of his characters comparing several portraits from different moments in their lives. Proust’s character unravels in the course of time – a set of images often contrasting, isolated within the framework of time. The meaning generated by Proust’s character is in direct proportion to the narrator’s inability to dwindle him or her to a single image; it is in direct proportion to the multiplication of forms. The point of departure mingles with the search for truth, which slithers away for ever. This search is always situated in time, and truth is a function of time. Balzak’s novel has a dramatic structure and the reminiscence serves the purposes of explaining the reasons. Time is used by the novelist as a method of clarification; it presages and prepares the future. Proust releases the forms of temporal narrativity from their dramatic function and leaves them develop on their own, aesthetisizing them.
    Проблемна област: Литературни изследвания
    Ключови думи: време, персонажи

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  • Summary/Abstract
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    The paper deals with the rhetoric and narrative models with the help of which Zachari Stoyanov’s biographical work builds up the national-historical myth Botev. There is an interpretation of the functions of the existence of the rationalistic and positivistic point of view in forming Botev’s personality and the irrationalistic point of view that a genius is something inexplicable. The meanings emphasizing the exceptionality, the uniqueness of Botev has been dealt with. The observations that have been made prove that Zachari Stoyanov’s text shows as the nature of Botev’s uniqueness his feeling for freedom. With that feeling the biographical discourse links the poetic identity of the poet-chieftain’s life. The paper interprets the way Zachari Stoyanov’s biography uses poetry’s value to mythologize Botev and his historic significance.There is analysis of the role of the creation of the myth Botev on the, emphasized in the text, identity life – poetry. The research highlights the significance of Zachari Stoyanov’s work on the existence of this myth in the spiritual history of the Bulgarian people.
    Проблемна област: Литературни изследвания
    Ключови думи: Митологизацията, Историческата, личност, Христо, Ботйов, Опит, биография, Стоянов, Ботев, като, Ботев

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  • Summary/Abstract
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    The paper consists of analysis of Ivan Shishmanov’s approach and contribution to the exploration of the Bulgarian national revival age. The analogy between the European Renaissance and the Bulgarian national revival, deeply rooted in the disciplinary matrix of contemporary researchers, is here rejected as inappropriate. Instead, the paper suggests the processes in the Bulgarian society and culture during the 18th and the 19th century to be examined in the context of Early Modern period and to be interpreted without borrowing concepts and patterns elaborated in the researches of rather different historical material.
    Проблемна област: Литературни изследвания
    Ключови думи: Иван, Шишманов, дисциплинарната, матрица, Изследванията, българското, Възраждане

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  • Summary/Abstract
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    This paper is focused on the contribution of Prof. I.D.Shishmanov (1862- 1928) to the field of literary sociology. As one of the founders of the comparative history of European literature and as a reformer-builder of Bulgarian society, the famous scholar leaves valuable ideas that chronologically and conceptually precede today’s sociological and receptive theories.
    Проблемна област: Литературни изследвания
    Ключови думи: Приносът, Проф, Иван, Шишманов, социологията, литературата

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    This paper examines Ivan Shishmanov’s contribution to the refuting of some myths inherited from the age of the Bulgarian national identity forming, when the Bulgarian intelligentsia representatives who played the leading part 201 in creating the “imagined community” constructed the national narative and built up the myths needed. Shishmanov takes up a sober position on the important issue about the role of the Greeks and the Greek culture in Bulgarian history (15th –19th century). Following the myth widespread in the Bulgarian romantic historiography of that time about the long-standing hellenizing policy towards the Bulgarians, Shishmanov reaches the conclusion that up to 1830 the Constantinople patriarchate did not function as a Greek national institute. He stresses the necessity for each phenomenon to be examined in its concrete historical context. He opposes the accusation against the Greek clergy that is has sistematically pursuited and destroyed the Bulgarian letters. He rejects the romantic thesis about the entirely negative role of the Greek culture and education for the Bulgarians and arrives at the conclusion about the positive role of the Greek cultural influence over the Bulgarian history, ranking it among the Bulgarian national revival factors. Shishmanov is convinced that we can be well acquainted with our own history only if we examine the phenomena of Bulgarian society’s spiritual life in their Balkan context, thus he convincingly refutes the romantic myth about the “uniqueness, originality, exceptionality and exclusiveness” of the nation, a myth that eliminates the search for parallels between the particular peoples’ development. Exactly on the basis of the similarity in the peoples’ development he reveals the mutual influence and borrowings in the cultural life of the Balkan peoples. Shishmanov disproves the view inhereted from the foregoing age that in the 19th century there existed tensions and conflicts connected only with opposing to “the other” on national base, since the national mythology requires the nation to be absolutely united and integrated. He is deeply convinced that myths in history can thrive only upon the ignorance for “the other” and therefore insists that it is Bulgarian school’s duty to make the Bulgarian children acquainted with the culture of the neighbouring Balkan peoples.
    Проблемна област: Литературни изследвания
    Ключови думи: Иван, Шишманов, националната, Митология

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  • Summary/Abstract
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    The paper examines the appearance of Ivan Shishmanov’s study “The Song of Dead Brother in the Poetry of Balkan Peoples” (1896–1898) in its international and Bulgarian context. It traces out several interpretations of the dead man (brother or lover) motif, who comes back among the living people in search of his sister or beloved (“Lenore”, AT 365). The main aim of the paper is to show the continuity and accumulation of source material, and the examination of previous hypotheses, as well as the new perspectives and methods applied.
    Проблемна област: Литературни изследвания
    Ключови думи: Мъртвият, брат, Анализи, тълкувания

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    Клео Протохристова - Иван Шишманов и западноевропейските литератури – академичният проект.
    Проблемна област: Литературни изследвания
    Ключови думи: Иван, Шишманов, западноевропейските, литератури, академичният, проект

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  • Summary/Abstract
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    The name of the great Ukrainian scholar – folklorist, literary critic and historian Mikhail Dragomanov (1841–1895) is closely connected with Bulgaria. In the last years of his life (1889–1895) he was professor at the Univesity of Sofia; his daughter Lidiya was the wife of the Bulgarian professor Ivan Shishmanov. In Ukraine Dragomanov’s works have been republished after a long suspension. The works that have come into sight so far already enable us to throw a new light on the collaboration between the first Ukrainian scholar in Bulgaria Lyuben Karavelov and the Russian folklorist and sociologist Ivan Gavrilovich Prizhov. One positive review of Prizhov’s work “Malorossia (Southern Russia) in its literary history, 9th–18th century” by Dragomanov (1869) shows the erudition of Prizhov not only as an expert in Ukrainian folklore, but also in Ukrainian literature. Nowadays it is known that Karavelov’s knowledge of Ukrainian history and literature was much wider than previously thought. The publishing of Dragomanov’s article “Shevchenko, Ukrainophiles and Socialism” (Geneva, 1879) enables us to outline the similarities and differences 203 in the interpretation of Shevchenko’s work in Dragomanov’s polemical article in question and in Shishmanov’s jubilee article “Taras Shevchenko, His Work and Its Impact on the Bulgarian writers before the Liberation” (1916).
    Проблемна област: Литературни изследвания
    Ключови думи: Каравелов, Прижов, Шишманов, Драгоманов, началото, българката, украинистика

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    The present article is an effort to include the classical novel of the new Bulgarian literature in the tradition of historical narration. Placing Vazov’s text within the framework of the historical novel is not contradictory to all the other genre definitions the novel has had in its more than 100 year existence. The genre features of the historical novel can be found on different levels in Under the Yoke. One of the basic proofs that Vazov’s novel belongs to the genre of the classical historical novel is the presence of a historiosophical concept of the April Uprising. The comparison between Under the Yoke and Vazov’s two other novels – Svetoslav Terter and Ivan Alexander – is based on the recognition of History in the novel. The article concludes that the novel Under the Yoke can precisely be defined as historical.
    Проблемна област: Литературни изследвания
    Ключови думи: игото, исторически, роман

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    The name of the poetess Karamfila Stefanova has been more and more frequently mentioned in the last two decades. In 1874 and 1875 she published mainly poems in the press. The hypothesis constructed in this paper claims that she was not actually a woman, but a man. A hint about such a mystification is the title of a poem signed with the name of Karamfila Stefanova. The hypothesis is supported also by the fact that no personal data for such poetess or established facts of her life have been discovered. Also, no fellow- townsman of her time knew anything about her, and she was not mentioned in the memoirs of Todor Ikonomov, Sava Dobroplodni, Krastyo Mirski, Dobre Ganchev, etc. Her name was only mentioned in an unpublished paper of Anton Frangya. The analysis of the literary patterns of Karamfila Stefanova and Anton Frangya (the common themes, their preferences for genres and motifs, especially satire, the language similarities, some other features of the texts), as well as some facts of Anton Frangya’s life prove that there are reasons for the hypothesis that they are the same person.
    Проблемна област: Литературни изследвания
    Ключови думи: Карамфила, Стефанова, сянката, мистификацията

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  • Summary/Abstract
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    Teodor Trayanov’s poetical book “Song of Songs” (1923) is being examined in the deeper meaning of the history of ideas that reached the poet both in a cultural way (the innermost “inside” of the Bulgarian national culture), and in an educational way. In the chosen work the “being a poet” emerges as a centre of Solomon’s “Song of Songs” of the Old Testament, the Bulgarian prechristianity (outside the Old Testament) and the Christian ideas adopted in the Bulgarian national culture.
    Проблемна област: Литературни изследвания
    Ключови думи: Думата, осъзнава, своя, божествен, Произход, песен, песните, Теодор, Траянов

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  • Summary/Abstract
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    The paper examines the dramatic-prose work in question at two levels – once, in the context of the Old Testament version of the plot in The Book of Judges; and next on the background of the Bulgarian political history of the 1920s. At the latter level the paper suggests a few basic ideas, connected, in the first place, to the conservative position manifested by the author living in a highly revolutionary age and, secondly, to the discovery of the emancipating sociologem of the daughter who symbolically gives birth to her father. In regard to the first aspect the paper considers the possible role positions of the individual living in troubled times, and draws the attention to Emanuil Popdimitrov’s choice to describe an adaptive and socially constructive (not a reforming revolutionary) type of person, as seen in the character of the regentjudge Jephthah. In regard to the second more important aspect the paper makes a comparative analysis of the original (biblical) and the secondary (literary) versions of the plot about the daughter who rescued her father by physical exploit from disgrace and social death. In conclusion the paper emphasizes the fact that the literary text raises problems in the family identity of the person in society to a degree in which it may turn out that the woman can rehabilitate the man’s honour, and the children can produce their parents’ dignity.
    Проблемна област: Литературни изследвания
    Ключови думи: Раждането, бащата, Размишление, върху, дъщерята, Йефтая, Емануил, Попдимитров

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  • Summary/Abstract
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    “Hudozhnik” Magazine is examined both as an entire artificial fact and according to the spirit of the critical period of 19th-20th century – the Gesamtkunstwerk. Captured here is how the spontaneous genre disruption is spread over the pages, the accent is on the aesthetic and unrepresentative prose. If poetry resembles actual philosophical and lyric standards, prose keeps its distance from the indiscreet individual norm, removing the fence of its own sensitively stereotyped decadent language. The finds in these not so talented readings do not deal just with criticism: the only mono Nietzsche hero is slightly removed by the person of the moods, of the mind status, of the so called Stimmungsmensch – the appearance of whom establishes new philosophical paradigma – the philosophy of life, die Lebensphilosophie. The sensuousness, the body, the subconscious, “it” (es) – these are categories schematically announced in the “Hudozhnik” prose since the beginning of the 20th century, i.e. in the period before the Wars. Having understood the sense and showing it like a discussion and a correction of Nietzsche’s principles famous on our territory, the prose of writers like Ivan Yotov, S.D.Chakalov and Raicho Raichev, the Homo Novus might be defined as a new tendency, anticipation of the aesthetical researches and processes of the 1920s. In fact, the finds and pathos are entirely harmonious with the European late 19th and early 20th century – the strengthening of Freud’s and Bergson’s conceptions and the destructive role against the old Nietzsche ones.
    Проблемна област: Литературни изследвания
    Ключови думи: Несвоевременната, проза, Художник

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  • Summary/Abstract
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    “Hudozhnik” Magazine is examined both as an entire artificial fact and according to the spirit of the critical period of 19th-20th century – the Gesamtkunstwerk. Captured here is how the spontaneous genre disruption is spread over the pages, the accent is on the aesthetic and unrepresentative prose. If poetry resembles actual philosophical and lyric standards, prose keeps its distance from the indiscreet individual norm, removing the fence of its own sensitively stereotyped decadent language. The finds in these not so talented readings do not deal just with criticism: the only mono Nietzsche hero is slightly removed by the person of the moods, of the mind status, of the so called Stimmungsmensch – the appearance of whom establishes new philosophical paradigma – the philosophy of life, die Lebensphilosophie. The sensuousness, the body, the subconscious, “it” (es) – these are categories schematically announced in the “Hudozhnik” prose since the beginning of the 20th century, i.e. in the period before the Wars. Having understood the sense and showing it like a discussion and a correction of Nietzsche’s principles famous on our territory, the prose of writers like Ivan Yotov, S.D.Chakalov and Raicho Raichev, the Homo Novus might be defined as a new tendency, anticipation of the aesthetical researches and processes of the 1920s. In fact, the finds and pathos are entirely harmonious with the European late 19th and early 20th century – the strengthening of Freud’s and Bergson’s conceptions and the destructive role against the old Nietzsche ones.
    Проблемна област: Литературни изследвания
    Ключови думи: Градът, Зоната, референции, фразовата, метафоричност, Атанас, Далчев, Гийом, Аполинер

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  • Summary/Abstract
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    The very grounds of this article is the proper actualization and multiple definition of the term Central (Middle) Europe during the 1980s and the 1990s, in terms of its geopolitical and geographical cultural space. As an opposition to Germany’s political project Mitteleuropa, in the 1980s a new mid-European concept was launched, being a historical part of the ethnic and cultural diversity of the Austrian monarchy. The authors are intellectuals from Czechoslovakia, Poland and Hungary, all of them representing nations whose cultural identity has been manipulated and threatened by the communist totalitarian regime, and to whom the ex-Danube monarchy has been a “hinterland” for a rather long historical period. The main directions of Central Europe’s cultural and geographical definitions have been illustrated in the selected essay-writings of Milan Kundera, György Conrad, Vaclav Havel, Czeslaw Milosz. To all the four authors presented it is a “spiritual, cultural and mental phenomenon”. The motives are also pointed out, being an indispensable part of their central-Europeanism. Milan Kundera historically documented these in terms of the organized political struggle of the Hungarian, Czech, Slovak and Polish peoples against the communist dictatorship (1956, 1968, and 1980). We have also taken into consideration the discussions held in the West, concerning the new Central European project and their argumentative publicity in the 1989 anthology “In Search of Central Europe”. Since the works of the above-mentioned central European intellectuals do not pursue any academic goals, this article does not aim at discussing the proposition of cultural-geographic identification of Central Europe on behalf of the present criteria of objectivity and impartiality. What is more, this issue has been largely discussed by a number of authors in the anthology mentioned. From a comparative point of view, the analysis registers the common places and language-discourse interrelation of the essayistic texts, but pays particular attention to the connotative differences and their hypostases concerning the 207 modeling of the Central European cultural identity. In other words, the term Central Europe is considered in accordance with the various national reflections. On the one hand, the texts share the character of a collective project ebbed by the urge to demonstrate national compactness purified of all inherited national contradictions and cultural conflicts and even glorified as an ideal of the European future. On the other hand, regardless of the common “Central European attitudes” of the authors of the project, the national view point (together with all accompanying mythologemes of identity), generates discrepancies that question the historical reality of the cultural integrity and geographic localization of Central Europe.
    Проблемна област: Литературни изследвания
    Ключови думи: Средна, Европа, средноевропейското, географско, културно, пространство, оглед, интерпретациите, Милан, Кундера, Дьорд, Конрад, Вацлав, Хавел, Чеслав, Милош

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  • Summary/Abstract
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    The study tries to show in an unusual way that the Slavonic-Italian interliterary fellowship does exist. It is not rooted in historical forms which appeared and spread in Middle Ages in the Dalmatian Croatian and Italian environment but in typological relations of the Italian and Slavonic literatures and cultural mentalities, in the so-called meta-historical form of fellowship. We aim to prove in three contemporary novels that the hero protects and respects his own body. He never becomes an out-of-body ghost, intellect, an ideologist of the interests of some group or an aesthet. He supervises what happens around him according to the fact if the events do not imperil his life and the integrity of his personality (which often becomes an object of godly respect). So that he can further feel good, he gets involved in social matters. Since the power of an individual is limited, it arises out of the involvement – the protection of the hero’s own life, stylistically well exploitable situations: lyrical fragility, pathos, drama, comicality, invention, realistic historicity, dominance of youngish view. But if there is a kind of Slavonic/Italian interliterary fellowship based on corporeality, it exists over styles and over literary periods, because its basis is a common cultural type which could be marked as Mediterranean/ Christian.
    Проблемна област: Литературни изследвания
    Ключови думи: Телесността, пространство, Словашко, италианското, междулитературно, Общуване

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  • Summary/Abstract
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    The paper examines the dialectics of the interrelations between the personality of the lyrical “I” and the person in process of its spritual native land in Nikolay Gumilyov’s lyric poetry. 208 The paper theoretically molds the mutual relations between three basic manifestations of the lyrical and of the biographical “I” of the poet, the indication of which had become a common place to criticism: 1) they both put on and put off “masks” (with certain cultural-historical meaning); 2) the biographical “I” stands at the head of the poetical movement Acmeism and its corresponding Guild of Poets social structure; 3) the complete “I” of the poet shows unfailing interest and sympathy for the Orient. The poems’ analysis confirms the fruitfulness of the suggested model and enriches it. Gumilyov’s lyric poetry lays the “arts synthesis” as an aim immanent in poetry; thus “curing” the synthesis. It premises the synesthetic image of classical art, which is different from the antique Greek or Greco-Roman one, and from the one conditioned by the dynamics of Classicism and Romanticism, “classical” and “barbarian”. In Gumilyov’s lyric poetry the culture of a spirit much different from the European spirit of the New Age is being professed (expressed as vital). The analysis dwells on the poems: “I Threw My Boring Mask Off” (1906), “I am an Iron-Clad Conquistador ” (“The Path of the Conquistadors”; 1905) and its revisions; “Iambic Pentameters” (1912-1915; “The Quiver”, 1916), “Andrey Rublyov” (“The Pyre”, 1918), “Niger” (“The Tent”, 1921); as well as on the cultural-historical and psychological meaning of the title of “The Pillar of Fire” volume of poetry (1921); other Gumilyov texts are treated here as well.
    Проблемна област: Литературни изследвания
    Ключови думи: Николай, Гумильов, Поетът, пред, лицето, духовната, родина

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  • Summary/Abstract
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    The new interdisciplinary conference of the Bulgarian Society for 18th Century Studies, co-organized by the Centre for Advanced Studies, was dedicated to Occidentalism. The topic was specifically formulated to elucidate the (biased) 'Eastern' notions about the 'West' and to explain the neologism so offensive for the ear of the purist.The issues related to the debate on 'Orientalism' (introduced by Edward Said's famous book and taken up by Ian Buruma and Avishai Margalit) are of special interest for Bulgarian and Balkan scholars in the humanities. In a world where the center seems to define the production and distribution of knowledge, the peripheries are extremely sensitive to the mechanisms of this domination. Yet there is a reverse side of this problem - just as the West is biased in its treatment of 'the Orient' and tries to impose its domination through literary and scientific texts, the East tries to solve the problems of its communication with the West by building its own (analogous) mental and verbal constructions. They are comparatively less studied worldwide and practically ignored in Bulgaria, even in the context of the Balkans and Eastern Europe. The conference on Occidentalism tried to outline the scope of this phenomenon. The Bulgarian Society for 18th Century Studies demonstrated a long-term interest in issues like image studies and the image of the other, in the ways modernity alters people's mindsets, or the problems of national and regional identities. Therefore we decided to dedicate our annual conference to the nature of Occidentalism and its Bulgarian, Balkan and East European dimensions. The topic provoked great professional interest. Many potential participants from Bulgaria and abroad noted the good timing and the importance of such discussion. Earlier the website of the Society posted links to some basic publications on Occidentalism. Despite the efforts of the organizers to focus the discussion, both the proposals and the reports sometimes strayed from the central set of problems. Many participants opted for their own implicit interpretation of the unwonted term, which varied from some partially explained synonyms of 'modernization', 'westernization', 'the West', etc. to the more convenient notion of 'images of the West' or some part of its parts, e.g. Italy, which allowed the participants to use ready-made texts from reception studies and other similar academic fields. A central problem, doubtlessly deserving special attention, proved to be the 'internal' criticism of Western culture, occasionally expressed through a fictional 'oriental' viewpoint, one of the most eloquent examples being Montesquieu's 'Persian Letters'. Perhaps this could be partially explained by the conviction that Bulgarian, Balkan and East-European culture is not really characterized by Occidentalism. Many speakers implied or explicitly stated that Bulgaria and the Balkans have always been a natural part of Europe. In this context, however, this nominally correct statement poses a multifaceted problem. It contains a measure of Eurocentrism and the implication that what is not European must be imperfect, incomplete, insufficient and derivative. This explains the unwillingness to focus on Occidentalism, which would imply a certain distancing from the West or would at least pinpoint some non-European elements of our culture. Such an attitude was not totally ungrounded. It was amplified by the abundant pro-European rhetoric - mere days after Bulgaria signed the contract for its accession to the European Union. Yet this was hardly the only reason for the weak interest to phenomena of the late 20th and early 21st century. The participants felt much more comfortable discussing the 19th and early 20th centuries, or talking about the Orientalism of foreign observers and about the Orientalist tendencies in Bulgarian and Balkan culture. The intertwinement of the Orientalist and Occidentalist discourses was repeatedly commented on. Far trickier proved to be the interstitial, hybrid character of Balkan cultures. Many participants drew upon Maria Todorova's famous thesis; the observations of concrete phenomena led to similar conclusions. The phrase 'a fruitful failure' in the title was used quite intentionally to continue the provocation in the attempt to discover 'occidentalist' tendencies in one's own culture. I believe that even when we don't or won't discover such tendencies, the conceptual field of Occidentalism still contributes to the reflection on our own culture and the world around us. Thus the real debate at the conference was actually fruitful, even though the utopian attempt to reach a consensus failed.
    Проблемна област: Литературни изследвания
    Ключови думи: Оксиденталистки, страхове, комплекси, един, плодотворен, провал

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  • Summary/Abstract
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    During the National Revival period, Bulgarians came into contact with the West and created for themselves an image of the Occident mainly through the intermediation of the Greek economic, social and intellectual elite. Although criticism was as a rule embedded in general benevolence and even enthusiasm for the West-which was perceived as an alternative to Ottoman autocracy-, it appears that obviously as a result of the increasing reluctance with regard to Greek language and cultural influence, some Bulgarians were inclined to reject Europeanness together with Greekness. There is evidence of such an attitude in, for example, Dobri Voynikov's well-known comedy Krivorazbranata civilizacija (The Phoney Civilization, 1871), in which the Greek Margaridi, representing Western lifestyle and moral values, is the object of vicious satire. In our contribution, we will go deeper into this embarrassing relationship between Hellenization (as an aspect of urbanisation) and Europeanization (in the sense of adopting the moral values of Enlightenment), paying attention also to the question to what extent Hellenization was rejected because of the incompatibility of Enlightenment with the traditional moral values imposed by religion and the patriarchal society.
    Проблемна област: Литературни изследвания
    Ключови думи: Погърчване, поевропейчване, през, Възраждането

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  • Summary/Abstract
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    The present paper aims to examine the debate instigated by the railway construction across the areas of the Ottoman Empire populated by Bulgarians in the 1870s. This was not the first anti-European debate in the Bulgarian public sphere, but it was the first one to question the very core of the modern idea of progress. Questioning however does not necessarily mean rejecting, since the main issue was the unequal economic status of the participants rather than the technological progress per se. The opponents of the railway project considered it a form of colonization and pleaded for its postponement in order to allow the Bulgarians to acquire economic power. Two major results could be outlined: 1) a shift from utopian to anti-utopian image of Europe; 2) an ideological project to enter modernity without or even against the will of Europe.
    Проблемна област: Литературни изследвания
    Ключови думи: Европа, като, колониален, господар, Дебатът, железниците, възрожденския, печат

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  • Summary/Abstract
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    The study aims at illustrating the contradictory processibility in postulating the own - the stages of its heterogeneity, polemical tension and disunity. National ideology is not a construct imported just from the outside to fill a blank space; it is rather a result of the transformation and mitigation of previous, established, existant visions of self-knowledge and self-experience. The axiologies of the Bulgarian reveal their weak, debatable and downright vacillating character in a period which is usually thought to lay and use them synonymously and axiomatically. The national conception of the world appears to be a creation of local stereotypes with different accents and semantics (D. Voynikov), or, on the contrary, a creation of surmounted behavioral prejudices following the Europeanizing / Christian / Slav model (I. Bogorov). After the translation of „Janissaries" and „The Adventures of Robinson Crusoe" (1849) I. Bogorov is no longer apologetic in his accounts of the Bulgarian, but gives a new critical meaning to it in the light of the „West-East" and „barbarity-civilization" oppositions, which structure both of the translated texts. Noticing the chaos, decentralization and disunity of the „Bulgarian places", Bogorov actually discovers the Orient in these territories, spots it in the way it is put in „Janissaries" - as an embodiment of the Janissarian / fanatical / antediluvian-ritual / uncommunicative-concealed. Whereas the civilization he would like to see adopted in this „places" understood as comfort is shifted to „The Adventures of Robinson Crusoe" (personal hygiene, functional home order, social life, enterprise, impulse to domesticate people and things). The characters in Voynikov's comedy „The Phoney Civilization" (1871) to a great extent look predetermined by the cultural visions of Bogorov that are shared in „A few days walk around the Bulgarian places" (1868). They could be perceived as their personified discredit. Through the naive-pathetic rejection of Bogorov's notions and through the mechanical return to the „simple" identity of the deux ex machina principle Voynikov lays the national identity as a unified and unique reality which can not be avoided. The dominants of the Bulgarian identity main body however look strikingly similar to the dominating specificities of the Orient fixed by Bogorov in „A Few Days...". In Voynikov they already function as a „trademark" of the Bulgarian. In that sense the Orient's fundamental categories which Bogorov assimilates through the translation of „Janissaries" (the female shyness and hiding from the world, the closed home, the standstill, etc.) are seen in Voynikov's comedy as founding pillars of Bulgarian identity, while the typical oriental vices (rakiya and tobacco abuse) are freed from blame, seen in the light of the comical. Resembling the dictionary conspectus the present study attempts to cover a few dominant symbols of the Orient that are interpreted negatively or positively by the two writers (naturally referring to other authors and texts of the Bulgarian national revival as well). It goes from the abstract (shame, home, road) to the concreteness of life, since it is exactly in the macrosymbols of life such as needle, rakiya, tobacco, clothing that the polemical correspondence of Voynikov to the travel-writing of Bogorov is most distinguishable, as well as what becomes apparent is the conservative ideology upon which „The Phoney Civilization" lies - in fact a deformed-travestied projection of Bogorov's cultural pretensions to the „Bulgarian places".
    Проблемна област: Литературни изследвания
    Ключови думи: Кратък, Речник, Ориента, непроявения, дебат, между, Иван, Богоров, Добри, Войников

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  • Summary/Abstract
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    The life and the works of Asen Raztzvetnikov testify to a person who is deeply rooted in the nativeness and widely open to the civilization that we call European. The relations engendered by this openness are the result of the natural penetration of elements which construct the European cultural field; they are genetic because the author is a product of that field, and secondary, as far as he consciously adopts influences and revises them in his own way. Being subjective by nature and objective of necessity, this revision bears the stamp of a unique individuality, which is bound by the social characterization of his creative environment's national tradition. The image of Europe in Asen Raztzvetnikov's Lyric Poetry is a small part of the hard distinguishable situation of his purposeful and unconscious communication with the West. During the period that comes to an end with the publishing of „Mountain Eves" (in the mid 1930s) this image gets formed and completed as a sign with a substantial view of life significance.
    Проблемна област: Литературни изследвания
    Ключови думи: Европа, Лириката, Асен, Разцветников

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  • Summary/Abstract
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    The article is a theoretical examination of the modern Bulgarian vision about West (Europe) as a legitimizing instrument in the native/nonnative art debate in the Bulgarian cultural context after World War I. The analysis is focused on critical and culture-scrutinizing articles published in Bulgarian periodicals in the 1930s which display the ways of perception/resistance to the west European cultural standards. Studying the relationships between native (taken as cultural traditions) and European (understood as „high norms" and criteria for commensurability) the paper discusses the parameters of the above-mentioned debate, which played an important role in Bulgarian cultural life in the next years and became an important issue of Bulgarian national self-vision and self-perception.
    Проблемна област: Литературни изследвания
    Ключови думи: Умният, тяхното, оръжие, въоръжим, hellip, Модерният, дебат, родно, чуждо, през, години

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  • Summary/Abstract
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    Travel writing's manipulations of Orient and Occident for a whole variety of purposes may have reinforced the concept of an East/West dichotomy dividing up the world, but especially by applying these labels within the writer's own society they have also helped detach notions of 'the West' from any geographical reference point. The Orient can exist within the very heart of Western Europe, its presence marked by burek, or the state of the toilets, while the Occident is everywhere by now. In this writing, 'East' and 'West' become the coordinates of a purely moral map, rather than a physical one, something which at least implies the possibility of choice and change. Similarly, cosmopolitan travellers may have denied the salience of the East/West divide in ways that only allowed a few to escape, but even such limited re-mappings of the world invite readers to imagine themselves as equal members of a more inclusive community. It's a starting point - modest, but real. Travel writing from the Balkans, in the end, is a hybrid genre in more that one way. It has perpetuated systems of difference that operate at the expense of others, but at the same time it has opened up different ways of seeing the world, mixing up margins and centres, positive and negative, both to reinforce and to challenge the travellers' own societies' social and political practices.
    Проблемна област: Литературни изследвания
    Ключови думи: Ориентализъм, оксидентализъм, космополитизъм, балкански, пътеписи, Европа

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    The article compares some texts and cultural phenomena from Eastern Europe or East-Central Europe, which would correlate cultural manifestations in the region with the distant transatlantic developments emphasizing the principle and agenda of national independence. In 1776 Ignacy Krasicki published „what can be called the first Polish novel", The Adventures of Mikolaj Doswiadczynski, Written by Himself (Mikolaja Doswiadczynskiego Przypadki, przez niegoz samego opisane), and Giovanni Lovrich, also known as Ivan Lovric, from Venetian Dalmatia, published in Venice his only literary work, Observations on Various Parts of the Voyage in Dalmatia of Signor Abbé Alberto Fortis (Osservazioni di Giovanni Lovrich sopra diversi pezzi del viaggio in Dalmazia del Signor Abate Alberto Fortis). In the intellectual tensions of the Enlightenment, in its hierarchical rankings and resentments by language and culture, Polish and French, Dalmatian and Italian, it is possible to discern some aspects of national self-assertion, a kindred spirit of 1776, within the literary forms of the ancient regime in its first crisis. Furthermore, the consciousness of foreign domination among Poles and Dalmatians in 1776, in conjunction with a sensitivity to foreign literary condescension, provoked certain common cultural patterns of response, and even some inklings of a regional resemblance that would eventually be summed up in the idea of Eastern Europe.
    Проблемна област: Литературни изследвания
    Ключови думи: Духът, полската, далматинската, декларация, Философска, Независимост

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    In recent years the question of V. S. Naipaul's relationship to England has begun to complicate his hitherto negative reception within the postcolonial academy. While, in the 1980's, a generation of colonial discourse analysis-inspired critics were able to condemn him unequivocally as an apologist for empire, a new recuperation reveals Sir Vidia as a casualty of imperialism; a man more victim than collaborator. Something of this, albeit still incipient, shift in attitude belongs to the changing nature of postcolonial critique itself. If, following the example of Edward Said's Orientalism, the '80's were preoccupied with imperial constructions or representations of the non-West, a new tendency seeks a reversal of the imperial gaze, asking what colonised cultures and their travelling/writing figures made of England and empire when they arrived as emigrants, expatriates, travellers, in the 'mother country'. Each of these perspectives, as we will see, offers a variant, if not opposing, assessment of Naipaul and his oeuvre. In the intellectual tensions of the Enlightenment, in its hierarchical rankings and resentments by language and culture, Polish and French, Dalmatian and Italian, it is possible to discern some aspects of national self-assertion, a kindred spirit of 1776, within the literary forms of the ancient regime in its first crisis. Furthermore, the consciousness of foreign domination among Poles and Dalmatians in 1776, in conjunction with a sensitivity to foreign literary condescension, provoked certain common cultural patterns of response, and even some inklings of a regional resemblance that would eventually be summed up in the idea of Eastern Europe.
    Проблемна област: Литературни изследвания
    Ключови думи: един, сложен, оксидентализъм, колониално, желание, разочарование

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    For centuries Russia perceived the Europeans mainly through their outward appearance. Throughout the Middle Ages the foreign clothing was a serious and even a prime obstacle (together with language) in the act of the communication between different nations; it was not even a standing jest, but a target of a total and furious denial. To a considerable extent it provoked an undisguised hostility and modeled the negative Russian notions of the West. Placed in the paradigm of the confessional incompatibility between the Orthodoxy and the "Latin heresy" of a Westerner, it turns out to be a signal for a more serious danger of a cultural invasion. Since it is a sign of belonging to a world both "horizontally and vertically" opposite to the Holy Rus, the devil in the Old Russian texts appears sometimes dressed as a Pole, other times as a German. In this context the "Handsome is, handsome does" saying implicitly reveals the reception of the Self. The obsession with clothing and respectively with outward appearance was so strong, that for centuries the personal duality of the Other was ignored. With the development of trade and diplomatic relations with the European neighbors, these tendencies did not weaken, but sharpened and reached their climax on the borderline between the Old and the New Age (late 17th - early 18th century). During this critical and dramatic period of the traditional Russian mentality the outward appearance of the Westerner acquired impressive dimensions with its conflict, which reflects in some way even the present days.
    Проблемна област: Литературни изследвания
    Ключови думи: дрехите, посрещат, въшният, културологичната, антитеза, Изток, Запад

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    In the author's opinion the debate about the presence of Orientalism and/or Occidentalism in the Bulgarian tradition "will not happen". Not only because our culture remains neutral regarding the globalizing "ism's". During the Romanticism some European intellectuals were insensitive to the Modernity, to its dictates and fashions. Such is the case of Giacomo Leopardi (1798-1827), an original Romanticist spirit who tried to place the eternal spiritual values above those of his contemporaries. "Nocturnal Song of a Wandering Shepherd in Asia" is a poetic work about the Moon, the life, the loneliness and pain. The wandering shepherd is not the "good savage", but the philosopher who calmly and resignedly contemplates the life caravan, understood as mankind's destiny. Asia is not the poet's refuge in which he would seek peace from the tiredness and lack of understanding of his contemporaries. It is rather an imaginary space, the boundlessness of which gives a hint of the insignificance of everyday vanity. In general, nature against artificiality. Enclosed is the Bulgarian translation of the poem.
    Проблемна област: Литературни изследвания
    Ключови думи: един, Български, прочит, Нощна, песен, странстващ, овчар, Азия, Джакомо, Леопарди

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    The idea of the Other is a crucial part of the own identity. People imagine the Other in different ways, very often he/she is presented as a dangerous Enemy. Mythical thinking, which is alive even nowadays uses different tools to name and imagine the Other and to master it. Edward Said's well-known book introduced the term Orientalism in the international humanities, and with it he designated "a way of coming to terms with the Orient that it based on the Orient's place in European Western experience", one specific "style of thought based upon an ontological and epistemological distinction made between "the Orient" and (most the time) "the Occident". The work ends with a warring Above all, I hope to have shown my reader that the answer to Orientalism is not Occidentalism. No former "Oriental" will be conformed by the thought that having been an Oriental himself he is likely - too likely - to study new "Orientals" - or "Occidentals" - on his own making. If the knowledge of Orientalism has any meaning, it is in being a reminder of the seductive degradation of knowledge, of any knowledge, anywhere, at any time. Now perhaps more than before. Said knew that this was not just a potential threat. Occidentalism not only exists; its effects are extremely pernicious. The most demonic of them befell on September 11, 2001. Ancient mental constructs and psychological trends, realized in different texts - secular and religious, literary, philosophical, journalistic and so on - lay beneath the terrorist acts. It appeared that not only the West is biased against the "Orient" and tries to dominate through literary and scholar texts, but the "Orient" reacts in a similar way and tries to deal with the problems of its relations with the West by building (analogical?) mental and linguistic constructions. In some cases Occidentalism may become a positive strategy, as in Hassan Hanafi's Introduction to the Science of Occidentalism (1992). The phenomenon of Occidentalism finds its annalists among the politicians, journalists and scholars. Ian Buruma and Avishai Margalit are the most famous among them. Their book Occidentalism: the West in the Eyes of Its Enemies provoked serious debates and became a bestseller. Although the two terms (becoming titles of popular books) were constructed in obviously the same manner, the two phenomena are not entirely analogical, and Buruma and Margalit do not refer to Said. It is disputable whether Orientalism is the earlier one (according to Buruma, Islamism on which he focused is a modern phenomenon with western roots); but for a long period of time Orientalism was more powerful and was backed by and realized in the Western colonialist institutions and the Western academic studies of the "East", that were more elaborated than the Eastern studies of the "West". On the other hand, Occidentalism is to some extend a reaction to the Orientalism and the related politics, military actions, colonial institutions and academia. Occidentalism appears to be more radical, more active. Its roots and reasons could be traced in quite different mental and spiritual spheres; their common ground is the belief in the own uniqueness and the hostility of the Other. Scholars find strongholds of the Occidentalism in the reactions to the universalism of the Enlightenment and the French Revolution, in some variations of the Japanese Shintoism, connected with imperial ideology, in pan-ideologies (Pan-Slavism among them), in different variations of fascism, in Stalinism, etc. Avishai Margalit and Ian Buruma highlighted several [four] "features of Occidentalism": Hatred of the City and urban civilization, symbolized by the fabled tower of Babylon; the state and modern civilization with its attributes (literature, films, pop music, advertisement), separation between the private and the public domain, commercialism; Critique of the bourgeois civilization, its commercialism and addiction to safety and comfort, and lack of heroism and revolutionary gestures; Rejection of Bourgeois Reason, rationality and science, opposed to irrational notions such as spirit, race, blood and soil, etc.; Denial of feminism, seen as giving too much freedom to women. As a whole this is a rejection of modernity, which was associated with the West. The result is an absolutely negative image of the West, containing "a set of attributes, such as arrogance, feebleness, greed, depravity, and decadence, which are invoked as typically Western, or even American, characteristics". The conclusion of Avishai Margalit and Ian Buruma was: There is no clash of civilizations. Most religions, especially the monotheistic ones, have the capacity to harbor the anti-Western poison. And varieties of secular fascism can occur in all cultures. * * * The question of the usability of the term Occidentalism in the context of Bulgarian, Balkan or East European culture is a big challenge for the scholars. Other challenge is the discovering of Occidentalism in these cultures. The present paper argues that if Occidentalism is a form of demonizing, then the Other that comes from the West Occidentalism could be traced in Bulgarian culture as well. It takes critical place in the national mythology, in the images of the other presented in texts which deal with abductions, seductions and other plots concerning sexual or matrimonial relations with foreigners; in nostalgic poems, written abroad; in retro-utopia visions of the traditional life; in anti-Catholic pamphlets; in polemics with foreigners; in travel notes, etc. On the other hand this paper argues that in the Bulgarian context Occidentalism is often mixed with Orientalism. Both phenomena are ambivalent and exported from other cultures.
    Проблемна област: Литературни изследвания
    Ключови думи: оксидентализъм, почва, Предварителни, Тезиси, търсене, литературните, аспекти, проблема

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  • Summary/Abstract
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    The understanding of Occidentalism underlying this presentation does not concur with Ian Buruma's definition: "Something else is going on, which my co-author, Avishai Margalit, and I call Occidentalism (the title of our new book): a war against a particular idea of the West…" (1) I would rather use the term in the manner put forward by James Carrier in his preface to Occidentalism: Images of the West, as "the representation of the West by Western subjects" (which goes hand in hand with projecting the Orient as the Other), and "that constructed by non-Western subjects" (2). Lindstrom's distinction (Carrier 1995) is even more useful; according to him "Occidentalism" should be used only in regard to "the discourse among Orientals about the West", whereas "the self-discourse of Westerners" is called "auto-Occidentalism". As an illustration of those visions of the West I would like to offer a parallel between the Bulgarian projections of the West in the early 20th century and the auto-images of the West as constructed by the texts translated into Bulgarian at the time. A sample of representations of the West in Byron's Don Juan, translated in prose in 1919, reveals the author's play with foreign stereotypes resulting in an ambivalent vision of Englishness in the text as seen from both the inside and the outside. Byron's juxtaposition of East and West in Don Juan will be compared to the different levels of contrasting the Orient with the Occident in the Bulgarian press of the period - ranging from publications of literary criticism, such as "Eastern and Western Art" in the Vezni journal, to the stereotyped images of individual West-European nations. As a follow-up, with a representative selection of data, the analysis of the Bulgarian images of the West could be associated with the processes of Bulgarian national identity's construction.
    Проблемна област: Литературни изследвания
    Ключови думи: западни, визии

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    The text examines the issue of "situating“ the Greeks’ national self-identification between the historical past’s understanding belonging to the East, and the historical present/future corresponding with the West. The sources, on which the paper is based, are original texts by philosophers, historians and intellectuals from the end of the 19th century and the first half of the 20th century, as well as studies and commentaries by contemporary culturologists, historians and philologists. The second kind of sources is new, unknown and often radically re-evaluates and re-arranges the schemes and constructions of the late 19th century. The spatial and temporal "stretching“ of the topic allows the pinpointing of characteristic moments in its development, an outline of the common points, as well as a new interpretation of the set of problems related to Occidentalism.
    Проблемна област: Литературни изследвания
    Ключови думи: Самоидентификация, между, Изтока, Запада, гръцките, характеристики, балканските, феномени, края, първата, половина

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    The article focuses on hesitation as an anthropological mode, as a psychological state taken in its everyday pragmatic understanding. Usually hesitation is seen as a 'battle of motives' on the stage of consciousness with a hindrance in decision making in gen eral or in case of complicated problematic situation According to the main thesis of the text hesitation is paradoxically engendered not only by 'selective deficiency', not only by the difficulty of choice but also by reluctance to make it. Namely, hesitation displays not only its deterministic but also, so to speak, its 'wave' logic according to ehich it is marked by the intention of the self not to loose the alternatives, to keep the 'packet' of coexisting possibilities open.
    Проблемна област: Литературни изследвания
    Ключови думи: Колебание, неопределеност, желание, Другото

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  • Summary/Abstract
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    The paper examines the way Alexander Teodorov Balan’s textbook Bulgarian Literature (1896) - the first academical history of Bulgarian literature - includes in the content of the latter folklore, medieval and modern literature; the manner in which it draws the line at the "ours" and "appropriates" unexpected ranges and parts of oral culture and literature. Described here are the rhetorical strategies of appropriation of migrating plots in folklore; of creating of the Bulgarian "Marko-iad"; of transformation of Byzantine manuscripts into Bulgarian ones, etc. The strategies in question are examined as a part of an all-round institutional rhetoric, logically conflicting, but stimulating, a rhetoric inherited by Balan" s textbook from its models - the histories of slavonic literatures. The paper attempts to elucidate a paradox: how is it possible the "Bulgarian" which is composed of so many problematic pieces to be presented as non-problematic and apparent.
    Проблемна област: Литературни изследвания
    Ключови думи: Пристояване, своето, Категориите, наше, българско, първата, българска, Литературна, история

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    Among the traditional definitions of backwardness and indiscernible inbetweenness the Balkans have been traditionally perceived, both from within and without, as a masculine space, i.e. as a place of non-modernized patriarchal domination. In effect a compound image of the Balkans as an unreasonable, underdeveloped, inconspicuous, brutish, swarthy macho has been constructed. Since measures are due, both modernisation and affiliation to the West are put at work. Yet the masculine image of the region is not yet challenged, neither outside nor inside. Modern gender imagology allows man to be weak yet not irrational; deprived of rationality man is but insane. The insanity of the masculine Balkans is promoted as hampering both modernisation and integration of the region. So do suggest the local and foreign media, former and contemporary travel writings, also the regional mass culture and popular art (yet the latter being less unequivocally negative). Such is the message shared by the regional cinematography bum from Kusturica to Tanovic: heroic masculinity of honour, revenge, imaginary rights and claims, of festive suicidality is to be overcome had the Balkans cherished hopes for brighter future. Yet the Balkan literature of today, the postmodern one in particular, shares a different vision. Instead of complying with the feminised modernisation, it assumes that the feminine element of Balkan identity has ever been there, yet the whole gender picture of the regional culture is more complex. It recalls the modern gender rereading of sexes with men weak in their strength or rather fragile in their rigidity, and women sick or rather indisposed with regard to the imposed order. Contrary to Freud's legacy, postmodern literature displays women as not deranged but rather indisposed: indisposed to possession and thus possessed in their posing disposal. Yet such a gender role distribution is shifted into premodern past and is thus provided with a mythopoetic a-historical endurance; therefore male weakness is promoted as somewhat feminine openness to mystical or rather astonished spirituality, whereas female sickness is sold as a kind of subversive susceptibility of a wise or rather insightful fatalism. What gathers men and women in Balkan postmodern is their vocation or inability to forget, to put aside the memory, to throw away the traces of the past that embrace the ability to think and solve problems. The Balkan postomodern is thus rather premodern in its hyper-textual after-literature of dictionaries, taro cards, crosswords, daily columns, critical reviews, etc., all of them challenging linearity and homogeneity of writing. What are the cultural and political implications of such a literary ideology of Balkan postmodern is to be discussed. As it is well known gender is not only an instrument for change and improvement of women's position, but also a tool for all-encompassing social and political change. Literature through its Balkan postmodern version is reconsidered as an instance of innately non-modern other within the Western cultural framework. Literature is the fading instance of otherness, lowness, nothingness, death and mortality within the operative aggregate of late modernity. Literature, postmodern suggests, goes at odds with certain fundamental principles of modern world: market, instrumentality, utilitarianism, uniformity under an apparent variety, universal law, formal logic, individualism, identity, success, velocity. At the same time it is in concert with other principles as selfless heterogeneous subjectivity, freedom of choice, of successive renovation, of a negotiation based on contractive constructivism which we call 'constractivism'.
    Проблемна област: Литературни изследвания
    Ключови думи: Уседналата, долница, Европа, Регионалната, междуположеност, Балканите, като, родена

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    The text examines the radical change, which Paul de Man offers in the understranding of rhetoric. However, this change could be detected only in the process of a careful reading, because De Man doesn't develop it info a theoretical construction, doesn,t argue a new project of rhetotic. In De Man,s texts, rhetoric is not some specific language usage, as it has been regarded ever since Antiquity. It turns out that what De Man calls "rhetoric" is the place where language makes us absorbed in the infinite in our eyes regeneration and segmentation of its constituents, which we can affect in no way. At the end of the article we draw some conclusions from this concept of rhetoric, presenting non-traditional De Man's interpretations of the autonomy of the subject, literature, and literary criticism.
    Проблемна област: Литературни изследвания
    Ключови думи: понятието, другия

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    The foreign in Dimitar Dimov's works is basic for his narrative strategy. It is structure-forming for his works, and not external and formal, as it has been perceived in most cases. Sustained by it are the story and the characters, as well as the narrator's point of view. Without including an opposition to the own/Bulgarian, it is a direct approach to the most crucial philosophical and psychological searches of the author. The foreign is set also as a reading strategy of Dimov's works. If the reader misses the "foreign" - if s/he depreciates or misinterprets it - that means s/he misses Dimov. Furthermore, "inwards to the foreign" suggests a reception strategy by which the receiver could "read" his/her own intrapsychic.
    Проблемна област: Литературни изследвания
    Ключови думи: Навътре, Чуждото, стратегията, едно, творчество

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    A study, Sex and Character by Otto Weininger, falls into the epicentre of the curiosities of the day in the Bulgarian cultural milieu. Who and how is reading Weininger and are indeed exactly women who turn out to be so loyal to his "female sex" postulates? The current paper examines the reception of the Weininger text, highlighting the dialogic fields provoked by it - the vague menace of the feminist movement, the suicide as a free will choice, the rejection of the rather screaming speech about/of sexuality. And while the Bulgarian creator feels obliged to find and offer an exemplary model for the modern (and yet "unaffected" by modernity, "healthy") Bulgarian woman, his imagination tenaciously refuses to unfold the suicide woman plot.
    Проблемна област: Литературни изследвания
    Ключови думи: Въобразености, Вайнингер

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  • Summary/Abstract
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    The present text on the one hand traces the strategies by which in Yovkov's novel The Farm by the Frontier the "subjection" and the "conciliation" of different thematic and generic frontiers are accomplished. On the other hand, considered here are the ways by which the two codes function in the novel - that of the biblical and that of the secular (seen as a specific synthesis of melodramatic-sentimental, social and philosophical-psychological principles). Last but not least, the paper is in search of the reasons why The Farm by the Frontier "blows up" the "typical Yovkov" notion existing in the field of literary criticism.
    Проблемна област: Литературни изследвания
    Ключови думи: Чифликът, Граници, Библейското, светското, романа, Чифликът, край, границата

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  • Summary/Abstract
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    Svetoslav Minkov's fiction sublimates world-view, aesthetic and generic tendencies characteristic of the late nineteenth and early twentieth centuries European art. The current paper is an attempt at examining the "im-probable" in Minkov as an aesthetic category connected with the aspiration advertised by the Bulgarian postwar Modernism for maximum independence of the art from visibility. In practice, Minkov not only categorically denies mimesis and confirms fictionality, but in the text itself he parodically decomposes the approved practices of creating fictional illusion. In the 1920s, in synchronization with the grotesque-diabolical tendency in the German-language literature, Svetoslav Minkov and Chavdar Mutafov establish the modernistic grotesque in Bulgaria. Situating Minkov's short stories in the context of modern Bulgarian and European literature the current paper outlines some basic philosophical, aesthetical and poetological parallels, mainly with representatives of the grotesque science fiction - Meyrink, Evers, Čapek, etc.
    Проблемна област: Литературни изследвания
    Ключови думи: Невероятните, Разкази, Светослав, Минков, контекста, Модерната, литература

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    Градът като място на модерното в творчеството на Георги Райчев
    Проблемна област: Литературни изследвания
    Ключови думи: Градът, като, Място, модерното, творчеството, Георги, Райчев

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  • Summary/Abstract
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    V. Zarev's Priest Bogomil and the Perfection of Fear (1998) is one of the attempts - representative for the contemporary Bulgarian culture - at a revaluation of the heretic tradition of Bogomilism. It is at the same time a noteworthy opinion in the discussion which concerns the Mediaeval neo Manichean tradition in Europe. Zarev's protagonist is the orthodox priest Bogomil, founder of a gnosis; the author attempts a deconstruction of a heresiarch's myth, functioning in Bulgarian culture. While subordinating the world presented to the rules of a post Modernist discourse, Zarev is not content with a diagnosis of an inner rift in Bulgarian culture, its being torn between the two incoherent Weltanschauung paradigms (Christianity and Bogomilism) which had supposedly led to the destabilization of the Bulgarians' moral horizon. For in Zarev's world of axiological void, the "last word" belongs to the myth of Bogomilism as the forerunner of heretic movements, the hermetic and enlightenment tradition in Europe.
    Проблемна област: Литературни изследвания
    Ключови думи: Въпросът, conditio, bulgarica, контекста, богомилския

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  • Summary/Abstract
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    Bulgarian literary critics of the 1930's century became the material basis of the article, where the analysis of the problems concentrating around certain concepts has been done. The texts in question are treated as the evidence of the new cultural identification formation in the time when Bulgaria regained its independence. The crisis and East vs West are the key concepts here, being stable and recursive, implying, as it seems, the dilemmas of the Bulgarian elite of that period. The quandaries concerning cultural choices of the first half of the 20th century are the common denominator for those concepts, although their genesis is of a more complicated character. The proposed use of sociological definitions as tools of analysis is caused by the character of the material in question. The key words from genre-homogeneous texts appear in similar contexts. They become inscribed into the wide background of Bulgarian choices and searches for national values, for which European culture conditions are the natural context.
    Проблемна област: Литературни изследвания
    Ключови думи: Криза, Изток, Запад, като, понятия, имплициращи, българските, културни, дилеми, светлината, литературно, критичните, текстове, години

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  • Summary/Abstract
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    This paper aims to illustrate the functionality of the term "sites of memory" with reference to the study of two national canons with overlapping time-space continuum. I use the term as defined by A. Szpociсski (1986) but I give it a "territorial" dimension. By "sites of memory" I understand a past space-time continuum that embraces past events and their participants. Even in biblical times, places were named after events so to record for posterity their spiritual character (E. Dressler, 2003). The Akeda, or the offering of Isaac, took place on the Mount of "har-ha-Morija", which means "the Eternal One watches". Mount Morija, i.e. the site itself, is in this case treated as the witness of the event. The "sites of memory" analysed in this paper verbalise values that are treated by Bulgarian and Macedonian elites as an integral part of their identity. Owing to its connotations in both cultures, the concept of Macedonia determines the semantics of the image of Nikola Vapcarov, a poet belonging to both national canons. Vacparov as an image and symbol of the territory functions in both national circulations by token of his territorial association. Thus, the image of Vapcarov is a mythologem of Macedonia in two separate national canons, Macedonian and Bulgarian. An analysis of Vapcarov's poetry and his biography as part of the symbolic concept of Macedonia in both national cultures confirms at the same time the functionality of the term "sites of (collective) memory" with reference to phenomena, which emerge in the environment of cultural and ethnic contacts.
    Проблемна област: Литературни изследвания
    Ключови думи: балкански, места, Паметта, Терминът, Македония, Образът, Никола, Вапцаров, българския, македонския, времепространствен, континуум

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  • Summary/Abstract
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    Traditionally, creating sacred biographies (narrative texts of the saint's life) was a way of giving some structure and coherence to traumatising experiences in order to strengthen integrity of Christian community. But even more, sacred biographies are providing both linguistic and philosophical frame for the community understanding of such experiences and these experiences' theological, moral and political implications in a situation of new ideological needs. Imitatio Christi receives additional significance, being charged with special value as an argument believers to take part in liberation movements when national ideology was considered to share common features with magistral ideas of Christianity. More traditional authors emphasize the situation of renunciation to present models of behaviour worthy of emulation-texts provide a documentary witness of sanctification for community and in thus become themselves a part of the sacred tradition they serve to document. But there also appear interpretations of recent saints as ancestors of national heroes because the sameness of their sacrifice for a glorious idea. Genre's rhetorical practices and purposes undergo change and contribute to the construction of a national pantheon and acceptance of new personae and deeds. In the new biographical practices authors also often seek to model hero's suffering on that of Christ or to adopt certain topoi from hagiography and Scripture in an attempt to locate personal events in some larger absolute frame. As most preferable are distinguished the debate or bringing to court situations. Biographical and paradigmatic are brought together to assure legitimacy for biographical texts and auto/biographical intention. Discussing different aspects of sacred biography in 19th century we tend to conclude that recent saint's legitimacy is based chiefly on the existence of properly composed vita of a saint. At the same time conventions well known from hagiography affect different life-writing practices and continue to play a significant role in giving shape to personal experience.
    Проблемна област: Литературни изследвания
    Ключови думи: възрожденски, Интерпретации, житийното

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    The text deals with the depressive conditions of subjectivity, which, denominated with the concept of melancholy, is expressed in the Bulgarian Renaissance poetry from the 40s and 50s of XIX century. Provoked by the situation of love non-realization, these conditions elaborate their own language, assigned the task to describe the symptoms of melancholic. Thus, the articulation of a number of psychosomatic reactions such as cry, the feeling of "burning down to ashes" with love, the claustrophobic adjustment to placement in uncozy, decreased spaces, the insurmountable attachment of the subject to the past, his impossibility to maintain social relations, etc. becomes possible. Love poetry from the middle of XIX century, which exposes the symptoms of melancholic, evidences the occurrence of considerable transformations in Bulgarian socio-cultural space. It presents a new role type - the melancholic person in love, whose image becomes an example to be followed, a regulator of everyday practices and behaviouristic models. In a wider perspective, this type of poetry marks an important development line in Bulgarian lyrics, which fluctuations might be revealed in the post-liberation love poetry.
    Проблемна област: Литературни изследвания
    Ключови думи: Симптоматика, меланхоличното, българската, Поезия, години

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    The article deals with the influence of the deconstructionist theory of language on the field of literary criticism. I have tried to make a critical analysis and a reassessment of Paul de Man's thesis of the impossibility of reading. The analysis is focused on the basic argument of this thesis, namely the argument about the essentially rhetorical nature of the language. The subject of my analysis is Paul de Man's article "The Reading" where the author is trying to show how the rhetoric of the text of Proust's novel destroys what the text itself claims to be its meaning. My intention is not to reject de Man's reading, but to emphasize the elements in his text that could be a subject of discussion, and finally to defend the possibility of another type of reading of Proust's works. The aim of this type of reading would be to prove that the narrator in Proust's novels manages to convey the meaning and to tell the truth he intended to tell in spite of the destroying effect of the rhetorical structures of the texts in these novels. Main points of his rule, trying to achieve an objective evaluation of his personality as a ruler.
    Проблемна област: Литературни изследвания
    Ключови думи: четенето, невъзможно, Пруст

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  • Summary/Abstract
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    The paper comments on the trauma caused by the shame and fear, as a significant psychosocial factor in the cultural historical processes during the Bulgarian national revival. The trauma is examined as a complex construct of inherited and acquired, as a projection of different traumatic situation in the life of the people of that time: situation "under the yoke"; cultural retardation; economic and commercial deficit; the destiny of "a foreigner" (Alfred Schütz), etc. The paper also studies the different types of display of the trauma caused by the emotions of fear, shame, and anger. At the same time the historical and cultural situation of the Bulgarian national revival finds ways to surmount the trauma.
    Проблемна област: Литературни изследвания
    Ключови думи: Травмата, психосоциалната, следа, възрожденския, поведенчески, репертоар, Срамът

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    The study examines the complex structure of Aleko Konstantinov's Bay Ganyu. Analysed here is the intricately organized voice network that is disposed at two levels - the level of the narration and the level of the narrated: the voices of the character, the narrator, the author, as well as the complicated hybridizations between them. Taken into consideration is the dynamics between the spoken and the written modality of the narrative, and the relations between the different expression types in the work and the different addressees that they produce. The structure of Bay Ganyu reveals a problem that is especially important to the total realism of the 1890s - the aspiration for valorization of the "truth", the life authenticity at the expense of the "artistry", the fiction. But in contrast to other works, Bay Ganyu discusses the problem mainly by the specific multiplication of the speaking institution's hypostases. By studying the inner dynamics of the narration, the paper proves that Bay Ganyu is a unique work because of its ambiguous author and character placing and because of the overcomplex statute of the speaking voice, which covers the whole range between fictional and real. The character Bay Ganyu is hardly restrainable into the self-sufficient fiction of the work's reality and the Author is constantly keen on entering the fictional, on metamorphosing into a character. Between these two poles a dynamic system is developed of narrating and commenting modes that are complexly inserted in one another, synchronically imposed or observing each other as mentors. Through a scrupulous analysis of the text, the study reveals and examines five modes of narration terminologically named as follows: character-narrator; primordial narrator; omniscient narrator; publicistic narrator; voice of the author himself. From this position posed here is the problem of the gradual substitution of the protagonist for the occurence presented by him. Examined as well are the effects of this transformation upon the work's figurative system.
    Проблемна област: Литературни изследвания
    Ключови думи: Ганьо, трансформации, гласа, кому, защо, говори, творбата

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    The article provides a commentary on some key positions from the project of the literary movement LEF (the Left Front of Art) with main representatives Brik, Mayakovsky, Tretyakov, Chuzjak, etc. This group formed in the center of the dynamic processes and debates during the 1920s in Russia, developed after the social and political changes initiated in 1917, and is considered a proponent of an "avant-garde" literary project. Its views are concentrated on the idea of literature as a vehicle of social action, retaining and safeguarding the continuous becoming of the Revolution and the related idea of selfdecomposition of literature under the pressure of the processes in the social sphere. Central place within this framework occupies the concept of "literature of the fact", developed by Osip Brik. According to the members of LEF, the situation after the Revolution demands informativeness; a demand, which literature with its characteristic nature of deformation and displacement ("sdvig") of reality cannot satisfy. This provides for the specific genre transformations, described and argued for in the various theoretical and critical writings of LEF. In this respect the lyrical genre, the central sphere of their creative practice, is compelled to engage itself in performing practical, communicative functions - a view that underlies the concept of the "lyrical feuilleton", developed by the poet Nikolay Aseev.
    Проблемна област: Литературни изследвания
    Ключови думи: социално, действие, анти, естетически, ефект, върху, програмата, руското, литературно, Революционно, обединение

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    The paper is part of a textual body that is a specific reconstruction of literary history. At issue here is Vaptsarov's poetry characterized by 'ekane', which itself is a starting point for an overall introduction to the unresolved textual problems of Vapsarov's lyric poetry (the myth of the single book and its hesitation; the necessity of substantial commentaries on the verses; the political essence of the Macedonianism; etc.). The study opens new contexts for the works, emphasizes new details, makes logical demarches in order to reconcile so far contrary opinions.
    Проблемна област: Литературни изследвания
    Ключови думи: живот, Вапцаровите, думи

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    I discuss here Shklovsky's theory of estrangement formulated in a number of texts written before the October Revolution of 1917. The concept of estrangement can only be grasped if the early Shklovsky is placed in his proper context, that of World War I; we need to begin to see him as an author shaped by the War and participating in the larger constellation of brilliant European essayists who responded to this momentous event. To this end, the article draws parallels between his writings and those of Ernst Juünger and Georg Simmel. More importantly, it uncovers the conservative aspects of Shklovsky's theory of estrangement and analyses his contradictory attitude to democracy and modernisation. The final section traces the fortunes of Shklovsky's concept of estrangement at the hands of its most significant critics, Brecht and Marcuse.
    Проблемна област: Литературни изследвания
    Ключови думи: политиката, отстранението, Случаят, ранния, Шкловски

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    Baldwin, Emperor of the East is a German play related to the second Bulgarian empire. The geographical spots that mark the dramatic action are Constantinople, Adrianople and Turnovo, and the antagonist of Baldwin of Flanders is the Bulgarian tsar Kaloyan. The detailed title in Latin and German makes the reader familiar with the drama's genre, with its staging and printing. It is a school play staged with religious instructive purpose in the colleges and secondary schools of the Jesuit order. Baldwin, Emperor of the East is a religious drama that builds its plot on a historical base and elaborates a motif typical of the so-called folk-literature, namely the calumniated virtue. The author collects reports, motifs and suggestions from chroniclers, preachers and folk storytellers, and weaves the fictional woven. He recreates the "fearful" character of the Bulgarian tsar Kaloyan promoted by the Byzantine annals. The study outlines the main points of his rule, trying to achieve an objective evaluation of his personality as a ruler.
    Проблемна област: Литературни изследвания
    Ключови думи: Пътищата, кръстоносците, Големият, свят, историята, малкият, свят, семейството, пиесата, Балдуин, император, Изток, екзекутиран, Заради, невинно, целомъдрие, Мюнхен

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  • Summary/Abstract
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    The primary carriers of translations and criticism of British literature in Bulgaria in the second half of the 19th century and up to the 1950s are not books but rather periodicals. The current study discusses the reception of British literature in Bulgaria in Bulgarian-British Review; a monthly magazine issued from 1927 to 1940 in Sofia. The priority of the magazine is to reflect the economic and political situation in Bulgaria for the British audience and to encourage the economic relations between Bulgaria and Britain. The publications addressed to the Bulgarian reader include some of the first articles on British literature in Bulgaria. These articles' authors are clearly not literary scholars but they have a pronounced stand on literary subjects and do not fear to oppose renowned British critics. As a result, their observations on British literature are decades ahead of their times. In Bulgarian-British Review, Costadin Chakarov and Nikolay Donchev praise the literary talent of D.H. Lawrence at a time when his novels were forbidden in Britain. There is reason to believe that Chakarov's and Donchev's articles encouraged the translation of D. H. Lawrence in Bulgaria and as a result his novels were published in Bulgaria quite early. Anna D. Vesova describes Dickens and Thackeray as "humorists". She also claims that George Eliot's strength as an author lies in her scientific methods of psychological analysis, which British critics claim to be a flaw, years before Eliot took her place in critical studies in Bulgaria. In Bulgarian-British Review, Donchev publishes some of the first articles on the reception of British literature in Bulgaria - he lists the authors and works translated at the time, sometimes mentioning the translator and the source language; he provides a study on the plays by British playwrights that have been on Bulgarian stage; he also studies the influence of British on Bulgarian authors. In Bulgarian-British Review, Vera Guevgelieva writes a comparative article on the lives and works of Robert Burns and Khristo Botev for an English-speaking audience. The articles on British literature in Bulgarian-British Review are many and they discuss different authors, periods and genres. Apparently, the magazine had an important role in the reception of British literature in Bulgaria, as well as a significant contribution to the Bulgarian culture at the time.
    Проблемна област: Литературни изследвания
    Ключови думи: преводна, рецепция, английската, литература, България, българо, британски, преглед

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  • Summary/Abstract
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    The current essay introduces representative points of view towards the relation between The European and The Bulgarian for the period 1762-1865. The first part of the paper is focused on the work done by Paisii, Sofronii, N. Bozveli, and V. Aprilov; the second part presents the Rakovski's attempt to rewrite the established concept about cultural metropolis and cultural "colonies". The leading role in Paisii's works is his effort to contradict Bulgarians to the other peoples, as the Bulgarian merits are emphasized. During the first decades of 19th century (Sofronii, N. Bozveli, etc.) begins the real constructing of the Bulgarian stereotype of Europe, which is thought as attractive, but frustrating social and cultural model. V. Aprilov introduces new point of view, which spares the Bulgarian self-confidence by limiting the competition within the framework of the Slavonic Orthodox community. He also rearranges the civilizing paradigm and put the Bulgarian in the "classical" Slavonic beginning. Further, Rakovski, trained at the Greek Enlightenment tradition, copies its matrix of forming a national identity. On the other hand, using the achievements of the contemporary humanitarian science, he strives for proving that the beginning of the Hellenistic Antiquity, as well as of the (Indo-) European civilization may be searched in the Arian heritage, whose most authentic successors are the modern Bulgarians. That turns Hellas, as well as Europe into Bulgarian cultural "colonies".
    Проблемна област: Литературни изследвания
    Ключови думи: Идеологът, Раковски, неговият, експеримент, Хиндистан

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    The paper examines an important element of Slaveykov's path of life, which, paradoxically, allows the poet's contemporaries to see him also as a transgressor of the established morality, i.e. as a young rebel and as a man from the past, i.e. to a certain extent as an authoritative and even retrograde figure. The first part is focused on the poet's big love - Katerina, and the second one on a practically unknown text of a contemporary, in which are present both the love of Katerina and the unusual image of the "retrograde" Slaveykov, from the point of view of his younger collaborator and student Svetoslav Milarov. The paper concludes with reflections on the inconvenient texts of the past and the possible approaches to them. As an appendix, for the first time is published in full the introduction to Memoirs from Tzarigrad's Dungeons by Svetoslav Milarov, written most probably by the author himself and saved as a manuscript.
    Проблемна област: Литературни изследвания
    Ключови думи: един, неочакван, образ, Славейков, справим, него

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  • Summary/Abstract
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    The paper traces three directions chosen by the author to examine the problematic relation between Pencho Slaveykov and Hristo Botev. From the viewpoint of literary history this is the first critical survey of the poet-revolutionary; furthermore, it embodies wide interpretative options - from the realistic presentation of the person and his works, to the individualistic and semantic-modernistic. That is why the author includes all existing facts preserved in Slaveykov's archive that document a certain attitude or intentions. The archive consists of notes, opinions, particular statements and plans of including Botev and his works in critical texts, as well as art projects. This whole complex is even more needed, since it corrects the prejudice established in the scholarly practice against the examined relations.
    Проблемна област: Литературни изследвания
    Ключови думи: Следходници, предшественици, Пенчо, Славейков, Христо, Ботев, критически, оценки

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  • Summary/Abstract
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    The text sets out to examine the transformation of folklore and mythological family patterns in the literature of the Bulgarian national revival, concentrating its interest on the way different power and leadership models intertwine throughout this process. The attention is focused on the mechanisms of authority-display, arranged on several levels of power constructions. The first one considers family from an optimistic and utopian point of view. Family is interpreted as a hierarchical structure of subordinations which follow the model of Universal order. The conclusion is that through the sacred comprehension of marriage, through its interpretation as a secular correspondence of the sacred archetype, the matrimonial institution is accepted as an irrevocable stage of the personal development, as a compulsory element of everyone's socialization. The general perception is that relations in family are governed by love, affection, harmony and mutuality. Observing the general line of interpreting power simultaneously as authority, influence, arresting magnetism, on the one hand, and as domination, supremacy, oppression, tyranny, control, on the other, the text unfolds the next aspect of power-roles distribution in the family. The second part concentrates on the pragmatic and realistic uses of power. The attention is focused on the problem of the split symmetry - inequality in family relations. The turns start when the sacred archetype passes through all degrees of desacralization, when authority converts into a form of property - of one person over the other. The profane aspect of the male-female relations debases the "high" concepts and degrades the elevated values to a degree of general negation. The third part examines family as a manifestation of coercion, force, anger, violence and outrage. It turns out that the general moral standards and the noble rules of behaviour are not able to control the mighty world of savage selfishness; that culture and love are defeated and shattered by destructive instincts. The symbolic imagery of marriage is presented by a full-toned scale of evil. Family turns into a total collapse of the social contract.
    Проблемна област: Литературни изследвания
    Ключови думи: Властта, семейството, Версии, патриархалното, господство, Наблюдения, върху, фолклорни, модели, възрожденски, текстове

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  • Summary/Abstract
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    The present study is the first systematic elaboration of Geo Milev's verse. The all-round development of the poet is traced and divided into periods: from his earliest works (1910-1911) to his last and most brilliant work "September" (1924). For the first time the statistical data and the corresponding conclusions about the rhythm and metre, the rhyme schemes and stanzaic forms of Geo Milev's poetry are based not on representative surveys, but on a complete and specified corpus of 80 texts with 2614 lines. On the basis of a methodology of its own, the study reveals the specificity of Geo Milev's verse, the main characteristics of which are: polymetre, echo rhyme, etc. They distinguish Geo Milev from all previous Bulgarian poets and define him as a founder of our national "vers libre". The study includes also a few tables, rhythmograms, and a chart which all could be successfully used by future researchers of Geo Milev's poetry.
    Проблемна област: Литературни изследвания
    Ключови думи: Стихът, Милев

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  • Summary/Abstract
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    The text is focused on some characteristics of Nikolay Liliev's critical-essayistic prose - its dialogue with the author's fiction and the projection of the self in it, as well as its dialogue with the French stylistic tradition. Emphasized is Liliev's role as an enlightener and spiritual mediator, as a successor and proficient interpretator of West-European Modernism. Despite their receptive-interpretative character and the collage citation of foreign authors, a number of early articles, portraits, and essays of Liliev on modern West-European writers function as manifestoes of Bulgarian Modernism. The paper also examines the critical-essayistic texts of Liliev on Bulgarian writers and underlines the author's heuristic spirit and his portraitist skills. Taken into consideration are Liliev's late academical studies on Russian and West-European classics in regard to the literary and theatrical reception of those authors in Bulgaria.
    Проблемна област: Литературни изследвания
    Ключови думи: прозата, Николай, Лилиев

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  • Summary/Abstract
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    The Bulgarian reception of Euriprdes' Medea is complicated and controversial. The paper presents the discrepancies between the literary and the theatrical aspect of the reception. Special emphasis is given to the unprecedented intensity of the current stagings of the tragedy. The increasing degree of invention in that wave of recent adventurous adaptations appeares as a sort of compensation for the absence of transgressive and experimental spirit typical for the Western stage of the 1960s from the scenic reception of Medea in Bulgaria during the respective decade. Discussed is the important role, independent from Euripides' play, which the theme plays in Bulgarian culture and society (in music, in literature, in modern ballet, in painting and artistic photography, as well as in politics and advertisement) as well as the paradox involved in the fact that the Medea figure invades the political discourse actually before the tragedy itself has been translated and staged to stay there permanently remaining impressively productive.
    Проблемна област: Литературни изследвания
    Ключови думи: българската, Медея, текстове, спектакли, политика, реклама

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  • Summary/Abstract
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    The paper traces in detail the controversies concerning Europe among different groups of the Greek society during the examined period. The problems connected with the image of Europe among the Greeks are important for the rationalization of their notion about themselves, about the Greek identity. The first point of view is connected with the Enlightenment and lays special emphasis on the following of the European patterns, whereas the second one places in the foreground the role of the Greek (antique and Byzantine) culture in the process of the origination of the notion of Europe.
    Проблемна област: Литературни изследвания
    Ключови думи: търсене, идентичност, Образът, Европа, гърците, ХVII, началото

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  • Summary/Abstract
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    The article analyses Modernism in the light of Dance, as a topic with a comprehensible aesthetic and philosophical meaning. The article also discusses the connection between Dance and Modernist aesthetics, stressing its individual uncommon character. The article begins (1) with a review of the philosophical views on Dance in the 19th and 20th centuries (Nietzsche, Huizinga, Freud). This is followed by (2) Modernism and Dance as criticism of modern life, and especially the fatal woman in the writings of Schnitzler, Wilde, Matei Caragiale, Tchavdar Moutafov; (3) Dancing and Transcendent Flight - Cendrars, Ion Barbu, Geo Milev, Luan Starova; (4) The structure of novels by Anton Strashimirov, Rebreanu, Cartarescu, Mile Nedelkovski.
    Проблемна област: Литературни изследвания
    Ключови думи: модернизъм, танц, паралелизми, между, Балканите, Западна, Европа

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  • Summary/Abstract
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    The paper traces the discussion of common Balkan culture which was started by the Serbian poet Rade Drainac. It takes place on the pages of the Literary Voice Journal (1931-1932) and includes Bulgarian writers and publicists, such as Dimitar B. Mitov, L. Stoyanov, K. Konstantinov, etc. The paper comments on the important views and opinions of the participants, and underlines the fact that this is the first broad public discussion of the matters of the Serbian-Bulgarian relations and the Balkan Alliance.
    Проблемна област: Литературни изследвания
    Ключови думи: Сръбско, българската, дискусия, Балканска, култура, Литературен, глас

50 години сп. „Литературна мисъл”

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  • Summary/Abstract
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    Анкета Хуманитарната периодика По случай 50 години сп. "Литературна мисъл"
    Проблемна област: Литературни изследвания
    Ключови думи: анкета, Хуманитарната, Периодика, случай, години, Литературна, мисъл

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  • Summary/Abstract
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    Литературна мисъл". Опит за портрет на списанието като човек
    Проблемна област: Литературни изследвания
    Ключови думи: Литературна, мисъл, Опит, Портрет, списанието, като, Човек

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  • Summary/Abstract
    Резюме
    The current essay introduces representative points of view towards the relation between The European and The Bulgarian for the period 1762-1865. The first part of the paper is focused on the work done by Paisii, Sofronii, N. Bozveli, and V. Aprilov; the second part presents the Rakovski's attempt to rewrite the established concept about cultural metropolis and cultural "colonies". The leading role in Paisii's works is his effort to contradict Bulgarians to the other peoples, as the Bulgarian merits are emphasized. During the first decades of 19th century (Sofronii, N. Bozveli, etc.) begins the real constructing of the Bulgarian stereotype of Europe, which is thought as attractive, but frustrating social and cultural model. V. Aprilov introduces new point of view, which spares the Bulgarian self-confidence by limiting the competition within the framework of the Slavonic Orthodox community. He also rearranges the civilizing paradigm and put the Bulgarian in the "classical" Slavonic beginning. Further, Rakovski, trained at the Greek Enlightenment tradition, copies its matrix of forming a national identity. On the other hand, using the achievements of the contemporary humanitarian science, he strives for proving that the beginning of the Hellenistic Antiquity, as well as of the (Indo-) European civilization may be searched in the Arian heritage, whose most authentic successors are the modern Bulgarians. That turns Hellas, as well as Europe into Bulgarian cultural "colonies".
    Проблемна област: Литературни изследвания
    Ключови думи: Дисконтинуитет, континуитета, литературоведското, мислене

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  • Summary/Abstract
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    The Ottoman invasion of the Balkans in the 14th and the 15th centuries had interrupted in many aspects the natural development of the Balkan peoples. The author focuses on the idea of the interrupted statehood and analyses the ways it infiltrates the national identity building process of both the Serbs and the Bulgarians. The subject of exploration is the myth-making interpretations of the "fallen statehood" (in the cases of the Kossovo Polje battle and the Sofia battle), as well as the image of the "last ruler" (Prince Lazar Hrebeljanovic of Serbia and Tzar Ivan Shishman in Bulgaria). The myth-making interpretations of the Ottoman invasion are investigated in two chronological stages - the epics that developed in the 18th and the 19th centuries, and the powerful "historical" mythology, fabricated in the 19th century for the purposes of the national identification. The second type of interpretation strictly distinguishes the diverse sources of national identification and national self-confidence of the Serbs and the Bulgarians. On this basis the author outlines their different reactions during critical political situations in modern times.
    Проблемна област: Литературни изследвания
    Ключови думи: Падането, сръбското, българското, царство, юначество, мъченичество

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  • Summary/Abstract
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    The normal criteria for an author to be included in a national literary canon are that s/he should belong to the nation to which the canon is related, that s/he must write in the nation's (standard) language, and that her/his work is of reasonable size and aesthetic value. A criterion of secondary importance, valid in societies marked by nationalism, may also contribute to an author's canonization: the "national" character of her/his work in the sense that it deals with national themes, displays the national identity, or attests to the author's devotion to the national cause - a devotion preferably supported by her/his real-life heroism or martyrdom. Parlichev's canonization has proven to be problematic in all respects. To which nation did he actually belong? In his youth he had no well-defined sense of national identity and probably considered himself a "Greek" in the sense of being an Orthodox Christian. As an adult he explicitly identified himself with the Greek and later with the Bulgarian nation. In the later decades of his life, he seemed to have been inclined to adhere to some form of vague Ohrid or Macedonian particularism, though apparently continuing to perceive himself as a Bulgarian. Given this evolution, it is understandable that Parlichev's national identity grew into a sensitive issue in the framework of discussions about the existence of a Macedonian nation between Bulgarian and Macedonian (literary) historians. Much has been done by Bulgarian and Macedonian post-war scholars to promote Parlichev as one of the pivotal figures in their respective 19thcentury histories. This article explores some of the strategies applied by Bulgarian and Macedonian literary historians in order to include Parlichev in their respective national canons and to give him a more prominent place on the ranking list of national writers. The motivation for canonizing Parlichev proves to have always been political. He served Greek national ambitions when he was given the first prize at the Athenian Poetry Contest in 1860; he served Bulgarian national ambitions, especially after World War II when Bulgarian scholars promoted him as a top class Bulgarian author from Ohrid; and in post-war Yugoslav Macedonia he was out of the blue and unreservedly proclaimed the most important 19thcentury Macedonian author, as if his Macedonian national identity was unequivocal.
    Проблемна област: Литературни изследвания
    Ключови думи: Канонизация, чрез, съперничество, Случаят, Григор, Пърличев

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  • Summary/Abstract
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    The present paper examines the dialogue between three Bulgarian literary texts from the National Revival period and the Russian 19th century literature. On this basis the paper tries to find new possibilities for bringing up-to-date the traditional understanding of the aims of literary reception as a research of a dialogue only with an identified "foreign" text. The part dedicated to the first Bulgarian poem "Stoyan i Rada" by N. Gerov shows through the functionality of the sentimental cliche how Gerov elaborates the conception of hero in the paradigm of European "sensitive hero". The semantic analysis of the "temptation" motif in P. Slaveykov's poem "Izvorat na belonogata" traces a comparative parallel with the emblematic Russian literary project of female "choice" and "responsibility". In the last part the comparative analysis proves that even though it is not a translation, Lyuben Karavelov's short novel "Maminoto detence" has its prime source in the Russian novel "Mammen'kin synok" by I. Panaev.
    Проблемна област: Литературни изследвания
    Ключови думи: европейските, изкушения, българската, възрожденска, литература, Стоян, Рада, Изворът, Белоногата, Маминото, детенце

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  • Summary/Abstract
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    The present article deals with the sign connotations of the separate elements of the well-known Bulgarian literary character Bay Ganyu's outer portrait. Examined here is the functioning of those elements in the Bulgarian cultural milieu, separate from the author's intentions to profane them by projecting them against the background of European civilization. The text also reflects on the cultural symbolism of the changing of clothes and more exactly on the Bulgarian 'disguising' in Bay Ganyu's time. Interpreted through the code meaning of his portrait's separate elements and through the way they function in the Bulgarian folk consciousness, Bay Ganyu stands out as a new incarnation of the folklore 'madcap', and shows close similarity to the stereotyped image of the folklore hero - outlaw/rebel/revolutionary etc. 'hot head' and fighter on the frontier of the national. But, by dressing in homespun clothes and sheepskin cap, Bay Ganyu in fact does not deny the contact with the foreign civilization - the tailcoat finds a way to his broad-shouldered figure, although not without some kind of resistance. He does not perceive 'Europeanization' as 'disguising', as a change of form and identity. The grotesque combination of the sheepskin cap and the tail coat is actually an endeavour to draw together the two cultures, an attempt at mutual recognition and respect, at combination and gradual assimilation - a mission which proved to be historically impossible in the late 19th century's Bulgarian reality. Thus, Bay Ganyu is a symbol of the other possibility, of the turned down alternative, which will come to life again and again whenever Bulgaria crashes on its way to Europe.
    Проблемна област: Литературни изследвания
    Ключови думи: калпака, фрака, Размисли, върху, културната, символика, обличането, Ганьо

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  • Summary/Abstract
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    The paper examines the problem of periodization in literary history with the tools of Cultural Studies. The exemplary period is the late 19th century and the early 20th century. The question is whether this period can be described as a period of absinthe, or as a period of tuberculosis, vers libre, spiritualism, or the so-called scientific novels.
    Проблемна област: Литературни изследвания
    Ключови думи: aggregate

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  • Summary/Abstract
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    The article places the pseudo-oral discursive techniques in the narrative verse of the English Renaissance within the context of publication media and modes of reading. The main argument is that the transition from manuscript to print entails a discursive mechanism of imitation which accounts for the residue of oral performance formulae in print publications. While the medieval habit of reading through vocalization explains the element of orality in Chaucer's narrative address, in the age of print oral contexts are recreated as a compensatory mechanism counteracting the author's distance from the reader. The romance produced in the culture of print, dominated by private reading, nostalgically evokes the social dynamics of the medieval culture of public recital. However, the continuing traffic between the available modes of publication and reading also means that the oral and written discursive gestures remain complementary. The article draws the conclusion that written discourse maintains a fluidity of discursive intentions, assimilating an element of orality in order to reach both an oral public and a readership. This accounts for the secondary oral dimension in the written narrative prepared mainly for solitary reading.
    Проблемна област: Литературни изследвания
    Ключови думи: Устният, речев, жест, писменото, повествование

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  • Summary/Abstract
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    The article aims at examining Tinianov's and Bakhtin's genre theories and the similarities and differences between them. The comparative analysis of these two conceptions shows that their foundation has followed almost the same logic. Both conceptions are similar in considering genre as dynamic construction. This view opposes to the normative aesthetics that examines genre as static system with strict rules. From this point of view Tinianov's and Bakhtin's genre theories are topical in contemporary literary scholarship.
    Проблемна област: Литературни изследвания
    Ключови думи: теорията, жанра, Тинянов, Бахтин

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  • Summary/Abstract
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    The figure of the writer-hero is established only in the conditions of some premodern notion of literature, while the modern idea of literature produces the image of the professional writer, master of playing with words and creating plots. The premodern and the modern states of literature are two successive phases of the "literary field" (Bourdieu) and the transition between them can be observed in the end of the 19th and the beginning of the 20th century. The difference between the two stages is considerable: in the first phase the emphasis is put on the themes, i.e. on what is written, while in the modern stage it is put on the style, i.e. on how is written; in the first stage the writers compete for the right of executing a certain social role (e.g. the role of chroncler), while in the second period the rivalry is between entire aesthetic movements (e.g. impressionism vs. expressionism). The writer-heroes execute the cultural function of "memory guards and glory sovereigns" (Veselovsky) and substitute the traditional ethical regulations with the decrees of a heroic code - they dethrone the everyday virtues and legalize the heroic virtues. According to multiple criteria (the heroic deed type, the existential position toward life and death, the specific authority of the speech, the type of heroic declarations, etc.) three social roles could be distinguished: the poet-revolutionary, the chronicler and the national poet. The most evident heroic declaration is the choice of a pseudonym. In addition, to win a certain role the writers must also follow specific responsible conduct in relation to the causes of the nation, which is manifested as a certain unity of action and words, of life and literature. The most important characteristics of these three roles are the following: The role of the poet-revolutionary is constituted through the public poetic vow of heroism, declared in first person singular, such as: "Let's go to death, brother!" (Botev) or "Now or never, / let's go to fight!" (Stambolov). In order to receive such a role from the public the writer-hero must accomplish the poetic vow during his life. In such cases, the execution of the heroic deed is realized as a unity of words and action - it is symptomatic that the most popular songs during the rebel in 1876 ("Play on pipe, grandfather", "Do not cry, mother, do not grieve", "We do not want treasure", etc.) contain heroic declarations in first person. There is no other more adequate way to proclaim the heroic deed than the expression of the program followed by the heroic deed. If the figure of the poet-revolutionary is founded as "sovereign of glory", the images of the chronicler and the national poet could be defined as "guards of memory". The main feature that differentiates them is partiality-impartiality of shared knowledge. Representatives of the chronicler role are Zahary Stoyanov and Stoyan Zaimov, and their specific point of view consists of the unique knowledge of the witness and the impossibility to be an objective narrator. The speech of the chronicler gains its specific authority from the fact that the narrated events are not only knowledge, but also personal acquired experience. The position of risking their lives gives them the right to judge social vices - a right entirely used by Zahary Stoyanov. The role of the national poet, embodied by Ivan Vazov, is supplied with the authority of the commentator, nonparticipant in the narrated events, that is to say not trying to draw personal dividends from the constructed image of the past. The lack of social prestige of the participant is a weakness, compensated by the non-contradictory position of the distant commentator. The heroic sacrifice of the national poet is composed of full devotion to the creative power in the name of the national cause. The national poet builds the ideal image of the collective existence and his heroic sacrifice is expressed as a long-term civil duty. These three heroic writer roles are constituted in accordance with their different positions in relation to the border between life and death. The poet-revolutionary declares in his works that he is ready to risk his life, the chronicler - that he had already risked his life, and the national poet - that he devotes his life in the name of a common cause. The authority of the writer's speech is therefore consequence of the specific instances, from which it is communicated, namely: the speech of the man on the threshold of death, the man living second life or the responsibly living man.
    Проблемна област: Литературни изследвания
    Ключови думи: Писателят, като, герой

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  • Summary/Abstract
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    The analysis of the first Bulgarian narrative poem "Stoyan and Rada" (1845) proceeds from the assumption that the poem represents two types of subjectivity, two types of love behaviour: courteously ritual and traditionally patriarchal. The former model followed by the subject speaking in the first part (the so-called "dedication") includes an active I-position, flexibility of communication, and eroticized gestures. The poem's second part which contains a text within the text (a gift from the character to his beloved) represents another type of behaviour through the characters of Stoyan and Rada. That type is sensitive to the social sanctions and the transcendental authority, and is orientated towards the past and the folklore patriarchal culture. Examining the complicated dialogue between those two antithetical models, the paper is trying to find out why the seducer lover from the first part of the poem is telling his beloved exactly the story of Stoyan and Rada and what relation does it bear to the courtship situation. The speaking subject is seemingly clear about the uniting closeness provoking power of a sad sentimental story that activates identificational and compassionate impulses. His gallant talking embodies the utopian notion of word's inviolability and omnipotence, and its ability to shape all kinds of views, situations, and feelings, including love.
    Проблемна област: Литературни изследвания
    Ключови думи: поемата, Стоян, Рада, Найден, Геров, разделението, културните, езици

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  • Summary/Abstract
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    The cardinal ambition of the text is to investigate the genetic commitment of the Modernism, and in particular of the Sezession poetics, with deep archetypical structures. The key role of Romanticism in this genealogy has been elucidated in detail, i.e. the transformation of myth folklore codes into literary ones. The problem is examined through a comparative reading of two poems, emblematic of Bulgarian poetry whose intertextual connection was established long ago - the romantic ballad "Hadji Dimitar" (1873) by the poet-revolutionary Hristo Botev and the poem "The Sun Dies Out" (1905), a sezession work by the most eminent representative of the early Modernism in Bulgaria Peyo Yavorov. The text studies the way in which Yavorov inherited and transformed not only the model of Botev, but - through it - the universal archaic archetype of the sacrificial heroic death in the middle of a monumental natural-cosmic chronotop. Beyond this archetype, the research restores the hidden presence of a second, more primitive one - about the battle of the hero against the chthonic female monster. In this way the "female" sex of the sezession Мonster in poem "The Sun Dies Out" has been determined, and its origin postulated through the folklore figure of the "samodiva" (wood nymph) in "Hadji Dimitar". Some other problems are examined in parallel. The manifested "political modernity" of the national Romanticism in Botev is pointed out, his engagement with the actuality, with the topical and concrete conditions of the national Renaissance, as well as the "mental modernity" of Yavorov's secession, which manifests itself, on the contrary, through a refusal of an external engagement with the political. This "mental modernity" has inherited,on another level, the absolute universalism of the archaic archetype. In such a way is substantiated the thesis of the regressive nature of the Modernism and the deeper "primitivism" of the modernist Yavorov in comparison with the romanticist Botev. This subject is situated in another, more particular, interpretative prospect. Through it has been traced - in a poetic-biographical aspect - the self-mythological potency of both poetic models - Botev's and Yavorov's.
    Проблемна област: Литературни изследвания
    Ключови думи: Генеалогия, сецесиона, Диалогът, Угасна, слънце, Хаджи, Димитър, ерос, хронос

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  • Summary/Abstract
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    The article deals with the intertextual relations between Pencho Slaveykov's lyrical book entitled "Dream of happiness" (1907) and two anthologies of his: "On the Isle of the Blessed" (1910) and "German Poets" (1911). The former presents imaginary poets whose poems were written by Slaveykov himself. The latter is a real anthology of German poetry from Goethe to Slaveykov's time, translated by Slaveykov himself. Some of the poets presented in the two anthologies were real lyricists. We can find significant resemblances between their poems and Slaveykov's lyrical book "Dream of happiness". The paper makes an attempt at tracing those
    Проблемна област: Литературни изследвания
    Ключови думи: щастие, двете, антологии, Славейков

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  • Summary/Abstract
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    The paper analyzes the principles and the techniques used by Pencho Slaveykov in the nomination of the poets in his anthology-mystification "On the Isle of the Blessed". The names of the poets are contrasted not only with the names in the Miladinovi brothers' collection, but also with the folklore collections of St. Verkovich and that of P. Slaveykov himself. Names of other works of the poet are used for comparison. Also examined in the text are two published lists of poets names which show the hesitation in P. Slaveykov's choice. A possible conclusion is that the author of "On the Isle of the Blessed" might have been looking for an increasingly more complicated combination of the names that were initially given. With the growing of the mystificational connotativeness, grows the conventionality as well.
    Проблемна област: Литературни изследвания
    Ключови думи: поети, прототипи, острова, блажените

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  • Summary/Abstract
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    Love in Nikolay Liliev's poetry is tradicionally perceived and defined as incorporeal, seraphic, narcissistic, etc. The text aims at explaining the nature and realization of love in both Liliev's life and works. For that purpose the paper takes as a point of departure a few key phrases in Liliev's lyric poetry that were also turned into an emblem of his life as well, and connects them to unknown and unpublished letters from the poet's archives. Ethics, aesthetics and biographical data complicatedly interweave in the mind and sensitivity of the poet who created unique lyrical masterpieces uniting Bulgarian poetry with the spirit of European Modernism.
    Проблемна област: Литературни изследвания
    Ключови думи: Лилиев, Любовта

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  • Summary/Abstract
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    In his works Chavdar Mutafov poses the problem how to read his texts. He creates his words on the basis of a specific concept of art, which I define as art of the searching form. Developed as a possibility of self-identification, art seeks its forms in a diversity of artistic techniques and the plastic stylization of the word is one of them. Plastic stylization is created in the art concepts of the modern artists. Observations of the features of Chavdar Mutafov's "word painting" have been previously made by Edvin Sugarev, Katya Zografova, Lyubomir Milchev, Dimitar Avramov. Mutafov creates his painting into two parallel plans - objective and abstract. The sequence of object and abstraction takes part in the phenomenon of the plastic transformation of the image. Plastic line of the image is noticeable for one more feature: frequently it is especially, deliberately aesthetic. The principle of animation is another typical technique of plastic stylization in Mutafov's works. The principle of animation brings us to one of the great phenomena in the "Dilettante" novel: plastic images of emotionally experienced philosophical reflection. Plastic stylization of emotional experience which creates philosophical reflections is among the most expressive techniques in the human space rendering in the novel. Mutafov also utilizes the typical techniques of the fragment and ornament. Geometry figures play special role in the development of his plastic images play. Mutafov creates artistic messages throughout the figures of line, circle, spiral and sinusoid. All these techniques reveal the rich artistic potential of plastic stylization through words.
    Проблемна област: Литературни изследвания
    Ключови думи: Пластическите, Изображения, романа, Дилетант, Чавдар, Мутафов

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  • Summary/Abstract
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    The text aims at showing the results of a study on women's role in the Bulgarian literary field. The paper puts an emphasis on the Women Writers Club, a female organization that existed between 1930 and 1944 and was mainly active in the field of modern literature and culture. The conclusions were drawn on the basis of a number of public records, such as The Club's minute book and The Women Club rules, as well as many publications in the periodical press concerning the Club's activities. Discussed in the paper are those mechanisms through which female writers were included in those events that were important in terms of cultural field's transformation into autonomous and professional field. Also, examined in the paper are the issues of power and literature, the relations between the state and the cultural institutions, and the way the cultural capital was divided and transformed in the modern Bulgarian state.
    Проблемна област: Литературни изследвания
    Ключови думи: жените, литературните, институции

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  • Summary/Abstract
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    The paper examines the aesthetic and philosophical parallel between the poetry of Alexander Vutimsky and that of Georgi Rupchev, whose powerful poetic presence illuminated the 1940s and 1980s generations. Their similarity is traced on the basis of the specific feeling of timelessness, dehumanization and futurelessness that marked the 1940s, as well as the 1960s. The paper also elucidates the tragic destiny of the two poets, and argues that the existential dramatic tension of their poetry was predetermined by the situation of writing face to face with the inevitable death. Detailed analyses of Rupchev's emblematical poems ("The death of Tibalt", "The road further", "The big land") show thematic accents and psychological characteristics similar to those of Vutimsky's poetry, like the premonition of doom, the apocalyptical life, the feeling of predetermination and solitude, the refusal of easily acceptation of the social conventions, the marginal existence as a conscious choice.
    Проблемна област: Литературни изследвания
    Ключови думи: Георги, Рупчев, Александър, Вутимски

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  • Summary/Abstract
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    The paper's theoretical basis is the modern thesis that the past is a verbal construct with a mirror function: it reflects above all the desires and necessities of the particular age that is writing or reading its past. A typical text of that kind is the Jewish Bible, although even the academics had been for centuries under its (literary) power to suggest the word as a historical truth. In fact for the writers of ancient Israel authenticity itself was not a value and the aspiration for "it" could be understood rather as a usefulness criterion in the description of past events. The paper examines precisely those mechanisms of "usefulness" that produced the biblical author's historical consciousness. Studied in it are the notion of the unique origin of the Jewish religion, the myth of the conquest of Canaan, the laws that formed what we now call "ethnic separatism". The point of their intersection is displayed through the general concept ideology.
    Проблемна област: Литературни изследвания
    Ключови думи: Еврейската, Библия, проблемът, Историческата, истина

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  • Summary/Abstract
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    The paper presents the intricate itinerary of the timepiece concept in European culture from the Middle Ages to the 18th century through different discoursive fields such as astronomy, geography, theology, philosophy, natural history, ethics, literature, etc. The conceptual evolution of the clock in European history is reconstructed by the survey of the changing perceptions, roles and functions of timepieces in European culture. Utilised initially in the Middle Ages as a regulator of human activities, caught within profane, cyclic time (versus eternity), and throughout the Renaissance as a vehicle to take sailors across the seas, later in the 17th century the clock turned into a specific megametaphor of European culture. Imagined as a divine mechanism presenting the Universe as God's creation, the clock was established as a universal sign capable of designating numerable aspects of man and the world. Most specific proved to be the development of the timepiece concept in the 18th century when it was introduced in literature (mainly as a detested symbol of bourgeois orderliness and social compulsion) and consequently was appropriated (and misappropriated) by incompatible social discourses.
    Проблемна област: Литературни изследвания
    Ключови думи: часовници, правят, светове

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  • Summary/Abstract
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    The Ottoman legacy is a curious topic in Bulgarian cultural studies. Despite the overall quest for prestigious legacies and heritages (Antique, Thracian, even Byzantine, not to mention Slav and Proto-Bulgarian), it is still neglected and even rejected. Mass consciousness admits some traces and influences in the field of material culture, in cuisine, rarely in traditional costumes and even more rarely in customs. The Ottoman legacy is often seen as a "legacy of shame" from which modern Bulgarians should deliberate themselves. The paper is trying to deal with some aspects of the complex problem of interferences, border phenomena, mechanisms and arguments that deny the Ottoman legacy. It focuses on some cases in which rejection in fact appears to be confirmation, like when one's own identity is based on the rejection of some other identity (Ottoman, Turk, Muslim) using its proper matrix. Not infrequently own "high" traditions are succeeded by foreign "low" traditions in a text and a situation. In other instances one could trace curious coexistence of rejection and glorification of the alien and Turk in particular. This was typical for some canonical literary works, dedicated to the struggle for national independence (such as the memoirs of Zachari Stoyanov), and for modern text of culture too. The author attempts to see these phenomena in the context of national mythology. All of us are inclined to think of national mythology as built mainly on the basis of narrations of the great ancestors' glorious deeds. The narrations of suffering and traumatic events that consolidate the community through other mechanism supplement the general picture. It is not so obvious that some important events in which "ours" overcome "enemies" are either missing, or appear later, or are presented modestly. Other victories, either real or easy to imagine, do not have the place we expect them to have. The present paper points at some similar cases in Bulgarian context and some possible explanations. Bulgarian national mythology's main plot is the abducted treasure narrative - Bulgarians were first and foremost victims and then liberators and avengers. This plot has its inverted mirror image variations in which heroic Bulgarians abducted "other's" women, books, faith. It had its ground in history, but its presence in national mythology is limited, the reasons for that being rather complex and not so clear. In certain cases they have to do with so called ressentiment. One of these inverted mirror image variations of the abducted treasure plot unexpectedly became actual in the late 20th century in connection with the name change of the Muslims in Bulgaria. These events have enormous myth-generating capacity that can go in diametrically opposed directions and have not yet fully shown its potential.
    Проблемна област: Литературни изследвания
    Ключови думи: балканските, народи, Османската, империя, едно, отхвърлено, наследство

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  • Summary/Abstract
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    The study of Teodor Trayanov's "Hymns and ballads" (1912) attempts to restore the book's authentic poetry which seemed erased forever by the proper styling in teleological perspective in 1929 ("The Free Man") and later arbitrarily reduced by two works (1966 and 1981). Until now the interpretation of Teodor Trayanov's poetry had been based on the 1929 canonical text, as well as on the unreserved confidence in the lyric entities - created later by the editors Lyudmil Stoyanov (1966) and Ivan Sestrimski (1981) - entities that were principally subordinated to given criteria and were a serious violation of the author's will. The insoluble plait of representatives of Trayanov's text and solid critical perception have found the incontrovertible idea of monolithic and misunderstood poetry where the dramatic double turns were excluded in advance. In this firm interpretative scheme of the book "Hymns and ballads" lies the unenviable place of a transition unit - it is called to mark the first symptoms of a more fresh and constructive attitude to the world. Relying entirely on the original edition of "Hymns and ballads" (1912) the present paper gradually enters in a text reality the structural basis of which is the poetical contrast: between neuropathologic decadence (Felix Doörmann) and Jugendstil (Richard Dehmel), between melancholy and ecstasy, between ominous intonation resembling Schopenhauer's style and the intensive living along Nietzsche. The study shows that this "transitional" and plain book contains poetry representative of the period until 1912 in a manifest and clear way and brightly defined individualism and the expressionism born it its bosom. It suggests at least two stories to follow: surmounting the suffering I, the enthusiastic, irresistible, and vital WE, and the transfiguration of the ritual language into rude, expressive, and barbarian lexis. In this sense "Hymns and ballads" (1912) apostrophizes the idea of the frozen in Teodor Trayanov's poetry, painfully revealing the dramatic way to modernity, which Trayanov experienced prematurely.
    Проблемна област: Литературни изследвания
    Ключови думи: Химни, балади, Траянов, телеологии, антитези, Радикализираният, декаданс

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  • Summary/Abstract
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    On the basis of four publications written by Nikolai Raynov between 1920 and 1924 the paper emphasizes the presence of a new aesthetic project in the history of theatre and literary theory in Bulgaria. In this project the Bulgarian thinker set apart the concept of "fantastic theatre" and pointed to its two basic features. "Fantastic" reality was seen as the opposite of Aristotle's or Plato's type of mimesis and the distance between the actor and his audience was shortened. As a sign of the play of the future, N. Raynov accepted the idea of "retheatricalization of life", promoted by the Russian Modernist N. N. Evreinov. N. Raynov's short story Drama illustrated the idea of a new "fantastic" theatre providing similarity with some of Evreinov's methods such as "auto-bio-reconstruction" and "theatre for oneself". Although the project was not put into practice, it is a substantial part of the Bulgarian avant-garde aesthetics that proved to be close to the European patterns of the same years.
    Проблемна област: Литературни изследвания
    Ключови думи: Николай, Райнов, един, театрален, визионер

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  • Summary/Abstract
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    The paper examines Chavdar Mutafov's theory of modern art, based on the concepts of style, subjectivity, spirituality and synthesis, and explores the connections between the avant-garde artist and W. Kandinsky (as regards the concept of spirituality in art and the synthetic art), V. Voringer (on the matter of abstraction and sensation), L. Curtius (about ideoplastic art) and H. Barr (concerning the metaphor of the inner eye). Mutafov's aestheticism emphasizes the dynamics of stylistic processes such as impressionism, aestheticism, expressionism, primitivism and the arrival at a brand new objectivity - banal art as a revision of expressionism. At the heart of Mutafov's artistic experiment lies the thesis of art's duality - a synthesis between the decorative and the banal.
    Проблемна област: Литературни изследвания
    Ключови думи: Проблеми, Изкуството, Декоративната, критика, есеистика, Чавдар, Мутафов

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  • Summary/Abstract
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    The Swedish scientist, philosopher and writer Emanuel Swedenborg (1688-1772) is one of the most internationally famous representatives of his native country and of European Enlightenment with a strong influence on many bright minds in the world even to this day. Influenced by Descartes, but also by Locke and Leibnitz, Swedenborg saw the world as subject to mechanical laws and already in his first works of a progressively philosophical and psychological nature he investigated the question of the relationship between mind and matter, body and spirit, coming to the conclusion that soul is material. Like almost all scientists of those days, Swedenborg's starting point lay in Christianity. For him there was a natural link between the function of the soul and the problem of good and evil; also with the epistemological question of the nature of human knowledge. Knowledge, he thought, partly springs from experience, partly - from intuition which is divine clarity, light. During his Journal of Dreams period (approx. 1743-1745) Swedenborg went through an existential and religious crisis and became a mystic. He decided to discover and explain the complex structure of the universe with the help of the scientific rationalism, characteristic of his time. The essence of Swedenborg's message is theosophy, knowledge of God and its best known aspect is the correspondence doctrine, a dynamic context in which the natural, spiritual and divine things are connected in a whole with universal importance and validity. The idea of this concordance has served as a special approach to creation in literature and arts but also as their general principle to many thinkers, writers, musicians, artists in different countries and epochs like the European Romanticists, Emerson, Balzac, Baudelaire, Strindberg, Pound, Borges, Milosz, Brodsky and probably above all - Dostoyevsky.
    Проблемна област: Литературни изследвания
    Ключови думи: Емануел, Сведенборг, учението, съответствията, езотеричен, идеен, комплекс, поетика

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  • Summary/Abstract
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    The paper considers Byron's Manfred in the context of Bulgarian Modernism and the popularity of the poem, which underwent nine translations and fourteen editions within the first half of the 20th century. It considers Jauss' discussion of a "second horizontal change" (1982) and Iser's reflections on the relationship between text structure and reception processes (1972-1976). For all its popularity, a number of the poem's messages got lost in translation. The essay focuses on three major versions of Manfred in Bulgarian and considers some points of departure from the original. Tracing how the three translations differ on account of the translators' aesthetic commitments (individualism, expressionism and symbolism would be the key words here), the texts are analyzed in terms of what they tell us about chronotopes, about Bulgarian culture in particular and cultural translation in general. In the process of analyzing the variability of translated texts, Stanley Fish's question "Is there a text in this class?" emerges modified. In addition, there are always the cultural and literary allusions of the original text to be considered. The essay provides illustrations of the loss of some religious connotations in the Bulgarian translations examined. In conclusion, Susan Bassnett's interpretation of the "violet in the crucible" metaphor is discussed. Translation is seen as a dynamic development from the initial realization of the author's intention, through the numerous cultural transformations of the original text to a specific concretization, rather than a static result of language conversion.
    Проблемна област: Литературни изследвания
    Ключови думи: Байроновият, Манфред, Български, език

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  • Summary/Abstract
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    Интервю с Ладислав Матейка, (въпросите зададе Питър Стайнер)
    Проблемна област: Литературни изследвания
    Ключови думи: интервю, Ладислав, Матейка, въпросите, зададе, Питър, Стайнер

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  • Summary/Abstract
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    What does reading a text anthropologically mean? Is interaction between anthropology and literary science at all possible? What exactly would the object of study be, as it is clear that its very definition depends largely on the analytical methodology? When we juxtapose the goals of general anthropology and literary science, we will find that they have an important point of intersection - the specific role, played by literature in the building and regulation of the system of human beliefs, dispositions and values that form the basis of human culture and lifestyle. In order for this to be achieved, though, one has to describe the principle by which the specific traits of literature - that is to say, the relationship between reality and fiction, form and content, text and discourse - contribute to the realization of this basic function. This article proposes the hypothesis that for the systematic execution of such an analysis one could start from the description of genres - a verbal phenomenon that can be referred both to the content and to the structural, communicational and functional aspects of the artistic discourse. At the centre of attention it does not pose the structure of the text, not even merely the discursive analysis, but the entire complex of artistic activity that is directed towards the formation, maintenance and transformation of human beliefs, images and views of the world, the dispositions, feelings and values that are the fundament of the very idea of humanity.
    Проблемна област: Литературни изследвания
    Ключови думи: Антропологическият, подход, литературознанието

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  • Summary/Abstract
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    The text deals with the disciplinary mapping and methods of the conceptual history field. It starts with the already classic opposition between Reinhart Koselleck's and Quentin Skinner's founding notions, and the emerging of many newer interpretations of the issue in the recent years. It pays special attention to 1) the relevance of conceptual history to the cultural history paradigms, and 2) its debatable relevance to comparative methods, which could ensure or not its instrumental power as it refers to different separate case studies, and especially Balkan ones.
    Проблемна област: Литературни изследвания
    Ключови думи: историята, понятията, дисциплинарни, инструментални, чертежи

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  • Summary/Abstract
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    The antonymic pair ancient-modern is a lasting form of self-consciousness systematically used in the Western European tradition. This history is long: it stems from the beginning of the late Antiquity, takes shape during the early Middle Ages, continue through all major periods, and leaves an imprint even today. Although the West has resorted to it for more than fifteen centuries, its usage follows relatively limited paths. They never reach Eastern Europe, particularly Bulgaria, whose social and cultural identity has always relied on spatial rather than temporal models: Byzantium, Turkey, Soviet Russia, the West... How to explain then our preference for a certain "somewhere" instead of some kind of "before"? The answer could be the assumption that the identity development of Bulgarian society does not take the shape of a dialogue with its own past. It is rather part of the logic of catching up with historical time, in other words, in a process of modernization, which presupposes striving to perceive a certain cultural or social matrix existing somewhere else now, i.e. not existing here, in our country. In this sense the identity process in Bulgaria could be considered the result of a given political will, while the dichotomy ancient-modern in the Western tradition is, in its nature, a cultural phenomenon.
    Проблемна област: Литературни изследвания
    Ключови думи: старите, модерните, един, идентичностен, хоризонт

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  • Summary/Abstract
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    The first question pertinent to the subject of this study is: Did Auerbach and the other great Romance philologists work with a European consciousness and presuppose a common European horizon for their literary and linguistic studies from the very beginning? Or was this European consciousness formed gradually as a result of personal and social cataclysms? I was led to the conclusion that in addition to the First World War, the threat of another military conflict in the 1920s, mostly between France and Germany, also influenced the way part of the German Romance philologists rethought their academic pursuits. My purpose here is to find the main motive why Auerbach chose to use the non-disciplinary term "European philologists" and what he meant by that. I argue that Auerbach's European consciousness as a historical entity was formed in the 1920s, but his exile turned this consciousness into a standpoint. The second question is about the symbolic geography of European culture in the works of Auerbach. The synonymous use of Europe and Abendland distinctly reveals Auerbach's dual, both unifying and divisive, understanding of the identity and symbolic geography of European culture. If we accept the opinion that Europeans have been represented by Romance literatures for centuries, then the tasks of Romance philology as a European philology will become clearer and the cultural geography of Europe narrower. The cultural and historical identification of Europe and Abendland after the Second World War solidified the already existing division of Europe into two blocs. Literary history and philology divided Europe the relevant political doctrines did. The humanities also contributed significantly to the creation of values and attitudes, and an study of the former from this perspective gives us additional reason to assume that the agreement on the division of Europe after the Allied victory was not based solely on strategic interests.
    Проблемна област: Литературни изследвания
    Ключови думи: европейската, филология, Ерих, Ауербах

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  • Summary/Abstract
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    The aim of this study is to present and find the historical place of some of the Balkan utopias created by Greeks and Bulgarians during the 18th,19th and 20th century. The focus falls on a way of thinking,which although marginal and eclectic, existed in its own time and helps to make clear the difficult process of the building of modern ideologies.Attention is paid to the mechanism which transfers the utopias of the future, born elsewhere, into the Balkan space as well as to the social and cultural circumstances that help to build the ideal picture of the future.The author studies the problem of the role of history and memory in the imagined communities as an expression of the relation between history and utopia,as well as the relation between utopia and eschatology.The examples that are studied testify to the comparatively quick reaction of some of the representatives of the Balkan intelligentsia to what is happening in the sphere of the utopia in other countries.Texts which aim at living up to the existing expectations, while at the same time making an attempt to turn them into instruments are created.The conclusions of the analysis of the utopian texts allow elaborations concerning the level of the political culture as well as about the different tendencies in the idealogical and political life, which caused combinations of views and tastes that are paradoxical at first glance.
    Проблемна област: Литературни изследвания
    Ключови думи: Няколко, страници, историята, балканските, утопии

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  • Summary/Abstract
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    Vazov's travelogue "Outside Bulgaria" enters into the "Petersburg's text" and the "Moscow text" of Russian culture. Although written by a foreigner, this travelogue includes both the outsider's view of Russia, and the assimilated insider's Russian viewpoint. Metaphorically, Vazov turns out to be both inside and "outside Bulgaria". The writer perceives Russia through the Russian national auto-stereotypes; the Russian myths of Moscow as the "soul of Russia", of the "great Russian soul", and of Petersburg as a "window on Europe" are present in his text. The Russian viewpoint is embodied in many quoted proverbs. However, the insider's viewpoint in the text combines sometimes opposite stands on Russian culture (these of the "Westerners" and the "Slavophiles"). Besides the writer also perceives Russia from a foreigner's point of view where the negative sides of Moscow appear (the uncleaniness, the fatalism of the Russians, the drunkenness), and to whose mind Petersburg's cold calls out the image of the gardens of Eden in Bulgaria. Thus, Ivan Vazov does not limit himself to the area of one genre, combining the mythologization of Russia (through the Russian viewpoint) with its demythologization, containing both the Russian viewpoint and that of the foreigner.
    Проблемна област: Литературни изследвания
    Ключови думи: Москва, Петербург, пътеписа, Вазов, Извън, България

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  • Summary/Abstract
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    This research is concentrated on the poem The lake sleeps (Спи езерото) with a view to two main questions: when and why did the image of lake in the European poetry begin to be different from the common background of water and how explain his sudden appearance in P. Slaveykov's lyrics. The first question is answered by studying in its antique, biblical and literary interpretation until the end of the 19 th century. The essay finds out that the lake gets his poetic emancipation during the romantic period. Special attention is paid to poets admired by Slaveykov like Goethe, Heine, Shelley, Southey. The research finds answer to the second question in the Vrchlicky's poetry, in particular in his poems included in the Vrchlicky's book of poetry From the gulfs (Z hlubin, 1875) : Near the lake (U jezera) and Over the lake (Nad jezerem). The genealogy of The lake sleeps (Спи езерото) explains some of the intertextual features of the early Bulgarian modernism revealing in P. Slaveykov's poetry.
    Проблемна област: Литературни изследвания
    Ключови думи: защо, езерото

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  • Summary/Abstract
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    Edvin Sugarev's article "The figure of Death in Iavorov's Poetry" examines the polyphonic meanings of the"death" concept in Iavorov's poetry - the existence of death as a "terrible ghost" as well as a universal creative force ,understood as a "beginning" of everything - life itself being seen as its dream.In this extremely broad spectrum the article interprets the visions of death in poems such as "Death","Masque","Song of my Songs","Night" and others by defending the thesis of the existential connotation of concepts such as death,night,loneliness,blindness and others in the context of thinking that is closer to Eastern philosophies and untypical for Bulgarian traditions.
    Проблемна област: Литературни изследвания
    Ключови думи: Фигурата, смъртта, Поезията, Яворов

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  • Summary/Abstract
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    Slavcho Krasinski is one of the gifted Bulgarian lyrical poets between the two world wars. When he was 21 (1929) he published his first book of poetry entitled Gunshot and attracted the critics' attention. The poet's real character is revealed by his two subsequent books - Spring Guest (1932) and Green Clouds (1938). From 1930 he actively contributed verses to the renowned Zlatorog magazine (edited by Vladimir Vasilev). His work paradoxically combines the characteristics of symbolism (the critics see N. Liliev's influence here) and imaginism, which penetrated into in Bulgaria under the influence of the Russian poet Sergey Esenin. These are the two poetics which create an intertextual web of links for Slavcho Krasinski's lyrical poetry.
    Проблемна област: Литературни изследвания
    Ключови думи: Славчо, Красински

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    The article deals with the attempts of Bulgarian children's literature to preserve its entertaining function after the end of the Second World War. The means of expression and mechanisms of retaining the playfulness in this literature, the ideological education of children being turned into a cult, are analyzed in Lachezar Stanchev's poetry, published at the end of the 1940s and the 1950s. The paper focuses on the methods and forms of disguising the game, a politically necessitated literary practice at a time characterized by extreme pedagogical strictness. Genre mutations of the fairy tale, domination of then topical issues in the riddles and structural adaptation of the nonsense poem are part of the mimicry of the game, allowing children's poetry at that time to communicate with its readers on the basis of their own values in spite of the difficulties.
    Проблемна област: Литературни изследвания
    Ключови думи: Лъчезар, Станчев, Мимикриите, играта

60 години Институт за литература

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  • Summary/Abstract
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    Over the period of its development - the second half of ХХ century and the first decade of XXI century - the Institute of Literature has established itself as a scholarly centre of literary research whose priorities correspond to the changes in society, the science and the world we live in. The conclusion related to the anniversary as well as the outline of its future development shows that literary studies are only possible as an opened field, where values of the critical humanism, personal responsibility and commitment to the truth acquire significance. Within the changed context within the Humanities, several future tendencies may be outlined: The impaired memory and identity. It is related to the study of the past and the present, of literary tradition and the contemporary events based on democratic values: tolerance, respect for the individual autonomy, critical and reflective stance, asserting the truth against the attempts to manipulate the society. Methodological pluralism. From a self sufficient discipline running the risk of being reduced to an illustration of certain ideological doctrine, to mere formalistic analysis or narrow views of the empirical biographic studies nowadays the literary studies are getting more and more a means for knowledge of Man. Open interdisciplinary field. In the transdisciplinary field of the Humanities Literature is a central object - a focus that gathers in its specific way ideas and behaviors, which imply certain religious, political, philosophical, professional and traditional attitudes. Literature voices certain group consciousness as well as the inner world of the man.
    Проблемна област: Литературни изследвания
    Ключови думи: Институтът, литература, литературознанието, като, отговорност

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  • Summary/Abstract
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    Exile, for all of its pain and suffering, has offered European writers a way to step out of their national linguistic and environment. Did exiled writers make use of this opportunity, and start writing a "literature for Europe "? By no means all did; many of them sealed themselves off in order to maintain the purity of their mother tongue, while others 'opened up' and adjusted to the culture of their host country, often even by adopting its language for their writing. Tracing the voices of exile from Istanbul (Kelemen Mikes ,Erich Auerbach), Buenos Aires and Madrid (Vintila Horia), Paris (Adam Mickiewicz, E.M.Cioran, Tristan Tzara and others) the article also dwells upon Pascale Casanova's reasearch "La Republique mondiale des letters", dealing with the theme of exile.
    Проблемна област: Литературни изследвания
    Ключови думи: Гласове, изгнание, литература, Европа

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  • Summary/Abstract
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    The paper offers an attempt to analyze the meaning of the notion 'anti-totalitarian literature' per se and in its Bulgarian context. This is a complex phenomenon embracing several different trends, different types of writing, different political affiliations and aesthetic views. Also, there were writers that are still difficult to classify in the main types of 'anti-totalitarian literature': political emigrants, dissidents, communists that opposed the status quo, etc. One such author was Asen Christoforov (1910-1970). A graduate of London University, a young Bulgarian professor of economics in the first post-war years, he was dismissed from the University of Sofia, later accused of being a British spy and sent to the concentration camp in Belene. Christoforov lived a lonely life for many years near the village of Govedartsi, at the foot of Rila mountain. Nevertheless, in the late 1950s and later Chistoforov published several books. Almost all of them described the mountain and its inhabitants and especially the people of Govedartci. The paper traces the author's percecution for political reasons discretely mentioned in his work, claiming that their literary merits are greater than their 'anti-totalitarian' criticism.
    Проблемна област: Литературни изследвания
    Ключови думи: Непретенциозната, проза, Асен, Христофоров, проблемът, антитоталитарната, литература

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  • Summary/Abstract
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    The text presents some ideas about how totalitarian culture affects literary history by reducing, reinterpreting, and reevaluating facts. In this case modernism is in the focus - Bulgarian modernism and its modernist and further interpretations. The main point is that totalitarian culture tended to reduce the ideological importance of modernism, as far as it saw in this trend an alternative mirror image. Thus modernism was in a way isolated rather as a chronological period of culture with certain ideological, poetical and genre features. The stress was removed from its essential importance exactly as ideology and poetics, which could have expanded its interpretation in wider cultural aspects. These speculations are based, firstly, on the self-reflection of the modernists themselves, and secondly - on certain tendencies in world literary studies to discuss modernism as a concept, broader than the movement which were chronologically fixed between approximately the middle of 19th and the middle of 20th centuries.
    Проблемна област: Литературни изследвания
    Ключови думи: Тоталитаризмът, моделирането, литературната, история, модернизмът, неговите, интерпертации

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  • Summary/Abstract
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    The text presents a period of human history which passed under the sign of a number of wars, great loss of human life, merciless extermination and suffering, i.e. totalitarianism. The subject of scientific comment of this study is Tzvetan Todorov's book Face a l'extreme', which affords an opportunity to reveal the truth about human nature through the stories of different forms of behaviour in extreme situations in the concentration camps. The author projects the issues of moral survival, good and evil, courage and heroism in the individual fates of some ordinary men - witnesses and victims of the totalitarian power. The main purpose is to show that a such a personal example is the best argument in the search for the truth, and the best direct route to learning a lesson from history. Тhe real life short stories from daily human experience translate into literary examples, which aim to explain and illustrate the author's thesis. Tzvetan Todorov's book is the best postmodern projection against totalitarianism.
    Проблемна област: Литературни изследвания
    Ключови думи: Литературният, Пример, exemplum, Една, постмодерна, проекция, срещу, тоталитаризма

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  • Summary/Abstract
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    The article is focused on the role of the anniversary social institution in establishing the Pantheon and canon of Bulgarian literature. The genesis of the anniversary institution and its legitimization in modern European culture serve as an introduction. A detailed analysis of the emerging anniversary mechanism in Bulgaria at the end of the19th century is presented. The specific significance of the anniversary institution as well as the role of some intellectuals like Prof. Mikhail Arnaudov for its endorsement into Bulgarian culture is discussed further. Special attention is paid to the public celebration of Ivan Vazov's anniversaries in 1895 and 1920, through which his central place in Bulgarian literature was established. The research is mainly based on archive sources, some of which are published here for the first time.
    Проблемна област: Литературни изследвания
    Ключови думи: юбилей, канон

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  • Summary/Abstract
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    The article thoroughly examines one of the most significant and also the least studied literary circles in Bulgarian literature - Archer Literary Circle, which is regarded by a number of literary scholars as the end of Bulgarian modernism. The focus is on the problem of literary heritage.The most distinct gestures of literary heritage by the "archers" are listed consecutively ,namely: 1.Mythology and folklore as thresholds to Bulgarian culture. 2. Archer Literary Circle and Hristo Botev. 3. Archer Literary Circle and the Bulgarian Revival.4. Archer Literary Circle and Pencho Slaveikov. The problem of acquiring and thinking over the tradition is not studied in itself only, but also in the context of the active search and the attempts to construct a new identity in the Bulgarian culture of the 1920s.
    Проблемна област: Литературни изследвания
    Ключови думи: Кръгът, Стрелец, осмислянето, традицията

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  • Summary/Abstract
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    The present study deals with the meaning of the term "paraliterature". It is acknowledged as a common designation of various literary genres that paradoxically could be observed from "within and without" the mainstream literary standards. Moreover, paraliterature ranges over "the category of written works, as a whole, relegated to the margins of recognized literature and often dismissed as subliterary despite evident resemblances to the respectable literature of the official canon". The authors undertake the interpretation of two unidentified hand-written collections from the Bulgarian "Belle Epoque": "Album of various songs to remember" (1896-1901) (created, written and copied by the classmates and friends of Lubomir Targovski - Boyan Penev is also among them) and "Album" by Nikola Sapundjiev (1909-1911) (in the city of Razgrad and in the village of Slavyanovo). Generally, these albums are essential for the self-identification of certain social groups - the military, prisoners, girls, bohemians. Both collections are included the concept "album poetry" . The values in these works are concerned with "the multiculturalism" of Razgrad`s high school. The biographies of their respective owners are also of interest. As a literature of personal documents the works in these collections belong to different genres: songbook, scrapbook, hand-written book in the complicated relations between "high" and "low" cultural strata. The goal, which this study pursues, is to ask some questions, such as where, when, how and into what axiologic perspective these albums and other para-literary forms may find their place in academic periodisations and the history of Bulgarian literature.
    Проблемна област: Литературни изследвания
    Ключови думи: Паралитературата, Текстология, Социология

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  • Summary/Abstract
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    The paper presents a close reading of J. Joyce's short story "Araby" and attempts at defining the relationship between the notion of image as represented by the story and the fictionality at work in it. The analysis reveals the paradoxical intricacy of fiction and reality (the two no longer being opposed, but rather interwoven) in the very heart of the fictional image, which for its part tends constantly to disintegrate. In fact, through the image fictionality is disclosed as taking place in the rupture produced by the non-coincidence of reality with itself. Borrowing a concept of C.Malabou's, the author of the present paper names the aspect in the image that drives it toward incessant alteration, bringing it to the edge of explosion and disintegration, "plasticity". On the one hand, plasticity defines what could be called "transformation" of the image; on the other, it partakes in another characteristic feature of the image, namely its function to concord, to make other agencies of the subject, such as memory or perception, as well as the different aspects of the image itself (imagination, resemblance, and transformation) "conform" to it. Though advancing no more than a theoretical model, the paper's main (and for the most part unachievable) goal is to delineate the unique field of potentiality of the story through this model, while avoiding the danger of reducing it to the reader's own (mis)interpretation.
    Проблемна област: Литературни изследвания
    Ключови думи: образ, въобразяване, съобразяване, Арабия, Джойс

Преглед

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  • Summary/Abstract
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    Препрочитането на Достоевски като съкровен диалог с писателя от позицията на вярата (Ванда Смоховска - Петрова - Пътят към смъртта и възкресението у Достоевски. София, Боян Пенев, 2008)
    Проблемна област: Литературни изследвания
    Ключови думи: Препрочитането, Достоевски, като, съкровен, Диалог, писателя, Позицията, вярата, Ванда, Смоховска, Петрова, Пътят, смъртта, възкресението, Достоевски, София, Боян, Пенев

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    Новата книга на Румяна Дамянова "Емоциите в културата на Българското възраждане", София, Сиела, 2008: значения за българската хуманитаристика
    Проблемна област: Литературни изследвания
    Ключови думи: новата, Книга, Румяна, Дамянова, Емоциите, културата, българското, Възраждане, София, Сиела, значения, българската, хуманитаристика

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  • Summary/Abstract
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    Скандалният медиатор (Александър Кьосев - Индигото на Гьоте, София, Фигура, 2008)
    Проблемна област: Литературни изследвания
    Ключови думи: Скандалният, медиатор, Александър, Кьосев, Индигото, Гьоте, София, Фигура

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  • Summary/Abstract
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    In Bulgarian literary science the theory of the novel is a total blank. The author of this article, in general, shares the opinions of Michail Bachtin and his Bulgarian follower Bogdan Bogdanov. He approves of Bachtin's statement that the novel has been a unique genre still in statu nascendi since ancient times. It is probable that the beginning of the novel is connected with the writings of Xenofontes (5th century BC). The author supposes the papyrus fragments with the story of Sinuhe the Egyptian (about 20th century BC) could be examined as the prototype of the later Hellenistic logoi (novels, 2-5 century BC.). If proved, this hypothesis can refute the traditional scheme of the successio of the literary types: epos - lyra - drama.
    Проблемна област: Литературни изследвания
    Ключови думи: въпроса, романа

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  • Summary/Abstract
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    This short monograph considers the perception of Orthodoxy from outside the Orthodox world during the age of Enlightenment. It was originally conceived as a lecture to be presented in Athens, at the invitation of the great Greek historian of political thought, Paschalis Kitromilides. Inspired by Kitromilides' own work on the Enlightenment within the Orthodox world, I attempted to reverse the perspective and to offer a reciprocal study of the enlightened perspective on Orthodoxy. Beginning with the accounts of Western travelers, I analyzed a persistent pattern of disparagement by travelers, focusing on three general areas: 1) the aesthetic qualities of Byzantine icons, completely unappreciated by these travelers; 2) the allegedly excessive character of Orthodox ritual, which appeared as superstition to the eye of the Western Enlightenment; and 3) the alleged ignorance of the Orthodox clergy (a problem also noted within the Orthodox world, as Catherine the Great, for instance, established seminaries in Russia). My analysis of these categories of criticism suggests that in no case were they fundamentally religious in nature, but, rather, focused on more general issues of "civilization," such as education, artistic training, or enlightenment versus popular superstition. In this regard, the negative view of Orthodoxy was actually integrated into the entirely secular idea of Eastern Europe, transcending Orthodox, Roman Catholic, and Muslim lands and peoples. The second part of the monograph addresses the political perception of Orthodoxy that emerged after 1768, at the time of Catherine's war against the Ottoman Empire. For the first time, enlightened observers in the West became aware of the possible political significance of Orthodoxy for mobilizing populations. This was a matter of great interest, and sometimes concern, especially along the Triplex Confinium where the Habsburg and Venetian states bordered the Ottoman Empire, and where Orthodox populations were present. One of the things I was interested to note in the eighteenth-century discussions was an implicitly "Huntingtonian" perception of a political clash of civilizations based on the difference of religion. In fact, I initially presented this lecture in the year 2000, immediately after the NATO war in Yugoslavia in 1999, a moment when Western observers (in the United States and Europe) worried about the Huntingtonian emergence of an "Orthodox axis" sponsored by Russia. It was interesting to observe some of the eighteenth-century anticipations of this perspective as Western Europe worried over Catherine's mobilization of Orthodox sentiment within the Ottoman Empire during the Russian-Ottoman war of 1768-1774. Considering the Bulgarian translation of this monograph, I regret that I did not have more material to include concerning Bulgaria itself. The most interesting source that I used, with regard to Bulgaria, was the travelogue of the Jesuit astronomer Rudjer (Ruggiero) Boscovich, who left Constantinople in 1762 and traveled overland through Bulgaria. Because Boscovich was a Roman Catholic priest and because he was born in Dubrovnik, he was sensitive to both the Slavic language and Orthodox piety of the Bulgarians, which he wrote about with considerable interest and appreciation. I have written a short separate article about this, exploring his particular perspective in greater detail: "Boscovich in the Balkans: A Jesuit Perspective on Orthodox Christianity in the Age of Enlightenment," in "The Jesuits II: Cultures, Sciences, and the Arts," eds. John O'Malley, Gauvin Bailey, et. al. (University of Toronto Press, 2006), pp. 738-57.
    Проблемна област: Литературни изследвания
    Ключови думи: Просвещението, православният, свят

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  • Summary/Abstract
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    The paper examines a Bulgarian text published in 1874 in the periodical Chitalishte, which was an adaptation of Poe's short story Some Words with a Mummy. Although the name of the original author was mentioned in a footnote (in English, at that), the title was slightly changed and the plot was related to the Bulgarian society of the 1870s. While the American author criticized modern civilization, Ivan E. Geshof (1849-1924), the author of the adaptation and Prime Minister-to-be (1911-1913), focused on topics, topical for his compatriots - the newly-established Bulgarian church, Bulgarian teachers, etc - the Bulgarian National Revival as a whole. This adaptation of Poe's work has not attracted the attention of the scholars, but was an important and, in a sense, extraordinary event in the history of Bulgarian reception of foreign literature. It was probably the first translation directly from English and demonstrated a relatively high literary competence. Along with the first translation of E. A. Poe - The Facts in the Case of M. Valdemar (1856), which used a Greek source, Some Words with a Mummy set the American writer in an unusual context and preceded the interest in his poems in the early 20th century. The article includes the full text of this second translation from Poe in Bulgarian.
    Проблемна област: Литературни изследвания
    Ключови думи: Една, мумия, коментира, българското, Възраждане, Непозната, адаптация, Едгар, Седянка, Една, мумия, Приказчица, Гешова

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  • Summary/Abstract
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    The text traces a not-much-known literary friendship between Lora Karavelova and Petko Yu. Todorov, after Todorov returned from Germany in 1905 and before Lora bound her life with the poet Peyo Yavorov some years later. The fact is that being able to communicate with some of the most respected names in Bulgarian culture, it was Todorov that Lora preferred to share her creative experiences and plans with. She was in a creative upswing after her first publication in the journal Thought, thanked him and wished to share with someone who understood her and who she had confidence in. Lora relied not only on the undisputed literary reputation of her friend, but was also excited by his patience, tolerance and his intimate dedication to everything. Their inherent spiritual aristocracy connected them in a special way too. The literary value of Lora's works is not very high, but she deliberately experimented in various genres. Todorov's editorial intervention in her texts shows his professionalism and desire to preserve the original intent of the author. The article raises questions about the state of Lora Karavelova's literary heritage.
    Проблемна област: Литературни изследвания
    Ключови думи: коша, Парнас, Жестовете, едно, литературно, приятелство

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  • Summary/Abstract
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    This research focuses on the covers of Dimov's novels published as separate volumes. The main emphasis is on giving answers to several fundamental questions. First, how covers interpret Dimov's works; second, how they evoke certain readers' attitudes to the novels; and third, what trend in the interaction of cover and text proper can be observed when comparing early editions of Dimov's novels and later ones.
    Проблемна област: Литературни изследвания
    Ключови думи: Романите, Димитър, Димов, стратегии, прочита

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  • Summary/Abstract
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    Based on unpublished archive materials, the study deals with the topic of the so-called "Karjiev case", which, without leaving any important traces in the humanitarian ideas in Bulgaria, is one of the indicators of the forthcoming "humanitarian fever" and without which its ethnology could hardly be explained. The extrapolation of the not quite definitive "Beron's complex" to the metaliterary practice in Bulgaria from the beginning of the 20th century up to the late 1940s aims at the metaphorical strengthening of our idea about the fateful, but not quite logical, difference between the literary language and the language of its conception. It prompts at the idea that the inventive "uniformity" between them, based on native accumulation, could only be seen in the 1960s and the role of people like Krum Karjiev is particularly important from a historical point of view.
    Проблемна област: Литературни изследвания
    Ключови думи: Крум, Кърджиев, дълголетието, Бероновия, комплекс, Опит, реконструкция, архивни, Материали

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  • Summary/Abstract
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    The aim of the article is to determine the contribution of Professor Ivan Sarailiev to Bulgarian humanities. Unknown biographical data are revealed at the beginning of the text. It can be concluded that Ivan Sarailiev is an early Bulgarian pragmatist. Thus, the beginning of Bulgarian semiotic thought can be moved far back in time, around the turn of the 20th century, before names like those of Yuri Lotman and Roland Barthes. In the second part, this hypothesis is challenged and examined in order to be proved true.
    Проблемна област: Литературни изследвания
    Ключови думи: Иван, Саръилиев, началото, прагматизма, семиотиката, България

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    The text draws attention to the two-way ego-perspective of memoirs: in addition to creative reconstruction, "quasi ballad" vision for the object of memory ("revives" him), they update the psychological portrait of the subject of the story. In this case, greater attention is paid to the psychological portrait of the author, A. M. Gorky, and his notes made on A. P. Chekhov's death. But the question is can this memory be regarded as reliable, especially in its claim of biographical fact? The friendship between the two writers largely fits within the ego-text: it begins as a correspondence, continues as personal meetings and conversations (some of which are recorded) and ends as memoirs. From similar memoirs of their other contemporaries, we can restore many of the Chekhov's external characteristics, to imagine him through his typical gestures, reactions, witty remarks, and habits. With Gorky it is different. Supplementing the notes of two stages, once ten years after Chekhov's death (1914) and a second time before its publication in 1923, is a gesture showing that Gorky wanted to consolidate his authority over that of his famous contemporary whose aesthetic platform he used. Characteristic of this approach is Gorky's style - without beginnings or endings, the lack of a coherent structure, rather chaotic remarks made casually and not arranged in a logical view. Allusions to Chekhov as an ideologist of class thinking even slip. Throughout his literary career, Gorky gradually established himself in the hierarchy and the doctrine required a new literary direction ("socialist realism"), excluding Chekhov's poetics. In this sense, his memoirs about Chekhov not only demonstrate the mechanism of manipulation, but also the dangers of the genre.
    Проблемна област: Литературни изследвания
    Ключови думи: Мemento, mori, Горки, помни, Чехов

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  • Summary/Abstract
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    Литературоведската умереност срещу теоретичния фанатизъм (Яни Милчаков, Социални полета на литературата, УИ "Св. Климент Охридски", С., 2009 г.)
    Проблемна област: Литературни изследвания
    Ключови думи: литературоведската, умереност, срещу, теоретичния, фанатизъм, Милчаков, социални, полета, литературата, Климент, Охридски

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  • Summary/Abstract
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    This article attempts to give an overall answer to the question of the presence of the ballad as a genre and the ballad motifs as an important aspect of the fictional structure of the literary work in Botev's poetry. Ever since the 1920s "Hadji Dimiter" has been qualified as a ballad in Bulgarian literary studies. There are even curious cases when the general characteristics of the ballad are described in such a way that they coincide with the structure of "Hadji Dimiter". But the truth is that the role which is played by the ballad in Botev's poetry is not clear enough. And this role is diverse and has many directions, as far as the general literary background of the Bulgarian Revival is full of ballad motifs - not only concerning typical motifs for the ballad, but also in the overall presence of the ballad in literary life. This cannot fail to influence the plots, the motifs, the figures of speech and the strategies of impact of Botev's poetry. To avoid misunderstandings which go along with the usage of the term "ballad", especially in the analysis of Botev's work, a detailed definition of the essence of the European ballad is given in this article. This article uses Hans Robert Jauss's scheme for describing a genre - model in four main directions - status of communication, world of understatement, attitude to tradition, and "place in life". After that all possible aspects of the presence of the ballad and the ballad motifs in Botev's poetry are described and the conclusion is reached that it is saturated with them, but in most cases the result is not a typical ballad, but more likely an argument and transformation of the ballad expectations into another unexpected direction. Of course, the author touches upon the question about the genre of "Hadji Dimiter"- the poem that seems to have grown together with the definition "ballad".After a thorough analysis of its structure and comparison with the structure of the ode, the ballad and the epic song, one reaches the conclusion that "Hadji Dimiter" is not and cannot be a ballad, at least in the meaning which world literary studies attribute to this term.
    Проблемна област: Литературни изследвания
    Ключови думи: Баладата, нейното, присъствие, Поезията, Христо, Ботев

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  • Summary/Abstract
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    There are many different conceptions in literary criticism because there are many different ways to answer the question “What is literature?” Every conception creates its own theoretical model of literature and its own methodology to analyze or to interpret literary works, which corresponds to this model. At first sight, we can make the following conclusion: if on theoretical level two conceptions are contradictory, it will be undesirable, unproductive, even impossible to combine their methods of reading literary works. However, the reality is more complicated. There is no unanimous response to the question if literary critics must stick rigidly to only one procedure chosen (semiotic-structural, hermeneutic, deconstructive) or it is admissible, even advisable, to combine different approaches in order to activate a bigger part of the potential meaning of the literary work. The article refers to ideas about this problem of some well-known theorists such as Hirsh, Gadamer, Michel Foucault, Gerard Genette, Paul Ricœur and it considers two approaches to literary texts – the structural approach and the deconstructive one. Its main proposition is that even though these approaches are contradictory, both prove that every meaning is a result of inner relations between the linguistic elements in a given text. So, the collaboration between them is possible, but on condition that they should not be confused. In the course of their interpretation of a literary work, literary critics must explain clearly when and why he follows the structural method, when and why he includes the point of view of deconstruction.
    Проблемна област: Литературни изследвания
    Ключови думи: Съвместимост, несъвместимост, между, подходите, литературната, творба

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  • Summary/Abstract
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    This paper provides a brief history of the diffusion and spreading of the Book of Sindbad, a medieval Persian collection of tales, in the Slavonic-Balkan area, in particular, in Bulgaria. The Bulgarian, Serbian and Rumanian versions are derived from the Greek printed version, dating from the late 17 th or early 18 th century; therefore, they represent a very late stage in the history of the Book. The book was translated in Bulgarian for the first time by Bishop Sofronij of Vratsa, and included in his Second Vidin Collection, a manuscript dating back to 1802. The collection was transcribed and slightly altered by priest Atanas (Krast'o), in 1850. The second Bulgarian translation, made by Hristaki Pavlovich, was edited in 1844 and in 1854. Such a translation is the basis of numerous adaptations between the late 19th and the first quarter of the 20 th century; the editorial tradition of the Book of Sindbad in Bulgaria is quite impressive. Particular attention is paid to the different ways of translation and interpretation in the Bulgarian manuscript and printed versions.
    Проблемна област: Литературни изследвания
    Ключови думи: книгата, Синтипа, България, ръкописни, печатни, Версии

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  • Summary/Abstract
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    The novel "The Real Life of Sebastian Knight" (written in English in Europe in 1939 and published in America in 1941) has a peculiarly borderline position in the author's life: it represents the first real creative step taken into the realms of the new language and focuses on the issue of the new language identity, on the trying on of masks and the tracing of the consequences of this change and play. This transition theme, as an aspect of the metamorphosis in its biological and metaphorical dimensions throughout the years, never stops occupying Nabokov, yet here it is most immediately outspoken, the novel being an attempt at solving a personal dilemma. Against the background of the transition theme's intensive discussion by the characters and the plot, this novel can serve as a showcase for the whole "catalogue" of Nabokov's techniques, themes, images. On the other hand, there is one of his subsequent texts, written in English already in the United States, aimed directly at the English speaking reading public and per definition being assigned to the genre of a writer's biography - the book "Nikolai Gogol" (1942-1944). The study endeavours to see these two books from two standpoints in a parallel, outlining their similarities (while presuming identity), especially observing their modernistic nature of metaprose, of a text concerning the writing of a text, a text that is constantly regarding its own reflection in order to continue being written. The end of the 1930s and the beginning of the 1940s is a time of territorial, linguistic, aesthetic transitions and changes for Vladimir Nabokov. The momentary change of masks and scenes in the novel "Sebastian Knight" can only be attributed to high-class craftsmanship, already achieved earlier by Nabokov in his Russian language novels. The histrionic re-clothing and re-making up in this novel - "a second birth" - appear to be one of the rehearsals for the actual transformation from a Russian to an English speaking writer, from Sirin to V.Nabokov. V. is simply an intermediary phase in the metamorphosis. In this unstable environment Nabokov seeks for support, and finds it in the Russian classic Nikolai Gogol, who will lend him some of his legitimacy in the New World.
    Проблемна област: Литературни изследвания
    Ключови думи: Истинският, живот, Себастиан, Найт, Николай, Гогол, Владимир, Набоков, текстове, границата

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  • Summary/Abstract
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    The article puts into consideration the processes of transformation in the Polish literature after 1989. According to the framework constructed, the changes could be traced out as: the contents and dynamics of the literary canon; the shift between centre and periphery, and the newly-invented accent on the peripheral zones of the cultures, the recent attention on regional identities intensified; the gender-turn. The analysis takes into account the effects of the changes, experienced both by artists and public as trauma and crisis. Another emphasis is put on the emergence of the last generation of Polish artists, radically distant from the socialist past.
    Проблемна област: Литературни изследвания
    Ключови думи: полската, литература, след, Година

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  • Summary/Abstract
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    This essay has two entwined purposes. First, on a practical level, it analyzes the hierarchy of Slavic languages and literatures in American academia and some of the means by which it is created and perpetuated. It also covers the mechanisms used to promote Western literatures as superior to Russian literature. The main issue at this level is the unenviable place of Bulgarian Studies, especially Bulgarian language and literature, in the context of Slavic Studies in the US. Second, on a theoretical level and using the peripheral status of Bulgarian Studies as a springboard, the inquiry investigates the relationship between "major" and "minor" literatures and cultures and the role of academia and the media in creating this division of power. In clarifying the two objectives, the essay details various academic aspects such as: some general principles of paid higher education, language teaching in American academia, the value of scholarly degrees obtained in the West and in Eastern Europe, the American academic job market, the function of some scholarly organizations and journals, certain rhetorical and narrative means of writing post-modern literary histories, and the role of ideological and other cliches and biases in presenting Bulgarian culture in the US. The essay also shows how in American academia and media "minor" cultures are presented as things-in-themselves rather than things-for-themselves. The inquiry's conclusion speaks critically of the role of Bulgarian intellectuals after the dismantling of communism, and hypothesizes that the obscurity of Bulgarian Studies could be overcome within the dialectics among a) symbolically marked reality, b) narratives, and c) reading, interpretation, and action. The study's overall theoretical approach is in the Continental critical tradition, i.e., first, it presents things as they are and explains their man-made nature (deconstruction), and, second, it offers a better alternative (emancipation). The genre of the study is the marginalia, because this subsidiary scholarly genre is an exemplary implement for deconstruction and emancipation. The essay partakes in several disciplines: post-communist studies, theory of education, literary studies, narratology, Slavic Studies, Bulgarian Studies, semiotics, philosophy, theory of reading, and theory of action.
    Проблемна област: Литературни изследвания
    Ключови думи: Българският, друг, като, западен, маргиналия, маргиналността, българистиката, американската, академия

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  • Summary/Abstract
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    Повторението на опита и сътворението на смисъла
    Проблемна област: Литературни изследвания
    Ключови думи: Повторението, опита, сътворението, смисъла

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  • Summary/Abstract
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    "Повторение и сътворение: поетика на автотекстуалността", Изд. "Просвета", С., 2009)
    Проблемна област: Литературни изследвания
    Ключови думи: Повторение, сътворение, поетика, автотекстуалността, Просвета

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  • Summary/Abstract
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    Палимпсест на българския модернизъм ("Kритическото наследство на българския модернизъм". Съставителство и редакция: Едвин Сугарев, Елка Димитрова, Цветанка Атанасова; Издателски център "Боян Пенев", С., 2009)
    Проблемна област: Литературни изследвания
    Ключови думи: Палимпсест, българския, модернизъм

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  • Summary/Abstract
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    The article sets out the hypothesis that the symbolic space in fiction, its subtext could be created from an alternative sense-generating centre, in relation to the main plot design, which could construct an anti-plot. It does not supplement or clarify the main plot organized by the story, it just deconstructs it. The work of such a mechanism is demonstrated by an analysis of Jordan Jovkov"s short story "Ivan Belin"s Sin". While the conventional plot presents a resistance and postponement of completing the main events of the story - the meeting of the shepherd with the she-wolf that he kills and that has two cubs, in the sub-text space the two protagonists run one toward the other exchanging mutually asymmetrical binary semantic features so that they change places - the she-wolf acquires human characteristics while the shepherd symbolically turns into a wolf.
    Проблемна област: Литературни изследвания
    Ключови думи: Вторият, сюжет, Метаморфозата, Грехът, Иван, Белин

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  • Summary/Abstract
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    The paper explores a problem from the premises of biblical hermeneutics while making use of literary studies devices. There is one major question which it pursues: Why was King David, the most prominent character of Hebrew Biblical history, depicted as a shepherd boy in 1 Samuel 16-17? How to read the implications of shepherd symbolism in his story? In order to find answers, the paper first discusses some problems of biblical authorship, especially of the kind, most often called "The Deuteronomistic Historian". It then goes to other shepherd characters among the patriarchs and to their interpretation by the rabbinic sages and Josephus in "Jewish wars", proceeding to the New Testament and the figure of Jesus Christ. Gradually it becomes clear that the answers are to be found not in the field of some (more or less) historical reality but in relation to the legendary imagination which fueled the very creation of biblical history, and then continued to reproduce itself in Western arts and popular culture - up to the present day.
    Проблемна област: Литературни изследвания
    Ключови думи: овчарчето, Пастира, биография, един, есхатологичен, мотив, според, разказа, библейския, Давид

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  • Summary/Abstract
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    The paper examines the Bible intertextuality in the 1890s Francophone symbolist drama and in the 1900s Russian modernist theatre in order to identify their typologic resemblances and their original trends. The analysis focuses on two kinds of Christian plots (events of human evolution and moments of God"s message), on their specific approach and functioning in modern plays. The study reveals that similar biblical stories, their free interpretation and their close structural principles in contemporary works are characteric of both the Francophone and the Russian theatre. However, western European authors seek out the mystic truth in the sacred writings and strengthen their universal significance, while the Slavic symbolists consider them in connection with their own national problems and call into question the optimism of God"s word. The Russian modernists also introduce some new principles into their biblical plays (grotesque, irony, conventional stage), which bring them closer to the experimental avant-garde studies of the 20th century.
    Проблемна област: Литературни изследвания
    Ключови думи: Библията, през, прочита, франкофонската, руската, символистична, драматургия

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  • Summary/Abstract
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    The article has two dominants: on the one hand, it is a socio-poetical essay on the biography of literary places; on the other, it explores the role of places in the writer"s biographies. This particular topography in literary works tries to "investigate" the places of literary inspiration and to analyse the mysterious relation between the place of the writing and the place in the text. The humanities today are concerned with the symbolic correspondences between biographic journeys and the unconscious. This gives birth to the hypothesis that the writer"s personal space might serve as a model for his text. We are aware of the complexity of interactions between the virtual world of art and the reference world, whose degree of comparison can vary infinitely. However, we are tempted to visit the places which are dear to the literary memory, without knowing exactly what we expect to find at those places where a writer, a character or a verse were born. In the genre of literary pilgrimage the place is considered a work of art, it comes in ready made, given that the author was already there. Like a poet man lives on this earth, says a famous verse by Holderlin: it incites our curiosity to get closer tohow poets feel in their lives.
    Проблемна област: Литературни изследвания
    Ключови думи: Биографичното, пространство

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  • Summary/Abstract
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    The article closely investigates the history of writing and re-writing, understanding and re-understanding of the song "Mila Rodino" ("Dear Motherland") from the end of 19th century to 1964, when it was officially declared the Bulgarian state anthem. The paper comprises two essays. The first essay collects many imagined memories of the spontaneous creation of the song by Tzvetan Radoslavov who came back in Bulgaria to take part in the Serbian-Bulgarian War. The assumption is that the myth of spontaneous creation is attached only to songs that contain heroic declaration. This is external to the song. However, it influences its understanding - it seems that at the end of 19th century "Dear Motherland" was read as a song about a man who is returning home, while the geographical space in the first stanza was interpreted as a panoramic "photography" of the motherland, viewed from Vidin. The text versions of "Dear Motherland" in secondary school music textbooks suggest that during the Balkan wars the song was re-used by Bulgarian nationalism: the melody wasturned into a march; the text was rewritten in such a way that the mentioned geographical areas had to be unequivocally understood as a map of Bulgarian ethnic territory; in some of the versions "abstracts" of the sacred Bulgarian history appear. The second essay is dedicated to the version of the song, rewritten by Georgi Dzhagarov and Dimitar Metodiev, which was declared the state anthem in 1964. This version of the text keeps the reading of the song as an ethnic map: the geographical spaces of "Stara Planina", "Danube" and "Pirin" mark the three eternal political areas of Bulgaria (Thrace, Moesia and Macedonia), according to the national myth. At the same time this version is discreetly bound to communist ideology: the assumption is that the interventions in the text are influenced by the model of song "Septemvriytsi", written by the guerilla fighter Hristo Karpachev.
    Проблемна област: Литературни изследвания
    Ключови думи: етюда, Мила, Родино

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  • Summary/Abstract
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    The article starts with the reception of symbolic poetry by its contemporaries (Vazov, P. P. Slaveykov, St. Mladenov), a reception which uses a distinct medical, clinical figurativeness, and studies the issue of the references of symbolic language and its relations to ordinary logic. Symbolic language is examined as a particular language area where laws which are not subordinate to communicative functionality function, an area bordering on nonsense, madness and the psychopathological. This destroyed referential is termed "hypertrophy of symbolic language". It happens at the expense of the concrete psycho-biographical Ego, confessions available in the text, an Ego which the critics of symbolic poetry misunderstand. The study investigates the rupture between the poetic abstract Language and the concrete, biographical, socio-historical and psychological entity, the poet"s Soul. The purpose is to prove that what is usually considered a "metaphysical soul" is actually a strict language construct. It corrects the generally used notion that Modernism sets the Ego in the pivotal point of the creative act. Actually, Modernism operates with language, not with the Ego. It examines the ontological loss of the Ego in the collective element of the Language understood as a "structural and cultural unconscious" (Ricoeur), a loss which Symbolism realizes. The study postulates that the Language not the Ego is the absolutedominant in symbolic poetry. The Language is an only event. Poetry is reduced to its own physiology. The process is followed mainly through moments from the works of P. K. Yavorov, D. Debelyanov and T. Trayanov. The special role of heterogeneous phenomena as humour and wars (1913-1918) for the opening of symbolic language to the reality in Bulgarian poetry is examined too. The article discusses the symbolic language in Bulgarian poetry as a central, transitory stage between the traditional type of reflective lyrical poetry and the avant-garde, a stage when an important rupture between World and Language happens. Symbolic language is presented as a mirror which radiates an image, but does not reflect it. Therefore, the Madness of the symbolists is Culture, Language, not Nature. The madness of symbolic language and the madness in expressionism are differentiated: the former is the madness of Language, while the latter is the madness of the consciousness which the poetic language articulates.
    Проблемна област: Литературни изследвания
    Ключови думи: Физиология, символистичния, език, език, език, лудост

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    The paper offers an attempt to analyze the meaning of the notion 'anti-totalitarian literature' per se and in its Bulgarian context. This is a complex phenomenon embracing several different trends, different types of writing, different political affiliations and aesthetic views. Also, there were writers that are still difficult to classify in the main types of 'anti-totalitarian literature': political emigrants, dissidents, communists that opposed the status quo, etc. One such author was Asen Christoforov (1910-1970). A graduate of London University, a young Bulgarian professor of economics in the first post-war years, he was dismissed from the University of Sofia, later accused of being a British spy and sent to the concentration camp in Belene. Christoforov lived a lonely life for many years near the village of Govedartsi, at the foot of Rila mountain. Nevertheless, in the late 1950s and later Chistoforov published several books. Almost all of them described the mountain and its inhabitants and especially the people of Govedartci. The paper traces the author's percecution for political reasons discretely mentioned in his work, claiming that their literary merits are greater than their 'anti-totalitarian' criticism.
    Проблемна област: Литературни изследвания
    Ключови думи: Славчо, Паскалев, Критикът

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    The article explores Luben Karavelov"s novel "Turkish Pasha", accepting that the text is a good illustration of the way Bulgarian literature from the period of the National Revival considers the sphere of the violent and the sadistic on the one hand and the nature of martyr-and-victim experience on the other. The emphasis is laid upon violence and the ritualization of torture, bodily violation in Karavelov"s novel which inevitably leads to analogies with works written nearly a century earlier, like for example "Justine, or the Misfortunes of Virtue" by Marquis de Sade, no matter how paradoxical these parallels may seem because of the different socio-cultural context and the receptive status of the authors. Both works are built upon the principle of "text within text", in both cases the narrators are women and both works use the categorical apparatus of the Enlightenment discourse. The article considers the obvious intertextual closeness, yet it does not unfold as a typical comparative analysis, because above all it is interested in the attempt of Bulgarian literature to build its own model of making sense of violence and suffering, which without being totally different from the available European practices and concepts, has its own specificity because it is refracted through the prism of national identity. This model is studied on different levels: with respect to the nature of the sadistic subject (which coincides with the character of the Turk to the extent to which it is doubly negated - as a foreign invader and a figure with power, a tyrant), with respect to the object of sadistic violation (the victims are always young, virtuous, and innocent) and from the point of view of the ritualization of the punishments and the sexual aggression of the oppressor. The motif of incest is explored as an final phase of the regression of sadistic violation. This motif turns into the tragic culmination of Karavelov"s text. We can see in this motif not only the familiar folklore matrix (the meeting between the brother and the sister, who failed to recognize each other), but also the Revivalist concept of retribution because of the lack of memory. Karavelov"s characters are punished because they have forgotten who they are, because of their failure to preserve their national identity. The text spares only the nun, who tells the story about the endless Bulgarian sufferings, who describes the misfortunes of virtue, following the ideological point of view of the time that a happy ending is impossible under the yoke.
    Проблемна област: Литературни изследвания
    Ключови думи: Турски, паша, неволите, добродетелта

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    The paper examines the reception of The Pilgrim"s Progress by John Bunyan in Bulgaria presenting the cultural context in which the literary work appeared for the first time in Bulgarian in 1866. It has been reedited many times and the article provides a list of all available editions including an edition that is not registered in any library catalogue. It is known that the latter was published in Plovdiv and the publisher"s name is Belovezhdov. The paper elaborates on the edition in question shedding more light on who most probably published it and when that possibly happened. New translation variants have appeared in the numerous editions of The Pilgrim"s Progress and it is the allegorical anthroponyms and toponyms that vary considerably. Despite the changes, however, the later editions are not entirely new translations but revised versions of the first editions which are the one of 1866 (Part I) and the one of 1886 (Part II) respectively. The transformations, which the initial translation, done by the American missionary Dr Albert Long, has undergone, are illustrated with examples in the paper and the major tendencies in the rendition of the allegorical names are briefly outlined as well.
    Проблемна област: Литературни изследвания
    Ключови думи: Пътешественикът, Този, свят, онзи, Пътешественикът, Бъниан, България

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    The conceptualization of the Bogomil movement in Bulgarian culture through the eyes of a Bulgarian scholar from Poland
    Проблемна област: Литературни изследвания
    Ключови думи: Kонцептуализацията, богомилството, българската, култура, през, погледа, полска, българистка

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  • Summary/Abstract
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    The literary works of Christophorov should be studied in the context of several more general problems. Possible links between the author's economic writings and literary texts. The ratio between fact and fiction. The introduction of autobiographical elements in literary narratives. The writer's attitude to the social and political status quo. Examining the Christophorov's work and his rich archive as one big 'auto-text' and analyzing the hidden tensions in it. Scrutinizing the relationship of Christophorov's writings to texts by other Bulgarian and foreign authors as well as direct or indirect citations or references to foreign works. By combining these approaches the scholar can achieve a mapping of the world that Christophorov built and its mythology. The paper tries to combine the following approaches and summarizes some observations on the Christophorov's work and its place in the Bulgarian literature from the mid-twentieth century.

    Проблемна област: Литературни изследвания
    Ключови думи: Скици, откровения, литературното, творчество, Асен, Христофоров

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    The paper explores the biography of Assen Christophorov (1910 - 1970) - an eminent Bulgarian economist and author. After completing the full course of Robert College in Istanbul (1931), he graduated as Bachelor of Sciences (Economics) from the London School of Economics in 1934. Back in Bulgaria, Christophorov built a solid reputation as one of the leading economists during the inter-war period. He made outstanding contributions to the fields of business cycle studies and theories, monetary economics, finance and the economics of war. In 1947 he was suspended by the communist authorities and forced to abandon his university career. During 1951 - 1952 he was persecuted by the regime's police and interned to a labour camp. Afterwards Christophorov devoted himself to freelance literary activities. Author, in 1945, of an acclaimed book, narrating his student's life in London, he published various novels and short stories. Concurrently, he was a prolific translator of English and American authors. The paper draws from archival sources and, in particular, from the recently opened files of the communist regime's secret police, gathered during Christophorov's imprisonment and the long period of surveillance that ensued. The focus is on his life during the 1950s and 1960s and on the compromises he had to face in order to pursue his intellectual endeavour. Christophorov is considered an insightful case of successful intellectual "conversion" that permitted him to abandon a strictly monitored ideological field (economics) and migrate towards a subtler one (prose) where certain freedom of expression was somewhat easier to achieve. A counter-factual exercise is designed: Christophorov's hypothetical trajectory as an economist in a "free world" is contrasted with his tangible accomplishments as an author in the communist realm. It is inferred that the biographical disruption in 1947 released another talent that gave birth to remarkable pieces of belles-lettres.

    Проблемна област: Литературни изследвания
    Ключови думи: Интелектуалната, метаморфоза, Асен, Христофоров

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    The article is a theoretical attempt to show the different descriptive ways of identical cultural practices in Assen Christophorov's books Macakurtsi and Iskrovete. The main emphasis is laid on the narrative strategies, used by the author to give the texts artistic value and ethnographic authenticity. The article focuses on the epistemic norms and scientific traditions in description of the people's ways of life in the traditional context. Creating an integrated historical and folkloristic account about the national cultural heritage and pushing away the "exotic" practices in the field of "cultural intimacy" is seen as an ideological context in which the strategies of Christophorov's texts are formed.

    Проблемна област: Литературни изследвания
    Ключови думи: Разказвайки, всекидневието, срещата, другия, текстовете, Асен, Христофоров

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    The one and only attempt of the writer Assen Christophorov in the field of dramaturgy is the play "Razvigorat". It is written in co-authorship with the humorist Haim Benadov. This creative tandem and the fact that Christophorov makes an unusual attempt for his writer's occupation, arouses questions whose answers are sought in this article. "Razvigorat" does not shine with specific literary merits. This is a mediocre play on anti-cult topics. Therefore, the objective is not a scientific literary analysis of the play, but placing it in the context of the dramaturgy of the 1960s. Thematically "Razvigorat" is closest to the "Prokurorat" by G. Djagarov. Together with the attempt to clarify the creative and the ideological atmosphere of that time, this article makes a parallel between the fates of the two plays.

    Проблемна област: Литературни изследвания
    Ключови думи: Oпитът, Aсен, Христофоров, драматургията

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    The paper provides an interesting recourse to different places and times during Assen Christophorov's life. There is a bitter irony in the voluntarily chosen solitary life in the village of Govedartsy full of the suspicions of the local peasants and the philosophic perception of the life in Belene concentration camp. The complexity of the description of the village is a real reflection of the contradictory and difficult years of 1950s, far away from the religious and political alienation, even full of dislike for the pseudo religious monk's behavior. The author enters the layers of Christophorov's family and personal memories from the heights of his age linking the roots of family history and his own destiny with his childhood perceptions of Old Plovdiv. These are not simply childhood memories but a return of an adult to the social reality of totalitarian times. The paper discovers unexpected relations with the cultural perceptions of Rila mountain and Plovdiv with Vazov, Alvadjiev and Daltchev. In the deep structure of the text we can discover the rich culture and analytical capabilities of Assen Christophorov.

    Проблемна област: Литературни изследвания
    Ключови думи: Някогашният, Пловдив, Рилския, отшелник

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  • Summary/Abstract
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    This paper is an interview with the writer's wife and his sister taken in 1986. The author of the paper who was graduating from the University of Plovdiv at that time seeks interesting facts about the life and work of the late Assen Christophorov (1910-1970) and his family.

    Проблемна област: Литературни изследвания
    Ключови думи: Спомени, Асен, Христофоров

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  • Summary/Abstract
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    This paper is an interview with the writer's wife and his sister taken in 1986. The author of the paper who was graduating from the University of Plovdiv at that time seeks interesting facts about the life and work of the late Assen Christophorov (1910-1970) and his family.
    Проблемна област: Литературни изследвания
    Ключови думи: Архивът, Асен, Христофоров, националния, Литературен, музей

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  • Summary/Abstract
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    The article features the archive stock for Asen Christophorov, which is kept at the Central state archives (CSA). It contains documents and photos that generally represent his entire life cycle and creative work - from his college years at the Robert College in Istanbul (1937-1931), through his studies at the London University (1931-1934), his time as a director of the Situation Office at the General Statistics Office (1935-1938), his work as a professor at the State School of Higher Education for Financial and Administrative Studies (present University of National and World Economy) in Sofia (1940-1947) and the State University "St. Kliment Ohridski" (present Sofia University) (1943-1947). The stock also contains documents concerning the "Stopanski Vesti" (Business News) magazine. There are also documents about Asen Christophorov's arrest and imprisonment at the Belene concentration camp (1951-1952) as well as files related to his stay and work in the village of Govedartsi, Samokov Region. The main part of the stock consists of documents regarding Asen Christophorov's scientific research and writing. It contains two monographs as well as a number of his research papers and articles on theoretical topics and issues of present interest. Some of these are manuscripts; others are published in various economic media. Hristoforov's archive stock contains typewritten versions of the "Matsakurtsi" short novel, the "Corvee" novel, the "Three Men and a Donkey in the Rila Mountains" short novel, the "Treasure Hunters" short novel, the "Revelations" article cycle, as well as Christophorov's translation of James Joyce's "Dubliners" and more.
    Проблемна област: Литературни изследвания
    Ключови думи: Архивният, фонд, Асен, Христофоров, Централния, държавен, Архив

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    This essay deals with a variety of intriguing analogies between literary works that can hardly be ascribed to intertextual contact. It starts with more obvious cases of continuity within a national tradition, such as Hristo Botev's re-writing of Georgi S. Rakovski's revolutionary poems in late nineteenth century Bulgaria, resulting in the creation of indisputable lyrical masterpieces that have completely obliterated their connection to their antecedents. A similar example of, most probably, conscious or semi-conscious borrowing - across national borders - is then adduced from the parallel between Reiner Maria Rilke's "Der Panther" and Ted Hughes's "The Jaguar", the two poems appearing to be involved in a debate almost as companion pieces. Further, the survey returns to Botev's poetry to detect in it motifs and images existing in Caucasian folklore and in Percy Bysshe Shelley's elegy "Adonis", both of which are highly unlikely to have been familiar to the Bulgarian poet. What comes next is a set of intricate analogies between Shakespeare's tragedy King Lear and Elin Pelin's novel The Geraks (Гераците) on the levels of ideas, plot, characters and atmosphere, suggesting direct indebteness, which has however never been acknowledged by the Bulgarian author and is generally difficult to maintain. Another, even more complex and puzzling web of resemblances is found between Dimcho Debelyanov's poem "Homecoming" ("Да се завърнеш в бащината къща"), Sergey Esenin's lyrical piece "Pismo materi", and John Updike's novel Of the Farm. Then we turn to the vexed question of the Bulgarian origins of Shakespeare's late dramatic romance, The Tempest, in order to examine the evidence of medieval Balkan chronicles and their traces in Italian and Spanish Renaissance publications which might have come to the notice of the English playwright - a possibility that remains elusive yet irrefutable. Finally, the avatars of a poetic image of symbolic potential, that of children playing on the seashore, is traced through Rabindranath Tagore's poem № 60 in his Nobel prize winning collection Gitandjali, William Wordsworth's "Ode: Intimations of Immortality", and Blaga Dimitrova's "Child and Sea" ("Дете и море"). The conclusion that can be drawn from this alarmingly varied picture of intertextuality is a reminder that the individual literary works are not watertight entities and that they participate in an endless worldwide exchange of ideas and motifs, which is not necessarily conscious but can ultimately be explained by reference to the oneness of all literature.

    Проблемна област: Литературни изследвания
    Ключови думи: литературни, преливания

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  • Summary/Abstract
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    Averintsev's article Towards Interpreting the Symbolism of the Myth about Oedipus analyzes not what Sophocles has done with the mythological plot, but rather what he has found in this plot as already existing. The author's task is to make clear the meaningful relations which were the tragedy's semantic canvas and which Sophocles had to operate with. Therefore, the article does not discuss problems concerning the tragedy's artistic aspects. Moreover, Averintsev consciously investigates the mythological symbolism only inside the Greco-Roman world and quotes parallels within the Antiquity - from Homer to Proclus. According to him, the main task of the history of culture is to scrutinize the new interpretations of meanings but yet it is necessary to know what actually has been interpreted. Subsequently, he does not focus on the connotations of the tragedy itself but of the myth about Oedipus.

    Проблемна област: Литературни изследвания
    Ключови думи: тълкуването, Символиката, мита, Едип

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  • Summary/Abstract
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    В статията се предлага генеалогия на дискурсите за изгнание и се разглежда тяхната връзка с космополитизма. Основният въпрос, който си задава авторът, е какво е специфичното място на дискурсите за изгнанието в модерността и как те се съотнасят с либералното разбиране за космополитизма. Тъкмо това либерално разбиране се проблематизира и преоценява.
    Проблемна област: Литературни изследвания
    Ключови думи: Наративи, изгнаничеството, космополитизъм, Отвъд, либералното, въображение

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    In 1860, Grigor Părličev, a Bulgarian from Ohrid in Macedonia, won the prestigious yearly Athenian poetry contest with the romantic epic poem in archaic Greek O Armatolos (An armatole is a kind of Ottoman policeman recruited among the Christian population of the empire.) The poem describes the exploits of an Albanian armatole and a number of Albanian robbers, who are all represented in a remarkably flattering way. However, in an endnote Părličev explicitly states that all Albanians are actually Greeks. Two years later, he again participated in the Athenian poetry contest ― this time unsuccessfully ― with another epic poem, Skenderbe's, dealing with an episode in the life of the Albanian national hero Skander beg and his resistance to the Ottomans. One may wonder why a Bulgarian pays tribute to Albanian heroes in Greek poems. One explanation is that Părličev during his stay in Athens in the 1850s and the early 1860s had adopted to a large extent the Greek national ambitions, which implied that all Orthodox Christians with some knowledge of Greek were actually Greeks. Precisely at the time of Părlicev's participation in the poetry contest, Albanian intellectuals like Thimi Mitko, Anastas Byku, Jani Vreto and others argued that Albanians and Greeks had common ancestors and actually constituted one single people. Părličev obviously supported their ideas. However, as a closer reading of both poems indicates, Părličev was in fact more interested in the religious aspect of the conflicts he described. Actually, he displayed a pre-national (or pre-nationalist), religious Balkan identity rather than identifying himself completely with a particular ethnic or national community.
    Проблемна област: Литературни изследвания
    Ключови думи: албанската, връзка, Григор, Пърличев

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    In the part eight of "Anna Karenina" Tolstoy shows a rather unusual for his time attitude towards the Balkan war. The editor of "Ruski vestnik", where the novel was printed, M. N. Katkov, refuses to publish this part exactly due to sceptical Tolstoy's opinion on panslavonic feelings. At the same time in the context of the novel such an opinion looks absolutely considered and is fictionally very convincing. During a long period of time Tolstoy didn't have possibility to start working on the last part of "Anna Karenina" but namely the Russian-Ottoman war (1877-1878) and reflections on "the slavonic question" gave him the clue to the d'nouement of the whole novel. The article explores the different views of novel's characters on "the slavonic question", goes deeper in the difficulty concerning Dostoyevsky's objections to "Anna Karenina", makes some assumptions for their possible prototypes. The author reveals that Tolstoy's opinion of slavophilism is ambivalent and draws his disagreement on official propaganda.
    Проблемна област: Литературни изследвания
    Ключови думи: споровете, Балканската, война, страниците, Каренина

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  • Summary/Abstract
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    The reception of Pentcho Slaveikov in Italy The last part of Pentcho Slaveikov's full with many obstacles life and art passed completely in Italy. Putting his works in the cultural context of that time, the article explores italian interest in them - critical articles and translations, lectures and celebrations. Del' Agatha describes the contributions of prominent italian slavists - Enrico Damiani, Etore Lo Gato, Luigi Slavini, Ricardo Picchio and others. Bulgarian participation in different kind of events in honour to Pentcho Slaveikov is also in focus.
    Проблемна област: Литературни изследвания
    Ключови думи: Рецепцията, Пенчо, Славейков, Италия

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  • Summary/Abstract
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    From century to century - the Bulgarian literature between tradition and freedom (the beginning of 20th century - the beginning of 21th century) One of the typical features in the beginning of the Twentieth century is the declared wish of the "young" (people), which in periods follows the bulgarian literature - for "making up for" the "time lost" and "catching up" the European literary achievements. This process meets with resistance of the "old" who are afraid that Bulgarian literature will loose its genuine image. A century later with the end of the forty-five years communist dictatorship the conflict "old" - "young" is in particular revived with the reproach of the first that the others are obsessed with the temptation to imitate western literatures in order to gain not only a national audience, lost after the communist regime, but also a presence and role in the so called "world literary republic". In both cases europeisation means modernisation, literary research and experiments, whereas the "self-closing" in "genuine Bulgarian" is interpreted to be a turning back to tradition and thus - to realism in writing. In both the genre which is in step with the fashion and reacts faster and more flexible to the change, is poetry. But these similarities are not to conceal some delicate differences. The attitude towards tradition of these two turning-points is not the same. In the beginning of the twentieth century it is rejected, taken as out of date, whereas a century later tradition is pursued beyond its erasion, distortion and manipulation by the forty years communism.
    Проблемна област: Литературни изследвания
    Ключови думи: българската, литература, между, Традиция, Свобода, началото, началото

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    The article observes three recently published novels in Bulgarian (one of them written in this language, the other two translated) and their problematic reception by Bulgarian readers. The main point in the article is that emigrant authors tend to disregard the public that their novels will have in their native country; nevertheless, this doesn't prevent them from publishing their texts. The emotion upraised in the homeland reader ranks from surprise and bafflement to genuine injury, and this is due to a number of facts: in the first place, the choice that the author made to emigrate is considered a right one; the values and achievements of the Western countries, being not met by the Bulgarian society in the transitional period, stand as a living reproach before the reader; and last but not least, the Bulgarian society and each one of its members are in fact being accused of collaborating with the regime, due to the single fact that they lived under it and couldn't overthrow it.
    Проблемна област: Литературни изследвания
    Ключови думи: Съвременна, българска, емигрантска, литература, трудния, прочит, външното, отвътре

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    Zmey Gorianin is among few of Bulgarian writers who evidently resigns to social life after the establishment of communism here in 1944. He is author of more then 50 books, brochures with verses, stories and novels. What is not known by far, is that he created love poetry. The lyrics, together 16, were given in the end of 2011 to the National Literary Museum by a woman - donator, who received it from his nephew. They have been written in the last year of author's life when he had lived in "The seventh altars" monastery and returned to Sofia only incidentally. He probably had created the lyrics as a gift to an addressee because there are no copies of them in the writer's strictly arranged private archives.
    Проблемна област: Литературни изследвания
    Ключови думи: неизвестни, ръкописи, Змей, Горянин, манастира, Седемте, престола, Творецът, пише, любовна, Лирика

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    Leksykon Tradycji Bułgadskiej. Konsultacja naukowa Aleksander Naumow. Redakcja naukowa Grażyna Szwat-Gyłybowa. Warszawa: Slawistyczny ośrodek wydawniczy, 2011. 376 s.
    Проблемна област: Литературни изследвания
    Ключови думи: Leksykon, Tradycji, gadskiej, Konsultacja, naukowa, Aleksander, Naumow, Redakcja, naukowa, Szwat, ybowa, Warszawa, Slawistyczny, rodek, wydawniczy

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    The article examines how the French writer Marguerite Yourcenar reworked and reinterpreted the story of the House of Atreus. Yourcenar herself clearly distinguishes her reading of the classic tragedies by Aeschylus, Sophocles and Euripides. The present paper focuses mainly on the similarities with Aeschylus' trilogy Oresteia in order to outline what is new and different in Yourcenar's reading. My thesis is that the figure of Clytemnestra in “Fires” (Feux, “Clytemnestre ou le crime”, 1936) is presented as a political subject who is entitled to her own voice and political defence in court.

    Проблемна област: Езикови и литературни изследвания, Литературни изследвания, French Literature
    Ключови думи: Clytemnestra, political subject, stasis, matricide, monody

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    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.

    Проблемна област: Езикови и литературни изследвания, Есе, Литературни изследвания, Научен живот, Филология, Теория на литературата, Социология на литературата, Рецензия на книга
    Ключови думи: research, accountability, scientometrics, societal impact

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  • Summary/Abstract
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    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).

    Проблемна област: Rhetoric, История, Философия, Езикови и литературни изследвания, Право, Конституция, Юриспруденция, История на културата, History of Law, Литературни изследвания, История на философията, Semiology, Естетика, Филология, Теория на литературата, Философия на правото
    Ключови думи: Law, music, rhythm, text, court

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    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?”

    Проблемна област: Философия, Езикови и литературни изследвания, Право, Конституция, Юриспруденция, Литературни изследвания, Етика, Филология, Теория на литературата, Философия на правото, Социология на литературата
    Ключови думи: Patricide, splitting, doubles, paternalism, revolt, Julia Kristeva

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    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.

    Проблемна област: Философия, Езикови и литературни изследвания, Право, Конституция, Юриспруденция, Литературни изследвания, История на философията, Епистемология, Етика, Естетика, Политическа философия, Филология, Теория на литературата, Философия на правото
    Ключови думи: Kafka, Before the Law, justice, trial, law, philosophy

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    The article aims to historically reconstruct the political context in which Heinrich von Kleist wrote his novella “Michael Kohlhaas.” The juridical layer of the text is interpreted as a reaction to the introduction of the Napoleonic Code in the Prussian Lands during the Napoleonic Wars. The study reads the analyzed novella as a form of resistance to the unification of all legal systems required by the Code, following the intricacies of the injustices to which Michael Kohlhaas falls victim. In the article, other examples of similar cases of “unification from above” are provided. One of them is “In the Penal Colony” by Franz Kafka. The other regards the suggestions to use AI in legal action. For the analysis, the concept of “interpretant” of the American philosopher Charles Sanders Peirce is applied. Ludwig Wittgenstein’s notion of “use” is also employed to explain the constantly changing and actualizing text of the law

    Проблемна област: Философия, Езикови и литературни изследвания, Право, Конституция, Юриспруденция, Литературни изследвания, Епистемология, Етика, Естетика, Теория на литературата, Философия на правото
    Ключови думи: Michael Kohlhaas, Napoleonic Code, Kafka, Peirce’s interpretant, Wittgenstein’s use, artificial intelligence

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    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.

    Проблемна област: Езикови и литературни изследвания, Литературни изследвания, Сравнително литературознание, Филология, Преводачески изследвания, Теория на литературата, Социология на литературата
    Ключови думи: Translation, title, intertext, paratext, Shakespeare

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    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

    Проблемна област: Езикови и литературни изследвания, Литературни изследвания, Сравнително литературознание, Филология, Преводачески изследвания, Теория на литературата, Социология на литературата
    Ключови думи: Reception, translation criticism, Cervantes, novels

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    The article, part of a larger study, provides the first accurate reconstruction of the funeral of Pencho Slaveykov, which was held on June 1/14, 1912, in Brunate (Italy). The text, based on rich archival and documentary material (memoirs, press articles, archival sources), aims to theoretically substantiate the heuristic of the scientific approach to such “marginal” micro-plots. It demonstrates that the funeral of Pencho Slaveykov in Italy was conceived as a fulfillment of the poet’s unspoken will and a merging with the “solemn psalm of the entire universe” (“Psalm of the poet”). At the same time, the article shows how the burial of the renowned author could be interpreted as a supreme expression of mercy and a manifestation of Bulgarian-Italian reciprocal understanding and friendship.

    Проблемна област: История, Езикови и литературни изследвания, История на културата, Литературни изследвания, Местна история / Микроистория, Социална история, Българска литература, Социология на литературата
    Ключови думи: fact, meaning, event, Brunate, memory, act

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    This analysis is a contribution to the study of the phenomenon of the Orange Alternative protest-art movement. It interprets the literary work “Six Short Stories” as a supplement to the programmatic texts of the latter. In the research, the significance of the movement against the background of European avant-garde currents and the ideas of the “Manifesto of Socialist Surrealism” are briefly presented. Moreover, the study outlines the profile of its creator, Waldemar “Major” Fydrych. The article also shows the most important themes that appear in the texts: “Manifesto of Flowers,” “Mars Amandi,” “Dawn,” and “Opera for 44 Pieces of Silver.” In particular, their several surrealist aspects are highlighted.

    Проблемна област: Политика, История, Антропология, Социални науки, Езикови и литературни изследвания, Изящни изкуства, История на културата, Литературни изследвания, Политическа теория, Гражданско общество, Местна история / Микроистория, Социална история, Полска литература, Политика и общество, Културна антропология, Социология на изкуството, Политика на историята, Изследвания на мира и конфликтите, История на изкуството, Социология на литературата, Политически науки, Етнология, Memory, Сценични изкуства
    Ключови думи: Orange Alternative, surrealism, Waldemar, Major, Fydrych, Manifesto of Flowers

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    The word ‘text’ has acquired a diverse meaning over the period of time. Though the postmodern texts debunk certain conventions, they cannot be separated from what T. S. Eliot proclaimed it as the ‘literary tradition.’ Harold Bloom’s postulation of the revisionary is concerned with the movement of writers towards or away from the influence of great/prominent writers, and it might be seen as an annex to the formulations of Eliot. Considering these standpoints, this article (i) focuses on how askesis, one of the revisionary ratios of Bloom, has become a useful entry point into exploring the influence of Edgar Allan Poe on Joyce Carol Oates (ii) Substantiates how Oates wrestles with her strong precursor to ascertain her aesthetic expression (iii) Establishes how askesis allows readers to examine and fill in the indeterminate blanks in the text, and simultaneously, (iv) determines how askesis subscribes to/supplements the formulation of intertextuality as a literary theory.

    Проблемна област: Езикови и литературни изследвания, American Literature, Литературни изследвания
    Ключови думи: Askesis, Postmodern narrative, Joyce Carol Oates, intertextuality, Gaze, Bloom’s revisionary ratios