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The question of characteristic detail is connected with almost all the important problems of literary creation and, of course, to a considerable extent with the problem of conciseness in prose, of condensed, synthetic prose. It is needless to emphasize that the detail that enlivens the incident, the event, the character, that individualizes them, but at the same time typifies them, is the basis of what separates realism both from naturalism and from schematism and simplification in their various forms. It is known that the fiction writer, faced with the life that he has to recreate, first of all encounters a huge number of details. In the diversity of human actions, in the multiplicity of tones that fill the atmosphere, in the tangle of human experiences, the writer should orient himself and recreate them in his presentation. We know how complex reality is, both in the great of the infinite and in the small, in the fragment, even in the microscopic. In a single blade of spring grass there is so much life and color and meaning that, as is known, ancient Japanese artists created an entire school.

In their written reviews, Prof. Georgi Tsanev and Assoc. Prof. Ivan Undzhiev made a detailed analysis of St. Tarinska's dissertation work, focusing primarily on the new things she brings to the topic. Stoyan Karolev, Petko Totev and Pantelei Zarev took part in the discussion of the dissertation. They emphasized the originality of the study. The author attempts to reveal Botev's journalism from its artistic side, points out the aesthetic value of Botev's prose, and acquaints the reader with his poetics. The work traces the feuilleton as a literary genre of the modern era, highlights Botev's mastery of composing and fabulating, and indicates his great skill in using the various forms of artistic journalism. Tarinska also has interesting observations about the internal movement, the internal dynamics of Botev's thought, of Botev's speech, which especially contributes to the emotional impact of Botev's journalism. The author emphasizes the polyphonic nature of Botev's feuilleton, studied as an artistic-journalistic entity not only literary-historically, but also literary-theoretically. The work clarifies a number of questions about the nature of Botev's prose, its appearance in intellectual and emotional terms, and this makes Tarinska's work an original phenomenon, a contribution to our literary science.

In the sharp disputes that are being waged today about socialist realism and its relationship with modernism and critical realism, the problem of the formation of the new hero acquires special significance in those authors who come to socialist realism from modernism through critical realism. The correct solution of this question makes it possible to give a more complete and true picture of the contemporary literary process - on the one hand, and on the other - to overcome as dogmatic a number of concepts and opinions that objectively diminish the role of the writer as a creative personality, detach the problem of the formation of the new hero from the ability to assimilate the great example of the classics, from questions of innovation, artistic form, etc.

Stoyan Karolev's new book "In the World of Prose" is one of the most meaningful events in our literary life in recent years. It can be passed over and underestimated only by someone who suffers from congenital aesthetic myopia or is gripped by attacks of progressive professional egocentrism. It reveals with utmost clarity the most joyful trends in the development of contemporary, dialectically enriched aesthetic thinking, capable of penetrating the specific spheres of verbal art, of discerning the uniqueness of various creative talents, of achieving the truth about the artistic completeness and functionality of various stylistic and genre phenomena, about the aesthetic existence of the individual work of art, of the artistic image and suggestion. "In the World of Prose" affirms the legitimate aspiration of today's literary researcher to enter the holy of holies" of authors and books without prejudice and pretense, without aesthetic ecstasy and "artistic exaltation," but with increased intellectual insight into real ideological and aesthetic values, with increased emotional responsiveness to the artistic atmosphere of literary facts. Indicative of the peculiar renaissance that many of the leading representatives of our theory and criticism have experienced in the last decade, this book also represents an event in the author's personal biography: it contains the happy fruits of an inspired creative maturity.