разказа

If we look at the stories published in the literary press over the past few years, what is striking is the fact that young authors are less and less satisfied with bare declarations, with the noisy and placard expression of ideas, that the tendency to call things by their real names, to bring the writer closer to reality, is becoming more and more necessary. Approaching life is no longer a slogan, but a starting, artistic ideological position, without which a real work of art cannot be created. Far behind are the fictional, sugar-coated heroes, the dead virtues. The optimism in a number of stories about everyday work is born as a result of a more concrete look at reality. More and more sought-after, exceptional conflicts give way to characters and experiences, to heroism that is born in everyday life, in the sphere of small, everyday incidents, in the ordinary working life of people. Two main starting points move the young people on their creative path: personal observation, the desire to gather direct life material, and a great faith in man, in socialist justice. On the basis of this realistic view, the combination between the truthful reflection of difficulties and the heroism of labor, between realism and romantic pathos, is increasingly clearly outlined.

The most significant thing in Kuprin's creative work is connected with the life of the Russian army at the end of the last century. He saw and artistically revealed the insurmountable weight of the then military discipline, which crushed feelings and thoughts in order to make people's souls dry and flat like barracks squares. He showed thousands of readers the age-old power of the then military hierarchy, which gradually turned commanders into tyrants and subordinates into automated executors. He peered behind the gilded prints of the so-called officer virtues and saw how hypocrisy, careerism, envy were cunningly creeping in. This quiet, modest man, a Russian tsarist officer, was forged from the same noble metal, perhaps, only not as shiny as the Decembrists, "iron men suckled by a she-wolf," as Herzen put it about them. And Kuprin managed to lift onto his weak shoulders the whole weight of cadet and cadet education, of garrison life in the backwater province, of regulations and discipline, and to rebel. There was a difficult, turning point in the writer's life: in 1893, when he failed the entrance exam to the General Staff Academy in St. Petersburg, he decided to leave the army. The young man had neither a salary nor a profession. All his life he had been in orphanages and barracks, all his life he had been taught discipline and obedience. And suddenly the officer felt that he could not take it anymore, that the regulations had become as heavy as lead, that he did not have enough air in the spacious barracks. And despite the peaceful life, the assured future, the beautiful uniforms, the garrison balls, he had to abandon all this in order to find his true essence.

Iskra Panova presented her first book to readers. In it, she speaks her mind in a new way in our contemporary literary studies. Without departing from the best in the tradition of literary studies, she sweeps up independent terrain in an area where long-standing traditions are still absent in our country... Breaking ground in the complex field of stylistic analysis of the work of art, Panova has long thought through each step of her innovative work. She is not in a hurry to theorize about the results of her work, but she does not underestimate them either. She is not in a hurry to make generalizations, but she does not hide the rational in her difficult experiment. She proclaims less her guiding principles, which she relies on in her aesthetic analyses, but in return she gives her own arrangement of her scientific observations, derived according to the laws of an objective criterion. But no matter how discreet an author she turns out to be, she sheds abundant light on the complexity of the problem, draws her own conclusions, takes into account the complexity of the artistic evolution of the individual artist, in the three classics and reveals a number of regularities in the development of the literary process in Bulgarian literature from the recent past.

In the history of our old literature there are still details to be clarified, some previous assumptions to be re-evaluated, there is a great need to search for and publish new materials on individual writers or periods. But when one proceeds to re-evaluate previous conceptions, it is necessary that the argumentation be more comprehensive and more convincing, so as not to introduce unnecessary or premature disturbances into the course of our literary history, which has to solve such important tasks, to clarify more fully the content, the problematics and the significance of old Bulgarian literature.

The current stage of the development of Bulgarian literary studies is characterized by the awareness of the ever-growing need to specify the methodology, to build a secure basis for a private and general theoretical interpretation of the artistic facts, in order to be able to cope with all possible deviations from scientific truth, accumulated by both vulgar sociology and subjectivist criticism, which in a number of its manifestations demonstrates its militant anti-scientificity. By the way, there is one aspect in which subjectivism and vulgar sociology converge as much as possible: along with the claim to the indisputability of their assessments, the representatives of both directions showed disregard for the specificity of the work of art. This found expression in the arbitrary interpretation of the text, in a misunderstanding (underestimation and overestimation) of its structural features, and hence - underestimation of the function and semantics of both the whole and its elements.