исторически

The breadth of the concept of history in its present sense in itself determines the complexity of the task that confronts the compilers of works on the history of literature. Solving this task requires, above all, an exceptionally competent penetration into the spirit of the time about which one writes and into the spirit of the time in which one writes. For we can be less and less satisfied with literary histories that are reduced to stating facts and commenting on events, proceeding from literary works. We are talking about something significantly more complex: showing literature as an expression of spiritual, social and economic processes in their progressive development. This means that literary history has radically changed its role and purpose, trying to penetrate deeply to the foundations of social phenomena, creative impulses, etc. Objectivist registration can no longer be its distinguishing feature. It now aims to provide a broad panorama of the literary and spiritual life of peoples in different eras, to shed light on literary, and hence social, sociological problems from our point of view. It is true that literary history has its own methods and literary creation is examined in it with different intentions than poetics examines them. But in its current state, literary history already has a significantly comprehensive and generalizing character and connects a number of defining elements from individual literary sciences. If we decide to look for general historical works on Slavic literatures, written from such an aspect, they will turn out to be very few. And one of them, which in some respects strives to meet these requirements, is the two-volume "Essays on the History of Slavic Literatures" by Prof. Dr. Emil Georgiev.

Atanas Natev's book "Contemporary Western Drama" appears after a number of publications by the same author on the theory of art and some problems of the new Bulgarian drama. This circumstance provides an opportunity in advance for a combination of the general aesthetic aspects of the issues with the more specific and current focus of the analysis. And I must emphasize that this feature is clearly evident in Atanas Natev's new book. Here the author has managed to examine the various works and authors with careful insight into the characteristic features, the main trends and directions of development. In relation to contemporary Western drama, the author was faced with a specific difficulty: the fact that the matter he examines is insufficiently studied in our country and is only partially known to the wider public, and even to specialists. This also defines a new task for Natev: let's call it cultural and educational, when he is obliged, along with the analysis, to follow in quite detail the content of the individual plays, retell individual episodes, actions, etc. At a different level of knowledge of this material, such deviations would seem superfluous and unnecessary additions to the aesthetics of a new phenomenon in contemporary dramaturgy. But the author was aware that he was obliged to pave the way himself, to be to a certain extent a popularizer of insufficiently known phenomena.

The large color panel of the panoramic painting usually unfolds as a chronicle of a bygone era. As the greater and lesser artists appear before our eyes, they present to some extent the overall artistic development. However, conclusions are needed that illuminate the vast perspective of the past phenomena in more relief. The main differences, the original and distinctive features stand out best through model 1 of the literary process. On the one hand, it distances the details, avoids excessive complexity, so as not to repeat the process, on the other, by not breaking away from the broad plans, it captures what distinguishes our artistic creation from the creation of other peoples, which is our contribution to world literature. Let me say in advance that it is extremely difficult to establish the unique in a national poetics depending on the changes in the national psyche. It is easy to point out that the world in our country became different with the advent of printing or later - of bicycles and motor vehicles. It is more difficult to grasp the spirit of the times, the intimate and the special in literature that has lacked stability, since each new time has broken something of what was bequeathed. But let us also unfold this page and delve into issues touched upon here and there sporadically, without claiming to be exhaustive.

Bulgarian historical folk songs, in the broad sense of the word, encompass, in addition to works directly related to historical events, the heroic and haidush epics. Despite the fact that in Bulgarian science there are already well-known traditions on the issue of the main division of this type of folk songs, namely: heroic, historical and haidush, when considering the poetics of folk poetry, the unification of these three groups is simply necessary in order to show the development of the genre, the epic hero, etc. The task of this article is to examine some aspects of the artistic features of the Bulgarian heroic folk epic, starting with the heroic epic and ending with the partisan songs. First of all, we will try to characterize the epic hero of these songs, who in this long period of time (14th-20th centuries) changed depending on the political, social and economic conditions of Bulgaria.