From Simplicissimus to Bulgaran: the hugest transferof foreign satirical representations in a Bulgarian periodical (reasons, selection, adaptation, perception)
From Simplicissimus to Bulgaran: the hugest transferof foreign satirical representations in a Bulgarian periodical (reasons, selection, adaptation, perception)

Summary/Abstract: This paper deals with the cultural effect produced by the Munich-based satirical Simplicissimus weekly magazine (1896–1944) on its early Bulgarian analogue, Bulgaran weekly newspaper (1904–1909). Generally, it is about the centre-periphery opposition by means of the massive reproduction of representations from Simplicissimus all along the early years of Bulgaran. The editors of the Bulgarian weekly showed interest in artworks by O. Gulbransson, Th. Heine, F. von Reznicek, Ed. Thony, W. Schulz, B. Paul, J. Pascin, etc., and would often reprint them without indicating the authorship or the source, changing the captions with Bulgarian legends. What was the reason for such a cultural piracy? The article attempts to answer this question by delving into the reasons, selection of illustrations, their adaptation to the Bulgarian context and their perception and arrives at the conclusion about modelling Bulgaran after the world-famous German magazine at all levels: organisational, graphical, compositional, stylistic. Yet, it was not an uncritical replication, but rather rethinking and adaptation that led to Bulgaran’s creativity, to the emergence of professional cartoonists and the weekly’s great significance to Bulgaria.

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