Гомбрович – първият постсекуларист?

Author(s): Łukasz Tischner / Language(s): Bulgarian / Issue: Special/2019

The aim of this article is to show the complicated attitude of Witold Gombrowicz towards religion. The writer declared himself an atheist, but numerous fragments of his Diary prove that the strong beliefs about his own disbelief were weakened in many ways. The most important for this issue are two records – from 1956, when the writer read Simone Weil, and then spent the lonely Christmas Eve in Mar del Plata, and from 1958, when he describes a walk up Calvario Hill in Tandil. The author refers to the post-secular manifesto by Jürgen Habermas from 2001, in which the philosopher revised the one-dimensional, Post-Enlightenment secularization theory and proves that Gombrowicz had already done it in his own way some decades before.

Гомбрович за структурализма

Author(s): Marian Bielecki / Language(s): Bulgarian / Issue: Special/2019

The article is a discussion of Witold Gombrowicz's comments on structuralism. The author analyzes the rhetorical strategies of the writer used in the interview I Was the First Structuralist. He also considers the possibility of interpreting Gombrowicz's texts using structural tools.

Гомбрович и аржентинците

Author(s): Ewa Kobyłecka-Piwońska / Language(s): Bulgarian / Issue: Special/2019

The article is a contribution to a more overall study concerning the reception of Witold Gombrowicz’s literary output in Argentina. The following issues are being discussed: the general conditions for the reception of a national writer in a foreign culture; the relations between literature and nation; the problem of the Spanish language as a requirement for something to belong to the Argentinian literary tradition and principles upon which Gombrowicz’s works are included in the textbook narration about the Argentinian canon.

Гомбрович и музикалността

Author(s): Janusz Margański / Language(s): Bulgarian / Issue: Special/2019

Gombrowicz persisted “no credo en la pintura!” (I don’t believe in painting!), “I don’t believe in music”. However, he wrote about music in a way he never wrote about painting: “I submerge with inhuman bliss into music”. This article discusses the evolution of Gombrowicz’s musicality, what characterized it, and what it was like.

Гомбрович и Набоков

Author(s): David Brodski / Language(s): Bulgarian / Issue: Special/2019

This article is the first to study more thoroughly and comparatively Nabokov and Gombrowicz. Nevertheless, the focus is put on Gombrowicz, his writing and ideas in the context of Nabokov’s oeuvre. Some psychological, sociological, and philosophical views from the XX c. as well as game theory serve as basis for the observations. In addition, this text in the issue marks Nabokov’s 120th birthday anniversary.

Гомбрович и науката

Author(s): Włodzimierz Bolecki / Language(s): Bulgarian / Issue: Special/2019

An analysis of Gombrowicz’s attitude towards science shows that it is based on an oxymoron: science does not lead to real knowledge about the world, but “muddles” and “reduces”. Gombrowicz was very much aware of the opposition between art and science, yet he was not prepared to accept the early modernist idea of “art for art’s sake”. He perceived in this concept the same striving for “economy, purity, quintessence” that had led science astray, alienating it from reality. Especially dangerous was the demand of “objectivity”. Paradoxically this scientific postulate had been accepted by modernist art as its own “internal value”. According to Gombrowicz art should not follow the lead of science, but shake off its fetters. The author should not attempt to hide his inner self, but expose it to its utmost. Here we are confronted with a fresh paradox. Gombrowicz’s hostility to science seems, from the point of the development of social science, a misunderstanding. It could even be argued that several areas of contemporary scientific humanities were created by him. Of course, these areas are not (in Gombrowicz’s case) the objects of ordinary scientific research. They are acts of “Witold Gombrowicz”, apprehending himself.

Гомбрович и шляхтишкият етос

Author(s): Jan Błonski / Language(s): Bulgarian / Issue: Special/2019

The article presents Gombrowicz as a szlachcic (a well-known home image) in contrast to aristocrat (a mirror image of the self). Hence, the paper discusses the Polish szlachta’s (gentry) mythology which constituted Gombrowicz’s relations with his home and the world, Poland and Europe. His Sarmatism needs to be more European than it used to be. Chivalry – and more specifically the ideal of the gentleman – is the common denominator of Gombrowicz’s style, composition and imagery. Błoński further compares Gombrowicz with Thomas Mann and Neitzsche to build his argument of the mask of Gombrowicz, the Polish nobleman.

Гомбрович към изкуството: „No credo en la pintura!“

Author(s): Piotr Millati / Language(s): Bulgarian / Issue: Special/2019

The text presents the long history of Gombrowicz`s dispute with painters and his permanent war against painting. In his Diary the writer wanted to present himself as an implacable enemy of both. He tried to discredit painting as not serious art and to expose painters as cunning imposters. But in his private life he had many friends who were painters. He really respected them, discussed seriously their art and admired their paintings. I’m trying to explain the true reasons of Gombrowicz`s stated aversions to painting and to answer the question if it was a provocation, typical for him, or his real belief.

Гомбрович, социолог в безтегловност

Author(s): Jean-Pierre Salgas / Language(s): Bulgarian / Issue: Special/2019

The article presents the mask of Gombrowicz as a “street Bourdieuian”. The two thinkers are seen as “contemporary” in their corresponding ideas in this excerpt from Jean-Pierre Salgas’s book Gombrowicz structuraliste de la rue (2011). Three moments showing how Gombrowicz understands Bourdieu while Bourdieu explains Gombrowicz are discussed. Gombrowicz’s Ferdydurke is read as the origin of sociology of literature in Poland, his Diary – as a practice of sociology “in weightlessness”, and his Against Poets – as a manifest against the literary (art) religion, an anti-Heideggerian act of anti-fascination.

Гомилия на Преображение Господне (BHG 1980) в Ягичеве Златоусте и минее четьей HAZU III c 22: один или разные переводы?

Author(s): Lora Taseva / Language(s): Russian / Issue: 20/2020

Opinions differ as to whether the versions of the Homily on the Transfiguration of Christ by Proclus of Constantinople (BHG 1980) in the Jagić Zlatoust and in MS HAZU III c 22 represent one translation or two. The present article examines the text-critical arguments in favour of each of these views. The comparison includes the other two known copies of the oration which are attributed by K. Ivanova to the same version. The analysis carried out gives the basis for a firm conclusion that the four copies originated from the same translation. Compared with the other sources, the text in the Jagić Zlatoust contains most variations which resulted not only from some copyist’s negligence but also from a deliberate editorial intervention. There are no text-critical arguments to confirm a closer relation between some of the copies but it can nevertheless be argued that the Jagić Zlatoust has a more isolated position in relation to the other copies in the South Slavonic tradition of this translation of the homily.

ГОРАЦИАНСКИЕ ЦИТАТЫ В ПЕРЕПИСКЕ И. С. ТУРГЕНЕВА

Author(s): A. A. Skoropadskaуa / Language(s): / Issue: 7 (152)/2015

The article provides an overview of the Latin quotes from Horace’s works used by Turgenev in his correspondence. The significance of such epistolary genre for the Russian writer has long been recognized by the researchers of his literary heritage. The study of Turgenev’s correspondence largely allows us to understand the philosophy and methodology of his works. In this context such usage of Horatian quotes by I. Turgenev in his letters demonstrates both Ivan Sergeevich’s deep knowledge of the Roman literature and, due to the detection of intertextual relations, reveals multiple potential sources of certain images, ideas, allusions and reminiscences. Fitting into the concept of intertextuality, quotations actively function in the discursive field being one of the binding components of linguistic, communicative, textual, philosophical, and aesthetic layers of the text. The review of Horatian quotes showed that citation of Horace’s texts has different purposes – some are anonymous names/title- quotes, others (presenting a much greater interest for the research from the stand point of poetics) become some kind of conceptual/semantic correlations between cultural epochs of Roman antiquity and Russian literature of the 19th century.

Горгона Медуза (или за ирационалното и литературата)

Author(s): Iren Alexandrova / Language(s): Bulgarian / Issue: 100/2015

This text is part of a bigger research, which examines the irrational principles within the origins of human thought and the world of literature.The object of this part of the research is Gorgon Medusa, more specifically the signs of irrational principles present in her mythology, the purpose being a new attempt at exploring the messages within, which shed light on forgotten aspects of existence.There are many interpretations and presentations of Medusa, but the special emphasis is placed on archaeological finds in Bulgaria. The figure of Medusa can be further interpreted as the embodiment of the irrational itself, connected with the secret knowledge of life and death as well as the human nature – the basic problems in literature.This text is part of a bigger research, which examines the irrational principles within the origins of human thought and the world of literature. The object of this part of the research is Gorgon Medusa, more specifically the signs of irrational principles present in her mythology, the purpose being a new attempt at exploring the messages within, which shed light on forgotten aspects of existence. There are many interpretations and presentations of Medusa, but the special emphasis is placed on archaeological finds in Bulgaria. The figure of Medusa can be further interpreted as the embodiment of the irrational itself, connected with the secret knowledge of life and death as well as the human nature – the basic problems in literature.This text is part of a bigger research, which examines the irrational principles within the origins of human thought and the world of literature. The object of this part of the research is Gorgon Medusa, more specifically the signs of irrational principles present in her mythology, the purpose being a new attempt at exploring the messages within, which shed light on forgotten aspects of existence. There are many interpretations and presentations of Medusa, but the special emphasis is placed on archaeological finds in Bulgaria. The figure of Medusa can be further interpreted as the embodiment of the irrational itself, connected with the secret knowledge of life and death as well as the human nature – the basic problems in literature.

Гордана Тодоровић – загонетка наше поезије

Author(s): Milanka Nikolić / Language(s): Serbian / Issue: 9/2019

Book review: "Gordana Todorović" (collection of works), author Milica Milenković, Svrljig, 2018. ISBN 978-86-84919-36-8

ГОТИКА КАО КЊИЖЕВНИ САДРЖАЈ

Author(s): Vladimir M. Vujošević / Language(s): Serbian / Issue: 3/2019

Овај рад представља тумачење недовољно образложеног термина „готика” као ознаке за специфичан књижевни садржај. Готика у књижевности није, како се то понекад тврдило, симптом романтичарског отпора просветитељској слици свијета, већ је, напротив, у питању књижевни израз који уприсутњује бројне идеолошке напетости самог просветитељског пројекта. У раду указујемо како рана просветитељска историографија и потоња готска фикција дијеле бројне реторичке и мотивске сличности, те како се анализа кључних готских мотива и жанровских поступака не може одвојити од различитих политичких, епистемолошких, институционалних и идеолошких становишта европског просветитељства. Готика указује на подручје конфликта између модерности и прошлости, кључног аспекта реторике просветитељства. У питању је жанр који представља својеврсни „негатив” различитих анксиозности просвећене модерности: политичких, идеолошких и епистемолошких.

Готическая традиция в творчестве Говарда Лавкрафта

Author(s): Sergei Tuzkov / Language(s): Russian / Issue: 89/2014

The main motives of H. Lovecraft’s story “The Call of Cthulhu” are marked out in the article. They give the possibility to examine the writer’s creative activity in the context of the gothic tradition: doom of human civilization, overcoming the limits between modern and ancient worlds, between reality and dreams, perception of human life as mysticism and horror, aspiration to make the reader feel the reality of the fantastic plot. It is noted that these motives not only form the subject-composition structure of the story “The Call of Cthulhu” but at the same time unite H. Lovecraft’s works into the joint cycle. The advantage of this research is that H. Lovecraft’s prose is considered to be the link between E. Poe's novelistics and modern literature of “horror” genre. The thought that humanity is only one of the great variety of highly-advanced civilizations inhabited the Earth at different times becomes the main motive of H. Lovecraft’s works. The idea of projection of the consciousness of the ancient die off civilization representatives into the future is connected with this motive. In H. Lovecraft’s story the idea of the consciousness shift from one body into another is viewed in the context of the eternal subject of the fight of good and evil. In its turn the “dream in dream” motive creates the feeling of the current developments illusiveness with the characters of the story as well as with readers. In the result of the story “The Call of Cthulhu” analysis the conclusion that the atmosphere of fear, supernatural horror, mystery, appealing to infernal forces allows (in half-mystical or half-mythical way) to judge H. Lovecraft’s works as peculiar variations about the gothic themes is made. It is possible to claim with certainty that H. Lovecraft’s creative activity predetermined in many ways the development of the modern neo-gothic prose.

Готическая эстетика в рассказе Анатолия Козлова «I тады я памёр...»

Author(s): Jelena Tarasowa / Language(s): Russian / Issue: 12/2020

Gothic literature is interested in the nature of human fear and its effects on the psyche, on the mental and spiritual sphere of individual activities. Belarusian writers have always shown interest to unexplained phenomena, and it has even become stronger in the late twentieth century. The writer A. Kozlov uses plenty of folk motifs and images. Philosophical judgment is present in his books. The story “And then I died ...” is a profound meditation on death, the meaning of life, the destiny of a man and mysterious world beyond. The author has shown the depth of experience of an individual, his anthropological solitude. Gothic elements in the story become an important focus that helped the writer to actualize his vision of the world.

ГОТИЧНІ ВІДЛУННЯ У МАЛІЙ ПРОЗІ МИХАЙЛА КОЦЮБИНСЬКОГО

Author(s): Anna Horniatko-Szumiłowicz / Language(s): Ukrainian / Issue: 3/2015

The reminiscence of literary Gothicism, that reappeared in the time of neo-romanticism becoming, next to neo-Baroque influences, a component of the Ukrainian modernism, also appeared in the small prose by Mykhailo Kotsiubynsky. This excellent writer applies Gothic novel convention in his works. He constructs the atmosphere of horror, puts his characters in a critical situation in order to indicate increasing social problems and to intensify the psychologism of his works. He deserves the title of the Ukrainian psychological prose master and a fully modern European author.

ГОТСКИТЕ ЗАЕМКИ В ЗЛАТОСТРУЙ ОТ XII В.

Author(s): Maria Tomova-Mihneva / Language(s): Bulgarian / Issue: 20/2020

Recent studies in Old Bulgarian show that monuments from the Mizio-Preslav literary circle give indication of a local dialect inherited from the language of the "little Goths". The observation of the Gothic loanwords shows that there is Moesian Old Bulgarian vocabulary , which undoubtedly has a Veso-gothic origin. This new loanwords and vocabulary are mastered relatively completely by the Old Bulgarian verb system.

Гоце Смилевски, Разговори со Спиноза

Author(s): Ana Dimiškovska-Trajanoska / Language(s): Albanian,Macedonian / Issue: 1/2003

Review of: Гоце Смилевски, Разговори со Спиноза, Дијалог, Скопје, 2000.

Град Добринище в спора за родно място на Паисий Хилендарски

Author(s): Elisaveta Stoycheva / Language(s): Bulgarian / Publication Year: 0