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The article shows two ways in which Stoyan Zaimov discredits the antagonists of the national revolution and seeks an answer to the question of what is due to the change in his style. In the first edition of “The Past”, Zaimov uses vulgarism from the field of eroticism. In the second edition, his writing is laconic and without cynicism.
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The text considers Memoirs from Istanbul’s Dungeons by Svetoslav Milarov from the perspective of genre. The analysis takes account of the sophisticated relationship between fact and fiction in the book. For that purpose, it sets out to distinguish between three main layers in its text: the memoir framework, the prisoner narratives inscribed in it and the specific ways in which the two are merged together. The discussion focuses on analogies between Milarov’s text and / or narrative collections characteristic of the west European cultural environment. The main hypothesis rests on the assumption that the structure of the book, which was designated as a memoir, is, in fact, closer to that of the so-called story collections popular as early as the Middle Ages with which Chaucer’s Canterbury Tales and Boccaccio’s Decameron come into a dialogic relationship.
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Dimitar Dimov is a writer who can fit into literary and cultural matrices without falling into their traps. It is this phenomenon that is examined by the present article: how it can be measured by the measure of both the high and the popular literature, and why the history of its readings to this day builds lasting dichotomies.
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The article which is part of a longer research on women’s literature in Bulgaria follows the earliest appearance of Bulgarian women-poets after the Liberation. Two out of the three books published by women until the 90’s of the 19th century, are collections of poetry. Their achievements and their shortcomings are defined and analyzed in proper historical context. The middle part of the article is focused on the year 1905 when three women-poets made their debut in D-r Krustev’s journal „Misal”: Ekaterina Nencheva, Dora Gabe, Mara Belcheva. The final pages make summary of what women’s poetry had achieved by the end of World War I.
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The paper focuses on the periodicals for children at the beginning of 21th century. The author comments some popular magazines for children and teenagers in the context of national tradition and the contemporary trends. Accents are shifted from the education on morals to the entertainment and plays. The contemporary periodicals give much more information in the field of science in comparison with the periodicals in 20th century. Sharing some universal values, learning trough play are small part of the trends in the modern literature and periodicals for children today.
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Even if written in Bulgarian, the poetry of the political émigré Hristo Ognyanov had remained practically inaccessible to Bulgarian readers for four decades. With the democratic changes at the beginning of the 1990s, his poetry has been republished in its entirety. The present essay reflects on the effects stemming from the deep cultural misapprehensions between the poet, his Bulgarian audience and the aesthetic searches of the context, which have again doomed his poetry to spiritual emigration. On the other hand, the inclusion of this “independent” parallel poetry in the historical narrative of the developments between the 1950s and the end of the 1980s reveals with the clarity of a litmus test the sites of “non-modernity” in Bulgarian totalitarian poetry.
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The text focuses on the functions of literature and writers in the age of the “mass revolt”. It is placed the emphasis on enhancing the educational function of literature. The author analyzes some texts of writers who visited the USSR in the 1920s and 1930s. It is considered the problem of managing the mass man through the texts of the literature.
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The main goal of the text is to offer a reading of Patrick Susskind’s novel Perfume through the philosophy of George Bataille and to show how the erotic experience is constructed into the text. This could help to give an answer to the question of how the power, body strength and authority are presented as a solid and unbreakable connection into the plot with the eroticism and the problem of the death.
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How do contemporary writers that we associate with the migrant wave in modern world literature write about the other? Why do they emphasize on the exotic? Do they believe in the possible encounter of cultures? These are only some of the questions this text attempts to answer, working on texts of authors as Sandra Cisneiros, Jhumpa Lahiri, Ornella Vorspi and Mohsin Hamid.
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In the monography “After the end of classics” Rakyovsky argues that Dostoevsky’s Double (“Dvoynik”) and Mandelstam’s Egyptian stamp (“Egipetskaya marka”) discard traditional narrative and put forward the paradigms of splintering, madness, terror. The article highlights the new anthropology in Dostoevsky’s works by the figures of machines, poets and insects (vermin, bug). As an alternative of the poet, Dostoevsky’s plots put in play the figures of (male) novel writing and (female) book editing and managing. All together with the tragic, the author elaborates the category of comic absurd in the margins of folly, nonsense and object.
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Статията разглежда въпроса за преводните литературнохудожествени текстове от български на китайски език. Погледът на автора се основава върху шестгодишен опит в преподаването на български език и литература в Пекинския университет за чужди езици. Изразено е мнение, че по отношение на българската (както и на останалите източноевропейски литератури) е крайно необходимо осъвременяване в избора на превежданата художествена литература.
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This article examines the personality of Ludmil Stoyanov and his intense presence in the history of Bulgarian literature. They follow his friendly relations with the Symbolists, and in particular with Dimcho Debelyanov. However, the verbal duel between Ludmil Stoyanov and Boyan Penev on the pages of periodicals in the 1920s is commented.
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The research methodology involves an experimental combination of two different discourses within one interpretation: a philological method and second-wave feminism. Exa¬mined in the context of logic of tosamość and écriture féminine, Strach w Zameczku is a women’s writing. I have analysed Mostowska’s novel as a subversive act. The author reviews the myth of male rationality. The paradigm of a character as a depositary and subject of mind is confronted in the article with a paradigm of an irrational female protagonist with the characteristics of Otto Weininger’s absolute woman. The isomorphism of knowledge and masculinity and the isomorphism of absence and femininity are undermined.
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The paper discusses the way the rhetoric of liberation and human rights, characteristic of the French Revolution, deals with the subject of sexual minorities. The Revolution can be seen as a transition period in which the revolutionary rhetoric collides some ancient images of sexual minorities. The limits of this new rhetoric are tested in pamphlets where these minorities appear and that are also full of ancient images: Les Enfans de Sodome à l’Assemblée Nationale, Requête et décret en faveur des putains, des fouteuses, des macquerelles et des branleuses contre les bougres, les bardaches et les brûleurs de paillasses, Les Petits Bougres au Manège and La Liberté ou Mlle Raucourt.
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The author aims to present the work of Evdokia Nagrodska, a Russian author now fallen into oblivion. To do this, he briefly discusses the literary context of the time and her biography, before analyzing in greater depth her book The Wrath of Dionysus, which was a bestseller in Russia in the early 20th century. He tries, through the analysis of this novel, to rediscover a novelist both despised by the Russian intelligentsia for writing popular literature, and strongly criticized by the former censors for treating themes related to female adultery, homosexuality and lesbianism. By that he is trying to show that Nagrodska is primarily an avant-garde novelist who deals with libertinism far more than pornography and that her freethinking is both sexual and political.
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This article is an attempt to describe the most important problems faced by the contemporary trans(gender) literature in Poland. The analysis was carried out on two main axes: with the distinction of texts identified as (1) heteronormative and non-heteronormative, and (2) homonormative and non(hetero/homo)normative. Moreover, author provides some interesting examples of trans negative and trans positive literature. An important element of this article is the analysis of the autobiographical texts inscribed in the axis of non(hetero/homo)normative literature and trans positive literature. In the last part of the article, the author highlights the importance of the first transgender children book published in Poland “Kim jest ślimak Sam?” by Maria Pawłowska and Jakub Szamałek.
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The introduction of the article presents the state of research on the book market for children and youth and the basic problems related to this issue. One of the types of non-mass publications cataloged for children and youth — the so-called picture books — was analyzed in more detail. A review of examples of the picture book implementation and selected strategies for displaying the text and its correlation with illustrative material are presented. Particular attention was focused on the problem of the intentional recipient and adult participation in the reading process of child inculturation.
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Until recently not many people recognized the feminist theater movement existing in the end of the 19th century. For almost a century it was condemned to oblivion for above all political reasons. Most scholars were focused on anarchist authors while in this the article works of the two feminine authors are analyzed, these include: Vera Starkoff and Nelly Roussel. Starkoff, the Russian Jew, was inspired by Tolstoy, Zola and Ibsen, and wrote the didactic dramas in which she discussed gender inequality between men and women at that time. She in her works seems to be more moderate then Russel who is more uncompromising in her works. Russell ridicules canonic values represented by the Roman-Catholic Church enslaving not only women but each individual’s thinking.
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The subject of the work are selected spatial aspects of the novel Spring (1911) by Włodzimierz Perzyński. The Paris sequence of the story of the novel, representative of the modernist period in the writer’s work, was discussed. The focus of attention was on the cultural image of Paris at the turn of the 19th and 20th centuries in the context of contemporary migration processes and poetics of space, examined by the tools of contemporary reflection on the role of space.
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