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Сантиментални литературно-антропологични наблюдения и размисли
The text deals with the topos “Portartar” of the story of Yordan Yovkov’s „Drugoselets” through the prism of anthropological geography and conceives the notions of otherness, borderline and marginality in their philosophical and moral dimensions.
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The German and Bulgarian versions of the poetry collection “Assisi Sonnets” by the political émigré Hristo Ognyanov appeared in a rarely encountered disposition – the translation (1986) came out before the original (1992) in reaching their respective readers. The essay strives to elucidate a number of questions that arise from such a discrepancy but its primary goal is to reconstruct the complex range of cultural relations in the dialogic network of the Assisi sonnets. The juxtaposition between the canonical hagiography of St. Francis of Assisi, the poetic texts and their renditions in translation throws into relief the presence of Bulgarian Orthodox Christian iconography but at the same time reveals the attempts of the German translation to “discipline“ the sonnet visions, to bring them closer to what is considered acceptable for the Catholic audience of readers.
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Sans attirer pour longtemps l’attention d’Ivan Vazov, la Roumanie a joué un rôle spécial dans sa vie personnelle et artistique: – ses premières poésies et ses trois premiers livres y ont été publiés; – quelques-unes de ses idées générales sont formées parmi de nombreux compatriotes habitants la Roumanie cette époque (un grand nombre de nos phénomènes nationaux ont eu besoin du milieu étranger pour devenir soi-même – un paradoxe qui exige son explication); – des traits physionomiques du poète, évolués en Roumanie, sont restés invariables toute sa vie; – les relations entre les émigrés bulgares et la société roumaine ont été présenté par ses oeuvres avec fidélité; – l’aide discrète de quelques hommes politiques roumains (par exemple Ion Bratianu) a soulevé l’esprit de notre émigration et Vazov a exprimé la reconnaissance qui leur est due; – après la chute de l’Insurection d’Avril plusieurs révolutionnaires bulgares ont cherché abri au-delà du Danube. La Roumanie a été nommée par Vazov “la terre hospitalière de la liberté” – c’est un des rapprochements les plus étroits entre la patrie et un pays étranger. Ce rapprochement devient encore plus catégorique dans le récit “Veliksin”. Son héro – poète, journaliste, homme public – se sentant Bulgare, appartient à la fois à la Bulgarie et à la Roumanie: il a vécu dans les deux capitales, son oeuvre est créé en deux langues, son testament favorise des villes roumaines et bulgares. Veliksin n’est pas “partagé entre” les deux pays – au conraire, il en fait un tout. La construction du personnage historique et littéraire uni les elements nationaux différents, remplaçant leur rivalité par égalité. Le contexte roumain chez Vazov fait naître une vision patriotique plus large et générale, au-dessus des frontières historiques.
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Лириката на Христо Огнянов в контекста на 90-те
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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This paper studies two modernistic poems – „Zatochenici” (P. Yavorov) and „Septemvri” (Geo Milev). Some relations between the two poems are shown: their connections with certain historical event, the crash of the national ideal for unity, the journey – by boat in „Zatochenici” and from night to dawn in „Septemvri”, the concept of the mother land, the lost paradise and the paradise on Earth.The conclusion shows how in a work known as a patriotic poem we find symbols of modernism and in a modernistic poem we find symbols of Bulgarian cultural history.
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The paper offers an accent on the profile of Tzar Simeon of Bugaria that partly stayed beyond any attention. It affects the big diplomatic scandal over the ruler's horse, wounded in one the battles between Bulgarian and Byzantine armies. It treats the reasons for misunderstanding the significance of that episode existing. There are two points of view given: one of Nikolas Misticus, Patriarch of Constantinople, and second one that presents the position of Bulgarian Tzar himself. It is pointed that we face two cultural "languages" containing different meanings that should be considered one by one, and in their interaction as well.
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The paper deals with reviews of novel “Lavina” by Blaga Dimitrova. It focuses on the different critical strategies concerning interpretations of the book that outline the view of the whole criticism tradition in that period.
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The article tackles the issue of pun structures used in love designations (denominations, namings) in Petko Slaveykov’s Anacreontic songs. They have been interpreted as an impulse for a new cultural identity, an accomplished Renaissance articulation of human passions, sympathy sought, joy and delight in everyday life, and thus they have secured P. Slaveykov – at the level of reception and by virtue of the popularity of songbook lyrics, the initial accrual of “literary assets”.
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Бележки върху два случая
The paper deals with the “I am not…” formula of Bulgarian lyric poetry and refers to two specific cases – that of a 1873 satirical poem of Bulgaria’s greatest poet of the nineteenth century Hristo Botev, and that of Nikolay Liliev’s lyrical discourse, a paragon of Bulgarian symbolism of the second and third decades of the twentieth century. Botev rejected his own context by making an apophatic canon, a list of writers taken as laughing stock. Liliev did not pronounce any writers’ names yet he rejected the social images and roles of the writers of his decade. Thus, by negating names and discourses or by negating writers’ roles and images, both authors aimed at definitely declaring their bias of non-belonging to their literary contexts.
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This article is a first attempt at a more detailed presentation of Geo Milev’s German-Bulgarian Dictionary manuscript completed in 1916, as well as of its printed edition from 1940, revised by Dimitar Stoevski and published by Ivan Koyumdzhiev. A comparison between the manuscript and the print edition shows significant differences in the way in which the lexicographical informationis organized, in the macro- and microstructure of the dictionary, in the translation of German words as well as in the listed collocations and phraseological units. This paper is a modest contribution to the historical study of German –Bulgarian bilingual lexicography.
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("Август" в българската лирика през 70-те и 80-те години на 20 век)
Thе paper „With Dust in the Soul and Dust on the Feet …“ („August” in Bulgarian Poetry during the 70s and 80s of the 20th Century) presents observations on some thematizations of the Month of August in the context of Bulgarian poetry during the 1970s and 1980s following the appearance of Boris Hristov debut book, part of which is his iconic poem „August“. Based on pivotal studies related to the theory and practice of paratext and title of a literary work, the article offers an opportunity for arrangements and analysis of the empirical set of artistic texts – in the aesthetic and socio-political context of the period.
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Ivailo Petrov's novel 'Wolf Hunt' is a dramatic saga with a story covering a long and contradictory period of Bulgarian history, from the first years after World War II to 1965. The fates of Ivan Shibilev, Mona Zhendo, Kalcho, Nikolin, Stoyan Kralev and their sons and daoughters intertwine and grow apart in passions and conflicts. This book is the story of people who are born during a totalitarian regime or die, frequently because of what they love. The hunt is the symbol of their thirst for revenge, the Old Testament 'an eye for an eye', with the outcome/redemption being presented as a pain of the soul caused by the loss of human happiness. The study discusses the presence of biblical motifs and images and the manner in which the author of the novel works with them. The moral categories through which each individual considers his/her life are skilfully woven in the book by the careful use of biblical symbols and messages. The characters in 'Wolf Hunt' fully experience the passions and sufferings of the Old Testament characters, thereby redeeming the original human sin.
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This text aims to present some experiences and impressions of Bulgarian writers in Italy. Traditionally, Italy is perceived by Bulgarians as a cultural etalon and a cradle of the European Renaissance. There are a few accents in the focus of the research: the act of travelling and the emotions coming out of that; the reaction of the Eastern man when he contacts the Western culture; perception of the cultural monuments; self-reflection and thoughts of the travelers; images of the other; comparison between the premised (expected) image of Italy and the seen/experienced.
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The paper is devoted to the author’s concept of modern apocrypha in the context of the two main tendencies of (Post)modernity: unmasking and paraphrasing. On the basis of the literary paraphrases of the Evangelical story, found in the Bulgarian (Post)Modern literary, there is shown a hermeneutic passage from “apocrypha as a literary mystification” (“literary apocrypha”), i.e. a concept often applied in literary studies, to “apocrypha as an epiphany of sense”, i.e. a concept which can be useful in cultural studies and in history of ideas. It is suggested that in the light of the postsecular thought, being an individual interpretation of the canon, the (Post)Modern apocrypha has a great epiphanic potential, which means that hiding minority truths, it reveals in fact some crucial, and crypto-theological, problems of the present. Drawing the axiological difference between “the unmasking apocrypha” (pseudo-gospel) and “the paraphrasing apocrypha” (epiphany of sense), the author claims that only the last one does actually incarnate Charles Taylor’s ideal of the authentic (and poetic) expression (of will), which helps in establishing an individual sense-making horizon as a positive response to the “heretical imperative” of (Post)Modernity.
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The text examines some of the poems of the Bulgarian poet Atanas Dalchev through the prism of Christian symbols and motifs used in the Bible and some medieval texts. The poet masterfully uses their already accumulated meanings but at the same time presents rather different ideas or at least ideas seen from a different perspective. The article is in no way comprehensive, it deals only with a fragment of Dalchev’s work but aims to raise the issue of (anti-)Christianity in Dalchev’s poetry.
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The paper comments on the journalistic and literary images of the so-called Children’s City which had to be built nearby Sofia. The idea stemming from the memory of the cities in the literary utopias came about at the end of the 40s of the past century. The realization of the classical utopian dream of the perfect town this time profiled in the context of children had to illustrate in a physical way the human cosmogony of the defeated social system as well as the objectivity of the propaganda postulate about the performativity of dreams at the time of communism. However, after the announcing media fanfare, the work on the Children's City had faded away and the city of dreams remained just a dream city, a utopian illusion, as if to signal the future of the wonderful communist dream of a just and harmonious world.
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Book-Review: Camelia Dinu (ed.), Simbolismul în literaturile slave, Pro Universitaria, București, 2020, 264 p., ISBN: 978-606-26-1233-7 (Roxana-Alexandra Alionte)
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