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The article discusses the question of the existence of a traveling library accompanying Tsar Simeon (893-927) during his military campaigns. In this relation, it is indicated what kind of books have been carried or written in camp con¬ditions by eminent commanders and rulers before and after Simeon: Alexander III of Macedon, Caesar, Napoleon, etc. The study presents the hypothesis that in the final years of his rule, the Bulgarian tsar carried an impressive historical collection during his battle actions that he compiled around 921. That collection consisted of current, in terms of Simeon’s military-political intentions, works such as the Old Testament books Pentateuch and Tsardoms, The Alexandria (a novel about Alexander III of Macedon) and Joseph Flavius’s History of the Judean War which tells the story of the siege and the seizing of the sacred city of Jerusalem by the legions of Rome.
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Pored istraživanja različitih vidova problema "materinskog" u jeziku, Julija Kristeva bavi se i problemom "oca". Međutim, tu nije reč o simboličkom ocu nego o jednoj formaciji imaginarnog: o "imaginarnom ocu". Imaginarni otac je fantazam o ocu koji može da voli kao majka. Upravo izostankom (ideje) oca koji voli, a ne, kao što se ponekad tvrdi, odsustvom strogog nepopustljivog patrijarha, može se, po Kristevoj, objasniti kriza moderne duše. Intelektualno izveden iz Hegela, Frojda i Lakana, a imaginativno iz (nostalgičnog) presađivanja materinske aure Istočne pravoslavne crkve pod prazno nebo moderne duše, pojam imaginarnog oca usmerava neke postojane utopijske osobine pisanja Julije Kristeve tražeći od nas da ponovo posetimo Narcisova jezerca da bismo se zagledali u sliku, ali oslobođeni Narcisovih iluzija i sa izoštrenom svešću o nestalnosti slike — i o pravoj prirodi svoje ljubavi prema krivotvorenom, prema sablasnoj ljupkosti sopstvenih tvorevina koje su nekad proizvele prostor zapadne psihe, a danas bi, po Kristevoj, mogle postati zalog jednog novog čovečanstva. [...]
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Apart from exploring different aspects of the problem of the "maternal" presence in language, Julia Kristeva also treats the problem of the "father." Not so much as a symbolic father, however, but rather as a formation of the imaginary: an "imaginary father". The imaginary father is the phantasm of a father who can love like a mother. It is precisely the lack of (an idea of) a loving father that can explain, according to Kristeva, the crisis of the modern soul, and not the lack of a stern and relentless patriarch as it is sometimes claimed. Intellectually derived from Hegel, Freud and Lacan but imaginatively drawn from the (nostalgic) transplantation of the maternal aura of the Eastern Orthodox Trinity under the empty skies of the modern soul, the concept of the imaginary father focuses some persistent Utopian traits of Kristeva's writing into the solicitation for us to revisit the watery settings of Narcissus in order to gaze at the image. Free of Narcissus's illusions, however, and with a lucid awareness of the irreality of the image - and of the reality of our love for the fake, for the phantom loveliness of our own creations which once produced the space of the Western psyche and today, according to Kristeva, could become the wager for a new humanity.
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The article presents the contributions of Dora Gabe to the Jewish newspaper Maccabi, published in Sofia from 1920 to 1940. She cooperated with the paper both as a translator and an original author. Gabe’s texts in Maccabi have not been reprinted and are almost forgotten. This factor explains why they need to be revisited. First, I trace Edmond Fleg’s influence on Gabe’s ideas on Jewish identity, as the poet is a vivid promoter and a keen translator of Fleg’s work. Then this topic is represented in light of a hidden conflict between other journalists from Maccabi circles and Dora Gabe. The main argument of the text is that Gabe was criticized not only for assimilating into Bulgarian society but mostly because of her feminist ideas and her original, paradoxically anti-national viewpoints on the Zionist movement.
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The article is dedicated to the problems of historical drama, one of the ways of interpreting the past. The study is placed in the context of the sociology of culture and the historical memory of society, with a focus on the transposition and the symbolical representation of the history of Byzantium and the Second Bulgarian Kingdom (1181–1396) in literature. The subject of the analysis are the works of the Bulgarian poet and playwright Radko Radkov (1940–2009), above all his play Theophano, written in the convention of classical drama in verse and the so-called ritual drama, according to the title of the author, a synthesis of text borrowed from Old Bulgarian Literature, and Byzantine hymnography, inspired visually by the images of the Middle Age Miniatures included in Manassij’s Chronicle (Codex Vaticanus Slav II) – Praise of Turnovgrad and In Praise of the Word. The historical theme in the work of Radko Radkov is substantially different from the interpretation of the Bulgarian history of other Bulgarian writers of the second half of the 20th Century, by which the author is opposing the ideological constructs of the official authorities during this period. Within the discourse of the relations between creator and authorities, attention is paid to some events surrounding the 1300 anniversary of the creation of the Bulgarian state (celebrated in 1981), when, thanks to the benevolence of Lyudmila Zhivkova and the open culture policy that she, as Chairperson of the Committee of Arts and Culture, had introduced, the plays of Radko Radkov were allowed to be staged in the theatres. The playwright has found semiotic and stylistic devices that recreate the classical past of the people, the orthodox Christianity and culture in the universal perspective of the Byzantine Commonwealth, and artistically voice his historiosophic views concerning Bulgarian national history and the Byzantine-Bulgarian cultural community. The paper analyses the tribulations of the performance of Theophano, staged in Bulgaria by the French Director Pierre Della Torre, who sees in the poetic world of Radko Radkov “the monumental force of the masters of French theatre, Racine and Corneille”.
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The aim of this paper is to present some of the leading theoretical ideas in the trauma studies in the humanities from the last decades and to compare how the two poetic collections – Tadeusz Różewicz’s “Anxiety” (1947) and Czesław Miłosz’s “Rescue” (1945) – represent the trauma after the Second World War and the Holocaust, creating two of the models of the Polish “poetry after Auschwitz”.
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The present article pursues the modest aim of drawing attention to the messianic motif in Nahum’s Canon of St. Andrew and its possible semantic projection in Old Russian literature. This canon was brought to Russia in the 10th century when Kievan Rus’ was converted and it needed liturgical books written in the vernacular. One can assume that the compilers of the Tale of Bygone Years chronicle knew its contents and not by chance they included in this work the legend of the sojourn of St. Andrew and his disciples on Kievan territory and his prophecy. Thus continued the reception of the messianic idea that the Slavs are God's chosen ones.
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This article presents the hypothesis that in the 13th century Prayer book, published by P. Simic in 1976, can be deciphered two well known signatures - of Sabas and Clement. Peculiar of the signature of St. Clement is the use of two manners (expressed by initials and simple acrostich). So the first part of the name is written by the initials of the troparia and the second - by the beginnings of verses in the last troparion. Using two different techniques in signing is a feature in the creative manner of St. Clement of Okhrid. In the canon, signed with the name of Clement, can be read part of an acrophrase. The signature of Sabas is located in the eighth and ninth ode with one disorder, but probably one should read Savino, i.e. belonging to Sabas. In the Virgin Mary troparia system can also be read an acrosignature using a specific code. This location of the name enables one to assume that it discloses another student of St. Cyril and Methodius – Levi or Leo, who worked together with Clement and Sabas.
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This article is devoted to the researching of the mental model in Russia of XV-XVI c. on the base of the content analysis of “The Song of the Trinity, the creation and on the Last Judgment” by Bulgarian writer Clement of Ohrid. The author attempts to find the factors influencing its distribution in the Russian collections of manuscripts of XV-XVI c. In the indicated period for Moscow State was very important the problem concerning to self-identity and its identification among the other European countries; proportion of Byzantine and Latin (Western) traditions in Russian culture, the correspondence of the spiritual and secular on a personal and national level. The prestige of works of the Bulgarian writer Clement of Ohrid in medieval Russian manuscript tradition, the style of writing, the ideas of unity, cooperation, Byzantine theology, which found it’s expression in the homily of Holy Trinity, were to make the interest of the Russian scribes much more higher. However, during the XV-XVI centuries this is not observed. Perhaps this is due to a change of the cultural atmosphere which takes place in Russia in that time.
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The article represents a novel approach to the final doxological formulae regarded as a microtext built on a three-ply micro compositional scheme. The analysis of the the XIIth century Zlatostruy following this criterion suggests the assumption that the anonymous speeches in the compendium are written by different Old - Bulgarian scholars. The names of Kliment Ohridski, Konstantin Preslavski and John Ekzarh are strongly believed to be among them.
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The paper deals with the oldest copy of the collection Turzhestvenik. Along with some original and translated from the original speeches there is an anonymous work. It reminds Kliment’s speeches. Some analyses of the speech and argumentation in maintenance of this opinion (that the author is Kliment) are given here.
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The article offers a brief account on the original and the translated works, dating back to the beginning of the Old Bulgarian literature and letters, presented in manuscripts produced in the Bulgarian lands during the last period of the Medieval tradition and the time of occurrence of the first New Bugarian texts in the miscellanies called damaskini. The works’ dissemination is examined against the background of the activity of the known scribal centres and against the characteristics of the entire 17th-century literary repertoire, and is considered to be the key feature of the tendency towards archaising. The list of the Old Bulgarian works imcludes prayers found in euchological manuscripts, some translated vitae and apocryphal texts, the Priest Jeremiah’s Story about the Holy Three, and a few homilies and sermons of St. Kliment of Ochrid, incorporated in books of traditional contents and in the New-Bulgarian damaskini.
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The concept of “dormant nation”, implying the connotation of “awakening”, is characteristic of the Еnlightenment era and actualises in a context of national or political slavery. In Slavic cultures, the concept becomes constant, its specifics linguistically expressed in the emergence of the word “buditel” (“one who awakens others”) – absent in other European languages. The „dormant nation“ concept links with that of the „dormant hero/leader“, ambiguous in a sense that it either keeps up the faith in liberation, or suggests problematism in the mission of nation-awakening. In the national mythology in Czech and Polish culture, an important place has the image of dormant knights from folklore, awaiting their time to lead off a battle for national liberation. ‘Dormant knights’ legends are a constant in these cultures, given they actively function at present. In Czech literature, in Ian Neruda’s work, the image of the dormant nation is interpreted in evangelical code, through the identification of the nation with the dormant child Jesus, the future Savior. In Polish literature, the image of the dormant national leader finds also a satirical depiction, in works by Jan Kochanowski, Wacław Potocki, Juliush Słowacki and Stanisław Wyspiański. The observations over texts of Czech and Polish culture suggest closeness, as well as specifics in the interpretation of the concept. A Bulgarian gaze would in turn catch the specifics of Bulgarian “dormant nation” concept (satirical depiction of the dormant nation of slaves, the motif of God’s sleep as an expression of the doubt in God’s justice).
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In his book Stefan Stambolov and Our Latest History Dimitar Marinov tells about the historic events of 1885 related to the Union of Principality of Bulgaria and Eastern Rumelia. Prince Alexander I Battenberg accepts to head the Union. Dimitar Marinov repeats Stefan Stambolov’s story of the historic moment when Alexander I Battenberg standing on Mount St. Nicholas in Stara Planina decides to cross the border between the Principality of Bulgaria and Eastern Rumelia. At that moment, Stefan Stambolov describes the prince as radiating holiness in his prayer to God for Bulgaria, as a martyr ready to sacrifice himself in a nation’s name. The portrayal is much like an icon. Such vision continues the spirit of the Bulgarian national revival, which presents the making of history through sacrifices and martyrdom. The fate of Alexander I Battenberg after the Union is that of a martyr and a victim of historical reality and truth.
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This article deals with a comparison of two fairy tale texts: Duhové pohádky (Rainbow Fairy Tales, 2012) by Czech author Daniela Fischerová and Пъстри приказалки (Colourful Tales, 2008) by Bulgarian writer Maya Dălgătcheva, the texts are the vehicle of aesthetic goals and also of didactic ones: bringing the basic colour range to the pre-primary recipient. Both authors try to awaken children’s colour perception by using prose poems or by linking prosaic fairy tales with lyrical poems.
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