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This article focuses mainly on the relationship between Karavelov’s works of fiction and non-fiction texts published on the pages of “Freedom”, “Independence” and “Knowledge”. The specifics of these relationships – their direction and nature allows outlining some dependencies between the different types of materials, especially in terms of genre. The careful study of the texts contained in the edited by Karavelov periodicals led to conclusions that can be formulated generally as follows: 1. One of the possible reasons for the existence of a “publicist manner of writing” in the stories and novels of Karavelov can be found in his active work as a journalist, but not in the “syncretic genre consciousness” of the era; 2. An assessment of the artistic skill of Karavelov, based on the presence of “publicist stream” in his works, is illegal; 3. The presence of links not only between fiction and journalistic works of Karavelov, but also between fictional texts on the one hand, and some memoirs and poems, on the other, is talking about a subjugation of the whole work of the writer of a particular purpose, about his interest in several main themes presenting in his early works, and in those of recent years. The summary of the article is in the direction of the claim that “genre impurities” in Karavelov’s fiction is a consequence of a synchronous work on various types of texts and of a deliberate quest for polyfunctionality in literature – a characteristic typical for the period of European Enlightenment.
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The article presents the up-to-date tendencies of Bulgarian contemporary children’s literature. In line with visual code domination in contemporary Children’s culture, the role of the artist in the creation of children’s book substantially increases. Twenty first century phenomenon in the book market is the art book, whose addressee is not always only the child. The increase of esthetic value of the book extends the readers’ audience. An interesting feature of the contemporary children’s literature is the re-publishing of some of the best children’s writers from the last few decades of twentieth century. They could turn into an esthetic measure for the contemporary literature, if there exists a strong criticism to stop the ersatz.
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The article aims at presenting a hyposesis about a possible earlier than 12th century translation (according to I. Lebedeva) of the story about Varlaam and Ioasaf or at least it being popular among the educated high society as well as traces about its parable (about the Unicorn) among the common citizens and craftsmen. It has also been assumed that the story about Varlaam and Ioasaf appeared, if not in a written form, at least as an oral story during the contacts of the Bulgarian state with the peoples of India and with the eastern provinces of Byzantium. There are several possible ways of the story reaching Medieval Bulgaria. Concrete evidence and circumstantial arguments about this hypothesis have been presented. The argument come from different fields – archaeology, paleography, textological connections with written works from 9th-10th cc. as well as similarities of thematic models with Cyril and Methodius’s Extensive Passional by Climent of Ohrid, with Ioan Exarh’s Hexaimeron, with Lestvitza by Ioan Lestvichnik and with later additions to Ivan Rilski’s Folk Passional (12th c.) and Alexiada (12th c.).
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A new transcript of the Church Saga – Prizren from the 16th century, which is in the same collection as a transcript of the Dushan Law Book, is being presented. In comparison with the four known full transcripts of the Church Saga the part clarifying monkhood as well as the end part of the full variant are missing. The text of the Church Saga in the Prizren manuscript is continued with a fragment about the clapper and with regulations for the clerics that are not included in the full variants of the Church Saga and were obviously added by the scholar of the Prizren transcript or the scholar of its protograph. For the time being this is the fullest transcript of the Church Saga besides the four already known ones – Sinodal, Lavrenty’s, Vienese and Barsov’s, which are related to the initial translation of the text from 9th- 10th centuries.
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The paper deals with the hypothesis connected with a newly discovered hymnograph signed with the name Tomiris in the canon on St Clement of Rome (in the service for 25.11). This name is connected with the historical memory of the Scyth queen Tomiris, who after the historic victory against Cyrus the Great, returns to her motherland – Little Scythia in the Balkan Peninsula. A town Tomi (now Constanta in Rumania) was named in her honour. It is interesting to note that the name was inscribed according to the Greek variant of the name of the great Scyth queen. This is the reason that makes me suppose that the author of the canon is a woman. It is obvious that Tomiris was a lay person (not a nun) who took part in the creation of the early service minei. She probably came from Little Scythia (now northern Dobrudzha). She was asked to write a text important for the Cyril and Metodius’s epoch – a canon on St Clement of Rome. Some peculiarities of the service are a reason for assuming that Tomiris probably worked together with Methodius’s disciple Leon. It is impossible for now to locate the place where Tomiris worked. It is quite possible that it could have been one of the three literary centres – Pliska, Preslav, Ohrid, but it might have been the town of Tomi itself, which was one of the early centres of the Chrisyian culture in Bulgaria. But if she was a disciple of the Thessaloniki apostles she might have worked in a place connected with the last (Moravian) of Cyril and Metodius.
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The paper presents a new approach to an orthodoxal text - "Life of Annin“, inserted in the Suprasals’ or Retkov’s collection. So far it hasn’t been found any accordance to the Greek text. Its orientation at the end of the collection is also significant. This study examines the existence of a particular, publishing intervention, probably dualistic . This tendency to express a certain attitude is found throughout the whole collection. Due to the secret nature of the Bogomilism, the editing of canonical texts in dualistic aspect is character and suitable form to express their views. The image of the saint - hermit is an suitable ideal role model for his holiness and purity and is similar to early Christian saints who are honored by the Bogomils.
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The study provides observations on certain features of the language and spelling of the phrasal acrostics from the Golden Age in order to specify the chronological sequence in which the Old Bulgarian chants were written and to outline the entire strategy according to which the chant-writing in Bulgaria at the end of the IXth and the beginning of the Xth century was conducted. Some of the acrostics are compared with the earliest epigraphs from north-eastern Bulgaria, such as the church-donor's inscription near Izbul village, the graphite on the baptistery of the Round Church in Preslav and others. Several peculiarities in both the acrostic and the content of the triadika (stichera in praise of the Holy Trinity) discovered by Klimentina Ivanova, make it possible to hypothesize that these triadika were composed in or near Pliska in the reign of the Bulgarian Prince (Knyaz) Vladimir-Rasate (889-893). The most significant conclusion of the overall analysis is that the work on the Slavonic Menaion was divided in advance into two stages: 1) In the capital city of Pliska the texts for the primary Christian feasts were prepared, that is for the 12 feasts of the Lord and of the Theotokos (the chief among which are a part of the Triodion, which was elaborated during the same period), as well as for the most important commemorations among the others. 2) The autumn gathering in 893 in the new Bulgarian capital Preslav may be provisorilly recognized as the starting point of the second stage. Most likely in this period the huge corpus of translations and original works for the secondary feasts, such as celebrations of saints, was created.
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The works translated by Cyril and Methodius together with original works of their disciples were preserved to a great extent in Serbian mediaeval writing tradition. These texts necessary for Orthodox liturgy complement monastery libraries: entire macro-compositions were copied without any changes thus Serbian copies preserve the whole repertoire of Old Bulgarian writing tradition. The paper deals with such Cyrilo-Methodian issues as spreading of Cyrilo-Methodian books in Serbia, the problems of Serbian orthography, Church and liturgy in Serbia, Serbian copies from 12th-14th centuries of Cyrilo-Methodian translations with later editor changes. The Serbian manuscript legacy is examined within the framework of Biblical tradition.
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The article aims at reviewing the new data about the cooperation between St. St. Cyril and Methodius in the area of hymnographic art work. The comparison of the names, preserved in acrostic phrases and signatures, to the list with the names of the fraternized monks from the monastery in Reichenau proves that part of the collaborators were disciples of Cyril and Methodius, i.e. they worked in the area of hymnography even at the time of the Moravia Mission. There are proofs that support the hypothesis that the basic religious service books - menaion, pentecostarion, missal and others were compiled in the time of the brothers Cyril and Methodius and their disciples.
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The functions of Chernorizetz Hrabar's essay during the different periods of the Russian culture are analised. Exposed are its links with the clerical, the political and the cultural movements in Russia during tne Middle Ages.
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This report is based on research of the dramaturgical, theatrical and critical work of P. K. Yavorov which has certainly broadened the real boundaries of his cultural and historic heritage that he left to Bulgaria, Europe and the world. The survey is based on elaborating a theatrical chronicle of each day of Yavorov’s life, as well as reading of protocols of the National Theatre in Sofia written by Yavorov himself. In 1908 Yavorov became an artistic secretary, director and translator at the National Theatre. After 1910 he dedicated himself to dramaturgy and wrote his drama masterpieces At the Foot of the Vitosha Mountain and When Thunder Strikes How the Echo Fades Away. The scientific analysis of his works and the documents has expanded the volume of Yavorov’s heritage, outlining his more valuable contribution to the new Bulgarian culture and adding to Yavorov’s eternal poetic heritage his contribution as a theatrical worker – a playwright, director, translator, theatre critic as well. Thus, Yavorov appeared as a builder of the important cultural institution in Bulgaria after the Liberation – the National Theatre. This research is a convincing evidence of his cultural and historic heritage and contribution not only to Bulgaria and its culture but to the European and world ones
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Lubomir Guentchev is a Bulgarian writer whose work was discovered in 1999. By 1930, he had conceived poems in Bulgarian, then, between 1949 and 1955, plays including one, which he transposed into French (Théurgie). He translated Bulgarian Symbolist poets into French (Peyo Kr. Yavorov, Nikolai Liliev and Teodor Trayanov, among others), and numerous French and German authors into Bulgarian. He also composed several collections of poetry in French. To what extent did this bilingualism foster in him a paradoxical phenomenon of self-restraint imposed by the circumstances of the time? What were its motives, goals and scope?
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The palaeographic observations made on the manuscript fragment from Pleven (Bulgaria) and the Election Apostle from the National Historical Museum in Sofia (Bulgaria) are intended to illustrate the complex interplay between the Greek letter and the Cyrillic Codes, written in a constituent letter. They show how the two graphic systems are closely intertwined sometimes in the minds of the scribes. Therefore, an adequate presentation of the history of the Cyrillic writing could not have been achieved without taking into account the continuing influence of the model – the Greek literary tradition. We must emphasize that these are still preliminary observations that should be deepened and refined in order to be able to represent not only the content but also the meaning of the processes in the fourteenth century. This transitional and groundbreaking moment in the history of the Cyrillic graphics will remain the norm, a model that will be reproduced by the scribes in the centuries to come – both with conservatism and innovation and with constant attempts to return to the first source – the Greek graphics in all its varieties.
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The present attempt aims at a reading with reference to the text – reader – reading relationship, on the one hand, and with reference to intertextuality, on the other hand. The main assertion is that, in order to be adequate, a model has to take stock of the paradoxical nature of the text, in other words of it having the same properties – being completed and endless at the same time, simultaneously present and virtual, etc. The codes in the short story written by Dinev mutually doubt their foundations – each of them calls into question the other’s cognitive model as if having doubts as to its own at the same time.
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