Ханиф Курейши – раси, класи, секс и фарс

Author(s): Vesela Katsarova / Language(s): Bulgarian Issue: 3/2015

The contemporary British novelist of Pakistani descent Hanif Kureishi (1954), a highly prolific writer, expresses his artistic credo through a character, a theatre producer, who claims that an artistic work can be successful if it discusses the topical issues of race, class and sex through farce. Kureishi’s seven novels deal with these problems in varying degrees. His best novel so far, The Buddha of Suburbia (1990), encompasses them all in a very impressive way. By focusing on the topical issue of race in present-day Britain Kureishi enriches contemporary British fiction.

Два стенописни надписа с литургиен произход от времето на крал Милутин

Author(s): Christo Andreev / Language(s): Greek, Ancient (to 1453),Bulgarian,Old Slavonic Issue: 49-50/2014

Гръцкият оригинал на душеполезния разказ Птиците

Author(s): Dorotei Getov / Language(s): Greek, Ancient (to 1453),Bulgarian Issue: 49-50/2014

Имало ли е старобългарски Трополог?

Author(s): Svetlana Kujumdzieva / Language(s): Bulgarian Issue: 51/2015

The liturgical hymnographic book Tropologion was in use until about the end of the 12th century: in the 13th century, sources with such a designation are rare. In its classical complete form, this book contains hymnographic repertory for immovable and moveable feasts that are arranged sequentially according to the church calendar, for the common services and for the eight mode consequences. The movable feasts are included between the immovable ones after the Hypapante on February 2. While there is no book designated as Tropologion among extant Old Slavic books, and among Old Bulgarian books in particular, it does not mean that such a book was not known during the early Old Bulgarian era. We can assume that the earliest extant Old Slavic (Old Bulgarian) books reflect a later stage of development of liturgical books, so that the Tropologion precedes the formation of the Menaia, Triodia and Oktoechoi, in which significant portions of it were preserved at a time when the book itself was already out of use. One of the basic criteria for identifying a book as a Tropologion is its structure. The availability of a continuous sequantial arrangement according to the liturgical calendar, where the moveable are included after the Hypapante and in between immovable feasts, is typical of the earliest hymnographic books at least until about the mid-10th century. The earliest Slavic manuscript that meets this criterion is the famous Iliya’s book, the oldest Russian hymnographic codex. Scholars agree that its protograph is of Bulgarian origin. This study shows that the nucleus of Iliya’s book was formed at the time of Ss. Cyril and Methodius. Hence, the protograph of the book goes back to the 9th-10th centuries. The earliest extant copy is from the 11th-12th centuries. After the Hypapante in Iliya’s book, there is an indication for the beginning of Lent. This peculiarity clearly shows the copyist’s intention to arrange services in an uninterrupted order, as in the book of the Tropologion. The indication for Lent in Iliya’s book remains unique – it is the only such indication known in the Slavic manuscript tradition and one of the most convincing arguments that the Old Bulgarian protograph of Iliya’s book might have been a Tropologion: the hymnographic book of the Tropologion was most widely spread throughout the Eastern world, including Southern Italy, between the 7th and the 12th centuries. One more early Slavic manuscript is defined as a Topologion – the Glagolitic fragment Sinai 4/N dated from the 11th-12th centuries and also linked to the Cyrilo-Methodian era. Based on the manuscripts discussed, the author concludes that the hymnographic book used by Cyril and Methodius in their worship was most probably the Tropologion and that this book was known in Bulgaria during the early Old Bulgarian period.

Русская Триодь: на перекрестке традиций

Author(s): Svetlana Poljakova / Language(s): Russian Issue: 51/2015

This article analyses two particular Russian znamenny manuscripts from the Moscow Historical Museum—the Synodal Triodion 319 and the Voskresensky Pentecostarion 27, both written in the last third of the 12th century in Novgorod—as integral parts in the formation of a unified tradition. The analysis of the codices’ content and notational peculiarities reveals traces of five sources: three major ones directly used by the scribes, and two supplementary ones. The oldest prototype (probably from the 10th century) appears to be the same Greek Triodion that was used as the main source for the first Triodion translated into Russian. This source did not contain the prosomoia by St. Joseph in its Lenten part. The second source was most likely a notated Russian Sticherarion, and the third a znamenny Heirmologion. The fourth source must have been a Slavonic Triodion, since the GIM-set contains hymnography by Konstantine Preslavsky. Finally, the fifth source must have been the Greek Studite codex, from which the Lenten prosomoia by St. Joseph and some anonymous hymns were introduced into the GIM-set. The author argues that this Greek source could be indirectly connected with some Greek Triodia from the Grottaferrata collection.

Терминологичната лексика в Йоан-Екзарховия превод на „Богословието“ – статистическа характеристика

Author(s): Tatyana Ilieva / Language(s): Bulgarian,Old Bulgarian Issue: 51/2015

The present study is an attempt to apply statistical methods to analyzing the terminological vocabulary of Old Bulgarian on the basis of lexical material from John the Exarch’s translation of De Orthodoxa Fide. The author uses tables to present a glottometric characterization of the lexical material under study. The article concludes by comparing its results to data from other Old Bulgarian written monuments that have already been the object of similar studies.

В а с я В е л и н о в а, Н и н а В у т о в а. Славянски ръкописи, кирилски печатни книги и периодични издания. Том 1. София: Национален исторически музей, Уникарт ЕООД, 2013. 456 с. ISBN 978- 954-2953-26-5

Author(s): Elena Uzunova / Language(s): Bulgarian Issue: 51/2015

„I Lituani” Amilcare Ponchiellego – mickiewiczowska opera włoskiego twórcy

Author(s): Ryszard Daniel Golianek / Language(s): Polish Issue: 1/2016

The opera 'I Lituani' [Lithuanians], written in 1872 by Amilcare Ponchielli (1834–86), a major Italian opera composer of the second half of the nineteenth century (his works include 'La Gioconda'), is one of the few operas inspired by the poetry of Adam Mickiewicz to be written by foreign (non-Polish) composers. The libretto, drawing on the themes of Mickiewicz’s narrative poem 'Konrad Wallenrod', was written by Antonio Ghislanzoni, who also wrote the book of Verdi’s 'Aida'. The premiere of 'I Lituani' took place at La Scala in Milan on 7 March 1874. A comparison of the structure of the libretto and Mickiewicz’s poem reveals a range of modifications and adaptations that Ghislanzoni was forced to introduce in order to obtain a text suitable for dramatic performance. Apart from obvious reductions, transformations and the inevitable elimination of the author’s voice from the narrative, the text of the libretto reveals departures from the original that reflect both an aspiration to realism and also the theatrical qualities sought by the composer and the librettist. In many ways, the musical language of the opera brings to mind the style of Verdi’s late operas. Like Verdi, Ponchielli employed the technique of recurring motifs (or rather musical themes) that function as reminders. But the overriding principle behind Ponchielli’s design of the opera was the idea of creating elaborate ensemble and choral scenes featuring many characters. Compared to Mickiewicz’s relatively intimate narrative, the opera displays a considerable transformation of the poetical work and markedly different means of expression. The reasons for such far-reaching modifications of the original should no doubt be sought in the aesthetic and cultural differences between the Polish and Italian artistic traditions of the nineteenth century and linked to the expectations of the audience, who insisted that the expression of the characters’ experiences be given an adequate setting on the stage.

Фрагментът О видѣнии ѥже видѣ пророкъ Даниилъ в славянската ръкописна традиция

Author(s): Ivan I. Iliev / Language(s): Bulgarian,Old Slavonic,Old Bulgarian Issue: 55-56/2017

The subject of this article is the origin and dissemination of a short fragment containing the name of the Prophet Daniel. The author examines the fragment’s relation to the complete translation of St. Jerome’s Commentary on the Book of Daniel and reviews the reception of this Old Testament book in Eastern Europe together with its use in Slavonic miscellanies as a new source for literary interpretations. The fragment appears in Slavonic manuscripts of Russian, Western Russian, and Moldovian origin from the 13th through the beginning of the 17th century. It even appears in a document from the collection of the Greek-Catholic Chapter in Przemyśl (Poland), which further testifies to its wide dissemination. Comparisons of this fragment with other works reveal not only discrepancies in the Greek sources’ rendering of Biblical verses, but also variations in the language preferences of the different translators. The text illustrates a variety of compilation techniques for creating medieval miscellanies and points to preferred sources for creating new works. It is a compilation of heterogeneous works aimed to satisfy readers’ curiosity and prepare its audience for the arrival of the Antichrist.

АНТОЛОГИЯТА КАТО КНИЖЕН И ИЗДАТЕЛСКИ ФЕНОМЕН

Author(s): Albert Benbasat / Language(s): Bulgarian Issue: 1/2022

The article looks at anthology as a specific type of publication in the context of the literary and book publishing theory and practice. The etymology of the notion has been traced as well as the historical development of anthologies from Antiquity to present days and key samples in the field of anthology creation. Special attention has been paid to the Bulgarian anthologies throughout the separate historical stages of Bulgarian book publishing. A special place has been given to the first poetic anthology in Bulgaria called “Bulgarian Poetry Антологията като книжен и издателски феномен 38 from Ivan Vazov onwards” (1911) and to the four anthologies compiled by Geo Milev highlighting their exceptional role in the development of such type of editions in Bulgaria and the critical consideration of Bulgaria’s literary process as a whole. One important aspect in the article is the publishing principles that compiling and publishing a given anthology abides to. The role of the publishing team and their assistants has been considered in order to achieve an optimum aesthetic and economic effect with the end product – the book.

Romanul grafic în România

Author(s): Dodo Niță / Language(s): Romanian Issue: 1/2023

The article recalls the most significant moments in the history of comics, briefly presents the context in which the evolution of comics favoured the emergence of the graphic novel and describes its main features. The author, who is deeply involved in the study of graphic literature and its promotion activities, summarizes the situation of graphic novel publishing in Romania, highlighting the important place of women creators in the development of this genre.

Трансгресивните предизвикателства в преводаческата практика – за някои лингвокултурологични проблеми със сцените на сексуално насилие при превода на романа „Слепота“ от Жозе Сарамаго

Author(s): Vera Kirkova / Language(s): English,Bulgarian Issue: 1/2023

The year 2022 marks a centenary of the birth of José Saramago who was laureate of the Nobel Prize in literature. As the Bulgarian translator of one of his most brilliant novels it is my duty and privilege to take a stand on some real practical issues that have arisen in the process of its popularization in Bulgaria. Since the allegory of the degrading society in “Blindness” brutalizes to the extreme every situation described, I pay particular attention to some of the most shocking scenes in the dehumanization of mankind, which was provoked by the outbreak of an incomprehensible epidemic. These moments in their transgressiveness were the real challenge in terms of translation and will be examined here through the lens of linguoculturology.

Илюзивното като тема в поезията на Добромир Тонев и Георги Рупчев

Author(s): Aleksandar Hristov / Language(s): English,Bulgarian Issue: 2/2023

The following interpretation of the poems of Dobromir Tonev and Georgi Rupchev was provoked both by the close in time debut of the two poets and by the presence of similarities in the transforming of the illusory into a theme of their poetry. The article refers not only to the occasions of direct mentioning of illusions within the chosen texts, but also to everything that addresses the various “discrepancies” between the perceived notions and reality, as well as the ruptures resulting from the awareness of those discrepancies. The text also examines the different connections of the illusory as a theme in the poetry of D. Tonev and G. Rupchev with questions of moral and ethical nature, with visions of childhood and naivety, with dreaminess, with having doubts, with the feeling of insurmountability.

Ortologie și ortogeneză la Camil Petrescu – sensuri europene

Author(s): Anton Adămuț / Language(s): Romanian Issue: XVI/2023

Fully engulfed by the demon of the new, Camil Petrescu shades his text with specific terms, borrowed as neologisms or created by the philosopher himself. Among them, the following can be mentioned as being significant for substantialism: “omnivalence of the concrete”, “zone of indeterminacy”, “apogetic”, “perigetic”, “devolution”, “evolution”, “orthology”, “orthogenesis”, “noocracy”. Borrowing a term coined by Wilhelm Haacke in 1893, Theodor Eimer, the first to define it, referred in late-life to evolution as “orthogenesis” or straight-line evolution (an evolutionary series changes in a single, non-deviant direction). Opponent of Darwinism, Eimer opposes to natural selection the orthogenetic evolutionary theory by which he under-stands the tendency of some species to maintain the same direction of development for a longer period of time, even if the direction followed risks leading to the extinction of the species. In the case of man, orthogenesis refers to the continuous development of the brain and skull. From Eimer the term is taken over by Bergson, and from him Camil Petrescu will take over, along with the “zone of indeterminacy” as a notion, also that of “orthology”. Bergson uses it in Creative Evolution when he talks about the orthogenetic constitution of the eye. Compared to the orthogenetic constitution in which only physical-chemical causes are involved (Eimer), Bergson also includes the psychic dimension. For Camil Petrescu, orthogenesis encompasses and unfolds the polarized structure of history in a substantially accentuated way. The meaning of orthogenesis in Camil Petrescuʼs works is close to the Bergsonian meaning (the continuous increase in the complexity of life), and to the meaning that Th. de Chardin gives (increasing the complexity of life and its degree of spiritualization). It is also used by Emil Cioran, when he talks about the tragedy of small cultures. It can be seen that the neocratic author was aware of what was happening in Europe.

KRANJČEVIĆEVA FILOZOFSKA POETIKA KAO DOPRINOS STIŠAVANJU IDEOLOGIJA ZA SLUŽBOVANJA U BIH

Author(s): Ita Lučin / Language(s): Bosnian,Serbian Issue: 27/2017

Silvije Strahimir Kranjčević is his philosophical poetics , on the existential way used the most important ontological questions about the meaning of being and human existence, through two major paradigms of Adam and Moses, in a way, gave the sign to everyone that would like to boast about their inviolable and solid identity. In order to achieve this, it is necessary to persist in the freedom of the mind, and regardless of any consequences that the quest for freedom brings, it is recommended to fight against any ideology which is the purpose of blocking free thinking and construction of individualism. Kranjčević had with his poetry and his life example, as quiet pacifist and altruist, tried to show the way.

Prešovské „cool“ knihy o knihách pro děti a mladé

Author(s): Olga Kubeczková / Language(s): Czech Issue: 1/2024

Review of: DZIAK, D. – GAL DRZEWIECKA, I. (eds.) Svetom cooltových kníh pre deti. Prešov: Prešovská univerzita, 2023.

Od fundamentov k inováciám v literárnej výchove

Author(s): Patrícia Dziaková / Language(s): Slovak,English Issue: 1/2024

Review of: SHORT, K., G., LYNCH-BROWN, C., TOMLINSON, C., M. Essentials of children´s literature. New York: Pearson, 2018. 316 pp. ISBN 978-0-13-453259-2.

Enigmi e paradigmi in alcune scrittrici italiane del XX secolo

Author(s): Carmelina Gioia / Language(s): Italian Issue: 44/2023

Ushering the Vampire in British Literature? Southey’s Oriental-Gothic Tale 𝑇ℎ𝑎𝑙𝑎𝑏𝑎 𝑡ℎ𝑒 𝐷𝑒𝑠𝑡𝑟𝑜𝑦𝑒𝑟 (1801)

Author(s): Galina Devedjieva / Language(s): English Issue: 1/2023

Robert Southey’s long narrative poem 𝑇ℎ𝑎𝑙𝑎𝑏𝑎 𝑡ℎ𝑒 𝐷𝑒𝑠𝑡𝑟𝑜𝑦𝑒𝑟 (1801) reflects a widespread cultural fascination with the Orient and the allure that it had for the Romantics in the eighteenth and early nineteenth centuries. It contains a host of exotic elements, among which magical rings and paradisiacal gardens, along with all sorts of Gothic paraphernalia, including severed limbs and, arguably, the first representation of vampirism in British literature: the protagonist’s doomed love, Oneiza, returns from the grave as a demon-possessed fiend in Book VIII. Gothic and Oriental tales are analysed in the first part of this article as fictional forms crucial to the formation of British subjectivity and nationality. A reading of the vampire episode is provided in the middle section, which tries to show how Southey’s use of Oriental material betrays an imperialist and nationalist stance and how his appropriation of conventional Gothic topoi contributes to the forging of the vampire as one of the most enduring figurations of monstrous otherness in British fiction. The fact that Southey based his female vampire on accounts of superstitious beliefs and practices in southeastern Europe is duly noted.

Bibliografia romanului în limba română tradus în limba polonă până în 2023

Author(s): Olga Bartosiewicz-Nikolaev,Tomasz Krupa / Language(s): Romanian Issue: 1/2023

The main objective of the Bibliography of the Romanian-language Novel Translated into Polish until 2023 is to present the complete list of the novelistic production written in Romanian, also by authors from the Republic of Moldova, and published in Poland in Polish translation (in volume or in fragments) between 1931 and 2023. It represents a pioneering work and the first exhaustive database containing all the Romanian-language novel titles ever published in Poland; thus, it can serve as a valuable resource for researchers of Romanian literature from around the world. It contains 86 Polish translations of 83 Romanian-language novels published in volume, as well as 55 Polish translations of excerpts from Romanian-language novels published in literary magazines or online. The bibliography was created based on the Dicționarul cronologic al romanului românesc [The Chronological Dictionary of the Romanian Novel] (2004 and 2011), Polska Bibliografia Literacka [Polish Literary Bibliography] (https://pbl.ibl.poznan.pl/dostep/) and the library queries in Poland (at the Jagiellonian Library in Kraków and the National Library in Warsaw).