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Iser’s conception of the implied reader allows us to understand more about reading opportunities, provided by technology since – by defining the reader as a disposition resulting from networks of text meanings – this notion allows their integration in the textures of the Net afterwards. As a conjunction of culture and technology, digitized text actually poses problem of bringing these together, of the cultural consequences of the encounter between digital and print culture. It is difficult to say whether this encounter refutes big postmodern myths, or proves them right, but this answer will undoubtedly affect the destiny of the text.
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The article takes as a starting point the account about the “Slavic books” (книгы словенскыѥ –Vita Constantini 17:5) brought to Rome by the Slavic apostles Cyrill and Methodius, and their blessing by Pope Adrian II. By “Slavic books,” scholars usually mean loosely defined “liturgical books” that could reasonably be identified with the Slavonic Gospel (словѣньское евангелиѥ) mentioned in Vita Methodii 6:1. The liturgical books referred to in VC, however, still remain undefined, as it remains unclear who completed their translations, when and where. In an attempt to answer these questions, the author considers some passages from the Lives of the Slavic apostles with explicit references to “books,” and “letters.”Careful reexamination of the vitas’ entire manuscript tradition cannot support the assumption that, after his arrival in Moravia, Constantine continued to engage in translation activities. Taking up a proposal advanced in the past by other scholars, the article assumes that, instead of translating some undefined “liturgical texts” (VC 15:2 вьсь црк҃овныи чинь прѣложь/прїимь), Constantine “transferred”, “transcribed”, and “fixed” in Slavic letters texts that had already been translated (by the way, different passages of VC mention Constantine’s dispute with the Latin and Franco-Germanic clergy that related not so much to the translation of books as to the Slavic letters – see VC 15 and 16). For a more precise identification of these translations, the article briefly reexamines the literature produced by Irish and Frankish missionaries in the dioceses of Salzburg, Regensburg, Freising, Passau during the 7th and 8th centuries, as well as translations made by the Frankish clergy in the 9th century. The interpretation proposed in this article fits well with the Pope’s willingness to bless books written in Slavonic, since the practice of translating [essential Christian] texts into local languages served a well-established and long-standing missionary program, one that aimed far beyond the Slavs of Moravia. Through this politics, the papacy could regain control of territories that had previously been under the jurisdiction of Rome, yet had meanwhile fallen under the control of the Franks.In conclusion, the author challenges us to reread the Cyrillo-Methodian sources afresh, without any theoretical nor ideological bias, keeping in mind that these texts are primarily literary and ideologically inflected works, not historical sources.
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Talks with Svetozar Igov mirror the innermost spiritual autobiography of a scientist, his experience in/with literature. But “Svetozar Igov case” is not only a personal biografema. In it – differently – looking and spiritual biography of a generation in Bulgarian literature. This is a sign, symptomatic episode, it must be meaningful as such. Fraying will shed light on many other “improbable” cases. Although every fate is unique in its own way ... But in his case be removed fate of many of this generation whose personal destinies will remain “listed” and will sink into the darkness as “implausible” ... In the second, interpretive part of Antonia Velkova Igovs personality is a mirror in “high waters” of humanitarian thought, social psychology, cultural anthropology.
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The article interprets the communicative statute of “Smesna kitka” from P. R. Slaveikov take into consideration the communication strategies which actualize the choice of genre.
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The article explores Luben Karavelov’s novel “Turkish Pasha”, accepting that the text is a good illustration of the way Bulgarian literature from the period of the National Revival considers the sphere of the violent and the sadistic on the one hand and the nature of martyr-and-victim experience on the other. The emphasis is laid upon violence and the ritualization of torture, bodily violation in Karavelov’s novel which inevitably leads to analogies with works written nearly a century earlier, like for example “Justine, or the Misfortunes of Virtue” by Marquis de Sade, no matter how paradoxical these parallels may seem because of the different socio-cultural context and the receptive status of the authors. Both works are built upon the principle of “text within text”, in both cases the narrators are women and both works use the categorical apparatus of the Enlightenment discourse. The article considers the obvious intertextual closeness, yet it does not unfold as a typical comparative analysis, because above all it is interested in the attempt of Bulgarian literature to build its own model of making sense of violence and suffering, which without being totally different from the available European practices and concepts, has its own specificity because it is refracted through the prism of national identity. This model is studied on different levels: with respect to the nature of the sadistic subject (which coincides with the character of the Turk to the extent to which it is doubly negated - as a foreign invader and a figure with power, a tyrant), with respect to the object of sadistic violation (the victims are always young, virtuous, and innocent) and from the point of view of the ritualization of the punishments and the sexual aggression of the oppressor. The motif of incest is explored as an final phase of the regression of sadistic violation. This motif turns into the tragic culmination of Karavelov’s text. We can see in this motif not only the familiar folklore matrix (the meeting between the brother and the sister, who failed to recognize each other), but also the Revivalist concept of retribution because of the lack of memory. Karavelov’s characters are punished because they have forgotten who they are, because of their failure to preserve their national identity. The text spares only the nun, who tells the story about the endless Bulgarian sufferings, who describes the misfortunes of virtue, following the ideological point of view of the time that a happy ending is impossible under the yoke.
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The study of Teodor Trayanov’s “Hymns and ballads” (1912) attempts to restore the book’s authentic poetry which seemed erased forever by the proper styling in teleological perspective in 1929 (“The Free Man”) and later arbitrarily reduced by two works (1966 and 1981). Until now the interpretation of Teodor Trayanov’s poetry had been based on the 1929 canonical text, as well as on the unreserved confidence in the lyric entities - created later by the editors Lyudmil Stoyanov (1966) and Ivan Sestrimski (1981) – entities that were principally subordinated to given criteria and were a serious violation of the author’s will. The insoluble plait of representatives of Trayanov’s text and solid critical perception have found the incontrovertible idea of monolithic and misunderstood poetry where the dramatic double turns were excluded in advance. In this firm interpretative scheme of the book “Hymns and ballads” lies the unenviable place of a transition unit – it is called to mark the first symptoms of a more fresh and constructive attitude to the world. Relying entirely on the original edition of “Hymns and ballads” (1912) the present paper gradually enters in a text reality the structural basis of which is the poetical contrast: between neuropathologic decadence (Felix Dörmann) and Jugendstil (Richard Dehmel), between melancholy and ecstasy, between ominous intonation resembling Schopenhauer’s style and the intensive living along Nietzsche. The study shows that this “transitional” and plain book contains poetry representative of the period until 1912 in a manifest and clear way and brightly defined individualism and the expressionism born it its bosom. It suggests at least two stories to follow: surmounting the suffering I, the enthusiastic, irresistible, and vital WE, and the transfiguration of the ritual language into rude, expressive, and barbarian lexis. In this sense “Hymns and ballads” (1912) apostrophizes the idea of the frozen in Teodor Trayanov’s poetry, painfully revealing the dramatic way to modernity, which Trayanov experienced prematurely.
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The author quotes the annual speech of the general secretary of the Association of School and College Leaders John Dunford to address a growing concern in the British education. More and more the schools are forced to “teach to the test“ in order to achieve Government set goals, to satisfy Ofsted inspections and to climb league tables. As a result of that teenagers rely on small number of textbooks scripted by the exam boards and not on wide variety of sources at the expense of proper understanding of key subjects.
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About “Belyovski’s Uezd”, or Literature as Overcoming of Exile. Summary Key words: Literature in exile, national culture, traditions, models of literary development. In the article «On “Belyovskii District”, or Literature as Overcoming of Exile» by A.I.Chagin the problems of literary development in exile are being examined through the literary experience of the first “wave” of Russian emigration after the October revolution of 1917 (the 1920 – 1930s). Touching upon the discussions in émigré literary criticism of that time concerning the problem of opportunity for a national literature to exist in exile, the author demonstrates how faithfulness to the traditional roots of the national culture (to “Belyovskii district” – to a spiritual image of motherland, according to the allegoric expression by I. Bunin) gave to Russian émigré literature strengths not only to survive, but to unite as well in comprehension of its historical mission, its task to preserve, to save the national cultural, literary tradition. This idea lived in Merezhkovskii’s famous words: “We are not in exile, we are in message”. Appealing to the idea of succession, considering itself as a keeper of the traditions of Russian spirituality was connected for Russian émigré literature in many respects to opposition to the new situation in the sphere of culture in Russia at that times. In particular, obvious tendency of rejection of the classical tradition in Russia in the 1920s was considered by many émigré writers as “the new eclipse of Pushkin’s sun”. Besides, the author of the article cites the extracts from the speeches by D. Merezhkovskii and Z. Gippius who raised sharply the question of absent freedom of speech in Russia and asserted that it was emigration which “has given for the first time a free speech to Russians” (Z. Gippius). The author emphasizes the idea of relativity of these – absolutely natural – judgments, these apprehensions of destiny of Russian culture at the far motherland and reminds that two incomparable points were equalized here: a freedom of speech as one of the laws of a state – and a freedom of creative work, i.e. a freedom of spirit which is connected, certainly, to a freedom of speech and depends on it, but isn’t restricted with its limits; in fact it is born, first of all, by a scale of a personality, of a talent. And in spite of the fact that the writers in soviet Russia had to assert their freedom of spirit in absence of a freedom of speech and all the rest kinds of freedom – still we know that the representatives of the elder generation О «Белёвском уезде», или Литература как преодоление изгнания (such as Korolenko, Akhmatova, Mandelstam, Pasternak, others) hasn’t sacrificed their freedom of spirit. There is one more significant reservation in the article which is connected to the situation with a freedom of creative work in Russia abroad.
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For a profound understanding of the Cervantes’ “The Ingenious Gentleman Don Quixote of la Mancha”, from the viewpoint of genre characteristics, it is necessary to trace the traditions of epic narrative leading to the formation of the main peculiarities of this classic of Western literature, considered to be the first modern European novel. The best approach to the Cervantes’ novel is when it is considered as an extremely heteroglossic text, as an organic synthesis of all the genres fashionable in late Renaissance or early Baroque era, including the carnivalized folkloric forms and motifs. Not only the world outlook and code of values of the Knight of the Sad Countenance but as well the whole fabric of Cervantes’ novel in closely interwoven in the intertext of Renaissance literary system. The traditions of different genres, first of all chivalric and pastoral romance in prose and verse and picaresque novel are organically interrelated and linked to the central theme. The forms of parody and satire in Cervantes’ novel, demythologizing attitude to the chivalric can be regarded as a transformation and further culmination of the ironic tone first revealed in Matteo Boiardo’s romance “Orlando Innamorato” and much more evident in Ludovico Ariosto’s heroic-comic romance epic “Orlando Furioso”. Ariosto’s form and style inspired Cervantes by its play spirit, by constant hovering “between the mock-heroic and pathetic” (J. Huizinga. HOMO LUDENS. A Study of the Play-Element in Culture. Redwood Burn Ltd , Trowbridge and Esher, 1980, p. 181).
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On the Mount Athos 86 Georgian manuscripts are preserved. They are dated by X-XV centuries and are not fully investigated. Among them – hymnographical – liturgical collections – Tropologions, Menaia, Triodions, Parakletikes, Heirmologia are represented. In these collections the vast repertoire of Byzantine hymnography is preserved with the Georgian hymns. Georgian manuscript – Ath. 85 is discussed in the article. The manuscript represents Hirmologion – collection of the Hirmoi. According to the colophons the manuscript was created at the end of the X or in the beginning of the XI century by the persons who were in touch with Tornike Eristavi - the famous Georgian Commander-in-Chief, who has successfully fought for defence of Byzantine Royal Court and gained the Victory. In these colophons Jojik Eristavta Eristavi is mentioned with honour. This person is almost unfamiliar to Georgian History. According to these colophons Jojik Eristavi was one of the authorities at the same age. It is remarkable that Jojik Eristavi represents one of the personages of the poem “Tornike Eristavi” created by Akaki Tsereteli in the XIX century. According to the poem he has actively fought in the war against Barda Scliaros – against Byzantine Royal Court. Georgian Army had a great expectations about him. He was the one who solved the war Faith. The precise discription of historical reality is given in the Akaki Tsereteli’s poem.
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(Stephane Sananoisdze – Chqondideli) Summary Key words: Stephane Sananoisdze – Chkondideli, hymnography, St. Stephen the first martyr. Georgian hymnographers of the 10th century create “Golden Age” in the history of Georgian hymnography. Among them there is Stephane Sananoisdze whose creativity has been less studied in scholarly literature. According to Academician K.Kekelidze, Stephane Sananoisdze must have lived and created in the 10th century or in the last quarter of this century (Kekelidze 1960: 180). The name of this hymn-writer is mentioned with great respect in the decree of Ruis- Urbnisi Church Council. Under Stephane Sananoisdze’s name two hymns included in Michael Modrekili’s collection of hymns “Iadgari” (978-988) have been preserved. The first of them is devoted to the festivals of our Lord: the Baptism of Christ and commemoration of the saint martyr Abo Tbileli and the second one - to Stephane the first martyr. The hymns were published by P. Ingorokva (Ingorokva 1913: 135-142). As is seen, Stephane Sananoisdze was also engaged in translational activity. Several of his translations are indicated in scholarly literature. They are: “Akathistos” to the Virgin, “The Life of Theoktiste of Lesbos” and Gregory of Nyssa’s “The Praise to Saint Stephen the First Martyr”. These translations have not yet been published and studied. According to the data of a well-known 11 th -century Georgian scholar, Ephrem Mtsire, Stephane Sananoisdze also had other translations which have not yet been revealed. According to the data came down to us, we must suggestion that Stephane Sananoisdze was an extremely important figure, less known today. His creative works require monographic study. In our view, while determining Stephane Sananoisdze’s period of activity the following circumstance is to be taken into account: Stephane Sananoisdze’s hymn preserved in Michael Modrekili’s “Iadgari”, which is dedicated to the Baptism and St. Abo, the following title is supplemented: “The Blessed Stephane Sananoisdze - Chqondidi . Christ, great mercy to their soul”. According to this title by the time of compilation of the collection (978-988) Stephane Sananoisdze had already died. This fact does not change the circumstance that he must have been a scholar of the 10th century. This is also evidenced from the language of his hymns – classical, perfect old Georgian which is typical for great Georgian hymn-writers of the 10th century. Stephane Sananoisdze’s hymns rank among the most perfect specimens of the old Georgian ecclesiastic poetry. They represent a blend of author’s deep theological education and artistic skill. Another obvious sign characteristic to a great artist is compositional wholeness of his hymns and sequence of thought - multifaceted understanding of one theme.
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