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The text attempts to reconstruct the beginning of the Bulgarian heroic epic. The author believes that the structure of the author‘s epic was invented by Hristo Botev and was later extended by Ivan Vazov. Vasil Levski‘s figure is met in both poets, but while Vazov writes the live of the Deacon like a saint, Botev carries out his literary canonization according to all ritual procedures and turns it into the Bulgarian Jesus.
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The year 1898 marked the first jubilee of Vasil Levski – 25 years since his hanging. The dynamics of political processes in liberated Bulgaria at the time present a rather interesting and particularly complex picture against the background of which this event unfolded. The stereotype of jubilee celebrations was yet to consolidate and this particular occasion – the anniversary since the death of the Apostle of freedom – makes visible the deep political contradictions inherited from previous historical realities. The manifestations of these contradictions can be seen in the press in 1898.
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The paper examines for the first time the initial reception of Vasil Levski’s image and significance in the British daily and weekly press in the period 1867 – 1908. Commencing with a curious case of the first appearance of his name in the British press, the paper focusses further on press contributions reporting on a series of Bulgarian state ceremonies and commemorative events that, on the one hand, function as rituals of state iconisation of the Bulgarian national hero Vasil Levski and, on the other hand, exploit his high status for political purposes. In its final part the paper presents the first critical voices in the British press against the political instrumentalisation of Vasil Levski’s image in Bulgaria.
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The essay attempts to juxtapose and analyze the divergent and often contradictory stories accompanying Vasil Kunchev’s path into and out of monasticism, his subsequent religiosity, and his Christian consciousness. It outlines the image of a man experiencing doubts and inner conflicts but preserving his faith. His letters and proclamations clearly reveal how the knowledge of Christianity he had received and his life of faith shaped his revolutionary philosophy.
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The present paper entitled “Exaltaions about Name: or, Two Contemporary Anthologies Dedicated to the Apostle and Beyond Them” comments the existence/non-existence of interest about the historical figure and life's work of Vasil Levski as a thematic field in Bulgarian poetry in the last few years. The observations, made on the basis of separate works of art, books and virtual sites, are a scientific attempt to outline the profile of current trends. These trends are combining aesthetic and socio-political attitudes towards the figure of the Bulgarian national hero.
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Bosniak literature in Ottoman period testifies to the case of how socio historical circumstances, which¸determined existence of Bosniaks as nation during the period of more than four centuries, did not cause¸cultural de-identification or ethnic assimilation of islamicized Slavs into the Orient. The sense of Slavic ethnicity remained present during the entire rule of Ottoman empire, which created and maintained¸specific, indigenous, Slavic-Islamic identity of Bosnian Muslims – Bosniaks.¸However, it should be emphasized that the affirmation process of the Slavic component of Bosniak¸identity in Ottoman period was not the result of organized strategy or prepared national or cultural¸program, but more instinctive, affective reaction to the socio-historical circumstances of national¸survival. Concrete activities in reference to the aformentioned process, started at the time of Austro-¸Hungarian occupation with Mehmed-beg Kapetanovic Ljubusak who was the first amongst Bosniak¸authors to separate ethnic and religious identity.
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The topic of Franciscanism in literature is not reserved solely for Ivo Andric (although ‘Andric’s Franciscans’ have been extensively written about within literary criticism), nor is it reserved for Croatian literature in general. This work, from imagological prospective, offers the reading of fifteen texts from modern Bosniak literature that vary in genre and which remember Bosnian Franciscans – historical personalities (Anđeo Zvizdović, Matija Divković, Juraj Dragišić, Ivan Frano Jukić, Grgo Martić, Matheus Bartl (Mato Banjalučanin), Miroslav (Tomislav) Filipović / Majstorović, Ljubo Hrgić, Ivo Marković), but which also offer an image of Bosnian Franciscanism, in Bosniak visure. It has been shown that the ideas and images of Bosnian Franciscans in poems, short-stories, novels and dramas of Bosniak literature are mainly positive, but even when they’re not – they are understandable and expected if one bears in mind the questions that are the subject of imagological consideration of the text: WHO, TO WHOM, WHEN and HOW is one speaking. The work concludes that between several views of the ethnic (cultural) identity being realized (also) in literature (from Karahasan’s garden to Lovrenović’s rainbow colours to Spahić’s “poetry of kaleidoscope”) it is not impossible to talk about all of them within one text i.e. about Bosniak literature at the same time and that Bosniak authors too are meritorious for the symbolical imaginarium of Franciscanism within the identification fields of Bosnian-Herzegovinian literature.
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The academic discipline of the history of religions is intrinsically interdisciplinary, and perhaps in a position to contribute particularly useful insights to the dialogue across academic boundaries. This essay is intended to present a very thin slice of cultural responses to our contemporary condition, and to suggest a few possible resources for analysis of them.
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İnsanı, diğer varlıkların üzerinde istisnai bir özne olarak gören Hümanist bakışa tepki olarak doğan posthümanist düşünce, insanın varoluşsal kimliğini sorgular. Edebiyat, sosyoloji, felsefe, siyaset bilimi ve medya çalışmaları gibi birçok disiplinle ilintili olan Posthümanizm, insana dair yeni bir anlayış getirir: insan artık Hümanizm’in parolası olan ‘bütün şeylerin ölçüsü’1 ve efendisi değil, evrenin sıradan ve mütevazı bir üyesidir. Hümanizmanın sorgulanması Friedrich Nietzsche ve Max Stirner gibi felsefecilerle 19. yüzyıla kadar götürülebilir; ancak toplumsal karşılığını bulması, İkinci Dünya Savaşı’ndan sonra özellikle de altmışlı yıllarda, feminizm ve ırkçılık karşıtlığı gibi hareketlerle birlikte postmodernitenin kendini göstermesiyle gerçekleşir. “Bu hareketler Batı demokrasisi, liberal bireycilik ve herkes için sağlandığı iddia edilen özgürlüğe dayalı Soğuk Savaş belagatinin yavanlığına meydan okumuştu” (Braidotti 27). Bunundevamında seksenli yıllardan itibaren ortaya çıkan Hümanizma karşıtı fikirler bileşkesi olan Posthümanizm, insanların Rönesans’tan beri etik anlayışların tek yapıcısı, temsilcisi ve uygulayıcısı olduğu kavramına karşı çıkar. “Aslında Posthümanistler, teknoloji yönelimli geleceğimizde dünyayı ahlaki bir hiyerarşi olarak anlamanın ve insanı da bunun tepesine yerleştirmenin artık bir anlamı olmadığını iddia ederler” (ethics).
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Rönesans ve sonrasında Batı düşüncesinde etkin bir felsefi söylem olarak kendine yer edinen Hümanizm, Orta Çağ Hristiyanlığının “Tanrı merkezli bir varlık ve toplum tasavvuru” (Evkuran 39) olan teosentrik dünya görüşünün reddedildiği ve odağını Tanrı’dan insana kaydıran “homosentrik paradigmayı”1(Best ve Keller 180) ifade etmektedir. Nicola Abbagnon’un tanımlamasıyla “hümanizm insanın değerini kabul eden; onu her şeyin ölçütü olarak tanımlayan, insanın doğasını, yetilerinin ölçüsünü (sınırlarını) ya da ilgilerini konu edinen bir felsefedir” (763). Aydınlanma ve Modernite ile birlikte düşünsel zirvesine ulaşan hümanizm, insanları Tanrı’nın vesayetinden kurtararak, seküler değerlerin benimsenmesini, teknolojik egemenliği ve bilimsel akılcılığı teşvik eder. “Batı medeniyetinin seküler ve rasyonel doğrularını bariz bir şekilde yansıtan” (Davies 9) hümanizm, insan-dışı yaşam biçimlerinde olmadığını iddia ettiği temel bir insan özünde ısrar eder. Dolayısıyla, hümanizm ve ona eşlik eden kapitalist düzen Ben / Öteki, Erkek / Kadın, Doğal / Yapay, İnsan / İnsan Olmayan vb. ikili karşıtlar yaratır. Egemen aklın öznesine dayanan bu karşıtlıklar posthümanist söylemde eleştirilmektedir. Çeşitli anlam kalıplarına açık, “birden fazla ve birbiri içine geçmiş” (Ağın 1) anlamlara sahip bir kavram olan posthümanizm, hümanist söylemin iddialarını kabullenmeyi reddederek, hümanizmin hegemonyasına meydan okumayı ve onu dönüştürmeyi amaçlayan bir dizi eleştirel söylemler bütünüdür. Gülnur Güvenç’e göre “posthümanizm, hümanizmin neden olduğu bunalımları açıklayan, düzenleyen veya bunlarla başa çıkmaya yönelik fikirler içeren bir şemsiye terim olarak kabul edilir” (49). İkili karşıtlıkları aşma yönünde, insanı fiziksel ve ontolojik olarak değişime uğratan gelişmiş teknoloji kültürüne posthümanizm de özel bir önem atfetmektedir. Posthümanizmin doğayı ve ekolojiyi de kapsayan tekno-bilimsel felsefesi, artık saf olmayan ve teknolojiyle dönüştürülmüş özneler üzerinde durmaktadır. Andy Miah’ın da belirttiği gibi, “teknolojik değişim posthümanizmin çağdaş temsillerinin bir merkezi haline gelmiştir” (271). Bu atfedilen tekno-kültürde organik ve doğal olmayan “insan/makine, hayvan/organizma/insan, fiziksel/fiziksel-olmayan melez” dönüşümler gibi “posthuman’daki ‘post’ ön eki insanın sınırlarını aşan hem ‘sonra’ hem de ‘öte’ anlamını işaret eder” (Buran 126). Bu bağlamda posthümanizm insanın tarihsel bir eleştirisinden yola çıkarak hümanizm sonrası döneme önceliğini verir ve teknolojinin dönüştürücü etkisini de göz önünde bulundurur (Yeşilyurt 9). Anti-hümanist, feminist ve postmodern düşünürlerin fikirleri ekseninde gelişen posthümanizmin özünde yatan niyet, hümanizmin insanlığa dayattığı totaliter büyük anlatıları parçalayarak, onları çeşitlilik ve akışkanlık fikirleriyle değiştirmektir. Bu özellikleriyle posthümanizm klasik hümanist kavramların eleştirisini yapan, yüksek teknoloji kültürünün dönüştürücügücüne vurgu yapan postmodern bir düşünce olarak da kabul edilebilir.
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The foundations of the Kurdistan Region of Iraq (KRI) were laid in 1991 and what started as a form of de facto autonomy became official in 2005, being enshrined in the new Iraqi constitution. This brought major changes to how Kurdish people were socialized in the newly established Kurdish region. A new generation was born in this decisive period during the 1990s that has now grown up to be citizens of the Kurdistan Region and Iraq, with the cohort of people under the age of thirty constituting most of the country. The systematic changes of governance in Kurdistan and Iraq in 1991 and 2003 have led to a situation in which the members of this cohort were politically socialized much differently than their parents.
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Mexico-United States migration research rarely use the concept migrancy and migration analysis has often used migrancy “out of context”. By reviewing the usages of migrancy, I argue that migrancy is better understood as the embodiment of the experience of migration. I reason that the experience of migration is best captured through intersectional analysis. By addressing gender, ethnicity and class, migrancy can recapture migrant agency and bridge the gap between micro and macro analysis. Within the Mexico-United States migratory field, I argue that migrancy is a powerful concept that addresses the structuring forces that shape migrant experiences without sacrificing migrant agency.
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Ayoub and Malika Amrani are husband and wife, former farm workerswho, for many years, came to France on OMI contracts to do seasonal work for a farmer in the Bouches-du-Rhône area. In the early 1970s, the young woman’s father and uncle, fellahs2from the Moroccan Prerif who had emigrated to the city, found a contract in the city of Grans, on the Crau plain, and gradually “sponsored” the next generation of migrants. In 1990, when Malika was recruited to join them, there were about ten family members already working on the farm. Though she was formally employed as a farm worker, she actually worked as a “servant” for the farmer and his family. Against the advice of her employer, who wanted nothing to distract her from her work, she got married and held a big wedding in Fez, to which her employer was invited. Ayoub, her husband, was recruited to work in the orchards. As a newlywed, Malika had more and more trouble accepting the abuse and bullying her parents had endured until then. She became increasingly opposed to her employer. 2000 marked a breaking point, when Ayoub fell from an apple tree and was seriously injured. His pelvis was fractured. Their employer was reluctant to report it as a work-related accident. The couple stood up to him, and the following year, none of the family’s contracts were renewed. It was a form of retaliation. It was a collective punishment, as if to remind the migrants that they were bound to their employer by the same duty of loyalty. This incident would have lasting consequences on Malika’s relationship with her family, who accused her of being selfish. In the meantime, Malika became a prominent figure in the movement to defend seasonal migrants’ rights, almost in spite of herself. Her story was the subject of several articles in the media and was taken up by the Collectif de défense des travailleurs agricoles saisonniers (Collective for the Defense of Seasonal Agricultural Workers) (CODETRAS).
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Around the mid-1380s, John Gower, finishing his long poem Confessio Amantis, shared that fact with his friend Geoffrey Chaucer. In response, he told him about his new poem The Legend of Good Women, or – as he called it – The Seintes Legende of Cupide, on which he had started work at the same time. The article systematizes and analyzes the mythological and literary tradition of the Thracian princess Phyllis and her misfortune and tragic love with Athenian prince Demophon in the context of Chaucer’s The Legend of Good Women and Gower’s Confessio Amantis. Both poets followed the general framework set by Ovid in his Heroides (Ep. II and Ep. XIV), but with the deformations inherent to their own era and their own moralising purposes. Their versions, however, differ substantially in some significant details. The comparative analysis of the two works reveals the alternative sources that the two poets used in their works, as well as the deviations from and innovations to the ancient and medieval mythological and literary tradition. Obviously, both Geoffrey Chaucer and John Gower interpreted and adapted intentionally alternative sources that enriched their works with eclectic, intricate and artificial intertwining of details, aimed at building and perfecting their insights into the ethics of courtly love.
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In the middle of the 19th century, a large number of Bulgarian Renaissance scholars, which included Ivan Seliminsky, Petar Protich and Gregor Parlichev, created poetry in Greek. The works which are presented by the three Hellenists in the present study are a valuable a source for some of the characteristic features of the Balkans, as well as the language characteristics and the particular style from each of them. P. Protich’s satire focuses on the dangers hidden in Hellenistic phenomena of the Balkan intelligentsia. The poems of Greg. Parlichev are distinguished for their rich poetic language and describe the struggle for liberation from the centuries long yoke of slavery, while Iv. Seliminsky presents events in Wallachia since the middle of the 19th century. In the life and spiritual attitude of these three Hellenists there is something very common – they attend Greek schools, they study at the University of Athens, live and work for the political and spiritual regeneration of the Bulgarian people.
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The paper discusses Colin Thubron’s book Behind the Wall: A Journey Through China – one of the most popular twentiethcentury travelogues about this country. It explores the various ways in which the author constructs the image of the Chinese people, especially when these images are related to China’s recent history. More specifically, I focus on a discursive phenomenon – an imagined “return of history” – which the reader can witness throughout the book. The author constantly travels around the country, expecting to somehow see the history he has heard so much about at home. He expects something from China and is prepared to see this ‘something’ even in the face of the evidence. At the same time he feels he has every right to pass judgments on what he perceives as history, while denying the Chinese he meets the right to comment on British history.The paper discusses Colin Thubron’s book Behind the Wall: A Journey Through China – one of the most popular twentiethcentury travelogues about this country. It explores the various ways in which the author constructs the image of the Chinese people, especially when these images are related to China’s recent history. More specifically, I focus on a discursive phenomenon – an imagined “return of history” – which the reader can witness throughout the book. The author constantly travels around the country, expecting to somehow see the history he has heard so much about at home. He expects something from China and is prepared to see this ‘something’ even in the face of the evidence. At the same time he feels he has every right to pass judgments on what he perceives as history, while denying the Chinese he meets the right to comment on British history.
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This paper discusses the reasons why Gibran Khalil Gibran’s book “The Prophet” has become a world literary phenomenon with more than 9,000,000 copies sold in America, as well as the influence of Al Mustafa’s messages on counterculture formation and New-Age movements in America in the 1960s. Although the work has not been well received by the academic community in America and was not highly rated by literary critics, because of its simple style, the short form of poetic essays and the symbolism used make the Prophet’s messages easily reach the heart of the American youth seeking the way to the spiritual without being obliged to obey the dogmas of organized religions.This paper discusses the reasons why Gibran Khalil Gibran’s book “The Prophet” has become a world literary phenomenon with more than 9,000,000 copies sold in America, as well as the influence of Al Mustafa’s messages on counterculture formation and New-Age movements in America in the 1960s. Although the work has not been well received by the academic community in America and was not highly rated by literary critics, because of its simple style, the short form of poetic essays and the symbolism used make the Prophet’s messages easily reach the heart of the American youth seeking the way to the spiritual without being obliged to obey the dogmas of organized religions.
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Wine in China has a long history which can be traced back to about 4000 BC to the period of the Neolithic Yangshao culture. In 1979 archaeologists excavated a grave of the Dawenkou culture in Shandong Province where they found a set of about 100 wine making vessels from 5000 years ago, including vessels for wine boiling, fermentation, storing and drinking. After issuing of the first anti-wine regulation in the Chinese history from the first ruler of the Western Zhou (1046–771), from the period of the Han dynasty wine industry registered a boom. Under the Sui and the Tang dynasties, wine making continued to develop, private production was no longer limited and ordinary people could make and sell wine freely.
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The project "EVERYTHING IS VERY NORMAL - DIALOGUE WITHOUT TABOOS." is organized by the Replika Cultural Association and co-financed by the National Cultural Fund Administration - AFCN.
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Dans l’article « Le paratexte, l’incipit et la clôture narrative dans le roman policier Maigret se trompe de Georges Simenon » nous cherchons à découvrir les éléments paratextuels (titre, nom de l’écrivain, incipit, clôture narrative, etc.) que Georges Simenon, l’un des plus grands auteurs de romans policiers, père du fameux commissaire Maigret a choisi d’utiliser dans son roman, dans le but d’augmenter l’envie des lecteurs pour acheter son livre. Tous ces éléments ont le rôle d’offrir au lecteur les premières informations sur le livre qu’il a choisi pour lire, en l’aidant à se situer dans une perspective adéquate, « puisque s’y conjuguent la reconnaissance d’une appartenance d’un livre à un auteur (et à l’ensemble d’une œuvre) et la mise en relation de l’ouvrage à la personnalité historique que désigne le nom » .
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