LITERARY TRANSLATION AS SIGNIFICATION AND COMMUNICATION

Author(s): Oana Florina Avornicesei / Language(s): English Issue: 1/2012

Analysing translation along the coordinates of signification and communication means putting it into a semiotic perspective. The aim of this paper is to bring together in a coherent analysis the elements which define translation both as a system of signification and as a process of communication. The two key-words, system and process, are meant to define the nature and the role of the meaning. Meaning is the stake of any act of translation: finding it in a text with a view to conveying it into another text and, beyond it, to the readers, within certain contexts. Semiotics offers the necessary analytical framework which allows the translation theoretician to regard in an integrated manner both the system of meaning creation and the process of its conveyance.

Nino De Vita: poezja sycylijska między dialektalnością a zwierzęcością

Author(s): Paulina Malicka / Language(s): Polish Issue: 2/2016

The purpose of this article is to draw attention to the issue of human‑animal relationships in contemporary works of poetry and prose by Nino De Vita (b. 1950) – a Sicilian born in Marsala, for whom the local dialect of Cutusiu contrade becomes the language of expression. The author leaves out of his writings anthropocentric models and introduces into them narratives concerning various forms of life marked by common and indivisible history. Both animal and human characters share similar fates, experience the same emotions, reciprocate feelings, suffer and feel fear. Still, what unites the human and animal world most is the language, or rather the dialect, of Marsala – a common channel of interspecies communication. The expression of the animal nature in people who wish to most spontaneously and sincerely express their own emotions and moods, resorts to dialectal sound, the mother tongue, characterized by great intimacy but also violence. Finally, the dialectality and animality of Nino De Vita’s work involve going beyond the boundaries, tracking and leaving traces as well as marking the territory for fear of loss and being left. This poetry is written in the name of ‘another him’ and for him.

(РА)СТВАРАЊЕ PERSONAE DRAMATIS У МАГБЕТУ ЕЖЕНА ЈОНЕСКА

Author(s): Katarina Z. Milić / Language(s): Serbian Issue: 57/2015

Dans ce travail nous offrons les résultats de l’analyse des concepts dramatiques contemporains par rapport au théâtre dit traditionnel, et nous prêtons attention surtout au statut du personnage dramatique, vu que celui-ci est l’un des éléments inévitables dans la structure dramatique. Notre but est de présenter des tendences singulières du théâtre de l’absurde (le degré zéro du théâtre), et plus particulièrement la création des personnages dramatiques en tant que des figures disséminatives, mais aussi d’indiquer leur rôle dans le théâtre contemporain et leur rapport avec les contraintes structurales de celui-ci.

О восстановлении памятника матери Ф. М. Достоевского на бывшем Лазаревском кладбище в Москве

Author(s): Pavel Evgenyevich Fokin / Language(s): English,Russian Issue: 1/2017

Maria Fyodorovna Dostoevskaya (nee Nechaeva), mother of the great writer, died on March 11th (February 27th), 1837. She was buried at the first public graveyard in Moscow — Lazarev cemetery, the largest one until 1917. In the 1930s this cemetery was ravaged, and the writer’s mother’s remains were subjected to a barbaric exhumation. The tombstone was kept for a long time in the cellar of the State Literary Museum. The given article covers the history of reconstruction of the tombstone of M. F. Dostoevskaya. This cultural and historical event occurred on March 11th, 2017 in the territory of the former Lazarev cemetery in Moscow, near the Holy Spirit Temple. The reconstruction of M. F. Dostoevskaya’s grave is not only the reconstruction of a place of memory of the Dostoevsky dynasty, but is also evocation of recollections of all the buried in the destroyed Lazarev cemetery.

ПАУЛО ФРЕИРЕ И АУГУСТО БОАЛ: ПЕДАГОГИЈА И ПОЗОРИШТЕ KAO СТОЖЕРИ РЕВОЛУЦИЈЕ

Author(s): Ivana Bančević Pejović / Language(s): Serbian Issue: 59/2016

The Brazilian educator Paulo Freire (1921-1997), and the Brazilian theatre director Augusto Boal (1931-2009), met in 1960 in the poorest part of Brazil and immediately recognized each other as comrades engaged in the same task of conscientization (conscientização) of the oppressed. Hence, the titles of their famous books are Freire’s The Pedagogy of the Oppressed (1968) and Boal’s The Theatre of the Oppressed (1973). It should be noted that this term, or rather its French equivalent, conscienciser, was first used by Frantz Fanon in his book Black Skin, White Masks (1952) and that for these three authors conscientization represents the key method for both the physical and the mental liberation of the oppressed. Another author, Ng g wa Thiong’o, calls it the key strategy for decolonizing the mind. This essay explores the interaction between pedagogy and theatre in education, used for the conscientization of the oppressed by enabling them to critically interpret reality. Freire and Boal share the conviction that pedagogy and theatre can play the most important role in bringing about a revolution that would, before all, establish social justice in the world. After the military coup in 1964, when dictatorship was established in Brazil once again, both Freire and Boal spent many years of their lives in exile. This fact testifies to the power of their ideas, recognized at once as a major threat to the dictatorship. They continued their work on conscientization in neighboring counties of Latin America, Freire in Chile, and Boal in Peru. Combined with Liberation Theology, as part of various experiments in liberation undertaken throughout South America, their work has proved to be very effictive and inspiring.

SOCREALIZM SKONSUMOWANY. WYKORZYSTANIE DYSKURSU SOCREALIZMU W POP-ARCIE I WSPÓŁCZESNEJ KULTURZE POPULARNEJ

Author(s): Elżbieta Kal / Language(s): Polish Issue: 5/2016

The article is an attempt to analyse how the code of social realism was used in two areas not necessarily but rather intertwined: in the artistic area, in the iconography of pop-art in its strategy of transforming pop-culture and industrial signs as well as in the commercial area, in the advertisement, mass entertainment and activity of places uniting consumption with play.In her analysis the author reminds J. Baudrillard theory of cultural consumption “as a practise of manipulating signs” and Ch. Pierce “unlimited semiosis” and U. Eco as well as various different concepts of memory (including that of J. Baudrillard). The text ex- plains the essence and features of Social realism reigning in the arbitrary way in Poland in the period 1949-1955 often wrongly associated with the full period of Polish Peoples Republic existence (1949-1989). The use of social realistic elements in pop-culture can be seen as a final defeat of communist doctrine that included contempt for commercial- ism and banal entertainment identified as bourgeois Western culture features. The con- tradiction results from the idea that social realistic works were supposed to appeal to the masses yet should also have easily readable form and also very high artistic quality. In the text there are examples of social realistic slogans and motives from the paintings, sculptures and posters in the modern promotional campaigns of cosmetics, in computer games, in advertisement as well as in the gadgets, restaurants and entertainment venues etc.From the earlier artistic inspirations and transformations (consumptions) of social re- alism the text includes several examples of pop-art artists’ works: A. Warhol, T. Wessel- mann or R. Lichtenstein, and also examples of the works of the artist from the German movement called capitalistic realism like K. Lueg, G. Richter, S. Polke and others. Modern popular culture and commercial mass entertainment exploit art on its own terms and both social realism and pop-art nurture popular and mass culture.

Старите български занаяти – в търсене на чешки преводни еквиваленти

Author(s): Mariya Rakova / Language(s): Bulgarian Issue: 1/2017

The aim of this paper is to analyse the translation procedures, which were used in the translating of Radichkov’s novel Страх and Chajtov’s short story Когато светът си съ- буваше потурите into Czech language. The main difficulty which the translator faced was how to transfer the dialect lexemes. In translatology it is not recommended to substitute one dialect for another, so these elements must be compensated by another means of expression which transfers the functions of the dialect lexemes.

Русский за рубежом: язык и функции

Author(s): Suren T. Zolyan / Language(s): Russian Issue: 1/2017

We discuss the main issues connected with the functioning of the Russian language abroad. Language is considered as a multidimensional entity, this implies a multiplicity and complementarity of its social statuses and sociolinguistic functions. The special attention is drawn to the role of the Russian language in education and its possible ability to integrate some cultural and civilizational areas.

Поетът като критик. От „На острова на блажените“ на Пенчо Славейков до „Около една стара песен“ на Димчо Дебелянов

Author(s): Svetozar Lyubomirov / Language(s): Bulgarian Issue: 3/2017

In the article is considered the problem for the place of literary criticism, history and theory in literary studies. It’s developed the thesis that we should follow the principle ‘from author to author’, so it can be differentiated thematic-problematic circle: biography – critics arguments of the author – literary text. For this purpose is given a meaning to the anthological and critical thinking of Pencho Slaveykov in ‘On the Isle of the Blessed’ and in the essay of Dimcho Debelyanov ‘About an old song’, poses the problem for dedication to the art.

Портфолио на художествената творба – интерактивна технология за развиване на литературни и социокултурни компетентности в обучението по български език и литература

Author(s): Kostadinka Hristova / Language(s): Bulgarian Issue: 3/2017

За първи път на български език: "Еротика" на Иван Цанкар

Author(s): Mariya Russeva / Language(s): Bulgarian Issue: 02/2016

Правила о черноризцах в Кормчих книгах и сборниках

Author(s): Galina S. Barankova / Language(s): Russian Issue: 1/2017

The article is devoted to the “Rules for monks” who are part of the Kormčaya and of Old Russian miscellanies. The earliest copies of the Rules are contained in a miscellany of the late 12th – early 13th century (Russian State Library, collection of the Trinity-Sergius Lavra, № 12) and in the Novgorod Kormčaya of 1280 (GIM, Synodal Collection, № 132). The different redactions of the Rules are determined and the general principles according to which the Rules were reworked in the Novgorod Kormčaya are defined. The article also presents the long history of this text in Old Russian miscellanies.

Някои бележки за един гръцки ръкопис от ХIV век

Author(s): Darinka Karadžova / Language(s): Bulgarian Issue: 1/2017

A Greek manuscript from the 1340s and the middle of the 14th century has been preserved in the rich archives of the National Library in Sofia (NLCM, Gr. 25). The manuscript contains valuable marginalia of a cultural and historical character. According to some of them the manuscript is connected to the history of the Great Lavra and the Koutloumousiou Monastery on Mount Athos during an extremely important period of the literary and artistic processes in the general Balkan and South Slavonic manuscript literature. Codicological criteria, such as the outer appearance of the book block and the wooden covers, the ornaments and characteristics of the leather wrapping them, the leather imprints on the y-leaf, etc., as well as the data in one of the marginalia, point to an early book binding from the first half of the 16th century preserved to this day. The book binding shows highly artistic craftsmanship and was most likely made by the bookbinding workshop of Serres, whose bishop Gennadius bought the manuscript from Koutloumousiou in order to give it to Kosinitsa Monastery. Such facts are valuable evidence regarding both the particular types of binding and techniques of decorating the leather cover of Greek manuscript books during the mentioned period and the models that the Bulgarian bookbinders would eventually borrow.

Международна научна конференция Св. Климент Охридски в културата на Европа (София, 25 27 ноември 2016)

Author(s): Neli Gancheva,Tsvetomira Danova,Lyuba Ilieva,Iveta Rasheva,Kamen Stanev,Iva Trifonova / Language(s): Bulgarian Issue: 1/2017

Из „Психоанализа на вълшебните приказки“

Author(s): Bruno Bettelheim / Language(s): Bulgarian Issue: 17/2016

Bettelheim writes about the emotional and symbolic importance of fairy tales for children, such as those collected and published by the Grimm Brothers. Bettelheim thought that by engaging with these socially evolved stories, children would go through emotional growth and this would better prepare them for their own future life. The text „The Child’s Need for Magic“, part of the first section „A Pocketful of Magic“, outlines Bettelheim's thoughts on the value of fairy tales for children. The author demonstrates a correspondence between the fairy-tale world and the experience and thinking of children. The second part, „In Fairy Land“ presents psychoanalytical readings of several popular fairy tales. In „Hansel and Gretel“ and „The Sleeping Beauty“ Bettelheim suggested that traditional fairy tales, with the darkness of abandonment, death, witches, and injuries, allowed children to grapple with their fears in remote, symbolic terms. If they could read and interpret these fairy tales in their own way, he believed, they would get a greater sense of meaning and purpose.

Цариградските българи, Марин Дринов и въпросът за седалището на Българското книжовно дружество преди Освобождението

Author(s): Plamen Bozhinov / Language(s): Bulgarian Issue: 1-2/2015

The study traces the contacts of the founders of the Bulgarian Literary Society (BLS) Marin Drinov and Vasil D. Stoyanov with the Bulgarian community in Istanbul, where a significant Bulgarian literary, spiritual and political center was formed after the 1840s. Ever since the BLS was founded in Braila in 1869 there was the idea to move its head office to some central town in Bulgaria or to Istanbul in order to be closer to the people and to better meet their educational and cultural needs. This plan remained unfulfilled until 1876 because of the opposition of the revolutionary emigration in Romania and the dissent of the Bulgarians in Istanbul. Only after the Liberation BLS transferred its activity in Sofia, the capital of the Principality of Bulgaria, and thus it was under the new conditions that the original idea of its founders was carried out.

АНТОНИЯ ТРИФЕНА ОТВЪД АНОНИМНОСТТА В ЛИТЕРАТУРНИТЕ ИЗВОРИ

Author(s): Ruja Popova / Language(s): Bulgarian Issue: 22/2017

The theme of the last kings who ruled Thrace before it was officially annexed as a Roman province evoked new interest in the past several years. After the distant 1752, when F. Cary performed the primary systematisation of the Thracian dynastic history and linked the representatives of the Thracian and Bosporan dynastic homes, that last stage in the relative autonomy of the Thracian kingdom, as well as its link with the Northern Black Sea region, attracted sustainable research interest. A new – Sapaian – dynasty was introduced in circulation at the end of the 19th century, being defended or refuted over time, and relatively many stemmata presenting the genealogy of the last representatives of Thracian rule were constructed. An attempt is made in this text to look at that part of Thracian history through the image of a woman who had remained anonymous for the ancient authors, but has been amply attested through epigraphics and numismatics. Antonia Tryphaina is consistently represented in seven epigraphic monuments as the daughter of kings (Polemon I of Pontos and Pythodoris І), as Kotys’ wife and hence “herself queen”, as “mother of kings” next to her sons. In numismatics she is known from being presented as “queen” on coins dating from the period of her autonomous rule, as well as from her joint rule with her son Polemon. Antonia Tryphaina benefited from the privileges of her origin and marriage to become involved in the political life during the first half of the 1st century AD and to introduce her children into its intricacies. Being the representative of two ages, through the noble origin of her family from the Hellenistic/Hellenised Anatolia, she represented the declining Hellenistic tradition in Asia Minor. On the other hand, through the limitations that the desire to participate in the political life in her time imposed upon her, she was under the direct influence of the imperial family and turned into the ideal image of an amica populi Romani.

ЕВРИПИДОВАТА ТРАГЕДИЯ ХЕКУБА: МЕТАМОРФОЗА И РИТУАЛНО ПРОСТРАНСТВО

Author(s): / Language(s): Bulgarian Issue: 22/2017

The topic considered is the motive of regressive metamorphosis of the Trojan queen Hecuba as an essential element for the identification and reconstruction of the ritual space of dramaturgical eventfulness in Euripides’ tragedy Hecuba. Metamorphosis is considered generally as a non-traditional solution of the tragic conflict. One of the few known precedents is the lost Sophocles’ tragedy Tereus, which places the dramaturgical ritual space – on the analogy to Euripides’ tragedy Hecuba – in the mythological topos of the ancient Thracian world. These paradigmatic associations determine the specific functionality of ancient Thrace in seeking for theatrical Otherness of Athenian democracy and the ritualising of overcoming its own problems and conflict situations.

РЕЗОС – ЛИТЕРАТУРЕН ОБРАЗ ИЛИ ЛИТЕРАТУРИЗИРАНА ПРЕДСТАВА ЗА КОННИКА ХЕРОЙ НА ТРАКИТЕ

Author(s): Valeria Fol / Language(s): Bulgarian Issue: 22/2017

The paper analyses the written sources and the hypotheses expressed in favour or against a developed cult of Rhesos as a hero. The evidence on Rhesos shapes three images, each with its specificities. The idea of the Hero in Hellas and its “encounter” with the notion of the Thracians of the heroic are examined. Some authors accept that the image of Rhesos belonged to the Achaean mythological cycle. Most Bulgarian authors prefer the opinion expressed 100 years ago by W. Leaf, based on Cicero’s evidence (Cic. De natura deorum III, 45) that the tragedy Rhesos was born from poetic fancy, which is seriously criticised in Western specialised literature. The evidence shows that the socium in the region of the Rhodope Mountains overcame the conflict between the disappearance and the preservation of the cultural memory, and the defining of yesterday and today through a folklore narrative and rites connected with the image of the Horseman Hero, probably Rhesos. In the different cultures – of polis and ethnos types – the individual who had passed “beyond” can become unforgettable and divine protector of the socium in different ways, Euripides (Eur. Rhes.) and Philostratus sensed the different notion and understanding of a divine protector among the Thracians, which led to the confusing use of theos, heros and anthropodaimon, which is confusing to us, as the authors have tried to come maximally close to the way of thinking of the bearers of the faith-ritual related to Rhesos, i.e., to the Thracian world outlook and way of preservation of the cultural memory. The reference to Rhesos as anthropodaimon, daimon and heros can also be interpreted as defining of different recognised ideas in the “culture of death” of the Thracian aristocratic faith-ritual whose aim is the immortalisation and the preservation of the link with the deceased who had gone to the World Beyond, profanated and rendered as folklore during the Late Antiquity.

Itinéraires européens dans la géographie littéraire bulgare : Sofia – Paris

Author(s): Margarita Serafimova / Language(s): French Issue: 1/2017

At the beginning of the 20th century, Paris was the home of art, the intellectual capital of Europe, and the scene of the art of living. Among the many foreign artists and writers, Bulgarians formed an important colony. For these young artists who landed in the French capital, it was synonymous with celebration and freedom. The attractiveness of Paris, its cosmopolitanism, and the special place the City of Light occupied in Bulgarian imagination played the role of a catalyst for their creative talent. Their wanderings served as a bridge between the East and the West of a Europe, which had always been both united and torn between its centres and peripheries. Fascinated, dazzled, hypnotised by the brilliance of Paris as well as by its decay, Bulgarian writers lived the quest for identity – literary, existential, human – whose meanderings have been examined in this article.