«ТУНИССКОЙ ПАША» МИХАИЛА МАТИНСКОГО

Author(s): Mikhail Matinski,Alexander Lifshits / Language(s): Russian Issue: 2/2015

Более полувека назад замечательный историк русской литературы XVIII столетия П. Н. Берков пообещал опубликовать написанное Михаилом Матинским (1750–1820) и никогда не издававшееся либретто оперы Василия Пашкевича «Тунисской Паша»: «Текст ее <пьесы. – А.Л.> будет напечатан мною в одном из ближайших выпусков сборника „XVIII век“ »1. Обещание, однако, осталось не выполненным. Известный П. Н. Беркову и, похоже, единственный сохранившийся список этого драматического сочинения2 остался лежать в Театральной библиотеке в Санкт-Петербурге.

On Vernacularity

Author(s): Galin Tihanov / Language(s): English Issue: 1/2022

Attention to the tensions between vernacular and cosmopolitan languages has been growing in recent years. This article discusses various aspects of vernacularity, focusing on Dante’s classic treatise, as well on twentieth-century authors, and reflects on its significance for how one understands 'world literature'.

Пан в българската литература на Fin de siècle

Author(s): Tsvetana Georgieva / Language(s): Bulgarian Issue: 1/2022

In the age of the Fin de siècle, the mythological Pan was the subject of numerous interpretations in painting, literature, and the performing arts. The article examines for the first time how the image of Pan fits into the modern Bulgarian literature of the early 20th century - in the works of Emanuil Popdimitrov, Trifon Kunev, Hristo Yassenov and Lyudmil Stoyanov. As an expression of the ideas of the epoch (in the Jugendstil and Secession currents), both in Europe and in Bulgaria, Pan and pantheism apologize for nature, the vegetative principle, youth and childhood, love fire, music and intoxication. The original in the Bulgarian interpretation is the sentimental, sensitive autumn Pan, the parodied Pan / Faun and the old wise man, master of music, and devoid of passion Pan.

The Musical Elements in Passion or Alice's Death as Sources of New Meanings

Author(s): Vesela Ganeva / Language(s): English Issue: 1/2022

The study traces the interrelationships between literature and the musical forms fugue and passion. Significant for the analysis is the information about the personality of Bach and the science of onomastics. I find a connection between the names of the characters of the novel and the great composer. I initiate a new reading of the traditional musical form of passion and the novel by exploring biblical and musical elements, finding that they are deconstructed by the author to create unconventional meanings.

Международна българистична конференция „Българският език, литературата и културата на България: пътища през мултикултурния свят“

Author(s): Krasimira Koleva / Language(s): Bulgarian Issue: 43/2021

Научен колоквиум „Българистиката в дигиталната ера“

Author(s): Author Not Specified / Language(s): Bulgarian Issue: 43/2021

Синтия Вакарелийска на 70 години

Author(s): Iskra Hristova Shomova,Margaret Dimitrova,Anisava Miltenova / Language(s): Bulgarian Issue: 43/2021

Етнолингвистичен речник на българската народна медицина

Author(s): Iliyana Garavalova / Language(s): Bulgarian Issue: 43/2021

Biblical Apocrypha in South-Eastern Europe and Related Areas

Author(s): Ekaterina Todorova / Language(s): Bulgarian Issue: 43/2021

САКРАЛНИ СВЕТ СТАРИХ ВРАЊАНАЦА

Author(s): Nataša Ivković / Language(s): Serbian Issue: 74/2021

In this paper, the motif of wedding in the novel Nečista krv (Impure Blood), by Borisav Stanković is analysed from the viewpoint of erotological theory of George Bataille. The wedding is observed as a celebration resulting in psychoerotic release of the individual. The erotica manifested here has a key role in profiling two different cultures, the urban culture and the rural culture, personified in the Effendi Mita’s and Gazda Marko’s families. By comparing the urban and rural weddings, distinctive erotic features of the two cultures are perceived, as well as differences in character and aim of the celebration.

АНАЛИЗА ОРВЕЛОВИХ ПОГЛЕДА НА ИДЕЈЕ СОЦИЈАЛИЗМА У „ЖИВОТИЊСКОЈ ФАРМИ“ И „1984“

Author(s): Pavle Antonijević / Language(s): Serbian Issue: 74/2021

This paper examines the last two literary works of George Orwell with the aim to analyze his political beliefs. Although these works have remained characterized primarily as critiques of totalitarianism and the Stalinist version of socialism, the pur- pose of this study is to show Orwell’s attitude towards the ideas of socialism in theory with parallel comparison of Animal Farm and Nineteen Eighty-Four. Furthermore, in order to consider this problem more comprehensively, it was necessary to research the author’s attitude towards capitalism and liberalism. The article is divided into two main sections. The first section gives a brief overview of Orwell’s political evolution from the second to the fourth decades of 20th century. The second section examines the content of the books which are the subject of research. The article proves that Orwell remained committed to the ideas of democratic socialism in both of his liter- ary works. Portrayal of Orwell as an anti-socialist is unjustified and was formed due to the Cold War context in the West. Additionally, the article concludes that Orwell’s Animal Farm and 1984 contain a critique of capitalism and Western imperialism, which is more pronounced in Animal Farm as compared to 1984.

ПАРИЗ И БЕРЛИН КАО КУЛТУРНЕ ПРЕСТОНИЦЕ ИЗМЕЂУ ДВА СВЕТСКА РАТА И ЊИХОВ УТИЦАЈ НА КУЛТУРНЕ ПРИЛИКЕ У СРБИЈИ

Author(s): Ana M. Vujović / Language(s): Serbian Issue: 75/2021

La place et le rôle de Paris et de Berlin en tant que capitales de deux pays importants de l’Europe, mais aussi en tant que capitales des événements culturels dans la première moitié du XXe siècle, et en particulier entre les deux guerres mon- diales, peuvent être étudiés sous différents aspects. Leur énergie créatrice et la forte influence culturelle qu’ils avaient sur le reste du monde sont incontestables, même avant et après cette période. Dans cet article, nous voudrions évoquer les éléments essentiels de leurs activités culturelles, comparer leurs actions culturelles et identi- fier ce qui les a rendus si attrayants pour d’autres pays. Vu les points de départ très différents dans nos relations avec ces pays, le but de cet article est d’analyser leur influence sur la situation culturelle de la Serbie en tant que partie du Royaume de Yougoslavie et plus particulièrement de sa capitale, Belgrade. Alors que la France était un allié traditionnel et un grand ami après la Première Guerre mondiale, l’attitude à l’égard de l’Allemagne a été sensiblement différente et alourdie par les conflits de guerre et les souffrances du peuple serbe. Il est possible de conclure que, dans la période donnée, l’influence culturelle de la France a été dominante, ce pays passant pour un ami à qui certaines omissions pouvaient être pardonnées, tandis que, d’autre part, l’Allemagne a été longtemps considérée avec suspicion, puis une plus grande confiance et une coopération se sont développées, pour être finalement remises en question à la veille d’une nouvelle guerre mondiale.

ИДЕНТИТЕТИ НЕМАЦА И СРБА У ДРАМИ УГЉЕШЕ ШАЈТИНЦА „БАНАТ“

Author(s): Nikolina N. Zobenica / Language(s): Serbian Issue: 75/2021

Uglješa Šajtinac zeigt im Drama Das Banat (2007) das proble- matische Zusammenleben von Donauschwaben (Joseph, Erwin und Magdalena Wolf) und Serben (Dobrivoje, Đuđa, Svetislav) im Banat während des Zweiten Weltkrieges. Im Kontext von historischen Umwälzungen und politischen Konflikten versuchen die Figuren im Drama entweder die alte kollektive Identität zu bewahren oder eine neue zu bilden, und ihre Kohäsion mithilfe verschiedener Kategorien festzulegen: Geschlechts (Geschlechtsidentität), Territoriums (territoriale Identität), Klasse (ge- sellschaftsökonomische Identität), Religion (religiöse Identität), Nation (nationale Identität), sowie Politik (politische Identität) und Kultur (kulturelle Identität). Aus- gehend von der Theorie des britischen Historikers der Soziologie Anthony D. Smith (1939–2016), eines der Begründer der Nationalismusforschung, werden in diesem Aufsatz im Kontext des Chronotopos des besetzten Banats (1941–1945) unter- schiedliche Manifestationen der kollektiven Identität untersucht, mit dem Ziel, die Kohäsionskraft dieser Kategorien aufzuklären. Ergebnisse der Analyse zeigen dass Geschlecht, Territorium, Klasse und Nation nicht einen genügend starken Grad der Kohäsion aufzeigen und die Figuren, die auf diesen Kategorien ihre Identität auf- gebaut haben, könnten sich in den neuen Zeiten nicht erhalten, im Unterschied zu denen, die sich für Politik und Kultur entschieden haben, die die Grenzen der Zeit und des Raums überschreiten und eine stärkere Verbindung unter den Figuren her- stellen. So können Dobrivoje und seine Schwester als Kommunisten im neuen Staat fortleben, während andere Figuren sterben oder das Banat verlassen müssen, um eine neue Heimat in der Weite auszusuchen, in der die kulturellen Elemente wie Kunst (Film und Musik) und Fremdsprachen die Verbindung unter den Menschen sichern, trotz den ethnischen und anderen Unterschieden.

СИНТАКСИЧКО-СТИЛИСТИЧКЕ ОСОБЕНОСТИ ГЛАГОЛСКИХ ОБЛИКА У ПЕСМАМА „ЖЕНИДБА БЕГА ЉУБОВИЋА“ И „ЗИРКА КАЈОВИЋА“ РАДОВАНА БЕЋИРОВИЋА

Author(s): Arsenije M. Sretković / Language(s): Serbian Issue: 75/2021

This paper deals with verb forms in the poems The Marriage of Bey Ljubović and Zirka Kajovića from the stylistic and syntactic standpoint. The analysis procedure includes a syntactic indicative, a syntactic relative, qualifier, gnome form, narrative form, and absolute. In addition, referentiality and non-referentiality of verb forms are considered. Bearing in mind that verb forms are most often combined, the stylistic effects of combinations of verb forms are considered. This paper aims to determine the inventory of verb forms and describe their syntactic and stylistic features. The analysis showed that a rich inventory of verb forms could be found in Radovan Bećirović’s poems. Simple Past Tense, Truncated Perfect, imperfect, aorist, and temporally transposed Present Tense denote the past. In both poems, the future is expressed by the future one, and apart from it, in the poem The Marriage of Bey Ljubović, a futuroid is found. The present is realized in a syntactic indicative, and, additionally, it is found as a qualifying, gnomic, and narrative present, of which it is most often used as a narrative. Examples of presentations with modal meanings are not uncommon. In terms of referentiality, present forms in poems denote referential and non-referential actions. The infinitive is found as a complement to modal or phase verbs and is also used in the absolute. The past is realized in the syntactic indicative and the syntactic relative and denotes referential and non-referential actions. The aorist is a high-frequency verb form in the poem The Marriage of Bey Ljubović and is used in most cases as a narrative. The imperfect is realized in syntactic relative and suggests referential and non-referential actions. The Future Simple Tense is found in the syntactic relative, then the absolute, and with modal meanings, i.e., the meaning of intention, commandments, possibilities, etc. While the use of the Future Simple is linked to the heroes’ discourses, the futuroid appears in the narrative discourse. Except in the function of Future Simple, futuroid is found in gnome use. The pre- sent, the aorist, the imperfect, and the truncated perfect are forms whose stylistic features contribute to the topicality, experience, dynamism, and drama of the events being reported.

„Tako rzecze Zaratustra” Wacława Berenta: młodopolska maniera czy nowatorski eksperyment?

Author(s): Katarzyna Lukas / Language(s): Polish Issue: 1/2021

The paper deals with the Polish translation of Friedrich Nietzsche’s Also sprach Zarathustra made by the Polish writer Wacław Berent (1905). The translation is considered in the context of its epoch (“Young Poland”) and of Berent’s own literary work. The analysis aims at distinguishing the most important stylistic features of the translation: poetic devices typical of Young Poland, such as archaisms, neologisms, and reinforcement of the original’s audial qualities. Despite being criticized as “mannerist”, Berent’s translation appears as an innovative example of modernist translation, consistent with the symbolist model of translation.

ТРОП ВОЗА КАО СИМБОЛ ТРАУМЕ У КЊИЖЕВНОСТИ ХОЛОКАУСТА

Author(s): Milica M. Karić / Language(s): Serbian Issue: 76/2021

Traumatic experience such as the Holocaust requires traumatic ways of representation. Those who dare to write about it encounter various dilemmas and difficulties in finding the right ways to write about something that cannot be written about. Train trope is a usual symbol of the biggest XX century trauma because rail- way system and different types of cars enabled transportation of millions of people from the whole Europe, whose lives were terminated in the death camps, as well as their wealth, gold and other valuables. Trains found their way in literature with both survivor writers and those who didn’t experience the Holocaust. The symbol of train had been interpreted within psychoanalysis of dreams as passage of time and life before it started to operate as a symbol of the very death in reality. In this paper we tried to investigate how train trope functions in this trauma based literary genre with those writers who were inside and those who felt them as cultural heritage. Those who were inside death trains, such as Elie Wiesel, insisted that the only way of representation has to be in documentary and realistic style. On the other hand, writers who were lucky not to experience the hell on Earth couldn’t write from the ‘inside’ and had to find other ways of representation. Their styles vary from allegory in Kosinsi’s autofictional novel to magic realism in David and Thomas’s novels. Thomas also adds Freudian psychoanalysis while Pinter experiments with stage representation.

Les arcanes du Pouvoir dans la République de Doumarie dans Mort d’un poète (1981) de Michel Del Castillo

Author(s): Alain Vuillemin / Language(s): French Issue: 1/2022

Michel Del Castillo's novel Death of a Poet was published in 1989, before the collapse of totalitarian systems in eastern countries. It is an autobiographical fiction. The action takes place in 1988. The narrator, Igor Védoz, relates the last events of the fall of a dictator, Marshal Carol Oussek, the "Guide" of an imaginary republic, Doumaria, a country located in the center of central Europe. It’s a reflection on absolute power. The intrigue is built on a detective plot. The investigation carried out by Igor Védoz allows us to glimpse some of the secret mysteries of power in this "Socialist, democratic and peaceful Republic of Doumaria". What does it reveal about the death of this dictator, a victim of himself, within the mysterious arcana of his own power? How is the story built on a police mystery, the discovery of multiple machinations and the secrecy of a fraud?

„Златорог“ спрямо политиките в културата и образованието

Author(s): Ognyana Georgieva-Teneva / Language(s): Bulgarian Issue: 2/2022

The article reveals the attitude of “Zlatorog” towards state policies in culture and education. With the help of the problem-chronological and culturological approach is substantiated the statement that the journal insists on the state management of the spiritual life to be based on the principles of high professionalism, humanity and free development of the creative abilities. Some new arguments support the view that this journal is not apolitical and aesthetically self-closed, but is an active participant in the public debate on the culture and the value formation of young people. “Zlatorog” is presented as a platform for independent intellectuals concerned with the spiritual growth of society who critically analyze the state’s cultural and educational directives and act as their corrective.

Поредицата „Детски живот“ в контекста на модернистичния проект на Гео Милев

Author(s): Nadezhda Stoyanova / Language(s): Bulgarian Issue: 2/2022

The object of this article are the books from the series Children's Life which Geo Milev published in 1913 and 1914. In literary studies the series has usually been mentioned in order to illustrate the early literary interests and publishing ambitions of its author and only single poems from the books have been interpreted by the scholars when presenting his children’s works. The aim of this article is to prove that as an integral initiative the poems from Children’s Life can be placed in the broader context of Geo Milev’s modernist project. In the first part of the article the history of the series is presented and an unknown poem by the poet is published. In the second part it is emphasized on the author’s desire to show his readers the modernist parameters of what he called “aesthetic emotion”.

The 1920s in Hristo Karastoyanov’s novel “The Same Night Awaits Us All” – Light and Darkness

Author(s): Trayana Lateva / Language(s): English Issue: 2/2022

The paper aims to comment on the representation of the 1920s, seen through the last few years of the lives of the poet Geo Milev and the anarchist Georgi Sheytanov, as shown in one of the most famous contemporary Bulgarian novels, written by Hristo Karastoyanov, “The Same Night Awaits Us All”. In order this to be achieved a few key scenes are analyzed, since they introduce main themes and narrative strategies, followed throughout the novel, as well as point out the allegorical contrast between light and darkness, good and evil. Subject to interpretation are also the characters’ motifs, actions, emotional states and reactions, particularly to the presence of death, which seems to be impossible to overlook and plays an importing part in setting the overall tone of the novel.