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The article presents a semiotic analysis of the glagolitic alphabet, claiming that the alphabet, with the original way of drawing and arranging the graphemes, was conceptualised by Constantine (Cyril) the Philosopher (St. Cyril) as a sacred sign system with the aim of reinforcing the Orthodox cult of Jesus Christ as a God-man in opposition to the Arian idea, which defined him as a perfect being created by God, and thus questioned his divine nature.
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The article discusses the topoi and proto-images in The Life of Saint Methodius used to emphasise the significance of St. Methodius as a Slavonic Apostle and archbishop. The analysis shows that the author presents the deeds of Methodius through the events and topoi of narrative, but evaluates them through a system of proto-images and prototypes. In this way the deeds of Methodius are compared to those of Biblical characters and heavenly creatures. The selection of images, (from the Old Testament, New Testament and early Christian, with a clear preference for the Old Testament Patriarchs), presents Methodius as a messenger of God, patron-saint of all Slavs, teacher, Church leader and pastor, protector from heresy, apostle and mentor of Slavonic peoples.
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The paper discusses the coats of arms of ancient Slavic countries, regions and cities, as given in Hristofor Zefarovic’s Stematografia (published in Vienna 1741), which were painted on the deacon’s gates of the iconostasis in the church Nativity of the Blessed Virgin Mary in Rila monastery. These images are an example of apocryphal painting influenced by ideas of history and sacredness. The paintings are a representation of the new way of thinking manifested in the Bulgarian culture of the beginning of XIX century, which became possible with the secularization of culture.
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Ivan Vazov, a writer of uncommon insight, infused his novels with laughter that has considerable characterological and psychological resonance. This paper examines the role of humor in Vasov’s novel Under the Yoke Part 1, Chapter 17. The chapter is called The Teathralicals, and tells the story of the public staging of Long-suffering Genevieve in Byala Cherkva. The suggestion that I write this article came from Professor Denka Krysteva. She has drawn my attention to the significance and power of the concept of long suffering in Slavic literatures.
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The concept of long-suffering is one of the constant concepts in Russian culture. The transformation of the biblical archetype of Job and the evangelical archetype of Christ - victim into a national concept (Russian land - holy land, Russian people - Christ) is characteristic also of other cultures where the messianic idea is present; however, in Russian culture the notion of long-suffering nation obtains its own specific connotations: a connection of long-suffering and patience; expectancy of salvation solely by God; an insistence on acknowledging one‘s long-suffering by other nations; a perception of suffering as fate (fatalism); multivalence of the source of suffering (foreign conquerors, own state, wars and revolutions, political repressions, national traitors, capitalism, liberalism, Jews, Russophobes, and so on), Peculiar to Russian culture is defining even work and affection by the word „long- suffering“. Although Bulgarian language uses the same word for naming the notion of long- suffering, the comparison of its semantics in both cultures shows similarities (the connotations of “fatalism”, “patience”), as well as considerable differences.
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This paper analyzes basic ideas concerning a formation of Slovak national identity in early 19th century. The main emphasis is on the analysis of the ideas and concepts of three Slovak major intellectuals who, in various ways, have presented Slovak ethnicity as both symbolic and real community, that is as a modern nation. These ideas and concepts have manifested themselves in their literary and aesthetics texts which, however, have also presented a broader context of the formation of Slovak national identity. Slovak national unity has also been formed through art, science and ideology and it was based on the Slavic- Non-Slavic binary opposition principle, that is on the opposition „we versus them.“ Three Slovak major intellectuals of the period, that is Jan Kollar (1793 - 1852), P. J. Safarik (1795 - 1861) and Eudovh Stur (1815 - 1856) tried to achieve a transformation of the image of the nation from the imaginary to the real nation. Each of these intellectuals started their public activities in different way: Jan Kollar as a poet and priest, P. J.Safarik as a human sciences scholar, and E. Stur as a politician. Each of them, however, has tried to define a Slovak collective identity as part of a broader Slavic myth which they understood, either explicitly or covertly, to be in opposition with non-Slavic „reality.“
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As a writer, S.N. Glinka has long been recognised and appreciated in literary history. As a thinker, however, he is still not so well-known. On the basis of the analysis of the monthly periodical “Russian Messenger", the collection of stories “Russian Anecdotes" and “The Moscow Almanac for the Beautiful Gender" published by him, an attempt is made to highlight some aspects of his activities of present interest, compared to the socio-political context of the first quarter of the 19th century. This helps to remove a number of later additions from the conceptual profile of this pro-Slavonic forerunner, and illuminate some specifics of the pro-Slavonic attitudes in the then Russian society, decades before the clarification of the concept of the socio-political movement itself.
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This paper presents findings of a research in speech tempo in radio news reporting. The author gives interpretation of the analysis results of the major newscast programme Radiozurndl broadcasted at 12.00, and the programme Infoexpres. The chosen research method is objectively expressed speech tempo by data based on counting pronounced syllables per second. Using computer analysis, concurrence of speech tempo with other suprasegments - melody and pause is also documented.
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The article highlights some of the issues of occurrence of interferential phenomena of Russian speech of pupils-Lezghins systemic work on the text. Affected by the psychological side of the generation of syntactic interference. The author examines the main areas of work in the formation of syntactic skills.
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The following study offers an editorial and e-editorial stance on “Slavic studies, ” seen externally as a field of research and found in publication titles. Advanced interactive and digital elements will be investigated on the basis of selected volumes and applications.
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The article looks into the place of the Slavonic idea in the historiographic styles of Baroque and Classicism and the policy of historiography for integrating the myth of the Slavonic Kingdom in the ideology and scenarios used by the Russian monarchy at the times of Peter the Great and Catherine the Great. The baroque stylistics used in establishing Power and Glory as the main political concepts in the imperial model created by Peter the Great, is built around the Biblical narrative of Yaphet and his kingdom, the medieval literary Legend of the brothers Sloven and Russ, andMauro Orbini’s Kingdom of the Slavs. The colonial project of building a New Russia at the time of Catherine the Great also makes use of the Slavonic idea, creating more specifically a Slavonic Antiquity with its mythology of state harmony and morally healthy society, this time by using the expressive means of Classicism and Enlightenment. The article discusses the way Slavonic myths are used by the Empress in creating a political reality - her own writings use the allegory of ‘summoning a German to rule over Slavs’ (from The life of Ruricj, and her cultural undertakings - the building of the towns of Ekaterinoslav and Slavyansk. Finally, as a summary of this type of ideological creation, the article discusses Bogdanovich’s drama Slavs, and puts forward the idea of a Slavic scenario in the construction of monarchy at the time of Catherine, which parallels the Greek project in her politics.
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This quote from René Wellek’s famous article published in 1958 shows that for over half a century, we have been speaking of a „Crisis of comparative literature”. Analysts of this critical situation, however, do not explain which stage of the subject’s history should be regarded as the lost standard for an „ideal” stability. Among the factors driving comparative literature studies to a crisis, one can indicate the methodological conflicts between the lines of French „positivism”, German „philologism”, Russian „historicism” and the American „immanentism”. In this context, a special attention should be dedicated to the rise andfall of a number of East- European Slavic comparativist schools in the second half of the ХХ century. Today, all of them have been stricken out with a single gesture by the post-modernist literary multiculturalism. The extent to which the post-modernist literary doctrine has been able to rationalize the geopolitical gifts presented by history, however, remains an open issue. The break-up of the Soviet block and the disappearance of Yugoslavia are all parts of events and reverse hierarchies which are united not just by the prefix post-, but also by the confrontational ethnicization of the newly emerged literatures. Once there was a strong trend these literatures to identify themselves as Slavic. Nowadays, this old-fashioned identification is avoided in favor of “European” and „Central European”. In such a potentially confrontational context the comparative literature would serve as an opportunity for de- construction and new review of the national literary canons and also of the logic and the ethics of the manipulation with their values and hierarchies. Therefore attention is separately devoted to the imagology as a current trend in the Slavic and especially the post-Yugoslav comparative literary studies.
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The article gives some information on the historical development of the Roman Catholic Church in Russia. The fact that catholic religion is by no means fully “alien” to the Russian culture is also underlined. The additional prominence is given to the description of the modern religious situation and especially to the peculiarities of the language the Roman Catholic Church in Russia uses in its official and liturgical spheres.
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In the modern world of conflicting trends - towards a globalization, but also towards a nationalism, we could take by Hermann Hesse - not only by the writer, but also by the publicist, almost unknown in Bulgaria, a wisdom and a largeness in the perception of the Other, which crystallized by the intercultural atmosphere in his childhood. Today - in the arc of the tension around the new “cold war” between the US and the EU on one hand and Russia on the other hand, in the context of the Ukrainian crisis from 2013 onwards - with full force is valid Hesse ’s multidimensional attitude towards Russia.
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The report examines the symbolism of the object in the director’s concepts of the Slovak director L’ubomir Vajdicka. It studies his theater spectacles on texts of A. N. Ostrovsky and A. P. Chekhov, produced in the theaters in Martin and Bratislava. The issue of the semiotic functions of the object in the theater was a subject of research in the works of a number of dramatists and directors of the modernism - Zola, Artaud, Craig. The object as a semiotic element of the play was first examined in the works of the Prague Linguistic Circle and later it was researched in details by the representatives of the Tartu-Moscow Semiotic School and the French semiology of theater. Professor Eubomir Vajdicka started his director’s career in the time of so- called “normalization” in Czechoslovakia after the events of1968. As a young director in the theater of Martin he fits to the tradition, established by Milos Pietor, focusing on the domination of the actor over the scenography. However Vajdicka gradually turns the scenographic concept to an element that is equal to the actor’s presence. In his spectacles of “The Cherry Orchard”, “The Forest”, “Profitable Position” etc. he uses dominant objects, puppetry and colour techniques to demythologize the social reading of the classic works and to bring them closer to the problems of contemporary life.
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This article looks at examples from the oral history of the Crimean Tatars in Southern Dobrudzha, which are related to migrations from the Crimea in the Balkans in the mid-19th century.
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The paper deals with of N. Raynov’s story “Tsar Simeon” in view of its place in the context of modern Bulgarian literature. Special attention has been paid to its correlation with the homonymous work of P. Todorov. An interpretation of the identity of the dialogue between historiography and literature in N.-Raynov’s work has been done. Conclusions about the specifics of the relation of modern Bulgarian literature to medieval historical themes have been drawn.
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The article deals with the specific features of the space-time structure of the artistic worldview in I. S. Shmelev’s «Summer of the Lord» («Leto Gospodne»). The analysis of this text aspect denotes an archaic worldview of the Russian Orthodox culture.
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A suggestion, which at first glance seems absurd, that Neno Senegaleca, Tana Papuchkina, Lying Sabi, Encho Paramedic, etc. - colourful bearers of indigenous Bulgarian (and German-Bulgarian, if it comes to Kumata Bertha) spirit are «relatives» of Zoshtenkov's characters is critically constructed. However, the interpretative prejudice of Prof. P. Bicili has its own, though not contactological reasons. The text tries to point them out in some poetic projections of the rambling liberal Pushkin’s idea of the «small causes of the great consequences».
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The paper comments on Lihanov’s book in the context of the missing father problem in the process of a child’s socialization. It pays special attention to the negative influence of that absence and to its surrogate compensations in forming the principles of duty, honour, protection of the weak. The text analyses the connection between the father’s absence and the crisis of the idea of the native, following its symbol reflex in a personal, family and national plan.
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