Идеология и пародия в жанра: поглед върху белетристиката на Цветан Стоянов. „Случаят с професора”
Ideology and Parody in the Genre: A Look on the Tsvetan-Stoyanov’s Fiction Prose. The Case with the Professor

Summary/Abstract: The paper considers the special attention of the “high” intellectual, literary critic and social philosopher Tsvetan Stoyanov to the “low” forms of the fiction/novel genre – humor and crime. The answer is: the both precisely guarantees a top freedom of identifications. To the highest degree “softening-up” of the discourse in the belles letters sphere, in the first stage, but in the second – to the modern irony through which the Stoyanov’s fiction prose stays in the political sphere and operates with it. The political situation is an object to not a clear, unambiguous obstructions, but a ambiguous and sly discourse games. The both spheres – political-ideological and its parody – are mixed in the crime story The Case with the Professor (1966) by a very complicated manner and therefore almost imperceptibly. This work is examined in detail to explicate the mechanism through which Tsvetan-Stoyanov’s fiction presents in the genre. And how, in the frame of genre, it operates with ideological values – pro and contra simultaneously. The novel is a parody of crime genre in its strong ideological soc-version and fully valued, complete, “earnest” crime-spy reading simultaneously. The Stoyanov’s fiction prose operates with the big imperative of the Ideology in the same dual, double-faced way: not directly and unambiguously (“dissidently”) opposing from outside, but by means of an ambiguous, polysemantic, full of suggestion, slippery, slipping out, serious-ironic narrative which plays on the edge. Not radical self-excluding, but co-sharing, complicity, partnershiping in a cunning duplicity of the game –inside and outside simultaneously, but not leaving the area outlined by its own rules. A try to outwitting of the clumsy mono-discourse of the Ideology through shaking, breaking up of the meanings in the frame of the game itself. Stoyanov remains to the end within the word/speech relying on its slyness within the framework of the dialogue. This operative strategy works simultaneously within genre’s and ideology’s field unbreakable connected within autonomous “inner space” of the work. – But this strategy is seen as regularly followed from the social-biographical figure of the modern “playing intellectual” whose perfect personification is Tzvetan Stoyanov.

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