Периодика 2014–2015 г.
Content of the main Bulgarian scientific journals for the current year in linguistics, literature, history, folklore, ethnography, archeology and art studies
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Content of the main Bulgarian scientific journals for the current year in linguistics, literature, history, folklore, ethnography, archeology and art studies
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Buliński’s anthropological interpretation of literacy practices among the E’ñepá in Venezuelan Amazonia consists of four parts. First, he describes the ethnography of literacy practices among this regional ethnic group; second, he summarizes scholarly approaches dealing with writing among the indigenous people of Amazonia; third, he discusses autochtonous terminology used to describe writing, and fourth, he presents the image of writing as a practice that serves to communicate with other kinds of being.
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This article examines Edward Redliński’s prose volume Nikiforms, a literary work that consists of authentic non-literary texts written by citizens of the People’s Republic of Poland. Redliński described his experiment as a collection of literary ready-mades. Published in 1982, the book was misunderstood by critics of the time, who tried to judge it through traditional criteria of literariness. Redliński’s Nikiforms, however, call for a different interpretative approach – one that discerns literariness not within each single text but in the encounter of different texts, between them, in the idea behind their composition. The non-literary forms included in the collection perform a metaliterary function because collectively they pose questions about boundaries, roles, the form and building material of literariness. Redliński’s book is part of a distinct contemporary trend in Polish literature to highlight non-literary phenomena.
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Selected bibliography in the field of Bulgarian Studies published in the current year
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Selected bibliography in the field of Bulgarian Studies published in the current year
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Content of the main Bulgarian scientific journals for the current year in linguistics, literature, history, folklore, ethnography, archeology and art studies.
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The great work of the Solun Brothers – Saints Cyril and Methodius – undoubtedly played an important part in the creation of the national identity and national awareness for many Slavic nations. Considering importance of the Cyril and Methodius heritage, it seems surprising how little their images were used on national coinage – one of the most common and most important symbols of independent nations. The only countries that paid a tribute to Solun Brother’s legacy, while creating their national identity were Slovakia, Bulgaria and Macedonia; by placed them in certain cultural, political and ideological context on collector’s items as well as on everyday currency.
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Defended PhD theses in Bulgaria in the field of linguistics, literature, history, folklore, ethnography and art studies
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Data about scientific events in the field of the humanities in Bulgaria in 2012
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The article deals with an episode in the history of Soviet folkloristic, namely a prohibition of certain genres of folklore. In 1920s there occurs a boom of recording modern urban folklore, but in 1930s the recorded texts were destroyed or concealed in restricted folklore storage of large research institutions. Based on archival materials the article draws conclusions of the reasons for recording unfavorable (criminal, heroic, political) texts and the reasons for placing them into the restricted storage (“spetskhran”). The article is appended with published documents stored in Petersburg archives.
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Content of the main Bulgarian scientific journals for the current year in linguistics, literature, history, folklore, ethnography, archaeology and art studies
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Nasiłowska discusses encounters with the East as portrayed in late-nineteenth and early-twentieth-century Polish literature, focussing on Wacław Sieroszewski and Antoni Ferdynand Ossendowski. Experiences of forced settlement in Siberia, or of finding oneself in Asia as a consequence of historical circumstances, gave rise to a literary trope that anticipated such academic fields as cultural anthropology or international relations. As a rule, Polish writers did not identify with the Imperial (in this case mainly Russian) point of view. Their chances of survival depended on cooperation with various indigenous national and ethnic groups, and on accepting their own cultural difference. This is not to say that Polish culture was not Eurocentric, as is evident from incidents of anti-Chinese sentiment. Nonetheless, Polish writers painted a complex picture of Asia. Although the Russian Revolution hampered their curiosity and exploration, echoes of their earlier experiences were heard until the late 1920s.
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This article tackles the problem of the avant-garde in most recent Polish poetry. In the first part Świeściak recapitulates arguments in favour of categorizing contemporary art and literature as avant-gardist, then she examines recent poetry from three points of view: as an avant-gardist experiment; in terms of the relationship between autonomy and heteronomy (a problem of the political dimension); and in terms of the influence of new media (cyberpoetry). These perspectives reveal that this poetry contains avant-gardist categories of thought, and they highlight a tendency to draw on avant-garde tools. Nonetheless, Świeściak argues, we are not justified to treat contemporary literature as another phase of the avant-garde. Today’s art and literature both demand new ways of aesthetic cognition and categorization.
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Karol Sienkiewicz’s book Zatańczą ci, co drżeli [Those Who Trembled Shall Dance] has revived the debate on the genealogy of Polish critical art. Kościelniak enters into the conversation by placing two dramatic works within this framework, namely Tadeusz Różewicz’s Do piachu [Into the Sand] and Helmut Kajzar’s Koniec półświni [The End of the Half-Pig]. He argues that there is structural and political similarity with the Viennese Actionists – the pioneers of critical art. Kościelniak grounds his interpretation of Różewicz and Kajza in Julia Kristeva’s theory of the abject. Addressing the fact that art of the abject tends to be automatically associated with critical art, Kościelniak discusses the limits of art’s critical function.
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This article explores Leila Ahmed’s A Border Passage, and Nawal ElSaadawi’s Memoirs from the Women’s Prison, A Daughter of Isis, and Walking Through Fire. It contrasts their works and argues that location and gender awareness play an important role in the writing of autobiographies. The focus is on showing how El Saadawi’s positioning as a feminist activist in Egypt and Ahmed’s location in the USA determine the texts’ themes and shape the construction of the autobiographical “I.”
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This article explores two family or generational narratives – Anna Janko’s A Minor Extermination and Sergey Lebedev’s Oblivion – to tackle the question of intergenerational transmission, including from a biological perspective. Artwińska is interested in the inscription of figures and metaphors belonging to the genealogical discourse, as well as in their function in and beyond the text. Janko’s work can be read as a literary manifestation of the concept of epigenetics, while Levedev’s presents the metaphorization of problems related to the image of ‘blood ties’. The two family narratives exemplify how topical the notion of generation is in its genealogical dimension.
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Review: Pokolenia albo porządkowanie historii [Generations or the Ordering of History], ed. by Hubert Orłowski, Robert Traba and Holger Thünemann, Introduction by Hubert Orłowski, trans. Izabela Drozdowska-Broering and Jerzy Kałążny, Poznańska Biblioteka Niemiecka, ed. by Hubert Orłowski, Wydawnictwo Nauka i Innowacje, Poznań 2015
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The article is dedicated to the folklore singing of the Gagauzs in Eastern Thrace. The authors analyze primarily archival and published material from the early twentieth century war period and the following displacement of large groups of populations, which raises the question of their cultural traditions and specifics. The songs are used as a source allowing the outlining of a number of specific characteristics of the ethnic and cultural identity of the Gagauzs. Special attention is paid to bilingualism in some records and its ritual functions. The article is reminiscent of Adela Peeva’s film “ Whose is this song?”. Undoubtedly it will again show the development and the fate of the spiritual heritage from the Ottoman period bequeathed to the later national societies and countries in the Balkans, where the heritage (which was previously common) is “assigne” and began to be felt “our” and “native” or, in other cases, is strongly rejected. The aim of the article, however, is to show that this initial space was not always so common and open and that the relationships in it (respectively in the culture in general) depended on local developments, different situations and participants. At least in terms of knowledge about the various cultures and traditions on the Balkans, together with the question “Whose is this song?” goes the question “Whose song is the best?”. That is, except the origin of the songs, which in many cases is common, it is also important to understand it, to know how it is valorized and constantly acknowledged.
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