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The article deals with the idea of the visible and invisible stairs and steps in literary texts, the ascents and descents (both literal and figurative) along the ladders of the structures and literary borders. During the years of socialism the stairs were a trivially used symbol of going up, conquering heights, an uninterrupted ascent to the highest possible political step – that of communism. Consequently, this also meant the coming of the end of history because beyond this highest level there could not be any other. In the article, this idea is revealed against the background of Flying Heroes and Wayside Dwellings in the collection of Gencho Stoev’s works “Like a swallow”.
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This article suggests an attempt for analysis of the famous literary work by Ilia Volen. Its aim is the interpretation of the inner state and psychology of the main character – the former priest Nikolay Nazarov, - that is tragically split between humility and theomachy. His own inner contradictions and his relationships with relatives (his wife Johna, their son Stephan) and especially with God are also studied. Stephan’s death appears to be a crucial moment in the development of the plot because it becomes a reason for change of Nazarov’s view about life and radical transformation of his attitude towards the religion.
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The text focuses on the politics of self-fashioning and the strategies for constructing of the autobiographical self in memoir literature, written by Bogomil Raynov, key figure in Bulgarian intellectual life during the socialist period. Raynov creates a character, who influences the establishment of tendencies, the opinions of some specific political figures and some concrete forms of party politics from a position, set in a complex relation to the official “seat” of power, thus having not really ideological, yet still authoritative place in the formation of the aesthetics and politics of the period. The analysis attempts to show that the reflexive self-fashioning of the intellectual in a situation of a repressive regime, done in the context of an always selective life-narrative, relies on diverse strategies for legitimizing of an image of life, in which the integrity of the subject is impossible.
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The article studies the poet Ivan Metodiev’s magazine, named Nava as an essential conceptual attempt to understand the world, time and poetry from a point of view which was new to Bulgarian literature – on the borderline between Eastern and natural philosophy and Wittgenstein’s analytic philosophy. Apart from the relation with the eastern forms, these short fragments are rooted in the ancient cultural traditions in Bulgaria. This philosophy of history has its own cosmogony and bears a great deal of positivism.
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The play “The trial against the Bogomils” by Stefan Tsanev went out in a typewritten form in 1969 and has not been on Bulgarian stage at the time. The reason is that the party circles at that time perceive the text as an allegory of the political reality of the 60’s in Bulgaria and in the prototypes of the characters they see the authority – `The first` (Todor Zhivkov) and the `Princess` (Lyudmila Zhivkova). In reality, the play turns out not as a ‘hystorical tragedy’, as its author represents it, but rather as a parody of the theater of power. The playwright achieves this effect by means of pictures, revealing the theatricality of the different forms of social life (‘the theatre’ of the court, of history, of the royal institution). The ideology of the Bogomil religious (and the alongside passed parallel with the communism) is strongly and sarcastically diminished by the elements of commedia dell ’arte, burlesque and commedia fool, used in the play.
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This article presents the struggle for spiritual survival in the book of poetry “Cry from the Prison” of the poet Joseph Petrov created in captivity during the writer's stay in the Belene concentration camp. Writing camp poetry is not only a protest against violence and acts of dehumanization, but also a process of purification and recovery from the suffered humiliation. The text focuses on the power of the speech, which on one hand causes the imprisonment of the artist, but on the other hand relieves his suffering. Poetry is a kind of self-communication which combines the memories, the imaginary world of the character and the surrounding reality through which the author overcomes the boundaries of the "spiritual" prison. In this sense, the very act of creation is an attempt to preserve his spirit and identity and serves a specific verbal revenge over the torturers. Popularization of the Bulgarian camp poetry will help for a better understanding of the socialist period.
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The article deals with the problem of how government assesses the novels of M. Sholokhov – their creative and institutional destiny. The adaptation of the first two novels of the author to the language and expression of the opera make them popular (mass) art. This is one of the weapons of socrealism – to put literature in the field of popular culture.
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The article explores the film adaptation process of Bohumil Hrabal’s worldly praised novella Closely Watched Trains. It aims at providing an adequate and sufficient set of approaches to exploring a particular film adaptation from a contemporary point of view. The text explores the possibilities of the socialistic historical reality, the art cinema, the auteur theory of the director’s camera-pen, and the adaptation theories in analysing the Oscar awarded film by Jiří Menzel created with the screenplay partnership of the renowned underground literary author Bohumil Hrabal. Main concerns of the study are: proposing a set of methods and approaches to analysis in the current film case study; elaborating on the notions of perceiving Closely Watched Trains as a Czechoslovak New Wave product, an auteuristic project, and a cult movie; and further expanding on the critically acknowledged idea of the distinctive screen co-authorship between Bohumil Hrabal and Jiří Menzel.
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The article discusses the poetry and prose of Anna Barkova in the context of poetic century.
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The article is dedicated to the problem of the publication of the translations of Viktor Astafiev’s stories and novels in Bulgarian. The first Astafiev’s book The Horse with a pink mane appeared in 1968 in the Bulgarian language. Vladimir Georgiev was the first translator. In the seventies were translated a lot of creative works. The author of the article examines the problem of the variety of translations of one text. In the eighties Astafiev’s works are published after publishing in Russia and in excellent translations and Astafiev became one of the well-read Soviet writers.
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Početak novembra 1914., koje sam znao dok je bilo još ovako malo; koje će opet postati malo ako mu je za to ostalo vremena; i koje, pošto na polju organskog rasta nije moguć takav preobražaj, bolje da nazovemo glomaznim i zaista teškim vremenom; u ovo vreme, u kojem se događa upravo ono što se nije moglo zamisliti, i u kojem mora da se dogodi ono što se više ne može zamisliti, jer da je moglo, onda se ne bi ni dogodilo; u ovo ozbiljno vreme, koje je umrlo od smeha na pomisao da može postati ozbiljno; iznenađeno svojom tragikom ono poseže za razbibrigom, i uhvativši sàmo sebe na delu, ono traži reči; u ovo bučno vreme koje tutnji od strašne simfonije dela koja proizvode izveštaje i izveštaja koji su krivi za dela: u njemu nemojte očekivati nijednu jedinu moju vlastitu reč.
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Nerazdvojni je pratilac mladalačke nezajažljivosti, ali i naglosti, to da jedan fenomen, jedna avantura, jedan model protjeruje drugi. Zagrijavamo se, predajemo, podređujemo i vezujemo sa isključivom strašću. Čim nas jedan idol razočara, rušimo ga sa pijedestala i uništavamo bez ustezanja: nije u pitanju pravednost – on je jednostavno imao previše značaja. Onda na ruševine starog postavimo novog idola. Nije bitno što se on tu nelagodno osjeća. Prema idolima se ponašamo prevrtljivo, tiranski, ne tiče nas se kako se oni osjećaju, oni su tu da bi bili uzdignuti, a potom zbačeni; smjenjuju se u zapanjujućem broju, međusobno se toliko razlikuju, toliko su protivuriječni da bi se svako ko pokuša da ih sve zajedno posmatra uplašio.
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U proučavanju Krausa dugo je bila zanemarena perspektiva iz koje se Die Fackel čita kao književni tekst u kojem se za objekt proučavanja odabiraju specifično književne strategije koje su na delu u Krausovim tekstovima. Rezultat je to da je u većini studija o ovom bečkom satiričaru implicitno ili eksplicino postuliran apsolutni identitet autora i njegovog dela, nereflektovana pretpostavka koja je tek nedavno zaista dovedena u pitanje. U ovom eseju ću se koncentrisati na, kako mi se čini, određujuću osobenost Krausove književne strategije: dijalošku konstrukciju satiričkog autoriteta.
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Odmah treba reći: čini nam se da je, uz Đerđa Lukača, Karl Kraus jedna od najznačajnijih figura intelektualnog života njemačkog jezičkog izraza u posljednjih šezdeset godina. Bez sumnje, izgledaće pomalo subjektivno stavljanje u prvi plan dva imena gotovo nepoznata francuskim čitaocima, naviknutim na nabrajanje nekoliko uvijek istih, posvećenih imena: Tomas Man u književnosti, Rilke, Stefan George u poeziji, Huserl i Hajdeger u filozofiji.
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Kada je u aprilu 1899. godine pokrenuo časopis Die Fackel (Baklja), Krausov osnovni cilj je bilo razotkrivanje činjenica: »govoriti ono što jeste« (F 2, 1899, 1). Međutim, otprilike od 1904. godine činjenična polemika sve više ustupa mesto imaginativnijim oblicima satire. Time se afirmiše onaj kvalitet Krausovog rada koji nas najviše zbunjuje: mešanje dokumentovanih činjenica sa imaginativnom fantastikom. Da bismo razumeli ovaj paradoks pobliže ćemo ispitati dva konkretna pasusa iz Die Fackela i pokušati da razjasnimo njihovu strukturu povezujući ih sa radom drugih evropskih satiričara.
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Džon Raskin kaže da je jezik pisca jasan kada ovaj govori »saosećajno i sa željom da bude razumljiv«. Ovaj iskaz, koji je Karl Kraus citirao (u nemačkom prevodu) u svom časopisu Die Fackel, potiče iz jednog Raskinovog predavanja; ovo izgleda relativno neosporno. Pa ipak, ta »želja da se bude razumljiv« sama po sebi pretpostavlja postojanje zajedničkog polazišta – postojanje jezika poznatog i piscu i čitaocu (na taj način što autorova »saosećajnost« pretpostavlja njegovu spremnost da deli čitaočeva interesovanja i preokupacije).
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Upitaše Konfučija jednom, šta bi kao prvo uradio da se nalazi na čelu jedne zemlje. »Poboljšao bih upotrebu jezika«, odgovori mudrac. Njegovi slušaoci se nađoše u čudu. »Pa to nema nikakve veze sa našim pitanjem«, rekoše, »čemu bolja upotreba jezika?« Mudrac odgovori: »Ako jezik nije dobar, onda ono što se kaže nije ono što se misli, ne nastaju dela; ne nastaju li dela, nema morala ni umetnosti, nema ni pravde; nema li pravde, narod ne zna kuda će i šta će. Neka se, dakle, ne dopušta samovolja u rečima. U tome je suština«.
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Dok je Frojd u Beču krčio put psihoanalizi nakon 1900. godine, Karl Kraus se pojavio kao oštar kritičar korumpiranosti štampe i njene zloupotrebe jezika. Najneposrednije sredstvo njegove satire bilo je to da tumači novinske članke, često naglašavajući ne više od jedne reči, kao u sledećem navodu iz avgusta 1899: »Da die Polizei Demonstrationen vor dem Stalehner’schen Etablissement besorgte, wurde dieses von der Wache besetzt…« /«Pošto se policija pobrinula za demonstracije ispred Stalenerove ‘kuće’, zauzeli su je čuvari...«/ (F 15, 1899, 29)
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The purpose of this paper is to show some vowel changes of the speech in the region of Razlog, which is included in the Ѣ – vowel isoglottic area, particular the changes in its southern parts. It also analyzes the changes of the Ѣ, a, o – vowels existing in the dialects of Razlog, as well as the influence of phonetic factors over these changes
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