Хр. Станева. Стилистика на българския книжовен език
Review of: Хр. Станева. Стилистика на българския книжовен език. Велико Търново, 2001. 520 стр.
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Review of: Хр. Станева. Стилистика на българския книжовен език. Велико Търново, 2001. 520 стр.
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This article represents an interactive binary lesson that took place in 90 minutes with students from the eleventh grade of Language High School “Akad. Ljudmil Stoianov”, Blagoevgrad. It shows a combination of informational technology, music (the transition between the different parts is piano music and the recital is accompanied by a violin) and Bulgarian language and literature. It also has the characteristics of a conference lesson, because it consists of texts of the students, their literature teachers and DSc, Prof. Tsvetan Rakiovsky. The preparation of the recital relies on out-of-school activities (acting school, led by missis Julia Djivdjorska, an actress in the “N. Vaptzarov” theatre. Having taken place in honor of the 100-th anniversary of the death of Hristo Smirnenski, the lesson included projects, consisting of a Power point presentation and a text prepared by a team of two students. Teachers and students switched their roles, and the parents watched the presentation of their children.
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The article examines the main literary, philosophical and cultural settings in N. Stoyanova's monographic study "Decorations and grimaces". N. Stoyanova studies Bulgarian literary modernism both through the topic of fashion and through its symbolism. It is at the point of contact between fact and fiction, between literature and its border fields - art, cultural studies, history, psychology, philosophy - that the unique essence of Stoyanova's literary analysis of fashion and its mechanisms of interpretation is revealed. Works by C. Mutafov, K. Konstantinov, N. Rainov and others are analyzed.
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The locus is usually charged with historical semantics, which gives rise to semiotic chains and collective attitudes. The expansion of the term’s semantic valence to include conceptual elements as characteristics of contemporary sociological and psychological markers justifies empathetically memorable interpretations of key complexes of the migrating ego, which e.g. “Border” (2017) by Kapka Kassabova, “East of the West” (2011) by Miroslav Penkov and “Life in the Rocks” (2018) by Maria Laleva revealed. The synergy of narrative and stylistic character is examined from a system-theoretical point of view in order to justify conclusions about current aesthetic and cultural-sociological epistemes: skepticism about civilization, interpretations of the past, individual and collective identity designs.Bulgarian origin and the observer perspective of emigrants – the specifics of this world view(s) are the focus of the study, as life experience of migrating personalities in the currently globalized civilization.
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The article is dedicated to “Tsarstvenik” (1844), a book by Hristaki Pavlovich, consistently defined in cultural history as ‘the first print edition’ of “Istoriya Slavyanobolgarskaya” (A Slavo-Bulgarian History) by Paisius of Hilendar. The study starts by tracing the origin of the print edition on the basis of its validated textual lineage. The main thesis is that, despite leaning on Paisius’ “Istoriya” as its source, “Tsarstvenik” conceptually departs from it because Pavlovich fashioned it after the model of secular chronicles. The publication of this secularised history during the National Revival consolidated the budding political sphere, which engendered myths and cults new to the community. The second insight is that the trope of ‘the Turkish yoke’ entered the public space by way of a schoolbook rather than poetry, and a teacher – Hristaki Pavlovich – played a major role in that.
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The article studies the rendering of the main apophatic notions in the classic Old Bulgarian literary monuments. The terms of this subsystem are presented in their conceptual and linguistic aspects and, based on this; conclusions are made for the development of the terminological layer of lexis in the Old Bulgarian language. A dictionary of the apophatic terms in the classic Old Bulgarian literary monuments is proposed. It gives the empirical basis for the research.
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The subject of this research is how the symbol Paisius was shaped between ‘proletarian internationalism’, ‘communist nationalism’, and a broad perception of nationalism inherited from a right-wing scholarly discourse between the two world wars. The analysis focuses on two anniversary books published within the context of the 1962 large-scale national celebration of the bicentenary of the writing of the Slav-Bulgarian History („История славянобългарска“). One book was written by the communist functionary Vladimir Topencharov, while the other was written by linguist Mikhail Arnaudov. Our attention centres on the different perceptions of the concept of ‘nationalism’ developed in the two anniversary editions. The many contexts in which Arnaudov places Paisius of Hilendar in the course of his long scholarly biography, with a view to the course of Bulgarian nationalism, against the backdrop of a lasting uncompromising attitude towards the communist imperatives for representing the ‘new Paisius’, present an interest as well.
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This text traces the gradual opening of Prespa to the world: to educational enrichment, to innovative inclinations and to modern ideologies. The themes of enlightenment and aestheticism permeate all four novels in Talev’s tetralogy. This analysis aims to outline their evolution in The Bells of Prespa („Преспанските камбани“). Fashion, as a dynamic manifestation of societal ideals and ever-changing identity, finds its channel for development in education. In the character of Vardarski, we discern the fusion of both concepts, which justifies his choice as the focal point of our scholarly examination. Our investigation unveils a portrayal of the character that defies the black-and-white schematism associated with revolutionaries in Bulgarian literature. Vardarski is a multifaceted character, shaped by Talev’s distinctive plasticity and psychological depth. Vardarski embodies a distinctive type of heroism: that of the suffering intellectual, but also that of the artist and of the rebel with a profound self-awareness of their mission.
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The objective of this paper is to offer an analysis of Kiril Hristov’s novel Abyss. Confessions of a Madman („Бездна. Изповед на един умопобъркан“) by means of intertextual connections with the principles of Ovid’s “Ars Amatoria”. In the field of both the erotically-playful and the anthropological theories of Kiril Hristov, the object of research interest are the parallels with Ancient Rome and the conceptual role of Pompeii. The semantic framework of the novel, which sets forth a philosophy of madness of a specific kind, is used to motivate the presence of an intertextual code, and it is of particular importance to distinguish the interpretation of Abyss from the author's intention to construct a text whose message carries entirely a strong moral stake.
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The focus of our attention in this study is on the ways the image of the blood functions in Konstantin Konstantinov’s novel Blood („Кръв“). On the one hand, we will examine the plots in which the image is integrated, and on the other, we will demonstrate the specific way in which the blood as a symbol participates in the novel’s messages to the reader. There are four basic functions of the image of blood which are identified in this paper: 1) as a sign of extreme feelings and emotions; 2) as a marker of a person’s life power; 3) as a symbol of the special bond between characters; 4) as a part of the idea of the bloodshed during the 1920s in Bulgaria.
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In his novel The Gentleman with the Girl („Господинът с момичето“) (1937), Georgi Raychev explores the origin of crime and the problem of heredity as part of it. The popular concept of the “born criminal” (delinquente nato) is adopted by Raychev in his novel where he also examines rape as a human rights violation. In this context, this article focuses on the ways in which the Bulgarian novel can be seen as part of the eugenic doctrine, which was popular worldwide in the beginning of the 20th century.
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This article constitutes an attempt at engaging two works, namely Untitled Novel („Роман без заглавие“) by Dimitar Dimov and Adriana („Адриана“) by Teodora Dimova – both revisiting the same image, in a dialogue. The study dwells on the feminine presence and metamorphoses of Adriana, a central character in both Dimov and Dimova’s plots. The differences between the image of Adriana in Dimitar Dimov and that in Teodora Dimova are traced. The ways the feminine is embodied in the father – daughter artistic project remain a matter of debate and require thematic broadening.
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This paper focuses on are the shifts in the images of mother in contemporary Bulgarian prose written by women after 1989, seen as a tendency towards a “demystification of motherhood”. The mother as a literary figure is recognized as a powerful tool through which women authors rewrite the narratives of womanhood. The text examines the rejection of motherhood and frequent images of bad mothers. The objects of analysis are novels published between 1990 and 2006 that fall under the category of “women’s writing”.
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In the integral medium of the comic, the interaction of image and text creates complex signs that cannot be deciphered by perceiving both aspects separately. I demonstrate this with examples from Nikolaj Dodov's Darko, a Bulgarian comic from the early 1980s. The use of the speech bubble as iconic and textual, iconographic features of script and the use of onomatopoeia are examined. The medium’s characteristics allow for a perception of words ‘similar’ to their meaning in a synaesthetic fashion. I consider the special status of text as part of the image and its realisation through iconic, symbolic and pictorial signs.
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The article is an attempt at a comparative analysis of the short stories ‘Indje’ by Yordan Yovkov and ‘The Torso’ by Ivo Andrić, writers whose closeness has long been established by researchers. There are significant similarities between the two selected works, but no less important differences. The starting point of our analysis is the motif of the internal transformation, complete or incomplete, of the hero under the influence of the meeting with the woman, as well as the motif of the inevitable retribution.
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The article focuses on the dialogicality in the public activities and the literary works of Dimitar Veliksin. Attention is paid to his place in the history of Bulgarian culture as a poet, publicist and translator. His participation in the Bulgarian-Romanian cultural contacts is emphasized. The functionality of paratexts and intertextuality in his poetry is examined.
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The article explores the manifestation of somatic figurative language in the early poems of Peyo Yavorov. The observations delineate the paradigmatic projection of the “uses” of the corporeal, as manifested in the following variations: the wounded and torn body, the desiccated (squeezed, burning) body, the debilitated (withering-weakeningsmoldering) body, the sick body, the dead (disappearing-ghostly) body. The article examines the conceptualization of the somatic code in Yavorov’s early works through an intertextual dialogue with Hristo Botev’s poetry, revealing the assimilation, transfer, and transformation of its enduring images. By tracing the movements among different modes of bodily expressions, the study aims to systematize conclusions regarding the diminished intensity of images of the wounded-torn body and the increased prevalence of imagery related to illness, decay, and subtle withering.
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The text examines the manifestations of madness in the short story “Insanity” by Georgy Raichev. War is seen as the cause of human suffering, as an occasion for breaking away from normality. The intertextual connections with Leonid Andreev’s “Red Laughter”, “Bloody Stains” by Vladimir Musakov and frontline poems by Dimcho Debelyanov are traced.
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The article presents the novel Rufo the Red-Haired by Ivan Marinovski, which, like Elin Pelin's Ian Bibian, is prophetic about the development of the world. Funny situations, ease of speech, ordinary-extraordinary characters make up the patchwork of thissupposedly children's story, which resembles the "Guide" of Douglas Adams, and similar works by Terry Pratchett and other world authors.
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In the context of current cultural studies (semantics of gardens, floripoetics), this article focuses on the specific use of the floral code in the decorative texts of Bulgarian modernism (P. K. Yavorov, T. Trayanov, Ch. Mutafov) and postmodernism (M. Fuchedzhieva) and more specifically on the image of the orchid. Using the orchid as part of the iconography of Secession (the paintings of Al. Mucha, G. Klimt) and the decadent imagery (Baudelaire "Flowers of Evil"), we present people’s experiences in Bulgarian literature in their pursuit of the ideal and falling into the abyss of reality, their fate in the world of modern civilization and mass culture.
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