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The text comments on the problems of the reception of texts in the Bulgarian classical literature. The thesis that is defended is that reception is impossible if the literary text is not placed in a system of contexts. Different contexts are successively commented: national-historical, cultural-historical, biographical, technological, context of personal experience, context of the literary process. The opportunities they provide, as well as their productivity/non-productivity in a specific receptive situation, are analyzed.
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Janusz Minkiewicz was an excellent poet, satirist, translator, contributor to many important periodicals, friend of Tuwim and Brzechwa, author of famous satires and political cribs, but also of numerous works for children and translator. His first translation published in book form appeared after the war, quickly gaining a circle of enthusiasts, both among children and adults. To date, more than a dozen titles intended for a young audience have been published, the vast majority of which have been reprinted many times. Minkiewicz translated mainly from Russian, but his translation output also included English poetry, German or Italian. The paper – the result of a search conducted at the Polish Writers Donation Library, at the State Archive in Warsaw, at the Nasza Księgarnia and at the Adam Mickiewicz Museum in Warsaw – is the first attempt to look at Janusz Minkiewicz’s translation output addressed to young readers.
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Translators and interpreters have always played a key role as intercultural mediators, however, their biographies and functions as active agents of cultural change have only recently started to be studied. Following the sociological and material turn in translation studies, there has been a growing interest in the figure of the literary translator, not as a category of the translation process, but as a living human being who not „only” produces texts, but influences cultural transfer, introduces new poetics and shapes literary canons. Nowadays, researchers point to the necessity of describing the place and role of translators not only within Translation Studies, but above all, in the network of social contacts and relationships. The sociology of translators includes such issues as the status of translators in different cultures, pay rates, place and conditions of work, the public discourse of translation, i.e. the manifestations of the public image of the translating profession, which is visible, for example, in the press or in literary works. This area also encompasses research on translators’ attitudes towards their work, as revealed in essays, interviews, prefaces and translators’ archives. The paper focuses on the biography of the translator, placed in a broad historical and social context and thus, in the cultural and sociological dimensions of translator studies. In examining the biography of the Polish translator Bronisław Zieliński, the methodology of microhistory (adapted for translation studies by Jeremy Munday) will be used and combined with Anthony Chesterman’s theoretical proposal of translator studies.
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This article aims to present the relationship between Scandinavian Crime Fiction and feminism, as well as the significant role of women writers in the development of the Nordic Noir genre. It focuses on the Norwegian Noir and the novel Fear not by the Norwegian writer Anne Holt. The article also highlights certain themes, motifs and distinctive features common to feminist literary works of the Scandinavian Crime genre and their particularities. Finally, it proposes a hypothesis as to why this kind of literature continues to be so loved and sought after by readers all over the world.
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Wise Varnava’s wonderful apparition of his vision with example for all, this Romanian translation-recreation in verse, carried out in Transylvania in 1670, of the Dialogus of the Hungarian baroque poet Nyéki Vörös Mátyas, can be considered at this time the first work of the pope Ioan of Vintz. The indefatigable Transylvanian priest and scholar, translator, and publisher of worship books in Romanian, thus reveals himself as the initiator of the dramatic poem in Romanian literature, and as a remarkable religious poet, whose pathos about the personal salvation, on the razor blade of faith and doubt, anticipates the psalmist vein, two and a half centuries later, of the great Romanian poet Tudor Arghezi. On the European level, this Vision of Varnava represents the last link – of great originality, through the invention of the character-witness of the "wise Varnava", an absolute literary hapax – of the centuries-old literary pattern of the vision on the dispute between the soul and the body (known as Visio Philiberti). The Romanian poem of 1670 thus appears as the last station of a literary tradition that stretches an enormous arc, in space and time, between the Orthodox East founded in the first four centuries of the Christian era, teeming with apocalyptic apocrypha, and the Catholic West, founder of the universities where scholasticism takes up and develops the Byzantine renaissance, but becoming, with the emergence of Protestantism, a multi-cultural world. A literary tradition which, adapting to and surpassing all the faiths it crosses, reveals to us, through its baroque inflections in the seventeenth century, the efflorescence of the individual conscience facing the eternal problem of death. The study also includes some new hypotheses about the beginnings, totally unknown today, of Ioan of Vintz as a literate and scholar, as he was ennobled by the Prince Michael Apafi I in 1664 for cultural merits: we assume he might have taken part in the work of Romanian translation and publishing of the New Testament (1648) and Psalter (1651). We are questioning as well the last period of his career, also ignored at this time (1689 to 1696, assumed year of death), when he was probably supporting the project of the union of Romanian Orthodox church with the Roman Catholic church, and built, in his own ecumenic, supra-confessional spirit, some other publishing projects, such as the viaticus of Puritan origin Cărare pre scurt (Short Path), printed, as we demonstrate, in 1695 (not in 1685), and even the Vision of Varnava, which he was unable to see in print being interrupted by death.
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Translation from Czech by Nina Todorova
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This paper aims to emphasize the importance and possibility of correlating the Fine arts and Serbian language courses in the first cycle of primary education. The correlation between these two courses would bring more durable knowledge and faster acquisition of the learning material, and the teaching process would cease to be traditional and monotonous, and become more contemporary and more interesting to students. This paper discusses the positive effects of linking the Fine arts and Serbian language courses, and provides a concrete example for the application of correlation when teaching fables. The benefits of expressing the fable experience through illustration, and the importance of children's art work have been pointed out.
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The subject of research in this paper are the methodic possibilities of interpretation of The fairy tale about the swan, which is a compulsory school lesson in the second grade of primary school. More fairy tales by Desanka Maksimović are in the domestic lecturer for this grade, so in the first part of the paper the basics of poetics and methodical significance of fairy tales by our writer are given, and then theoretical topics for interpretation The fairy tale about the swan by Desanka Maksimović are brought. In the first and second grade of primary school when anylizing a fairy tale, it is methodic justified to use logical units that focus students' attention on parts of the text. In addition, during the interpretation, a text plan is created, which serves in the synthesis and for retelling. The aim of the paper is a methodical presentation of the processing of a fairy tale by logical units in the second grade of primary school on the example of The fairy tale about the swan by Desanka Maksimović.
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Paremias or short sententious statements appear in both spoken and written discourse, especially in literary texts. Therefore, this text typology is one of the main sources for the study of these units. This research presents a methodological proposal for the study of paremias in literary contexts, focusing on the complex nature of these linguistic units. The application of various criteria (linguistic, chronological, and literary) leads the author to choose as the object of study a novel written in Spanish by Camilo José Cela in the mid-20th century, La colmena (The Hive). This research will make it possible to find out the paremias selected by Cela and the paremic categories in which they are framed, as well as the characters who used them, the formulas for their insertion, and the function they fulfil. The results obtained will allow the language used by Camilo José Cela in La colmena to be analysed in depth. In the conclusions, the usefulness of the methodology that is applied will firstly be verified to carry out an analysis of paremias in written discourse, more specifically in literary discourse, and secondly to verify whether the use of paremias serves to mark the tendency towards a realist narrative, as Cela intends in this novel.
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In this preparation for the analysis of the novel "Alice in Wonderland" in the fourth grade of primary school, the author shows one of the possible forms of realization of this type of class. The preparation for the class has all the necessary steps that made the analysing of the novel very successful. At the analysing classes of this novel, each step is well-planned and adapted to the psychophysical abilities of students of this age. Students learned about the novel by using modern methods and forms of work, as well as appropriate teaching AIDS. This contributed to understanding the novel in an interesting way, with aesthetic view of things, an optimistic view of the world and positive energy. Within this written preparation, the goals of time, educational, educational and functional tasks were emphasized in order to see what should be left to these two classes of novel analysis. The achievement of goals and tasks helped also preparatory tasks that were given to the students ten days before the work was completed. In the continuation of the preparation, in written form, and after the introduction, an emotional-intellectual admission of students for the time, emphasis and writing of the goal was made, an expressive reading of the passage "Down through the rabbit hole" from the novel. The second class of analaysis was carried out through group tasks, analysis of the results of the work, and then the final part of the time was highlighted and a homework assignment for the students was proposed. At the end of the paper, a conclusion was drawn up, followed by professional literature. Such a proces of analysis the novel "Alice in the Wonderland" meets the demands of a modern school that is being successfully realized, among other things, if the teacher is well "leading" students in the way of learning and experiencing the art world.
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The tendency to modernize the teaching process of educational work, specifically in the teaching of literature, focuses as on a more creative approach in the study of literary-artistic texts. Teachers should encourage thinking about the text that is read, because it will allow the student to focus on important information, carefully think about what he has read, to understand and make it a part of his knowledge. Children need effective techniques and interesting activities that make it easier to understand the text and create the conditions for them, to read and write independently. Different techniques can be successfully achieved on the texts of a complex thematic, stylistic and aesthetic structure. Reading with prediction is a methodical strategy that awakens curiosity and encourages active reading for better understanding. In this paper is presented the possibility of applying reading with prediction, through the processing of the story "Mačak Toša otišao u hajduke", with pupils of third grade in elementary school.
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Through the interpretation of the fairy tale "Snake the groom" students will be prominent features of a fairy tale they already know. We will demonstrate and other characteristic of folk tales which are not yet familiar to the students: method of themes developing, a comparison of this fairy tale with literary works that have similar themes, spotting the flow of story line and distinguishing between main and minor moments of this epic literary work. Through the interpretation of this fairy tale we will emphasized a characteristic of some narrative proceedings. Through the conversation with students we will also indicate on spot in the text which tell us about the action and behavior of the main actors. We will also mark a spot in the text in which we can find interesting consideration about man and life. The educational work on interpretation of this fairy tale has been shown that methods of interpretation should not be repeated. The way in which we approach the literary work depends on his characteristic. Among others objectives of the class should be set aside training of students for independent reading and comprehension and experiencing of reading, as well as adoption of literary notions provided for curriculum for a certain class.
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National fairy tales and their particular motifs most often come from the distant past. In their sights, they preserved some of the ancient forms of the then convictions, social organization, institutions and rituals. The paper offers an interpretation of the folk fairy tale "Cinderella" which relies on the old, prehistoric religion, and from this point of view, the motives that were preserved in the fairy tale were analysed. Comparative analysis of the methodical apparatus in the readers of various publishers approved by the Ministry of Education will provide an insight into the extent to which such access to fairy tales is fostered through textbooks. The aim of the paper is to suggest a fairy tale interpretation that includes an old religion, pointing to the importance of knowing and understanding its phenomena in order to interpret the fairy tale adequately and to draw attention to the important material that the fairy tales preserved, which can serve to acquire and expand knowledge of one's own people.
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The text analyzes magical and alchemical rituals of different origins, which became conceptual cores in two of Bojan Danovski‘s dramatic visions: “Heart of the Jester” (the creation of the artificial human Humunculus) and “Heart of Scarlet Porcelain” (the revival of the toys – The porcelain doll and sculpture of Pierrot). Both visions appeared in the magazine “Hyperion” in the second half of the 20s of the last century. They are part of a larger corpus of eight visions the author sent from Italy to the magazine in 1922 – 1928. Нe published six of them in a separate book in 1929. Danovski‘s dramatic visions are a specific phenomenon in Bulgarian drama. They represent an expression of artistic synthesis in avant-garde art and offer interesting construction and ideas characteristic of the European avant-garde. The aim here is to show, through an analysis of the two visions mentioned: how B. Danovski creates his theater of marionettes and how he works with the rich cultural intertext embedded in the plays. The dramatic vision in three pictures and one pantomime The Heart of the Jester (1926) examines the transformation of medieval mysticism with its spiritualistic séances and dark magic. A desacralization of the magical through the techniques of avant-garde art stands out. The dramatic vision in three paintings Heart of Scarlet Porcelain (1923) traces the transformation in Maeterlinck‘s symbolist theater with the appearance of the porcelain toy dolls and symbolic marionette figures of the square commedia dell‘arte. Magical processes and rituals bind the two visions, in which the heart is a unifying image and a meaningful object. It emerges from the high poetic symbolism of Romanticism and Symbolism to become a literal thing – a magical/bloody ingredient for the action of the alchemical retort in The Jester‘s Heart and afine porcelain object in the text Heart of Scarlet Porcelain. The process of reification, literalization of symbols signals their vituperation and becomes part of the desacralization of occult rituals. The disenchantment of fairytale magic is a specific feature of Danovsky‘s poetics.
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The article examines the metonymic mechanism as a distinctive feature of modern Bulgarian prose through observations on Ivan Stankov’s story “The Father of Bucharest” from the book “Names under the Snow” (2019). The story breaks the traditional framework of the “Romanian text” in Bulgarian literature, usually closely linked to the initiatory plots of the national liberation struggles and the military prose of the first half of the 20th century. In the work Bucharest retains its national features only in the plane of literary topography. At the same time, I. Stankov’s Bucharest acquires the features of any large metropolitan city in the world, where alienation reigns, while empathy is a rare and unexpected impulse. The metonymic optics is explored at different levels: as a principle of image of urban space; as a stylistic concept of combining heterogeneous images; as a mechanism of intertext; as a paradoxical axis of thought and existence of modern man, created through the translation of unselected information, through the dynamic emotional and social illusion of the global world.
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The paper focuses on two novels by Dimitar Agelov (“When the Man was not”, published in 1941, and “The Brave Chung”, published in 1953) that were defined as fantasy by literary critics. The novels are intended for children and teenagers, so the emphasis is as much on the fun intrigue as it is on a certain didactic idea. The paper comments on the problem of knowledge as a leading idea of the two novels. They present the life of several generations of monkeys which were named by the author chungs and poma. Under influence of hereditary factors, the environment and the changes of the climate the animals change into people. The main factor leading to this change is the characters start putting in the work.. Every day they do something to survive the fight with other animals, provide food, or adapt to nature. The paper examines the novels as an illustration of Darwin`s theory about the origin of species.
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This article delves into the complexities of translating ‘Bai Ganyo’ into English, with a specific focus on translating cultural realia, turcisms, and pragmatic markers. These linguistic elements saturate the text with distinctive cultural nuances, enriching Bai Ganyo’s speech with essential subtleties and impact. At the core of this inquiry lies the question: does Bai Ganyo’s intelligence resonate differently in English?
More...![Me som Rom, tumen san gadźe [1978]](/api/image/getissuecoverimage?id=picture_2023_83562.png)
The following article by Andrzej Mirga is republished from a special issue of ‘Etnografia Polska’ journal 22(2) 1978 devoted to Roma (at that time consistently referred to as ‘Gypsies’) and Romani studies. The author presents the image of the non-Roma people widespread among the Carpathian Roma – inhabitants of a Roma settlement in the Polish Spiš region. The argumentation is based on the dichotomy ‘Rom – Gadjo’. The article is published with the permission of the Author and the editors of ‘Etnografia Polska’.
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