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„La buona figliuola” („The Accomplish’d Maid”) is an opera buffa in three acts by Niccolò Piccinni and Carlo Goldoni. The librettist based his text on Samuel Richardson’s novel „Pamela, or Virtue Rewarded”. It was performed for the first time at the Teatro delle Dame, Rome on 6th February 1760 with an all male cast. It was a big success and „La buona figliuola” took Europe by storm. Every European opera house had this opera in its repertoire. The performances were in: Barcelona, Prague, Vien, Dresden, London, Berlin, Mannheim and Paris. This opera was probably performed even in Beijing by Jesuits in 1778. „La buona figliuola” was so popular in Europe that Stanisław August Poniatowski, the King of Poland, wished it for his coronation ceremony. The performance took place at the National Theatre on 7th August 1765, just five years after the world premiere. This opera was also very popular in Warsaw. People loved the story of a simple and good maid Cecchina. Seventeen years later, Wojciech Bogusławski, the director of the National Theater, translated and adapted Goldoni’s opera and named it „Czekina albo cnotliwa panienka” („Czekina or a Virtuous Maid”). He performed it in 1782 with big success. First of all, the article describes the historical context of the creation of libretto – the Carlo Goldoni’s biography. Next, it presents the story of maid Cecchina and the phenomenon of the description of the Polish theories of translation from the 18th century, the Polish version of the opera – „Czekina or a Virtuous Maid”, is presented. Finally, two versions of the libretto – the Goldoni’s and the Bogusławski’s, are compared.
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Church Slavonic manuscript collections in Poland hold over forty copies of homilies and encomia traditionally attributed to Clement of Ohrid. Although scholars have known about these copies for years, they have not been subjected yet to detailed linguistic and textual studies. The analysis of the works from the Lenten and Paschal cycles reveals that part of the copies retain old linguistic features – spelling and lexical units – from South Slavonic manuscripts which, no doubt, were still in use in areas of Western Russia during the 14th–16th centuries. As a rule, Clement’s works were faithfully copied, but there are occasionally examples of textual interventions that evince editorial activity by local scribes and compilers. The source material confirms the opinion that, within the Polish-Lithuanian state, Russian Orthodoxy was actively drawing from the South Slavonic literary tradition.
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La batalla de Lepanto ocupa un lugar de excelencia en la Historia y enLiteratura de España, un capítulo que ha servido para crear una conciencia común degloria del pasado. Más allá de Cervantes, muchos han sido los autores, contemporáneosal complutense y posteriores, que han contribuido a magnificar la mayor empresa bélicadel siglo XVII y, con ello el carácter heroico de los españoles que en ella batallaron. Noobstante, hay textos en los que, contrariamente, este aspecto memorable se vioempañado por el surgimiento de obras que ofrecen una visión muy distante de laasumida como oficial. Este es el caso de La Austríada, un texto de carácter cronístico enque se ofrece un retrato de los ejércitos españoles en el escenario lepantino formado porsoldados no profesionales, entre los que la delincuencia y la piratería eran las actitudesmás frecuentes.
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After completing his higher education in Romance/French Philology at the University of Sofia, and after having published his first award-winning books of poems, Latchezar Stantchev (1908 – 1992) won a scholarship from the Alliance française and continued his training in Paris between 1937 and 1939. With the acquired experience, the Bulgarian poet devoted himself to the translation of poetry in verse, both classic and modernist, from French and Francophone literature, including “La Chanson de Roland” and other masterpieces. The example of his verse translations contributed to the formation of contemporary criteria in the field of translation of poetry and literary texts into verse in Bulgarian. Latchezar Stantchev also contributed substantially to the rediscovering of Symbolism in Bulgaria, by translating works by Verhaeren in the midst of the dogmatic context of the 1960 – 80s behind the Iron Curtain.
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Albena Dimitrova (1969 – ), Bulgarian-born writer, poet and playwright, belongs to the corpus of « contemporary extreme » women writers who have chosen to express themselves in French, in the context of a migratory or exile situation, or out of an attraction to this language that represents the host country, France. In her novel Nous dînerons en français (2015) Dimitrova blends individual stories and major national events with extraordinary mastery. This work of autofiction bears witness to an era marked by austere politics in Bulgaria throughout the 1980s and 1990s, a tumultuous period when perestroïka and glasnost challenged the regime in power. Through the prism of a passionate and forbidden love, Dimitrova sketches the background of existences, showing how the destinies of individuals are buffeted by the winds of History.
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St Andrew of Crete’s Canon for the Nativity of St John the Baptist in Tone Four is a polymelodic composition. The odes are composed of two or three troparia which follow different heirmoi. This canon has an early Old Bulgarian translation, which went through several revisions. The article provides a comparison of nine Slavonic copies of this canon, whereby four Slavonic redactions can be distinguished. The first redaction is represented in the Dragota Menaion, the Sinai Menaion and the Ohrid Menaion. In this redaction, the second ode is missing and the odes consist of four troparia each. The second redaction is represented in the Menaion of Dobrian, the Menaion of Dragan, the Palauzov Menaion and Menaion Khludov 166 (kept in the State Historical Museum in Moscow). The second ode was added in this redaction, and so were several troparia (from three to five) in each ode. The third redaction is represented in the East Slavic menaia Sin 895, kept in the State Historical Museum in Moscow, and Sof 206, kept in the Russian National Library in St Petersburg. It is based on the second redaction, but does not contain the second ode. In this redaction, the texts of the troparia are revised and the sixth, seventh and ninth odes are composed of troparia which are different from those in the South Slavic menaia and follow different heirmoi. The fourth redaction is represented in Manuscript No. 2/8 from the Rila Monastery and in all new-redaction menaia (i.e., menaia structured according to the Jerusalem typikon and composed mainly during and after the fourteenth century in Tarnovo or on Mount Athos), including printed Church Slavonic menaia which are used in liturgy to this day. In it the second ode is missing, and the third, fourth, sixth, seventh and eighth odes are composed of troparia which are different from those in the old-redaction menaia (structured according to the old Studite typikon and composed before the fourteenth century) and follow different heirmoi. The text of the first and fifth odes is based on the second redaction, with some revisions.
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The article offers an insight into the entanglement between the avantgarde modernist principles of image and the Bulgarian aesthetic-ideological idea of the “native” from the 20s of the 20th century, realized by Nikola Furnadzhiev in the collection of poems “Spring Wind” from 1925. The reasoning is based on correspondences between the imagery in the paintings of the period and that in the poetic works from the poetry collection. The artistic suggestion achieved on their basis in “Spring Wind” illustrates an important aspect of Bulgarian avant-garde modernism as an aesthetic phenomenon, in which, although not yet fully described, European avant-garde aesthetic ideas and worldview attitudes are connected with the native ideological and aesthetic tradition. As a result of this relationship, in the entire literary field of the period, specific artistic modernist manifestations are obtained, through which Bulgarian literature in the years between the two world wars fits into the general European artistic process of intense search for an existential perspective before the post-war man and the corresponding aesthetic paths for achievement set through the creative efforts of a new post-war generation of artists. The inclusion of Furnadzhiev‘s poetry collection in this artistic practice has a decisive contribution to the expansion of pictorial experimentation and establishes its literary-aesthetic importance.
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In these two texts, Zweig Stefan lucidly describes the fear that eats away people who are at fault. This feeling completely destroys the lives of the heroines. Thus, weakened, Irene and Mrs. C. are exposed to all kinds of emotion: fear, hatred, anger and madness succeed one another in their daily lives. Therefore, their confined existence, with no way out, is like an oasis. Through these writings and in a psychocritique approach, we find that fear is a stronger emotion than death. The victims of this feeling, weakened, tortured and profoundly scarred, lose all control. They live a cloistered and quiet life because of fear, and find their freedom only through speech and music.
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𝑇ℎ𝑒 𝑃𝑜𝑏𝑟𝑎𝑡𝑖𝑚: 𝐴 𝑆𝑙𝑎𝑣 𝑁𝑜𝑣𝑒𝑙 by P. Jones, published in 1895 and dedicated to “His Highness, Prince Nicholas of Montenegro,” is an intriguing piece of literature, even though little is known about either the author or the book. With an intricate plot comprising multiple framed stories and presented by an omniscient narrator, the text centres on the exploits of two “blood brothers” and is of modest literary merit. However, it vividly portrays traditional values, customs, national costumes, places, superstitions, and has a distinct local feel. This article aims to identify and analyse the key folkloric elements present in 𝑇ℎ𝑒 𝑃𝑜𝑏𝑟𝑎𝑡𝑖𝑚: 𝐴 𝑆𝑙𝑎𝑣 𝑁𝑜𝑣𝑒𝑙 and to provide a commentary on the novel from the perspective of cultural history.
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In the article I bring the issue of using fairy tales in creating emotional social skills among children. It occupies a special place in bibliotherapy on the grounds of unique effect. The fairy tales strengthen, in fantastic form, the regional views on human intercourse and show ideals of good and justice and criteria of assessing human actions. Thanks to fairy tales, they stimulate moral development and enable to adapt socially accepted patterns of behaviour. In fairy tales the life matters are shown. They try to answer the question what the world is, which rules it governs and how to cope with fears and risks.
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The article presents part of the results of a research activity carried out under the project “SUMMIT – Research, testing and analysis of the implementation of innovative approaches in the education of students and pupils from 1st to 4th grades – Part I”. The goal is for students to be prepared methodically and correctly to develop the topics related to studying/teaching works from Bulgarian folklore, included in the 27 alternative reading books from first to fourth grade, through which the “Literary Education” component is realized. Tables No. to No. 14 show the number and titles of texts from Bulgarian (and foreign) folklore that are included in the analyzed 15 reading books for first and second grade. The relative share of works from Bulgarian folklore, compared to the total number of studied works, as well as texts that are present in more than one reading book, is highlighted.
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The text summarizes a corpus of articles in the field of Balkan Cultural Studies published in the journal Études balkaniques during the period 2014 – 2023. In view of the plethora of topics and methodological approaches, the review is structured in three main categories covering the following areas: Literature and Cultural Relations, Theatre and Cinema, Visual Culture. The text outlines the general tendencies and contributions observed in the above-mentioned publications.
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