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The article aims to analyze and summarize the translation, critical and scholarly reception of Vesna Parun’s lyrical work in Bulgaria with the intention to complement or detail the existing reception studies in the Bulgarian scholarly field. The focus placed on the forms of presence in the Bulgarian literary space outlines as a field of research the translation and critical activity until and after 1989). Both the earlier translations and the new ones, which are essential in constructing or expanding the idea of her poetry, are object of commentary. Modern approaches to the presentation of Parun’s poetry – publications in specialized periodicals, in anthologies, etc., are examined in terms of publication strategies which lead to different contexts of perception. The existing scholarly studies, presenting the varied scholarly perspectives (literary-historical, interdisciplinary, reception studies) to the work of Vesna Parun have been analyzed as an important factor for the formation of the reception image.
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The paper examines Vesna Parun’s translation work from an intercultural perspective, highlighting her role as a true intercultural translator who belonged to and connected Bulgarian and Croatian cultural spaces and literatures. Parun’s success in translating Penjo Penev’s works is attributed to her deep immersion in Bulgarian language and culture, as well as her poetic aptitude and mastery of poetic traditions. Parun’s translation skills were bolstered by her interpretative abilities, enabling her to understand both the original text’s context and its new reception context. Her familiarity with the socio-political and cultural milieu of the time, as an active participant, further enhanced her translations. The paper asserts that Parun adeptly navigated the various intra- and extra-linguistic elements influencing literature and its translation, solidifying her legacy as a masterful translator of poetry.
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Since there are some important similarities as well as meaningful differences between the poetic oeuvres of the selected authors, the paper provides a comparative and a contrastive analysis of selected poems by Vesna Parun and Blaga Dimitrova. It focuses on a relationship between idealism with “absolutist” tendencies, insistence on perfection and on the ideal as a way of coping with negativity. Lyrical subjects in the poems are conceived as completely open to the unending work of desire. The lyrical subject in the poems by Parun is much more sensual, while Dimitrova’s one shows a strong tendency toward reflectiveness and abstraction. Their idealism is usually articulated through traditional symbols, such as birds, stars and the idealised topoi of childhood and nature, with love being their obsessive theme. Such a constellation is a basis for duality of the lyrical subject placed between the ecstatic projections and a tragic decomposition. Self-transcendence through love is the main ideal (that) the lyrical subject hopes to achieve, whereas its other side is the uncompromising tragic self-destruction the subject chooses so as to preserve the ideal from its loss and from the threatening meaninglessness.
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The article features the Bulgarian trace in the works of the Croatian poet and her creative contacts with Bulgarian artists and literary figures in the 1960s. This period was a turning point in her work. Among her most significant friendships with men of letters was that with the great Bulgarian poet and satirist of the regime Radoy Ralin (1923 – 2004). Vesna Parun’s letters constitute an authentic testimony to her creative and intellectual views, as well as to a rich spirituality that enriched both Croatian and Bulgarian literature with its lyrical and essayistic pictures of the period.
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The article features the Bulgarian period in the works of the great Croatian poet Vesna Parun, during which she befriended some of the most prominent artists and intellectuals in Bulgaria of that time. Bulgaria proved to be a major inspiration for the poet, but also a source of pain because of the harsh life trials she ended up facing. The period was very prolific for her. In Bulgaria she wrote not only her poetry collection The Wind of Thrace, but also magnificent essay and travelogue texts, while at the same time actively contributing to the translation of her poetry into Bulgarian. Her essays on Bulgarian poetry are particularly valuable insights of a talented and erudite artist, who sheds light not only on the poetic but also on the political processes in those years of ideological bans and creative freedom that was so hard to uphold.
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Indian writer and poet, Sumana Roy is one the authors who lends her voice to the plants, sharing her passion for trees with those who see the world as a fascinating arboreal figure. Published in 2017 in New Delhi by Aleph Book Company, reprinted in 2021 by Yale University Press, her book How I Became a Tree, a work of non-fiction, is an exquisite example of what it means to engage with the world in an arboreal logic, perceiving trees as sentient and dynamic entities.
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The article examines the problem of perceiving and making sense of a literary text, using interdisciplinary connections for this purpose. A brief retrospective analysis is introduced, then the relevance of the problem is emphasized. The methodology of the research is presented with the survey conducted among teachers from the initial stage of the basic level of education and conclusions from the two components are drawn. The survey is entirely online. It is based on two criteria with corresponding co-indicators to them. It includes questions about the perception and understanding of literary text by students in the elementary stage, as well as the use of intersubject connections by teachers - opinions about their usefulness, examples of their application and achieving the motivation of students for the learning process; as well as the strategies used to improve skills, the difficulties students encounter, and the joint activities with parents. Relevant conclusions have been drawn.
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The proposed article examines the process of overcoming the experience, focusing on the topic of motherhood that has not happened. We trace the return to memory in the specific case of Dimana Yordanova's poetry book - „Letters to Nia, to whom I did not give birth”. We allow ourselves to look at the book through Yulia Krasteva and her analysis of the topics of melancholy and depression. Our interest is focused on self-closure and fear of the inner world.
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Romantic philosophy and aesthetics provide a fertile ground for the development of the angelic element, which became a part of the conceptual journeys of the creators of the era. Drawing upon stereotypical notions of angels, Juliusz Słowacki, the most „romantic” and mystical among the three Polish poet-prophets (alongside Adam Mickiewicz and Zygmunt Krasiński), offers his creative „interpretation” of this celestial being. The aim of this study is to stylize the symbolic spectrum of the angel and provide a concise overview of its evolution in the works of the Polish poet and epistolographer. To achieve this goal, comparative, semantic-analytical, and interpretative methods have been employed.
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The article deals with linguistic violence, the functions of swear words and their use in literature. It aims to show how cursing can be used as an act of self empowerment. Austrian writer Lydia Haider’s text Wahrlich fuck you du Sau, bist du komplett zugeschissen in deinem Leib drin. oder: Zehrung Reiser Rosi. Ein Gesang. Is aggressive, not fair, irrational and arbitrary in the sense of violence as violentia. A linguistic violence that becomes semantically blind. She rises above everything else escaping argument and control. But her language is also comedic. The higher it rises, the lower it falls, in the excessiveness there is a form of jubilation and, last but not least, (self-)irony.
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