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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 paper focuses on the reader books in the period between 1947 and 1986. The choice of the literature texts and ideological problems in the children`s education are analyzed.
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The key role of the construction worker in the building of the sacred communism in Bulgaria is a leading motif in the most of Penio Penev’s poetry works. Proletarian poet most often glorifies the importance of the new man, the man-constructor and his labour efforts, speaking on behalf of the nation in poems such as "His Majesty the Man", "Corpus 206", "Building Spring" and etc. In the majority of Penio Penev`s poetry, he presents the shock-worker as a basic constructive element of the Bulgarian communism’s utopian dream. Penev is generational related to the historical period from the late 40s and early 50s of the Twentieth century, in which he formed himself as a mature creative person. His short poetic life is a series of rise and fall, as it happens with his attitude towards life in general. However, the topic of the construction concentrated on the image of the worker as an engine of a new technical time is a key one and accompanies the author till the very end of his life, which coincides with the loss of relevance of this type of themes in the Bulgarian poetry of the early 60s of the Twentieth century.
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The main attention in the article is focused on how social issues are reflected in Marya Grubeshlieva’s works, written before, during and after the Second World War and published in the collected works, entitled „On the threshold” (1955). Internal strategies that determine the nature of fabulation are discussed in terms of utopian social project which Communist Party imposes on the agenda of modern Bulgarian society. In the article is paid attention on the ways in which the authoress tries to create literary texts, subject to the new method in art – socialist realism.
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The paper deals with reviews of novel “Lavina” by Blaga Dimitrova. It focuses on the different critical strategies concerning interpretations of the book that outline the view of the whole criticism tradition in that period.
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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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Georgi Markow: The Salt of the Earth (end) // Wanda Wasilewska: Fame / In the Railroad Car / The Shepherd // Anatoli Kuznetsov: Young Girls // POEMS: Mikhail Lukonin: The returnees / The Stalingrad Theater / Mother / To Kolja Otrada / Up the search for the tender person // LITERATURE AND REVIEWS: Jefim Dobin: On the way to “Lebensborn” // WRITERS AND ARTISTS HAVE THE WORD: Fantasticism and the Present (Interviews) // MEMOIRS: Sergej Eisenstein: Stations // TAKEN FROM LIFE: Ada Rybatschuk: We were in the Far North // ART: Vera Schitowa: A Stage full of youthful Spirit
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Wil Lipatow: Yellow Dead Nettle // POEMS: Arkady Kuleschow: Ears of Vorn / My Song / My Presidium / Everyone has a Grove // LITERATURE AND REVIEW: Vladimir Frolow: Theater of the Present, Theater of the Future // Mikhail Kuznetsov: Reflections on the Contemporary Novel // OUR CONTEMPORARY: Boris Polewoi: Man - Man's Friend // Tatjana Pereschiwko: Tomorrow is in our Hands // ART: Alexander Kamenski: Graphics and the Present // WHAT BRINGS US CLOSER TOGETHER: Evgenia Fradkina: New works about Arnold Zweig / / BOOKS AND MAGAZINES: Michail Dolinski: We introduce: The magazine "SNAMJA" // Vladimir Steshenski: "Hand in Hand"
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Oles Gontschar: Man and Weapons // Juri Nagibin: The Echo // POEMS: Alexej Surkow: Fire flickers in the oven // Konstantin Simonow: Wait for me // Mussá Dshalil: Don't believe it! // Sergej Orlow: In the world he is now // Pawel Antokolski: The son (from the poem of the same name) // OUR CONTEMPORARIES: Konstantin Lapin: What he wants to be // WRITERS AND ARTISTS HAVE THE WORD: Sergej Smirnov: In rank and file // LITERATURE AND REVIEW: Lev Kopelew: There is no Peace West of the Elbe // MEMORIAL DAYS: Nikolai Bogoslowski: Wissarion Belinski (on his 150th birthday) // Nikolai Shegalov: Pages, Come back to Life
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Alexander Kornejchuk: On the Dnepr // Gleb Gorew: On the Outskirts of the City // Pawel Chalow: To All who Hear Me // OUR CONTEMPORARIES: Arkady Litwak: Encounters on the paths of the Seven Year Plan // LITERATURE AND REVIEW: Alexander Kirillov: Towards new Achievments // Alexander Кaraganow: Creative Experiments // ART: Anna Walzewa: Studio of Enthusiasts // Grigori Kogan: Swjatoslaw Richter // Ludmilla Pogoshewa: An eventful day // EXCHANGE OF OPINION: Foreign connections of Soviet writers // WHAT BRINGS US CLOSER TOGETHER: Georgi Breitburd: Appeal to a Literature of Reason // IN THE WORLD OF SCIENCE
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Juhan Smuul: The Ice-Book // Sergej Antonow: Aljonka // POEMS Alexej Surkow: My contemporary / Jarosław Smeljakow: Propaganda // Leonid Martynow: A Person rose into the Universe // SPEAKING WRITERS: Boris Polewoi: When reading the new program // Alexander Prokofjew: The all-conquering Truth: // Leonid Sobolew: Towards the Future // Wladimir Solouchin: Local Poetry (interview) // Dagnija Sigmonte: The greatness of our days // Georgi Markow: Responsibility towards the epoch // OUR CONTEMPORIES: Lev Kokin: On the Meaning of Life // LITERATURE AND REVIEWS: Alexander Kriwizki: From the bottom of my heart // Alexander Makarow: Sergej Antonow // ART: Dmitri Shostakovich: For expressive, gorgeous, inspirational Music // Semjon Tschertok: The Seven Year Plan in Action // BOOKS AND MAGAZINES: Isaak Kramow: About Life and Struggle
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Emmanuil Kazakewitsch: The blue notebook // Shaken Shumakanow: Einzugfest // Abdullah Kachhar: The blind became seeing // Mkrtitsch Armen: Sun on the threshold // Beki Seitakow: From servant to master // POEMS // Mirso Turssun-Sade: Africa - my sister // Berdy Kerbabaev: When there is no breeze. / Not catching up // Viktor Keulkut: That is untrue // Suleiman Rustam: I love // OUR CONTEMPORARIES: Anatoli Agranowski: The Minibajews // ON THE CAIRO-MEETING // Sulfiya: Friends meeting again // Nikolai Tichonow: Old friends are meeting // Fatech Nijasi: The Path of Peace and Friendship // Garegin Sewunz: Unity // WRITERS SPEAKING: Valentin Katajew: Educated by the Revolution // MEMORIAL DAYS: Pawel Berkow: A builder of Russian culture // ART: Nureddin Gabibow : Soviet Azerbaijani painting // Anatoli Kantor: The topic of work in Soviet art // WHAT BRINGS US CLOSER: Grigori Bergelson: Light is growing in the East
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