![Книги 2015–2016](/api/image/getissuecoverimage?id=picture_2016_26423.jpg)
Книги 2015–2016
Selected bibliography in the field of Bulgarian Studies published in 2015-2016
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Selected bibliography in the field of Bulgarian Studies published in 2015-2016
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Based on the literary and cultural material, the article discusses two functions played by the term of emigrantology as a legacy of three waves of Russian emigration in the 20th century. The term was introduced by Lucjan Suchanek to the research space of Slavic emigration. It has systematized the area of intellectual and scientific self-reflection (including literary studies, historiography, philosophy and theology, and cultural studies), which developed in the community of Russian emigration. Additionally, the term provides modelling of the need for interdisciplinary and in the nearest future trans-disciplinary studies on the complex cultural phenomenon of Slavic emigrations. In this particular context, the article presents major research directions and achievements of Russian studies in Poland.
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The Home of Literature is a metaphor of the literature and literary community. However, this metaphor is connected with the home obsession in contemporary post-Yugoslavian literatures. After the collapse of the Former Yugoslavia and Bosnian war, the home is one of the constant themes in contemporary literature in all area. We can see that in the poetry of the Bosnian-Slovenian poet Josip Osti, but also in the novels and essays of the famous emigrant writer Dubravka Ugrešić, as well as in the works of Peter Semolič, Miljenko Jergović, Vida Ognjenović, Jasna Koteska etc. The home is often present even in the titles of their works (House of Language by Osti, House of Words by Semolič, The House of Dead Scents by Ognjenović), and what is more important – the home is a counterpart of the literature as a place of the sense in the world that every day loses a part of its sense and good taste. The literary home is not a utopian place, because it is a collective image and it could be the dystopian place as well. We mark that through the works about the prison and concentration camps – The Damned Yard by Ivo Andrić, the novels and stories by Danilo Kiš, Dragoslav Mihailović, Branko Hofman, Miroslav Popović etc. At all events, the literary home is always a place of the reinventing of the sense.
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Issue of the United Workers' Art Group "Abrašević"
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Dvacetileté období mezi dvěma světovými válkami bylo pro poznání Makedonie, makedonské lidové slovesné tvorby, makedonských nářečí, dějin, zeměpisu i sociálních poměrů, tzv. makedonské otázky a tudíž také vzájemných česko-slovensko-makedonských a česko-slovensko-jihoslovanských kulturních styků velmi významné. Tvoří samostatnou etapu. V desetiletích 1918–1939 došlo mj. k rozvoji vzájemných hospodářských, politických a kulturních styků a vztahů také mezi ostatními slovanskými národy.
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Author of this article deals with Zdeněk Urban’s (1925–1998) Macedonian studies, especially his innovative doctoral dissertation on the Faculty of Arts of the Charles University in Prague Beginnings of the Macedonian literature in relation to the other South Slavic literatures and their reflections in Czech one (in Czech; 1949). Urban’s other works were mainly aimed at Bulgarian, folklore or Sorbian studies. There are some supplements of this article: a list of contents of Urban’s doctoral dissertation, review of its supervisor (Antonín Frinta) and opponet (Julius Dolanský) and the list of his Macedonian contributions. Urban explained the genesis of the Macedonian literature in two phases. Initially the feudal ecclesiastically Slavonic culture became the bourgeois (works of Kărčovski and Pejčinovič) and only then the young Macedonian middle class took part in the cultural life during its struggle against the hellenization from the 1850s. As the first Macedonian written literature was closely bound up with the Bulgarian one, the Macedonian National Revival gained extrinsically pure Bulgarian traits. Urban interpreted this fact from the Marxist point of view: qualitatively more backward and quantitatively weaker Macedonian bourgeoisie learnt from richer and culturally more advanced Bulgarian one during the common struggle for the national school system, church and culture. This direct contact between both literatures was radically disturbed in the 1870s, when the revolutionary democrats got control of the Bulgarian literary field. Urban anticipated in his monograph From the History of Czech-Bulgarian Cultural Contacts (in Czech; 1957) and article Problems of the Comparative Studies of South Slavic Literatures in the 19th and the 20th centuries (in Czech; 1968) Ďurišin’s conception of theory of the interliterariness process with its most important ideas of dioecism (polyoecism) and biliterarity (polyliterarity) in his interpretation of the “borderline” Bulgarian-Macedonian literature phenomenons.
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This paper is about the co-relations between the Prague school and the Macedonian linguistics (in the first decades of its development), giving the possible influences from Theses. Travaux du cercle linguistique de Prague and the language theories that come from the thesis.
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The text is about the Czech translation of Vladimir Martinovski’s works, published by Slavomira Ribarova in Brno between 2011–2013. He is a renowned poet and musician coming from the younger generation of Macedonian poets. Martinovski participated in the international residential programme “Journey Across Europe-Remeasuring Cultural Space”, 2010–2011, which was coordinated by the publishing house “Windmills” (Větrné Mlýny) in the Czech Republic. The same house has later introduced the full paper edition of Martinovski’s “Quartets”, intended for reading, watching, singing and listening, to the Czech audiences and poetry scene. Ribarova‘s translations are carefully crafted in a correct and precise manner.
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MIXER, Adriana Sabo: Rod i klasična muzika u Srbiji; CEMENT, Dalibor Plečić: Goce (nije Delčev) i sestre revolucije; ARMATURA, Marko Matić: Srbija u začaranom krugu, Ivan Zlatić: Kuda iz stečaja?; VREME SMRTI I RAZONODE, Predrag Lucić: Banka na Neretvi; BLOK BR. V, Mr. Stocca: Zbog tebe mi se povraća
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Biljana Andonovska: IntroSKop; NOVA MAKEDONSKA KNJIŽEVNA SCENA; Izbor: Jasna Koteska i Biljana Andonovska; Prevod s makedonskog: Biljana Andonovska; Rumena Bužarovska: Ne plači, tatino; Vladimir Jankovski: Večno sadašnje vreme; Pandalf Vulkanski: Skopske priče iz 2014., Četiri haikua; Dimitar Samardžiev: Emancipaternalizam; Nikola Madžirov: Pre nego što smo se rodili i druge pesme; Marko Petruševski: Bliskosti; Igor Isakovski: Višenamenski nožić; Lidija Dimkovska: Razlika
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MIXER, Saša Ilić: Nebo nad Leipzigom 2010; ŠTRAFTA, Robert Alagjozovski: Makedonska literatura u ćošku; ARMATURA, Saša Ćirić: Srebrenico, sramoto moja; VREME SMRTI I RAZONODE, Tomislav Marković: Sajamski jadi mladoga Kecmana; BULEVAR ZVEZDA, Božović, Gojko; BLOK BR. V, L. Bodroža & T. Marković: Karta srpskog spasa (24)
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As the fundamental text for the study of artistic and literary avantgardes, Bürger’s Theory of the Avant-garde has been the subject of a wide and diverse critical reception. An especially contentious claim of Bürger’s is the one about the failure of neo-avant-garde art – a claim that cannot be separated from of his category of historical avant-gardes and the claim about the defeat of the pre-war avant-garde movements. Missing the construction of Bürger’s argumentation, different critics have pointed to different post-war artists and artistic movements which, through their work, revitalized avant-garde poetics with more or less success. However, by staying in the same framework of the Euroamerican capitalist West and its artistic system, these counterexamples could not offer a systemic intervention into Bürger’s theory. Due to its specific historical, social, and therefore cultural and artistic trajectory, the experience of Yugoslavia represents one of the possible points of departure for such an intervention. By focusing on existing interpretations of the relation between the Yugoslav avant-garde, neo-avant-garde and post-avant-garde, this article aims to show how the unique relation of the post-war avant-garde towards its tradition can contribute to the critical supplementation of Bürger’s theory and a more nuanced understanding of the possible relations between the neo-avantgarde and the avant-garde. In that sense, this article will try to show how the Yugoslav example is indispensable to a relevant discussion of artistic avantgardes in general.
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18.1. Literature and »national consciousness« 18.2. Delimitations and border crossings 18.3. The ideology of »Yugoslavism« 18.4. Brief overview of the individual national literatures
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