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L’ornement brodé de Samokov est une manifestation importante de l’art décoratif, crée par le peuple bulgare au cours des siècles. Il l’emporte sur les autres broderies ethnographiques bulgares classifiées par ses qualités artistiques incontestables, par la richesse de formes et couleurs variées et originales, par la dynamique et sa vitalité. Les conditions favorables qui ont contribué à son développement sont la situation géographique et historique et le milieu social, folklorique et culturel. L’auteur fait la caractéristique détaillée de la broderie de Samokov. Il étudie les éléments essentiels qui la composent, ses traits caractéristiques, la manière de formation des ornements, les changements subis par la broderie avec le temps, l’origine et la destination de l’ornement brodé. A la confrontation de l’ornement brodé de Samokov avec les autres formes d’expression de l’art populaire il ressort une de ses particularités essentielles: si par les chansons, les contes et la musique populaires on exprime parfois la souffrance et la tristesse, l’ornement brodé de Samokov agit toujours par son caractère enjoué et optimiste sans doute par ce qu’il est lié au rêve éternel et à la foi du people dans le triomphe du bien sur le mal.
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L’article porte sur l’histoire de l’enregistrement, la publication et l’étude du folklore dans le Rhodope. C’est en 1860 que fut publiée pour la première fois une oeuvre folklorique de la région du Rhodope. Le rassemblement de matériel folklorique de cette région commence à s’intensifier après la guerre russo-turque de 1877-1878. L’auteur retrace l’activité des folkloristes les plus éminents du Rhodope de cette période: Hristo Popkonstantinov, Stoyo N. Shishkov et Vasil Dechev Uzunharitiev. On produit en outre des renseignements intéressants sur un grand nombre d’autres hommes de lettres, maîtres d’école et hommes d’action locaux qui ont des mérites pour le rassemblement du folklore du Rhodope. L’auteur réserve une attention spéciale à l’intérêt de la science bulgare pour le folklore du Rhodope après la Seconde guerre mondiale. On mentionne les recherches et recueils de matériaux folkloriques les plus importants, parus après le 9 septembre 1944.
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This multi-parted essay pursues as contrapuntal set of relationships some points of contact, overlap, or synchrony among various border-voicings: literary, linguistic, musical, autobiographical, mathematical, and ethical. Its controlling technique is the inescapably abstract and general notion of fugal pursuit more particularly lodged in the etymological derivation of “fugue” from fugere and fugare — to flee and to pursue. What the essay pursues, by way of that hunting call and response that characterizes fugal texture, is concretely particular: a reading of how the nomadic expatriate J.M. Coetzee in his later fiction follows into exile James Joyce’s siren-song fugal practice; especially — to begin with — in the contrapuntal arrangement of Diary of a Bad Year. Migrating across its own rows on the page and again migrating to and from the various segments of this multipartite essay, my reading articulates an always at least doubled performance, a fugal reading and writing, that first follows by imitation the linguistic practice of Coetzee following Joyce, but that also — as in Coetzee — subsequently seeks to unsettle the Sameness of imitation by the contrapuntal surprise attending the always unique advent of individual exile, expatriation, or the unexpected arrival of some Other, harbingers all of ethics perchance. In order to pursue its prey, this essay has itself entered into exile, fleeing from the eminent domain of orthodoxly-governed argument even to the point of risking the exceptionable: whereby, for example, and for the shape of its presentation, it eschews Chicago Style citation while conforming in other respects to the stylistic protocols of Word and Text.
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This article takes a brief look at why Transgressive Fiction from the 1990s has been under represented in academic circles and then examines why it was so often misread by reviewers and critics from this period. Transgressive Fiction intentionally frustrates readers using traditional referential modes of criticism by refusing to provide an objective meaning, ideology or structure. This refusal forces the reader to either engage in the text personally or begin a process of rejection and assimilation. This practice can be avoided if Transgressive texts are considered via subjective affectivism (the reader’s reaction and involvement) rather than by the quality of their execution and subject matter. This opens the way for the text to function as a place for consequence-free exploration and the enactment of taboos and their transgression.
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This essay attempts to examine Danielewski’s experimental novel from the standpoint of postmodernity, architecture, and information theory in order to demonstrate how it exemplifies the new modes of spatio-temporal ordering which characterize late capitalist society in the digital age. Both the figure of the house and the form of the text suggest the futility of spatially and temporally fixed identities in contemporary society. The fictional house contains a corridor that constantly expands, defying any attempts to accurately record its interior. Typographical innovations are used to merge the tempo of the narrative with the readers’ sense of space and time. Furthermore, the online forum where readers discuss the text serves as an extension of the narrative into digital space and also exemplifies the spatio-temporal dimension the novel evokes. Situated within this context we can understand the novel as a meditation upon the ontological uncertainty produced by the ubiquity of digital technologies, as we are no longer able to clearly demarcate the boundaries between online and offline, fact and fiction, real and fantasy.
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The present article deals with the most experimental of Charles Palliser’s novels to date: Betrayals (1994). In the first part, I explain a typology of labyrinths and books, following Eco as well as Deleuze and Guattari, and I introduce Betrayals as a labyrinthine novel that fits the features of the rhizome/the rhizomatic maze. Then, I focus on “An Open Mind” — the novel’s seventh chapter — in order to analyze its comic playfulness, its use of parody and its postmodern subversion of the detective formula. The analysis also considers the recurrence of certain themes, motifs and narrative strategies, in an attempt to throw light on Betrayals as a whole by focusing on one of its sections and its connections with the overarching architecture of the narrative.
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