Looking into the work of T. Trayanov it turns out that most of his emblematic titles appeared much later, only in the 1920s. If we exclude the vivid ornamental titles of the early twentieth century (“The Drop of Desire”, “Melancholy of the Petrified”), as well as the few surviving titles from then (“Sunflower”, “New Day”), the poet’s later titles were not spontaneously placed as the texts appeared, but were formulaic quintessences, used over a long period of time and applied with a particular aesthetic tendency in mind. Thus, Trayanov’s titles mark the changes in his poetics: there are either a small number of persistent titles, reimagined from a radically new context; or the proliferation of spring titles, a product of the ideological format of optimistic upbeat Bulgarian symbolism imposed in the early 1920s. These include titles associated with pagan-ritual origins (“Pyre”, “White Altar”, “Altar Flowers”), also titles produced by self-stylization in the spirit of German Romanticism such as “Blue Flower”, “Violet”, “Daffodils”, as well as all titles that emerged as a consequence of contextual links, correlations and affirmations in the magazine Hyperion.
TRAYANOV’S TITLES – CONTEXTS OF SELF-ERASURE AND SELF-CREATION
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Бисера Дакова
- [email protected]
- Институт за литература – Българска академия на науките, Institut für Slawistik – Universität Wien
- България
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Бисера Дакова (1966). Доцент, доктор по нова и съвременна българска литература в Института за литература – БАН. От есента на 2016 е гост-преподавател по български език и литература в Университет Виена, Австрия. В периода януари–юни 2003: изследователска стипендия „Ернст Мах“ 269към Философския факултет на Университет Виена, с научен ръководител проф. д-р Алфред Пфабиган. В периода 2006–2011 преподава български език и литература в Института за славистика на същия университет и в университета „Фридрих Шилер“ в Йена, Германия. Автор е на редица научни статии в специализирани периодични издания и сборници, както и на монографиите: „Яворов. Археология на автора“ (Стигмати, 2002), „Век и краевековие. Позитивизъм и декаданс в българската литература през ХІХ век; аспекти на ориентализма и културната идентичност“ (Карина-М, 2007), „Der unanthologische Trajanov. Die getilgte Dekadenz. Über die Verwandlungen der poetischen Sprache“ [Неантологичният Траянов. Изличеното декадентство. За преображенията на поетическия език] (Dr. Kovač, 2009). Преводач на голямата австрийска писателка Фридерике Майрьокер: „само ЖЕСТОКО седя“ (Ерго, 2019).
Abstract:Looking into the work of T. Trayanov it turns out that most of his emblematic titles appeared much later, only in the 1920s. If we exclude the vivid ornamental titles of the early twentieth century (“The Drop of Desire”, “Melancholy of the Petrified”), as well as the few surviving titles from then (“Sunflower”, “New Day”), the poet’s later titles were not spontaneously placed as the texts appeared, but were formulaic quintessences, used over a long period of time and applied with a particular aesthetic tendency in mind. Thus, Trayanov’s titles mark the changes in his poetics: there are either a small number of persistent titles, reimagined from a radically new context; or the proliferation of spring titles, a product of the ideological format of optimistic upbeat Bulgarian symbolism imposed in the early 1920s. These include titles associated with pagan-ritual origins (“Pyre”, “White Altar”, “Altar Flowers”), also titles produced by self-stylization in the spirit of German Romanticism such as “Blue Flower”, “Violet”, “Daffodils”, as well as all titles that emerged as a consequence of contextual links, correlations and affirmations in the magazine Hyperion.
Subject: TEODOR TRAYANOV IN THE MIDST OF BULGARIAN SYMBOLISMKeywords: заглавие, Теодор Траянов, символизъм, сецесион, поетика
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