BOOK 8

  • PUBLISHING HOUSE
    PUBLISHING CENTER “BOYAN PENEV”
  • Online-ISSN
    2603-3364
  • Print ISSN
    1312-238X
  • STATUS
    Active
  • SUBJECT
    The dependent person, Russian-Western perspectives, Deutsche Romantik, Review
  • ИЗТЕГЛЯНЕ НА ЦЕЛИЯ БРОЙ

РУСКО-ЗАПАДНИ РАКУРСИ

06/02/2025

Galin Tihanov

WORLD LITERATURE IN THE SOVIET UNION: INFRASTRUCTURE AND IDEOLOGICAL HORIZONS

  • ABSTRACT

    This text wants to pursue a somewhat different direction in the cur- rent con­versation on world literature; it seeks to ‘multiply’ world literature and demon­strate that there is no world literature per se, but rather different world literatures, because at different times different communities produce different constructs that they label as world literature. In my title, I signal that here we are dealing with answers to the questions what world literature is and how to write its his­tory that come from Soviet Russia, encompassing a period of some seventy years. My emphasis is on the lessons one could learn from the Soviet atten­tion to world literature; foremost amongst these is the compelling determina­tion of Soviet intellectuals to conceive of world literature in a systematically non-Occidentocentric manner. With this, the Soviets were pioneer- ing an approach to world literature that foreshadows our current concerns, as I will try to demonstrate. But there is also another lesson emerging from the Soviet preoccupation with world literature: the conversation on world literature does not proceed in a vacuum, it is constantly interacting with, impacting on, and being impacted by, the conversation societies have about national literatures and literary theory. I begin by briefly adumbrating four historically attest- able meanings of ‘world literature’ that are still at work in the Soviet debates; I then identify three different cultural and ideological horizons (or frameworks) of thinking about world literature in the Soviet Union and, significantly, locate their common ground, the glue that bound them together, in the master approach of de-Westernizing the very notion of world literature, an attitude consistently enacted by Soviet intellectuals engaging with the history of world literature.


06/02/2025

Rumyana Evtimova

GENRE PERIPETIES OF FACT IN THE MASTER OF PETERSBURG BY J. M. COETZEE

  • ABSTRACT

    The paper is concerned with the nature of fact, as a part of the struc- ture of genre-hybrid fiction biographies. It is assumed that any fact created by author‘s imagination is implicitly literary unless it is a specific document. This argument is being supported by theoretical justifications by J. Tynyanov. The examples of the peripeteia of real facts about the personality and work of F. Dostoevsky in the genre of fictional biography are from the novel The Master of Petersburg by J. M. Coetzee. In this work, the author‘s interpreta- tion is achieved through an original intertextual play that reproduces Dostoev- sky‘s literary personality and the complex construction of his creative world.


06/02/2025

Jelena Kovtun

THE MOTIF OF MEMORY IN THE FANTASY NARRATIVE OF THE AFTERLIFE: THE PECULIARITIES OF ARTISTIC INTERPRETATION

  • ABSTRACT

    The article belongs to a series of publications presenting the results of the author’s research of the XX–XXI centuries’ Russian and foreign fantasy from the viewpoint of the Afterlife Universe artistic image embodiment as a special locus of human being (soul) postmortem existence. The article highlights charac- teristic features and functions of one of the basic leitmotifs in the artistic structure of the narrative of the afterlife – the motif of memory. It has been revealed that the given leitmotif is interpreted by writers in several semantic aspects and includes a number of subordinate motives: “self-memory” as the basis of a person’s posthumous self-identification, the memory of close family members and years past, the memory of the alive about the dead, and, finally, the memory of the humanity as a whole about its own history. Based on the results of the analysis, one can draw certain conclusions on the general meaning of the leitmotif: memory is a unique trace in history left by a person, it is also a great debt owed by the living to the dead, and it is the total collective experience that shapes humanity. Besides, in a number of texts, it is a steady basis of the Afterlife Universe existence.


06/02/2025

Magdalena Kostova-Panayotova

RUSSIAN AVANT-GARDE POETRY OF THE 20TH CENTURY: CHRONOLOGICAL FRAMEWORKS, VECTORS, AND CONCEPTS

  • ABSTRACT

    The study examines Russian poetry of the 20th century, falling into the field of the avant-garde, and presents the features of cultural processes, the development of avant-garde trends, changes in the functions of art and language, vectors, and concepts. The boundaries of the literary phenomenon are made meaningful. The rebellion against aesthetic norms requires searching for new proportions and aspects of perception. Both the early and the second half of the century avant-garde set themselves the goal of shaking the perceiver, breaking the automatism of reading, and causing active rejection or misunderstanding. Hence, techniques related to difficult reading include “memorized” creations, “cut-off” words, a multitude of neologisms, broken syntactic constructions, and the fusion of incompatible aesthetic or thematic phenomena. The avant-garde versions of twentieth-century art emphasize resistance to the label manifestations of culture, opposing as an alternative the reduced, careless form, affirming through negation the breakthrough to the sacred and the true, the search for new positive meanings.


06/02/2025

Natalia Lunkova

HEADS OR TAILS BY D. ENEV AND THE NINETIES BY R. SENCHIN: TO THE PROBLEM OF THE MAN OF TRANSITION PERIOD

  • ABSTRACT

    The article examines the means of artistic embodiment of a person in a transitional period – the period of the 1990s, based on the material of Bulgarian and Russian literature (the collection of stories Heads or Tails (1999) by D. Enev, the collection of stories and novellas The Nineties (2024) by R. Senchin). The key role in the prose of both writers is played by the “little man” who finds himself in a marginal position. Many characters have an emphatically asocial character. The interest of both authors in marginal heroes, the appeal to transit, border spaces and situations are due to the specifics of the extra-literary context – the philosophy of the transition time of the 1990s, a period of loss of the previous system of axiological coordinates, abrupt socio-political transformations. The analysis revealed that the writers gravitate toward different strategies for creating the image of a person of transition time: Enev often resorts to modeling heterogeneous space and describes the dual position of a modern person through spatial oppositions, while Senchin focuses on the inner world of the hero, conveying his psychological state through internal monologues and indirect speech. In his works, several types of marginal heroes and models of their behavior can also be identified (from the disintegration of personality to attempts to find new life guidelines).


DEUTSCHE ROMANTIK

06/02/2025

Bozhana Filipova
Bogdana Paskaleva

Deutsche Romantik

  • ABSTRACT

    През 1800 година в последния брой на списание „Атенеум“ Фридрих Шлегел помества кратък текст под заглавие „За неразбираемостта“, с който отговаря на обвинения, отправени срещу него и списанието. Отвъд конкретния повод обаче изкристализира една висока задача, която Шлегел си поставя и тук, и по-широко в своята работа, а именно произвеждането на нов тип читател, който ще търси не ясния и леснодостъпен език, а такъв, чието критическо мислене и ентусиазъм за предизвикателствата на рефлексията ще го тласкат към симфилософия – терминът, с който романтическото поколение обозначава типа сътрудничество (и в „Атенеум“, и извън него), съмишленичеството, колективното усилие за философстване „заедно“, сътворчеството по пътя към големия хоризонт на мисълта.


06/02/2025

Friedrich Schlegel

ON INCOMPREHENSIBILITY (1800)

  • ABSTRACT

    Някои предмети на човешкото размишление привличат – било защото има нещо в самите тях, било защото има нещо у нас самите – към все по-задълбочено размишление, и колкото повече се отдаваме на това привличане и се изгубваме в тях, толкова повече те се превръщат в един единен предмет, който ние – в зависимост от това дали го търсим и намираме в себе си, или извън себе си – характеризираме като природа на нещата или като определение на човека. Други предмети вероятно никога не биха привлекли вниманието ни, ако в свещена самота посвещавахме наблюдението си изключително и единствено на този предмет на всички предмети и ако не се намирахме във взаимоотношения с други хора, едва от общуването с които да изникват подобни отношения и понятия за отношения, които при по-внимателна рефлексия да се разгръщат и разпластяват до предмети на размишлението, т. е. включително тук да следват тъкмо противоположния ход на нещата.


06/02/2025

Friedrich Hölderlin

LATE POTRY (1806–1843

  • ABSTRACT

    Предложените по-долу на българския читател стихове са от късния период на Фридрих Хьолдерлин (1770–1843), когато поетът – състудент и приятел на колосите на Немския идеализъм Шелинг и Хегел от Тюбингенската семинария – вече е изпаднал в период на видимо умопомрачение, продължило десетилетия, до самата му смърт (въпреки спекулациите от някои тълкуватели, че то е било преструвка, помагала му да се крие от реални или въображаеми политически противници и преследвания, най-вече във връзка с опитите за съдебен процес срещу неговия другар Исак фон Синклер и конспирациите за сваляне на вюртембергския курфюрст). В този период поетът обитава прочутата си кула в Тюбинген, част от дома на семейството на дърводелеца Ернст Цимер, когато помрачението на съзнанието му се редува с кратки периоди на просветление, а приемането на рядко наминаващите любопитни гости – и с продължителни импровизации на пиано и опити за творчество, вдъхновено от гледката отвисоко към река Некар.

    KEYWORDS

Рецензия

06/02/2025

Silvia Nikolova

“REMEMBERING-REREADING-RECONSIDERING”: WHAT PAISIUS IS TO US BY SIRMA DANOVA

  • ABSTRACT

    В последните семинарни занятия по „Литература на Българското възраждане“ симптоматично пролича овладяното, ала заразително пристрастие на Сирма Данова към мястото на Паисий Хилендарски като особен вид конструктор или по-точно – около което се фокусираше нейният изследователски интерес – субстрат на терена на националната културна идентичност. Тогава не знаехме, че привилегироването на този въпрос е свързано с актуалната ѝ научна работа, не си давах- ме сметка, че този труд ще бъде нейната лебедова песен.

    SUBJECT