poetry

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.

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.

The present study aims at examining the motif of death in the early work of the Bulgarian Symbolist Teodor Trayanov. The image of death in the poet’s first poems’ collection Regina Mortua (1909) was specifically studied. Worked on the anthology The Freed Man (1929), including works from the period 1905–1911, where Regina Mortua occupies the first part.

The paper examines several testimonies from Plato (from the dialogues “Laws”, “Protagoras” and “Phaedrus”), as well as several key verses from Theognis, which contribute to delineating certain characteristics of early canonizing thought in the field of the literature. There is a prioritization of poetry over prose and works that are examples of transmitting a model of virtue are more highly valued, whether from the position of the philosopher taking on the role of a literary critic, or of the author himself. More often, these works are ancient, but it is not impossible for a similar status to be attributed to contemporary works of the commenter, including own works. Until Aristotle, there is still a lack of real reflection on the artistic characteristics of highly valued literary genres/individual poets, insofar as emphasis is put both on the educational role (towards achieving general virtue) of the commented poetic examples and on the variability of receptive situations and the individual preferences and abilities of the recipients. However, a certain openness and liberality of the discourse on literary production and reception is also found, allowing the aesthetic and ethical benefit of the perception of works from different genres. This legitimizes Ancient Greek literature, along with similar theoretical reflections within its framework, as rightly recognized as canonical in its entirety.

The article highlights a symbolic absence, namely the lack of femininity in certain lyrical works by the poets Pavel Matev, Mladen Isaev and Vladimir Bashev. For this purpose it will proceed from clarifying femininity and its location, and will also clarify works by Peyo Yavorov, in which femininity corresponds directly to sexuality. In the article will be marked and sub-step to the symbolism of the female hair.

In the article are shortly mentioned the main motives of the poetry of Atanas Dalchev of his art and philosophical discoveries, which led to the spiritual and aesthetic changes in the consciousness of his contemporaries and the tangible influence of his talent on the development of Bulgarian Literature. I would like to highlight that his poetry specially his “Fragmentsˮ and his critical texts express the whole vision of a writer “place of the person in the worldˮ. Constant search of the seсret of being of Atanas Dalchev can also be achieved thanks to his expressive philosophical motives. He intends to conceptualize the artistic world and give him a philosophical depth. The world or space is full of important things: world which tells about the eternal and sad story of existing here and now. At the same time the poetry of Atanas Dalchev like it is mentioned in the article aspires to the theme of the devil. This is why we pay attention to the dual influence and mystic elements in his poetry and also philosophical and existential reflection on his life. In the article are analysed some peculiarities of expression of Atanas Dalchev of poetic texts in Ukrainian taking into account its specific features and significance in the development of Bulgarian poetic creativity.

The article examines the potential of spiritual energy invested in one of the works of the great Bulgarian poet – the socalled “Revival prayer“, the role of the individual and his responsibility to God. Central to “My Prayer“ are images, themes, and motifs from the Bible, along with contemporary issues of institutional religion, which have been moved away in many aspects from genuine human care. Attention is paid to the structure of the prayer and all of its components – from the motto to the final metaphor, but also to the reversal and play with the genre, which gave rise to many contradictory interpretations of the text. A question has been touched on some religious motifs, repeated in other works of Botev, incl. the ideological suggestions of the poet’s new testament.