postmodernism

Osip Mandelstam’s criticism has been studied much less than his poetry and life. This article sheds some light on three complex ideas in Mandelstam’s critical texts viewed as a whole: synchrony and diachrony, word and language, and dialogicity. Taken together, these three areas form what I term Mandelstam’s cultural and literary holism. One of my leading ideas is that this criticism is imbued with implicit phenomenology. This type of philosophizing also influences Mandelstam’s critical style — it does not define but describes and narrates. This explains why my effort to “translate” Mandelstam’s critical ideas into a stricter scholarly idiom by necessity uses long quotes. The study concludes that Mandelstam’s holism is utopian and idealistic because it thinks the cultural past can be reenacted in the cultural present. Today, in its totality, Mandelstam’s holism is somewhat archaic because it is an apparatus by which a subjective mind attempts to control all meanings. Yet, many aspects of this holism, such as dialogicity, reader’s activity, and the eclectic accumulation of various cultural strata, are still viable in our contemporary postmodern thinking and practices. Initially, the study was written in English in December 1996 and was reworked in Bulgarian in October 2022.

The novel Photo Stoyanovich is an attempt not just to create another historical narrative, which will repeat painfully familiar scenes from the Bulgarian Revival, but rather to allow for dialogue with the history. The claim that recently was attributed to history to “speak” the truth is at the heart of this dialogue. The author takes advantage of some techniques typical of postmodern writing – the game, the hoax, the collage. The subtitle “novel-collage” draws attention to the specifics of the book, in which literature meets non-literature, and the novel itself is built on a collage principle, sketching – in the form of various fragments – photos, letters, articles (or individual passages) from newspapers, notes, diaries.