Elektronni Spisanija na SU (Sofia University "St. Kliment Ohridski")
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Petko Todorov’s Plays and the Poetics of European Symbolism
Full text linkThe paper examines Petko Todorov’s five symbolist plays (Masons, Strahil the Redoubtable Haidout, The Fairy, Bride Boryana, and Dragon’s Wedding) from the perspective of European symbolist drama to emphasize their common aesthetic principles and their specific originality. The comparative analysis thus defined leads to the conclusion that Petko Todorov’s works follows the structural principles of Symbolist drama yet they have their own specifics. The unconventional structure of the dramatic action and dialogue; the wide use of music and painting in the staging of the plays as well as their new genre form make Todorov’s works akin to the francophone Symbolist model. On the other hand, the moral dimension and the pervading national atmosphere in the Bulgarian dramas betray their indebtedness to the Russian Symbolist drama. Finally, the de-valorisation of the fantastic characters and the playing down of Romantic and realistic elements in Petko Todorov’s dramas are totally unknown to the European Symbolist theatre. In this way, Petko Todorov’s dramas are a peculiar combination of Symbolist poetics and influences of the Bulgarian national context. They follow their own development and contribute hereby to the specific evolution of the Bulgarian modernist theatre. Keywords: European and Slavic symbolist drama; Bulgarian modernist theatre; rewriting; fairy tales; legends РезюмеМодернистичните драми на Петко Ю.Тодоров (Зидари, Страхил страшен хайдутин, Самодива, Невеста Боряна и Змейова сватба), се разглеждат в контекста на европейския символистичен театър, за да се откроят естетическите им прилики и своеобразни различия. Съпоставителният анализ показва че нетрадиционното структуриране на драматичното действие и диалога в изграждането на пиесите, широкото използване на музиката и изобразителното изкуство, както и новата им жанрова форма, ги сродяват с франкофонския символистичен модел. А морално-етичните нюанси и подчертаната национална атмосфера в българските произведения разкриват връзката им с руската символистична драматургия. Но подчертаното принизяване на фантастичните персонажи, както и романтичните и реалистични елементи в драмите на Петко Тодоров отвеждат към националните литературни традиции и са почти непознати в европейския символистичен театър. Така, модернистичните творби своеобразно съчетават редица аспекти от символистичната поетика с влиянието на собствения си национален контекст. Самобитната им стилистика дава началото и очертава насоките в развитието на българския символистичен театър. Ключови думи: Европейска и славянска символистична драматургия; български модернистичен театър; пренаписване; приказки; легенд
Itinéraires européens dans la géographie littéraire bulgare : Sofia – Paris / European Itineraries in the Geography of Bulgarian literature: Sofia – Paris
No full textAt the beginning of the 20th century, Paris was the home of art, the intellectual capital of Europe, and the scene of the art of living. Among the many foreign artists and writers, Bulgarians formed an important colony. For these young artists who landed in the French capital, it was synonymous with celebration and freedom. The attractiveness of Paris, its cosmopolitanism, and the special place the City of Light occupied in Bulgarian imagination played the role of a catalyst for their creative talent. Their wanderings served as a bridge between the East and the West of a Europe, which had always been both united and torn between its centres and peripheries. Fascinated, dazzled, hypnotised by the brilliance of Paris as well as by its decay, Bulgarian writers lived the quest for identity – literary, existential, human – whose meanderings have been examined in this article.Au début du XXe siècle Paris est la vraie patrie de l’art, la capitale intellectuelle européenne et la scène de l’art de vivre. Parmi les nombreux artistes et écrivains étrangers qui se donnent rendez-vous en ce lieu, les Bulgares formaient une importante colonie. Pour ces jeunes artistes débarquant dans la capitale française, elle est alors synonyme de fête et de liberté. L’attrait de Paris, le cosmopolitisme parisien, la place particulière dont jouit la Ville Lumière dans l’imaginaire bulgare, joue le rôle d’un catalyseur pour leur talent créateur. Au travers de leurs errances, ils servent de pont entre l’Orient et l’Occident d’une Europe depuis toujours à la fois unie et tiraillée entre ses centres et ses périphéries. Fascinés, éblouis, hypnotisés aussi bien par la brillance de Paris que par sа décadence, les écrivains bulgares vivent une quête de leur identité – scripturale, existentielle, humaine – dont l’article présent se propose de poursuivre les dédales
Stories of Suffering. Bodies and Illness in Post-communist Romanian Literature / Histoires de souffrance. Corps et maladie dans la littérature roumaine postcommuniste
No full textThe fall of communism means liberty of expression, among other things. Contemporary writers tackle topics that were either considered taboo, or were censored under communism, and they portray an immediate reality that reflects everyday society. One important element is the depiction of disease in the works written after 1989, namely from a perspective that pays great attention to the body. Diseases such as AIDS and syphilis terrify people, even though they are treatable and being kept under control. Departing from Susan Sontag\u27s main idea from her essay Illness as Metaphor, in this article I explore the role of disease in contemporary society as depicted in two recent novels: Cruciada copiilor by Florina Ilis and Lizoanca la 11 ani by Doina Ruşti. Romanian post-communist society still avoids speaking about disease, because it is considered taboo. This avoidance most often frustrates the people afflicted by disease. One of the novels discussed in the article observes the relation between the disease and its symbolical meaning in post-communist society, and this is indicative of the problems people run into in their everyday lives. Thus, I demonstrate why disease is an important element in the reality depicted in the aforementioned novels, and I also highlight how illness becomes more than a metaphor. It shows the institutionalized or structural arrangements in society.La chute du communisme signifie, entre autres, la liberté d\u27expression. Les écrivains contemporains s\u27attaquent à des sujets qui étaient tabous ou censurés sous le communisme, et ils dépeignent une réalité immédiate qui reflète la société au jour le jour. Un élément important est la représentation de la maladie dans les œuvres écrites après 1989, à savoir d\u27une perspective qui accorde une grande attention au corps. Les maladies telles que le SIDA ou la syphilis terrifient les gens, même s\u27ils sont traitables et gardés sous contrôle. À partir de l\u27idée principale de Susan Sontag dans son essai Illness as Metaphor, on se propose d\u27explorer le rôle que la maladie joue dans la société contemporaine dans deux romans récents : Cruciada copiilor de Florina Ilis et Lizoanca la 11 ani de Doina Ruşti. La société post-communiste roumaine évite toujours de parler de ces maladies car elles sont considérées taboues. Cette façon d’éviter la réalité frustre, très fréquemment, les personnes touchées par la maladie. Dans les romans sur lesquels on discute dans l\u27article on peut observer la relation entre la maladie et le symbolisme qu\u27elle porte dans la société post-communiste, et cela parle des problèmes auxquels se heurtent les gens au quotidien. Ainsi, on va montrer pourquoi la maladie est un élément important dans la réalité décrite dans les romans susmentionnés, et on va également souligner comment la maladie dans les deux romans devient plus qu\u27une métaphore. Elle montre aussi les arrangements institutionnels ou structurels dans la société
Ève nouvelle. Observations sur le roman européen moderne de l’entre-deux-guerres / The New Eve. Observations on the Modern European Novel of the Interwar Period
No full textDans les limites de cette analyse, la littérature roumaine et la littérature bulgare – pris comme exemples des littératures balkaniques – font l’objet d’une étude comparative avec des exemples de la littérature française. Le cadre thématique du mythe de la création biblique et en particulier la figure d\u27Ève nous donnent l\u27opportunité d\u27y identifier des perspectives communes. Depuis l\u27Expulsion du Jardin d\u27Éden, l\u27humanité suit le chemin pré-ordonné de la mortalité. Néanmoins, le récit biblique ne se termine pas par la chute de l\u27homme. La naissance du Sauveur expie le péché de désobéissance de la première femme et la Vierge Marie devient la Nouvelle Ève, mère des vivants. Les représentations modernes d\u27Ève changent le décor de l’action et à la place du temps sacré se situe la réalité matérielle où le caractère se construit avec hésitation dans la phase du salut. La Nouvelle Ève littéraire prend parfois les caractéristiques d\u27une fugitive et d\u27une meurtrière. C\u27est à partir de l\u27ensemble des ouvrages étudiés ici (de Tchavdar Moutafov, d’Anna Kamenova, de Liviu Rebreanu et de Mircea Eliade) que nous distinguons plusieurs messages contemporains du roman européen. Les écrivains de la littératureWithin the scope of this article, examples from Bulgarian and Romanian literature, which are representative of Balkan literatures, have been used as the subject of a comparative study alongside examples from French literature. The thematic framework of the Biblical creation myth, and in particular the figure of Eve, allow for the identification of common perspectives. Ever since the Expulsion from the Garden of Eden, humankind has been following the preordained path of mortality. However, the Biblical narrative does not end with the fall of man. The Savior\u27s birth atones for the first woman’s sin of disobedience, and the Virgin Mary becomes the New Eve, mother of the living. Modern representations of Eve require a change of scene as the common sacred time setting is reversed to actual reality, where the character building is done through the issue of assurance of salvation. The New Eve takes on the characteristics of a fugitive and a murderess. Based on the cited body of works by Tchavdar Moutafov, Anna Kamenova, Liviu Rebreanu, and Mircea Eliade, this is the point where we begin to single out the contemporary messages of the European novel. The French writers who have been selected as object of comparison are François Mauriac and Jean Giraudoux
Public Art in Turkey: Between Politics and Aesthetics / Публичното изкуство в Турция: между политиката и естетиката
No full textWhat we may call “public art” in Turkey starts with the establishment of the Turkish Republic itself. Mostly, it is associated with monuments and sculptures in public spaces in the modernising urban environment within the newly founded secular state that brought changes not only to the way of life and its dynamics, but also to the entire system of values and the aesthetics of space. The most popular public space, the square, altered completely its function and vision: from being entirely the domain of men enclosed between the mosque, the bazaar, and the coffee-house, to becoming the vital point of the new Europeanised Turkish cities highlighting thus the national identity and memory, and the new political order. This brief survey focuses on the different approaches to public spaces in Turkey and to public works of art, which are more than just ideological instruments of power. The study of this situation in a society that is concerned with its own identity appears as one of the most important issues of contemporary public art in Turkey. On the other hand, public art raises awareness about the value of art in public dialogue, and helps bring forward new interpretations and artistic quests.Онова, което можем да наречем „публично изкуство“ в Турция, започва със създаването на самата турска Република. То се свързва предимно с паметници и скулптури в публичното пространство в модернизиращата се градска среда на новата светска държава, която променя не само начина на живот и неговата динамика, но и системата от ценности и естетиката на пространството. Най-популярните публични пространства – площадите, се променят напълно като функция и визия от предимно мъжко място, съсредоточено между джамията, чаршията и кафенето, във витална точка на новия модерен европейки град, която подчертава националната идентичност и памет и новия политически ред. В центъра на краткото изследване са различните подходи към публичните пространства в Турция, станали предмет на сериозен обществен дебат, в контекста на изкуството, но и на обществените ценности, и намерили отражение в характера на самото публично пространство, за което се предполага, че е нещо повече от идеологически инструмент на властта. Изследването на тази ситуация в едно общество, загрижено за собствената си идентичност, е сред най-важните въпроси, свързани със съвременния обществен живот и корелацията му със съвременното изкуство в Турция. От друга страна, публичното изкуство създава по-голяма чувствителност спрямо ценността на изкуството в обществения диалог и съдейства за оформянето на новите визии и художествени търсения
The Dangerous Book. Observations on the Prose by Danilo Kiš, Aleksandar Hemon and Igor Štiks / Наблюдения върху прозата на Данило Киш, Александър Хемон и Игор Щикс
No full textThe text compares three books by South Slavic authors: A Tomb for Boris Davidovic (1976) by Danilo Kiš, The Lazarus Project (2008) by Aleksandar Hemon, and Elijah’s Chair by Igor Štiks. In different genres, all three books analyse possibilities to defend human rights, and particularly the freedom of speech and thought. In these literary worlds, Europe exists mainly with its philosophical and cultural history, but also as a place with a very long tradition both in the defence and in violation of human freedom. Of course, the book as a main symbol of wisdom and thought is the primary subject of these works, and therefore it is not surprising that their writers devote important space to ‘dangerous books’ and knowledge, and ask about ethic and poetic borders between permission and prohibition.Текстът сравнява три произведения на южнославянски автори: Гробница за Борис Давидович (1976) на Данило Киш, Проектът Лазар (2008) на Александър Хемон и Елияховият стол (2006) на Игор Щикс. В различна жанрова форма и трите книги анализират възможностите за защита на основните човешки права – на живот и свобода на словото и мисълта. В художествените светове на тези произведения Европа съществува най-вече чрез своята философска и културна история, но същевременно и като място с дълга традиция както в нарушаването, така и в защитата на човешката свобода. Книгата и в трите творби е възприета като основен символ на познанието и мисълта и затова не е изненадващо, че техните автори отделят специално внимание тъкмо на ‘опасната книга’ и познанието, поставяйки въпроса за етическите и естетическите граници между разрешеното и забраненото
Hamlet et Don Quichotte / Hamlet and Don Quixote
No full textIn the year 1860, Ivan Turgenev delivered a speech at a public reading entitled "Hamlet and Don Quixote". In it, he commented on the concept of man and world (Weltanschauung) which emerged from the English play and the Spanish novel. However, the philosophical and moral interpretation, which he proposed, referred to Tsarist Russia and the problems of the reforms under Alexander II. For example, there existed a clear link between the speech and Turgenev’s novel Fathers and Sons („Отцы и дети“).Hamlet and Don Quixote remind us mainly of the European fates of these two myths, especially the operas Hamlet (1868) by Ambroise Thomas and Don Quichotte (1910) by Massenet. In the early period of Mannerism and Baroque, Hamlet and Don Quixote were accompanied by a third hero: Dr. Faustus, (a legacy from Marlowe), who too, after many relays, inspired the composer Gounod for his famous opera Faust (1859).All this brings us back to the Salon Viardot, whose hosts were close friends with Turgenev. It is easy to imagine that Turgenev was also inspired by the modern commentaries of Sismondi and Louis Viardot. There are many links between West Europe and Russia, between literature and the history of French opera. En 1860 Ivan Tourguéniev prononce une conférence intitulée « Hamlet et Don Quichotte ». Dans ce texte Tourguéniev traite de la conception de l’homme et du monde qui se dégage de la pièce anglaise et du roman espagnol. Il a relevé aussi que les deux auteurs, leurs deux œuvres sont quasi contemporains. Mais l’interprétation philosophique et morale qu’il propose renvoie à la Russie tsariste et aux problèmes des réformes sous Alexandre II. Il existe, par exemple, un lien assez net entre la conférence et le roman Pères et enfants.Pourtant Hamlet et Don Quichotte nous rappellent surtout la fortune européenne de ces deux mythes, tout particulièrement l’opéra Hamlet (1868) d’Ambroise Thomas et le Don Quichotte (1910) de Massenet. Ils invitent aussi à ne pas oublier que, à l’époque du maniérisme et du baroque, Hamlet et Quichotte s’accompagnaient encore d’un troisième héros : le Dr. Faust que Marlowe a légué, après beaucoup de relais, au compositeur Gounod pour son célèbre Faust (1859).Tout ceci renvoie au salon des Viardot, amis intimes de Tourguéniev. Il est probable que dans son commentaire des héros maniéristes et baroques Tourguéniev s’est inspiré également des travaux de Sismondi et de Louis Viardot. En d’autres termes, multiples sont les liens qui rapprochent l’Ouest et la Russie, la littérature et l’histoire de l’opéra français
Book review: Interlitteraria. Vol. 21, No 1 (2016). Belletristic Translation: a Means of Cultural-Spiritual Dialogue or a Tool of Acculturation
Full text linkBook review:Interlitteraria. Vol. 21, No 1 (2016). Belletristic Translation: a Means of Cultural-Spiritual Dialogue or a Tool of Acculturation?; Miscellanea. University of Tartu Press, Eesti/Estonia, 2016. [Interlitteraria. Том 21, кн. 1 (2016), Художественият превод: средство за културно-духовен диалог или инструмент за акултурация? ; Miscellanea.
The Motif of Travelling in Greek Poetry in the Interwar Period / Мотивът за пътуването в гръцката поезия през междувоенния период
No full textThe cosmopolitan travelling of Greek poetry begins with the emblematic work of Cavafy Ithaka (1910). However ‘travelling’ will vary its meaning in the following decades and will become the turning point for realizing the despair and the irreversible loss of the ideal by the so-called generation of the 1930s whose sense of tragic doom will cement the topos of the ‘lost native land’ in Greek literature. In its wanderings during the interwar period Greek poesy shows us ‘travelling’ (act equal to separation from/acquisition of new space and time) as sadness, but also as an adventure and infinity (N. Kavvadias); as an action, that is pointless (The City, C. Cavafy), and yet obtains absolute dimensions as a bearer of knowledge and wisdom (Ithaka, C. Cavafy), while in the end in G. Seferis’s verses the voyage reaches its total disembodiment, but also its transformation into something new – into an individual/ancestral memory (obviously the only possible island of salvation), into a transcendent immortality of a universal human consciousness.Космополитното пътешествие на гръцката поезия започва още от емблематичното произведение на Кавафис Итака (1910). Мотивът за пътуването обаче ще променя своето значение в следващите десетилетия и ще се превърне в повратна точка за осъзнаване на отчаянието и безвъзвратната загуба на идеала за така нареченото поколение от 30-те години на XX в., чието усещане за трагичност затвърждава топоса за ‘изгубената родина’ в гръцката литература. В своето скитане сред дебрите на поетичния модернизъм гръцката лирика ни показва ‘пътуването’ (акт равносилен на отделяне от/придобиването на пространство и време) като тъга, но и като приключение и безбрежност (Н. Кавадиас); като действие, което обезмисля самò себе си в безизходния скептицизъм на К. Кавафис от Градът, но и като действие, което добива абсолютно измерение като носител на панацеята от знание и мъдрост (Итака), за да стигнем до пълното му обезплътяване при Г. Сеферис, но и същевременно до трансформирането му в нещо ново – в индивидуална/родова памет (очевидно единствения възможен остров на спасение), в имагинерно безсмъртие на едно универсално човешко съзнание