Elektronni Spisanija na SU (Sofia University "St. Kliment Ohridski")
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The European Topos in the New Macedonian Novel / Le topos européen dans le nouveau roman macédonien
No full textThe European topos in the new Macedonian novel is accepted as a home. Young Macedonian authors consider Europe their home. The fact that they live outside the European Union, or outside the European West, which has for a long time been considered the implicit cultural centre of the world, does not make them less European. Originally born in Macedonia, a cultural centre of the distant past that used to consider Western Europe a periphery, writers such as Goce Smilevski and Olivera Kjorveziroska materialize in their works the ‘Western European topos’ in a seemingly sidelong, but none the less essential manner. They draw attention to the dark side of Western culture and the suppressed content that official historiography tends to conceal. They remind us that Europe’s spiritual being knows no boundaries and that literature transcends institutional, conceptual, and ethical frontiers. Liberated from European stigma (fallacious moral, repressed memory, colonial traumas), these Macedonian authors reveal certain parts of the European Shadow (the collective unconscious, the historical archives full of shameful bits). No civilization is without its dark facets. That is the law of Light. That is how Europe is, composed of West and East, but also of North and South. It is liminal and intercultural. In its process of assimilating, it becomes assimilated.The interpretation focuses on novels by Goce Smilevski (Razgovor so Spinoza / Conversation with Spinoza, 2002; Sestrata na Sigmund Frojd / Sigmund Freud’s Sister, 2007/2010, Vrakanjetо na zborovite / The Return of the Words, 2015) and by Olivera Kjorveziroska (Zakluchenoto telo na Lu / Lou’s Locked Body, 2005).Le topos européen dans les romans macédoniens les plus récents est accepté comme domicile. Les jeunes auteurs macédoniens considèrent l\u27Europe comme leur propre maison. Le fait qu\u27ils vivent en dehors des frontières de l\u27Union européenne, c\u27est-à-dire hors de l\u27Ouest européen qui était pendant longtemps le centre culturel implicite du monde, ne les rend pas moins européens. Originaires de Macédoine, le centre culturel d\u27autrefois pour lequel l\u27Europe occidentale faisait partie de la périphérie, les écrivains comme Goce Smilevski et Olivera Kjorveziroska actualisent “le topos euro-occidental” d\u27une manière à première vue périphérique, latérale, mais d\u27ailleurs essentielle. Ils poussent l\u27attention vers la partie sombre de la culture euro-occidentale, vers les contenus que l\u27historiographie officielle a tendance de cacher. Ils rappellent que l\u27Etre de l\u27Europe ne reconnaît pas de frontières et que la littérature dépasse les frontières institutionnelles, conceptuelles et de valeur. Libérés de la stigmatisation européenne (morale fausse, mémoire inconsciente, traumatismes coloniales), les écrivains macédoniens reflètent des parties de l\u27Ombre européenne (l\u27inconscient collectif, l\u27archive historique pleine de taches noirs). Il n\u27y a pas de grandes civilisations sans visage sombre. C\u27est la loi de la Lumière, de l\u27Humanisme et de la Civilisation. Elle est comme ça l’Europe : constituée d\u27ouest et de nord, mais aussi d’est et de sud ; liminale et interculturelle. En assimilant, elle devient elle-même assimilée
Guillaume Apollinaire et Faik Konica: une amitié et une collaboration de caractère européen et balkanique / Guillaume Apollinaire and Faik Konica: a European Friendship and Cooperation
No full textIn 1903, on the road of exile, Albanian prolific and versatile author Faik Konica met a kindred spirit, Guillaume Apollinaire. The chronicle the latter published on 20 August 1903 in L\u27Européen Weekly and entitled War on French words in Germany would become the starting point of almost a decade of correspondence between the two men of letters. These relations would take place in a period that would become significant for their future development. In fact, their cordiality would go so far that Apollinaire would visit Konica and stay at his London home on two occasions (in November 1903 and in May 1904). Apollinaire had understood well the “double persona” Faik Konica used in his literary work: one pseudonym for his works directed towards European aestheticism, and another for the ones directed towards Balkan militancy. Konica wanted to anchor his homeland Albania in Europe, and to bring it back to where it rightfully belonged after five centuries of Orientalisation in Ottoman Asia, meeting on his way the poetry magician of Europe and of the “aesthetic of differences”. The result of the effort was that relations between Apollinaire and Konica were not random and anecdotal. They derived from deep affinities that could not be neglected. The friendship of these two “uproots” could develop and could last so long only because of the European dream they both shared.Sur le chemin de l`exil le polygraphe albanais Faik Konica [à prononcer Faïk Konitza] rencontre en 1903 un esprit frère : Guillaume Apollinaire, poète phare de l’avant-garde et de la modernité européenne du XXe siècle. Celui-ci qualifiait son ami albanais de ‘véritable encyclopédie mobile’, et également de ‘Voltaire des Balkans’. La chronique d’Apollinaire publiée dans L’Européen en date du 29 août, à propos de la Lutte contre les mots français en Allemagne est le point de départ d’une correspondance de presque dix ans entre les deux hommes. Les relations sont suffisamment cordiales pour qu’Apollinaire soit reçu chez Konica lors de ses deux voyages à Londre (novembre 1903, mai 1904). Apollinaire avait bien compris et apprécié ‘le dédoublement’ de Konica dans sa création littéraire, et son inclination simultanée vers ‘lʼеsthétisme européen’ et ‘le militantisme balkanique’. Faik Konica s’efforça d’ancrer son pays en Europe, après cinq siècles dʼorientalisation qui l’aimantèrent vers l’Asie ottomane, et chemin faisant, il reconnut en Guillaume Apollinaire un chantre de l’Europe et de l’esthétique des différences. L’amitié entre ces deux déracinés ne pouvait naȋtre et s’épanouir quʼau sein de ce rêve européen
European and National in Antun Gustav Matoš’s Travel Notes / Европейско и национално в пътеписите на Антун Густав Матош
No full textThe dichotomy European/national and its creative power has marked profoundly A. Matoš’s worldly and artistic credo. Two distinguished features pervade his works and his travel notes: the French and the Croatian, the modern and the home-grown. The latter two tend to unite the Western taste with the Croatian propensity for sedition. Antun Matoš’s long-term aspirations strive for a well-maintained balance of the two. His travel notes feature imagologic constructs – a realm of tableaux of every manifestation of the nation’s life and mentality, of European culture and civilization, of domestic developments and human manners. It is precisely by means of his travel notes that Antun Matoš recreated the mythological perception of his life as a patriotically disposed bohemian and an exile, whose works were created solely for the sake of art and literature; a person who disregarded largely the rest of the world. It is lofty artistic ideals that make all disharmonies in life disappear. The dynamic relationship between European and national served as a catalyst for the mixed feelings, typical of his works. Their emblematic presence made them ascend as a categorical imperative, which determined the vitality of his creative capacity, and turned them into a basic guideline for his writings.Изследването е опит да се разбули многопластовата и противоречива творческа същност на модерниста А. Матош, навигиращ между визията за една мултикултурна Европа и копнежа за национална еманципация. Акцентира се върху пъстрата мозайка от „другости“ в пътеписите му, водеща до болезненото преоткриване и преподреждане на идентичности на нивото на европейското и националното в контекста на пространствената и времева сгъстеност на културите. Статията разглежда неговите пътеписи като имаголожки конструкции – царство на картини от всички проявления на националния живот и манталитет, на европейската култура и цивилизация, на родните взаимоотношения и човешки нрави, отразяващи превъплъщенията на модерния дух в рамките на националната самобитност
Les affinités entre les littératures européennes / Affinities among European Literatures
No full textThe concept of affinity will be discussed as a concept likely to replace the outdated notion of influence, or the more recent, but no less problematic notion of reception, each of them implying the idea of a connection. The term affinity will break the vicious circle of direct or indirect contacts between literatures. This concept is different also from typological comparisons, because inter-literary affinities are not necessarily conditioned by the stage of social development of each context. Cultural Studies, which have been trying to cover aggressively the whole field of studies in the humanities, do not correspond to our efforts either, because they tend to thin out literary specificity into ideological messages (postcolonial, linked to minorities and protest). The proposed approach consists in juxtaposing novels that deal with contemporary issues of the first half of the 20th century all over Europe, including the topic of the Modern City, the Independent Woman, the lack of cognoscibility of the Other – newly emerged themes that correspond to the demographic, psychoanalytic, and philosophical concerns of the time. Novels by Colette, Camil Petrescu, and Yana Yazova, belonging to French, Romanian and Bulgarian literature, respectively, will be used to provide examples in that regard. The unconventional comparison revealed hesitation as a general principle of construction of the three novels. Le concept d’affinité est pensé ici comme susceptible de remplacer la notion périmée d’influence ou une notion plus récente, mais non moins problématique, celle de réception, chacune impliquant l\u27idée d\u27une connexion. Le terme affinité rompt le cercle vicieux des contacts directs ou indirects entre littératures. Ce concept est différent de même des comparaisons typologiques, car les affinités inter-littéraires ne sont pas obligatoirement conditionnées par l’étape de développement social de chacun des contextes. Les Etudes culturelles qui essayent de nos jours de couvrir agressivement le domaine des sciences humaines, ne correspondent pas non plus à nos efforts, car ce genre d’études dilue la spécificité littéraire dans des messages idéologiques (postcoloniaux, liés aux minorités et contestataires). L\u27approche consiste ici à juxtaposer des romans traitant des questions contemporaines de la première moitié du XXe siècle en Europe, y compris le thème de la ville moderne, la femme indépendante, le manque de cognoscibilité de l\u27Autre, des thèmes nouveaux qui correspondent à des questions démographiques, psychanalytiques et philosophiques de cette époque. Les romans de Colette, Camil Petrescu et Yana Yazova, respectivement de la littérature française, roumaine et bulgare, serviront d\u27exemples à cet égard. La comparaison non conventionnelle nous a montré l\u27hésitation comme un principe constructif général des trois romans
За книгата: Клео Протохристова. Теми с вариации. Литературнотематични етюди.
Full text linkЗа книгата:Клео Протохристова. Теми с вариации. Литературнотематични етюди.Университетско издателство „Паисий Хилендарски“, Пловдив, 2016. [Cleo Protokhristova. Themes and Variations. Studies in Literary Thematics.
За книгата: Людмила Миндова. Другата Итака. За дома на литературата.
Full text linkЗа книгата: Людмила Миндова. Другата Итака. За дома на литературата. София, ИК „Изток-Запад“, 2016, 304 с. [Liudmila Mindova. The Other Ithaca. On the Literary Home.]За книгата: Людмила Миндова. Другата Итака. За дома на литературата. София, ИК „Изток-Запад“, 2016, 304 с.[Liudmila Mindova. The Other Ithaca. On the Literary Home.
С мисията на посредник – южнославянската идея (1904-1912) в изкуството на българския художник Харалампи Тачев / Carrying out a Mediator’s Mission: The South Slavic Concept (1904-1912) in the Works of Bulgarian Artist Haralampy Tachev
No full textHaralampy Tachev is the most typical representative of the early Secession in Bulgaria. His work is extremely diverse: from the decorative arts to the founding of the first artistic association in Bulgaria – Contemporary Art (1903); from painting and book design to the layout of exhibition pavillions and monumental buildings. As a proponent of South Slavic cultural communication, Tachev was elected First Secretary of the Lada International Union of South Slavic Artists (1904-1912). This paper presents his work as a tenacious promoter and curator of exhibitions in the South Slavic capitals Sofia, Belgrade and Zagreb, as well as his participation in conferences, meetings and contacts with artists. It also analyses his artistic creativity on South Slavic themes. Special emphasis is laid on his contribution to the first major cultural events in Sofia: the founding of the Lada Union (1904), the second South Slavic Exhibition (1906) and the Slavic Festival (1910). When regarding Haralampy Tachev as a cultural mediator, we should always keep in mind the dual side of his creative nature: Bulgarian and European. In a time of emerging Balkan nationalist spirits, this task was paramount not only for Bulgaria but also for its neighbouring countries. The same applies to the work of Tachev’s counterparts: Dragutin Inkiostri in Serbia, Petar Poček in Montenegro, and Tomislav Krizman in Croatia. Furthermore, this paper analyses the artistic language and poetics of Tachev’s works, which were inspired by the South Slavic ideology that was popular at that time. Considered advanced and timely by its supporters among the Balkan intellectuals, this ideology is accepted as European in the sense that it embodies cultural reciprocity, understanding and tolerance, and that it underlines common points in the cultural history of the young South Slavic nations, despite the political confrontation of their national political agendas. Haralampy Tachev “dressed up” the South Slavic idea using the visual achievements of the Art Nouveau/Secession style, while seeking specific national intonations. The artist acted therefore as mediator on many levels: logistically, ideologically, stylistically.The “Bulgarian style”, as a local version of Secession, reinforced the concept of statehood through newly developed visual codes depending on political and ideological priorities. These codes were meant to demonstrate the idea of national identity. In 1910, on the occasion of the Slavic Festival in Sofia, Tachev designed a postcard celebrating the idea of “the unity of all Slavic nations”. In it, we see, framed in ornaments inspired by medieval Bulgarian manuscripts, images of South Slavic rulers with the Russian Emperor as their patron. One could call this the Golden Age of the “Bulgarian style”, which increasingly explored and borrowed from the rich pre-academic art systems of South Slavic folklore, crafts, and Christian art. The vocabulary of this new artistic language was ancient, but the syntax followed the rules of the Secession style. For the cover of the Slavic Anthology of poetry, Tachev returned to a more universal Secession style because of the neutrality of this field.This paper is based on a plethora of documents about the Lada Union preserved almost entirely in Bulgaria, as well as on Tachev’s personal archives. Although the Bulgarian section of Lada left the union in protest against the Second Balkan War in 1913, Tachev continued his work with the Slavic societies in Sofia, remaining faithful to the idea for equal cultural communication between all Slavic countries.Харалампи Тачев е най-характерният представител на ранния сецесион в България. Дейността му е изключително разнообразна – от декоративните изкуства до основаването на първото художествено сдружение в България „Съвременно изкуство“ (1903); от живописта и книжната графика до оформлението на изложбени павилиони и монументални сгради. Като привърженик на южнославянското културно общуване той е избран за първи секретар на международния Съюз на южнославянските художници „Лада“ (1904-1912). Изследването представя дейността му на упорит популяризатор и куратор на изложби в южнославянските столици София, Белград и Загреб, на конференции, срещи и контакти с хора на изкуството, както и анализира неговото художествено творчество на южнославянска тематика. Специален акцент се поставя върху приноса му към първите големи културни събития в София: основаването на съюза „Лада“ (1904), провеждането на Втората южнославянска изложба (1906) и Славянския събор (1910). Когато разглеждаме Харалампи Тачев като културен медиатор, винаги трябва да имаме предвид двуликата му творческа същност – българска и европейска. Във времето на младите балкански национализми тази задача е била първостепенна не само за България, но и за съседите ѝ. Същото правят и неговите колеги Драгутин Инкиостри в Сърбия, Петар Почек в Черна гора и Томислав Кризман в Хърватия. Освен това, статията анализира художествения език и поетиката на неговите произведения, вдъхновени от южнославянската идеология, така популярна в разглеждания период. Смятана от привържениците ѝ сред балканските интелектуалци за съврeменна и навременна, тази идеология се приема като европейска, в смисъл че олицетворява културната взаимност, опознаване, толерантност и подчертаване на общите моменти в културното минало на младите южнославянски нации въпреки конфронтацията на политическите им национални програми. Ето защо се налага южнославянската идея да бъде „облечена“ за първи път в България именно от Харалампи Тачев с помощта на визуалните постижения на модерния стил Art nouveau/Secession, като в него се търсят и собствени национални интонации. Така художникът се явява посредник на много равнища: контакти, идеи, стил.Българският стил като български вариант на сецесиона утвърждава държавността чрез новоконструирани визуални кодове, които трябва да демонстрират представа за националната идентичност, но не навсякъде, а в зависимост от политико-идеологическите акценти. През 1910 г. по повод на Славянския събор в София Х. Тачев проектира пощенска картичка на тема „Целокупното славянство“. В нея виждаме обрамчени в плетеници от орнаменти, вдъхновени от средновековни български ръкописи, ликовете на южнославянските владетели и руския император като техен покровител. Може да се каже, че това е златното време на българския стил, който все повече се вглежда и черпи обилно от предакадемичните художествени системи на богатия южнославянски фолклор, занаяти и християнско изкуство. Лексиката на този нов художествен език е старинна, но синтаксисът следва правилата на стила сецесион. В корицата на „Славянска антология“ на поезията художникът отново се завръща към универсалната версия на сецесиона поради неутралността на това поле. Въпреки че през 1913 г. българската секция на „Лада“ напуска Съюза в знак на протест срещу Междусъюзническата война Харалампи Тачев продължава дейността си за славянските дружества в София, като остава верен на идеята за равноправно културно общуване между всички славянски държави. Статията се основава на обилно количество документи за Съюза „Лада“, съхранени почти изцяло в България, както и на личните архиви на художника
La lecture du folklore dans la dramaturgie moderniste bulgare et dans le théâtre symboliste européen / The Rewriting of Folklore in Bulgarian Modernist Drama and in European Symbolist Theatre
No full textBulgarian Modernist drama is discussed in the context of the two most representative traditions in European Symbolist theatre – the Francophone and the Slavonic (Russian and Polish) ones – to point out its aesthetic similarities and specific originality. The analysis focuses on the principles underlying the selection and structuring of the two types of folklore plots (fairy tales and legends), used on all stages where idealistic plays have been produced. The study charts out the similar interpretations of the popular basis and its structural importance in all modes of writings. However, the national and social connotations in Bulgarian theatre, inspired by its own cultural context, differ from the Francophone metaphysical forms and mark out its relationship with the Russian and Polish versions. Finally, Bulgarian plays strengthen the eclecticism, characteristic of the Slavonic stage, and make use of some vanguard trends (parody, ambiguity, buffoonery), which transgress certain aesthetical postulates and announce the further evolution of the European stage tradition. Afin de relever les similitudes et les particularités spécifiques entre la dramaturgie moderniste bulgare et ses modèles esthétiques, celle-ci est étudiée en rapport avec les théâtres symbolistes francophone et slaves (russe et polonais), conçus comme la synthèse particulière des tendances majeures du courant idéaliste en Europe. L’objet de recherche porte sur la thématique folklorique (contes et légendes) qui constitue l’une des grandes sources d’inspiration à la fois à l’Ouest et à l’Est européen. Y sont étudiés de manière croisée les types de sujets, les voies de leur interprétation et les principes de leur structuration. L’analyse montre les interprétations similaires du fond populaire et son importance structurelle dans les écritures en question. Cependant, les connotations nationales et sociales dans le théâtre moderniste bulgare, inspiré de son propre contexte le détachent des formes métaphysiques francophones et le rapprochent de l’écriture russe. Les pièces bulgares intensifient l’éclectisme, caractéristique du symbolisme russe et ont également recours à certains traits avant-gardistes (parodie, ambiguïté, clownerie) qui transgressent les postulats orthodoxes du courant et annoncent l’évolution ultérieure de la scène européenne
Trieste, périphérie slave - Une question de minorité à travers la slovénitude de Boris Pahor / Trieste, Slavic Periphery: A Question of Minority through the Slovénitude of Boris Pahor
No full textTorn by ideological and identity stresses (existential ruptures in posse et in esse), Trieste has lived the European tensions looking for an impossible balance between the Austro-Hungarian cosmopolitanism and the affirmation of national cultures. With an application of the centre/margin paradigm, we intend to consider the role of the peripheral literature of this city – namely, the role of the literature of its ethnic minorities, especially the literary production of the Slovene minority. The work of Boris Pahor will help us to particularize the subject of this essay, which aims to grasp the "differential fact" expressing the singularity of the comparative approach.Parcourue par des sollicitations idéologico-identitaires parfois lancinantes, Trieste a vécu les tensions européennes en cherchant un équilibre impossible entre le cosmopolitisme (austro-hongrois) et l’affirmation des cultures nationales. Nous souhaitons considérer le rôle de la littérature « triestina » de périphérie, avec une application du paradigme centre/marge ; à savoir, le rôle de la littérature des minorités ethniques, notamment celui de la production littéraire de la minorité slovène. L’œuvre de Boris Pahor va nous aider à particulariser le sujet de cet essai, qui vise à saisir « le fait différentiel » exprimant la singularité de l’approche comparatiste