Литературна мисъл 1-2/2012

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    <p><strong>Николай Аретов</strong>, <em>Погледи отвън</em></p>
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    <p><strong>Галин Тиханов (London)</strong>, <em>Наративи за изгнаничеството: космополитизъм отвъд либералното въображение</em> <br /> <strong>Galin Tihanov </strong>, <em>Narratives of exile: Cosmopolitanism beyond the liberal imagination</em></p>
    <p class="uk-alert">В статията се предлага генеалогия на дискурсите за изгнание и се разглежда тяхната връзка с космополитизма. Основният въпрос, който си задава авторът, е какво е специфичното място на дискурсите за изгнанието в модерността и как те се съотнасят с либералното разбиране за космополитизма. Тъкмо това либерално разбиране се проблематизира и преоценява.</p>
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    <p><strong>Раймонд Детрез (Гент)</strong>, <em>„Албанската връзка” на Григор Пърличев</em><br /> <strong>Raymond Detrez</strong>, <em>Grigor Părličev’s “Albanian connection”</em></p>
    <p class="uk-alert">In 1860, Grigor Părličev, a Bulgarian from Ohrid in Macedonia, won the prestigious yearly Athenian poetry contest with the romantic epic poem in archaic Greek O Armatolos (An armatole is a kind of Ottoman policeman recruited among the Christian population of the empire.) The poem describes the exploits of an Albanian armatole and a number of Albanian robbers, who are all represented in a remarkably flattering way. However, in an endnote Părličev explicitly states that all Albanians are actually Greeks. Two years later, he again participated in the Athenian poetry contest ― this time unsuccessfully ― with another epic poem, Skenderbeïs, dealing with an episode in the life of the Albanian national hero Skander beg and his resistance to the Ottomans. One may wonder why a Bulgarian pays tribute to Albanian heroes in Greek poems. One explanation is that Părličev during his stay in Athens in the 1850s and the early 1860s had adopted to a large extent the Greek national ambitions, which implied that all Orthodox Christians with some knowledge of Greek were actually Greeks. Precisely at the time of Părlicev’s participation in the poetry contest, Albanian intellectuals like Thimi Mitko, Anastas Byku, Jani Vreto and others argued that Albanians and Greeks had common ancestors and actually constituted one single people. Părličev obviously supported their ideas. However, as a closer reading of both poems indicates, Părličev was in fact more interested in the religious aspect of the conflicts he described. Actually, he displayed a pre-national (or pre-nationalist), religious Balkan identity rather than identifying himself completely with a particular ethnic or national community.</p>
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    <p><em>Споровете за Балканската война на страниците на „Ана Каренина”</em><br /> <strong>Serguei Kibal'nik</strong>, <em>The debate about the Balkan war in "Anna Karenina"</em></p>
    <p class="uk-alert">In the part eight of "Anna Karenina" Tolstoy shows a rather unusual for his time attitude towards the Balkan war. The editor of "Ruski vestnik", where the novel was printed, M. N. Katkov, refuses to publish this part exactly due to sceptical Tolstoy's opinion on panslavonic feelings. At the same time in the context of the novel such an opinion looks absolutely considered and is fictionally very convincing. During a long period of time Tolstoy didn't have possibility to start working on the last part of "Anna Karenina" but namely the Russian-Ottoman war (1877-1878) and reflections on "the slavonic question" gave him the clue to the dénouement of the whole novel. The article explores the different views of novel's characters on "the slavonic question", goes deeper in the difficulty concerning Dostoyevsky's objections to "Anna Karenina", makes some assumptions for their possible prototypes. The author reveals that Tolstoy's opinion of slavophilism is ambivalent and draws his disagreement on official propaganda.</p>
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    <p><strong>Джузепе дел’Агата (Пиза)</strong>, <em>Рецепцията на Пенчо Славейков в Италия</em> <br /> <strong>Giuseppe del'Agatha</strong>, <em>The reception of Pentcho Slaveikov in Italy</em></p>
    <p class="uk-alert">The reception of Pentcho Slaveikov in Italy The last part of Pentcho Slaveikov's full with many obstacles life and art passed completely in Italy. Putting his works in the cultural context of that time, the article explores italian interest in them - critical articles and translations, lectures and celebrations. Del' Agatha describes the contributions of prominent italian slavists - Enrico Damiani, Etore Lo Gato, Luigi Slavini, Ricardo Picchio and others. Bulgarian participation in different kind of events in honour to Pentcho Slaveikov is also in focus.</p>
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    <p><strong>Мари Врина-Николов</strong> (Париж), <em>От век на век – българската литература между традиция и свобода</em> (началото на XX в. – началото на XXI в.)<br /> <strong>Mary Vrina-Nikolov</strong>, <em>From century to century – the Bulgarian literature between tradition and freedom</em> (the beginning of 20th century – the beginning of 21th century)</p>
    <p class="uk-alert">From century to century – the Bulgarian literature between tradition and freedom (the beginning of 20th century – the beginning of 21th century) One of the typical features in the beginning of the Twentieth century is the declared wish of the "young" (people), which in periods follows the bulgarian literature – for "making up for" the "time lost" and "catching up" the European literary achievements. This process meets with resistance of the "old" who are afraid that Bulgarian literature will loose its genuine image. A century later with the end of the forty-five years communist dictatorship the conflict "old" – "young" is in particular revived with the reproach of the first that the others are obsessed with the temptation to imitate western literatures in order to gain not only a national audience, lost after the communist regime, but also a presence and role in the so called "world literary republic". In both cases europeisation means modernisation, literary research and experiments, whereas the "self-closing" in "genuine Bulgarian" is interpreted to be a turning back to tradition and thus – to realism in writing. In both the genre which is in step with the fashion and reacts faster and more flexible to the change, is poetry. But these similarities are not to conceal some delicate differences. The attitude towards tradition of these two turning-points is not the same. In the beginning of the twentieth century it is rejected, taken as out of date, whereas a century later tradition is pursued beyond its erasion, distortion and manipulation by the forty years communism.</p>
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    <p><strong>Емануела Свиларова</strong>, <em>Съвременна българска емигрантска литература, или за трудния прочит на външното отвътре</em><br /> <strong>Emanuela Svilarova</strong>, <em>Contemporary Bulgarian emigrant literature or on the difficult reading of the external from inside</em></p>
    <p class="uk-alert">The article observes three recently published novels in Bulgarian (one of them written in this language, the other two translated) and their problematic reception by Bulgarian readers. The main point in the article is that emigrant authors tend to disregard the public that their novels will have in their native country; nevertheless, this doesn’t prevent them from publishing their texts. The emotion upraised in the homeland reader ranks from surprise and bafflement to genuine injury, and this is due to a number of facts: in the first place, the choice that the author made to emigrate is considered a right one; the values and achievements of the Western countries, being not met by the Bulgarian society in the transitional period, stand as a living reproach before the reader; and last but not least, the Bulgarian society and each one of its members are in fact being accused of collaborating with the regime, due to the single fact that they lived under it and couldn’t overthrow it.</p>
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    <p><strong>Мариана Кирова</strong>, <em>Неизвестни ръкописи на Змей Горянин</em>. В манастира „Седемте престола” творецът пише любовна лирика<br /> <strong>Marianna Kirova</strong>, <em>Unknown manuscripts of Zmey Gorianin. The poet creates love lyrics in "The seventh altars" monastery</em></p>
    <p class="uk-alert">Zmey Gorianin is among few of Bulgarian writers who evidently resigns to social life after the establishment of communism here in 1944. He is author of more then 50 books, brochures with verses, stories and novels. What is not known by far, is that he created love poetry. The lyrics, together 16, were given in the end of 2011 to the National Literary Museum by a woman - donator, who received it from his nephew. They have been written in the last year of author's life when he had lived in "The seventh altars" monastery and returned to Sofia only incidentally. He probably had created the lyrics as a gift to an addressee because there are no copies of them in the writer's strictly arranged private archives.</p>
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    <p><strong>Ана Стойкова, </strong><em>Leksykon Tradycji Bułgadskiej</em>. Konsultacja naukowa Aleksander Naumow. Redakcja naukowa Grażyna Szwat-Gyłybowa. Warszawa: Slawistyczny ośrodek wydawniczy, 2011. 376 s.</p>
    <p><em>Нови книги на издателски център „Боян Пенев”</em></p></span>