Albena Bakratcheva
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- Vesselin Budakov
- Yordan Kosturkov
Tatyana Stoicheva Pencho Slaveikov’s Introduction to The Shade of the Balkans and its Peregrination across the Channel The Shade of the Balkans (1904), an anthology of Bulgarian folk songs and proverbs, was published in London when publishers in Britain were keen on presenting the reading public with folklore collections from all over the world. Slaveikov made the selection and wrote the Introduction, while Henry Bernard translated the book into English in collaboration with Slaveikov. My paper will discuss Slaveikov’s strategy in the Introduction. I shall argue that Slaveikov wanted to inscribe Bulgarian folklore within the cultural framework of the west, in the belief, that folklore fully deserved to be ranged among the highest spiritual values of humanity. Slaveikov probably assumed that once Bulgarian folklore gained the appropriate recognition, Bulgarian cultural identity would, on the strength of its own creativity, carve out a prominent place for itself on the world map. Vesselina Koynakova The Expression of Epistemic Modality in The Picture of Dorian Gray The object of study in the paper is Epistemic modality expressed through modal auxiliaries, modal adverbs, modal adjectives, and mental state predicates. The units are analysed from Cognitive-Pragmatic Perspective, and a parallel is drawn with the linguistic means of indicating modal attitudes in the Bulgarian language. The body of the paper provides a comparative study of the epistemic patterns used in The Picture of Dorian Gray and the ones used in the translation in Bulgarian. Conclusions are drawn as regards the frequency of a particular pattern, the correspondence of patterns, and the cases of linguistic variation. Vesselin Budakov The Inversion of Utopia in Joseph Hall's The Discovery of a New World (1609) Viktoriya Zaevska Grotesque Images and Picaresque Realism in Thomas Nashe’s The Unfortunate Traveller A possible approach to analyse the spirit of the English Renaissance is by examining its culturally significant carnivalesque nature. The term “carnival” is above all associated with Mikhail Bakhtin’s classic Rabelais and his World in which he uses it in order to define, inter alia, key aspects of the social outlook of the European Renaissance. Bakhtin’s observations and dialogical assumptions can be fruitfully applied to Thomas Nashe’s The Unfortunate Traveller (1594) and can be used to identify and explore the elements of parody and buffoonery in it. Taking on the interpretive value of the social realism informing Nashe’s narrative, the aim of this paper is to examine the grotesque paradigm that plays an important role in it. It examines certain intricacies of the picaro’s character, provoked by the complexity of the world in which he moves. “Eccentricity”, “ridicule”, “feasting” and “uncrowning” will be among the carnivalesque images and rituals that will be specifically analysed. Hyperbolic forms will also be paid special attention to. In the process of reading The Unfortunate Traveller I hope to shed light on the text’s position within the early modern context of developing Elizabethan literature. Violeta Decheva Хамлет - Митът на модерността в „Хамлетмашината” от Хайнер Мюлер и сценичната версия на Димитър Гочев Предложеният текст изследва преработката на Хайнер Мюлер на „Хамлет” в контекста на дългогодишната му работа като преводач на Шекспир и преработките му на „Макбет” и „Тит Андроник” . Във фокуса на внимание е „Хамлетмашината”, ключов текст в творчеството на Хайнер Мюлер, плод на дългогодишна работа, в който той най-пълно представя разбирането си за Шекспировия „Хамлет” като мит с централно значение за Просвещението и политическите проекти, в които е вписана фигурата на интелектуалеца в 20 век, а също и идеята му за преобразуването на фигурата на Хамлет в машина, в парадигма, преработваща историческия опит в модерната епоха. „Хамлетмашината“ неотменно изглежда като текстмашина, смилаща политическото време на XX век. Политическите събития са му контекст, вписан в неговия текст. Престъпленията на сталинизма, унгарското въстание, пражката пролет, терористичните бригади и Улрике Майнхоф, Стената и труповете на онези, които са се опитвали да я прескочат, еманципацията и политизацията на пола, вписана в радикалните феминистки движения, бунтът на Университета през 68 г., краят на метафизиката и надеждата на постструктурализма, новата революция на медиите – това са само част от историческите събития, в които е вписан този текст на Мюлер и които той вписва в него. Шокиращото очарование на Мюлеровата „Хамлетмашина“ винаги е идвало именно от факта на трагическата му срастналост с контекста. Също както и от непознатото в драматургичната литература до Мюлер превръщане на политическото чрез дилемата на Хамлет в модерна трагедия с антично величие и въздействие. Мюлер пише „Хамлетмашината“ през 1977 г. след едно пътуване до България. Преди 30 години. За историята на литературата това е текст за съдбата на интелектуалеца по времето на социализма. Различните му интерпретации, независимо от какви определения за Мюлер изхождат - социалистически писател, постбрехтианец, модернист, постмодернист, постструктуралист, постдраматически автор, социалистически интелектуалец и пр., и пр.- се разбягват в постигането (на смисъла) на този гъст, мрачен, загадъчен текст. Там обаче, където те всички се пресичат, е презумпцията за неотделимостта на политическото от литературното и биографичното: утопиите, социализмът и собствената биография на Мюлер изглеждат завинаги вписани в „Хамлетмашината“. В предложения доклад ще се покаже как модерният мит „Хамлет” е преработен от Димитър Гочев в представлението на „Хамлетмашината” в Дойчес театър-Берлин през септември 2007.
Reception across cultures: the case of Persuasion in Bulgaria Generations later and across Europe, Jane Austen’s Persuasion is still in the bookshops but the Bulgarian reception of the novel today is mediated through several levels of translation. It involves the inevitable chronological shift in modes of behaviour and values, the linguistic transformation from English into Bulgarian, as well as the cultural awareness that interprets Jane Austen’s Englishness with reference to class, gender, religion, inheritance laws, social norms, etc. These are, of course, influenced by a number of screen adaptations, which render the verbal in terms of the visual, but film productions remain peripheral to the scope of this paper even though the present age is much more an age of viewers than an age of readers. The presentation I am proposing will attempt to bridge the gap between two ideological claims: on the one hand, we are tempted to assume that any culture is historically grounded and plenty may get lost in the act of translating cultures; on the other hand, the understanding of Jane Austen’s popularity as related to the essentially invariable core of human nature seems to have its grounds too. Uncertain as to whether these may fall in the gap, or else end up on the bridge between here and there, I would like to consider the references to Romantic texts and authors in this novel and to examine the romance with the Navy as central for Persuasion but problematic for its reception across cultures. Vladimir Phillipov Prince N. S. Trubetzkoy’s Stay in Sofia (1920 – 1922) as Reflected in His Letters to P. P. Suvchinskiy (1921 – 1928) Professor Dr. A. Shourbanov never failed to shed light on the lives and pay due tribute to the linguistic contributions of his illustrious predecessors at Sofia University (1979a, 1979b, 1990), including the co-authorship of a concise history of English Studies in this country (Shurbanov, A. & Stamenov, C. 2000). The present paper attempts at continuing the tradition and contributing to the setting up of a history of Bulgarian linguistics by publishing details related to the Sofia stay of Prince N. S. Trubetzkoy (1890 – 1938), a leading figure in European and Prague School linguistics during its interwar period, and a founder of phonology as a scientific discipline. The study is based on his correspondence with a leading figure of the Russian Eurasian movement, P. P. Suvchinskiy (1892 – 1985). Unlike the rather idyllic, “socialist realism” picture of his Sofia period presented in the publications of Simeonov (1976, 1977), the letters to Suvchinskiy reveal the dismal and boring life Trubetzkoy’s family led then in this country’s capital and their determination to leave it as soon as possible. Vladimir Trendafilov The Conditional Rise of the Reader: Genre, Translation and the Building of a Reading Public in Bulgaria, 1880-1912 The paper aims to discuss some seminal issues of the history of literary reception in this country. When was the reading public, as a definable entity, actually created? What kind of reading stuff did it build itself on? How did its size and structure develop in the first decades of its existence? Besides offering a tentative outline of the chief late-nineteenth-century literary preferences in Bulgaria, the paper argues the thesis that problems of audience building have suffered symptomatic neglect from researchers due to a traditional identification on their part between representative production and actual reception. Keywords: reception, reading public, translation, genre, novel Wojciech Majka The Poetic Self as Lathe Bios In order to comprehend the essence of a work of art we must account for the creative process which is, of course, connected with an understanding of the ipseity of the artist. A work of art is a creation and the artist is its creator whom we are obliged to look at differently than a craftsman, who simply produces equipment. For the Greeks there was no difference between art and craft, as both ideas were included in the term techne (a form of knowing rooted in seeing). Techne allows us to see things in their disclosure, i.e. it presents things in their visual appeal. In other words, techne draws them out from the abyss of invisibility and concealedness. This only suggests that techne is not a way of producing things but rather the creation of certain conditions for their disclosure. It follows from the above that to understand art from the phenomenological perspective we must first of all see what is meant by such terms as world, being as well as consciousness and unconcealment. Generally put, the world is the landscape where the being of equipment makes sense. If we understand the context (the landscape), what we actually come to be aware of is being itself and not its particular incarnations. In other words, the relation that obtains between the context and what manifests itself within its totality is reducible to the relation that holds between intuition and sensation. The former provides the pre-linguistic background for the chiaroscuro of sensation that connects us to the so called world of appearance in the post-Kantian sense. Yana Rowland The Reception of Tennyson’s Enoch Arden in Bulgaria The translation, and the critical reception of, Alfred Tennyson’s Enoch Arden in Bulgaria to the present day demonstrate a timid interest in a work much anthologized in its native context and one which marks a major dramatic move in the poet’s mature literary practice and self-perception. Though not entirely unknown to some fin de siècle and early 20th-century Bulgarian critics, it appears to have gained access to the general public readership in this country fairly late, in 1931/2 – in a children’s magazine (“Ptcheliza”), in prose fiction narrative format, and under a different name. This paper therefore aims to research, in historical perspective, the motifs for the specific genre and thematic reception of this ballad of Tennyson’s in Bulgarian cultural context. Queries rise over this poetical drama’s absence before and, on the whole, after that first publication. This research paper highlights certain critical reactions and the obvious didactic hue to its first appearance in Bulgarian. In further perspective, I would like to suggest certain approaches to investigating the reception of Tennyson’s overall literary contribution in Bulgarian in terms of modern European existential analytics and hermeneutics. Accentuated is the idea of the ethical-historical value of translational, critical, and tutorial activities as nurturing self-cognition via knowledge of literary otherness-es. Keywords: Tennyson, translation, Enoch Arden, Bulgaria, national context, historicity, interpretation, didacticism, ethics Yordan Kosturkov The Other Yorick: Essential Functions of Laurence Sterne’s Characters (Text and Context)
Beginning a World: Dickens's Titles As a writer who published his works serially, Dickens was obliged to submit his titles even before he had embarked on the actual writing of his novels. It is well known that he approached this task with a seriousness going well beyond his desire to increase his popularity and ensure better sales for the work to come. I want to make the case for his titles as paratextual matrixes of the fictional worlds they open. Their semantic structure and pragmatic status and function, I contend, reveal the principles on which these worlds both resemble and depart from the actual world. Moreover, in the titles of the later works I find indices of Dickens’s deepening engagement with social and existential issues. My attention will fall on Dickens’s use of names, places, and quotations. In each type I find inscribed the incongruity that will later become the basis of the plot and its conflicts. Using the theories of possible worlds and of fictional worlds, I will explore the ways they restructure the actual world to highlight the problematics of the home and the family which stand at the centre of Dickens’s ideology of the relationship between the individual and society.
Approaches in Translation of Political Metaphors
The paper focuses on yet another quicksand topic for translators. It is evident that the language of politics and the media abounds in metaphors. It is more expressive and brings the message home much more forcefully than language bereft of these picturesque devices. In order to analyse the transformations of meaning that metaphors undergo during translation I have analysed a corpus of translated metaphors extracted from The Economist. The approaches to translation are analysed and classified; intercultural and pragmatic issues are taken into consideration. Using conceptual mapping, correspondence of SL and TL is considered and reasons for the deviations are proposed. Zornitsa Hristova Докъде се простира човекът. Смърт и природа в поезията на Александър Шурбанов Кой съм аз, този, който съм жив и населявам това тяло, което ще умре? Докъде се простирам? Аз ли съм във всяка част на тялото си, например в напуканата като корица на книга кожа? Свършвам ли там, където свършва тя? Какво означава животът извън мен, животът в дървото, котката, птицата? Мога ли да вярвам, че сме едно, или трябва да приема това прекъсване между този живот и техния, между този живот и другия? Тези теми в поезията на Александър Шурбанов ще бъдат разгледани в контекста на две традиции – постромантическото западно светоусещане и източната философия, развила се въз основата на таоизма. Отказът от сюблимното като отказ от противопоставяне на естеството, от метастаза на волята. Стремежът към ненамеса, невластването над природата като съхранение на човешкото, на свързания живот. Ще се търсят белезите на съвременността в тази класическа тематика, белезите на нейното разгръщане тук и сега, както и сродства в българската литература и по-специално с поезията на Атанас Далчев. Каталог: english english -> Часове Цели Забележки english -> Човешкото тяло english -> Present continuous tense english -> Basic english for physicists english -> Example: New York is more exciting than Seattle. Use the superlative form when speaking about three or more objects to show which object is 'the most' of something. Example english -> 1. How to make the Past Continuous Tense? english -> Application for opening of an irrevocable documentary letter of credit english -> Present perfect finished or unfinished time present perfect tense english -> English Language Test 3 Изтегляне 210.88 Kb. Сподели с приятели:
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