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1

Българската поезия през 90-те години на XX век и културната памет

100%

Gołek-Sepetliewa D.

Slavica Lodziensia

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2018

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vol. 2

211-218

SR

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EN

The purpose of the article is to discuss the issues related to Bulgarian poetic works of the 1990s as a medium of cultural memory. Theoretical findings regarding the relationship between literature, memory (A. Nünning, A. Erll) and cultural memory (J. Assmann, A. Assmann) in literary science research have been presented. Тhe current literary studies in the field of relations between the Bulgarian poetry of the 90s and its connections with the past, cultural memory and tradition (P. Doynov, P. Antov) have been discussed. Various roles which Bulgarian poetic works (A. Ilkov, P. Doynov, Z. Zlatanov, P. Antov, B. Bogdanov, G. Gospodinov, B. Penchev) play in the field of the culture of memory have been described: dominate incorporating/refreshing the glorious and eminent national past into the structure of poetic texts, conducting a dialogue with the literary tradition in the form of rewriting it and redefining its meanings, holding a discussion with the national cultural heritage, updating places of cultural memory. It turns out, that poetic texts have the ability to create, reconstruct, affirm and transform memory, propose new versions of memory and form reflections taking place in the area of cultural memory.

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„Nebyl nikterak citlivůstkářem ani básníkem, jehož svět uzavírá se v komnatě…“ Počátky českého poznávání osobnosti a díla Petka Račova Slavejkova

51%

Černý M.

Studia Ethnologica Pragensia

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2016

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issue 2

57-85

EN

This study is dedicated to the initial reception of the work of the Bulgarian revivalist poet, journalist and folklorist Petko Rachov Slaveykov (1827–1895) in the Czech environment. Ignác Jan Hanuš used his paremiologic collection as early as in the beginning of the fifties of the 19th century, which was published anonimously though, in the following years Vasil D. Stoyanov, Konstantin Jireček, Andrey V. Zekhirov (Panov), Jan Neruda, Josef Jakub Toužimský, Koicho Bozhkov, Emanuel Fait etc. informed the public about him. The artistic side of Slaveykov was revealed to the Czech readers relatively later — in 1887 a translation of his story with the Albanian topic of Blood Revenge (Krvopomsta) (translated by Karel Červenka) and in 1901 and 1904 his several poems were published (translated by Vladislav Šak and anonimous). Mainly Czech journalists wrote about Slaveykov, to them he was a patriotic teacher in particular, a national tribune and a fighter for the Bulgarian church, who after 1878 advocated for providing democratic processes of the country. Slaveykov’s most important poems have not been translated into Czech up to this day.

3

Dora Gabe i Anna Kamieńska — dialogi poetyckie

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Kovacheva A.

Przekłady Literatur Słowiańskich

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2012

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vol. 3

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issue 1

219-233

BG

В настоящата статия поетическият диалог между двете поетеси и прeводачки е представен като разговор за майката — майката на жената като извор на нейното творчество. От тази гледна точка преводаческата практика на Дора Габе е описана като „модел на палимпсеста”, защото дава възможност за разширение на родния език така, че той да помести чуждия, а замазването на полския поетически текст е съпътстван с неговото наси¬щане със собствени творчески сили. Тази преводна стратегия разбива стила на рецепция на полската поезия в България, налаган от Боян Пенев, превъзмогва нейните асиметрии, в които полската поетика винаги е виждана като доминираща. По-нататък преводите, направени от Блага Димитрова и Светла Гюрова са представени като продължение на па¬лимпсестовите преводни практики, предложение от Дора Габе.

EN

In this article poetic dialogues between the women poets and translators are represented as a conversation about the mother who is an inspiration for their artistic creativity. From this point of view the translation practice of Dora Gabe is described as palimpsest, because it gives the op-portunity for the language to expand so there is place for another, foreign language in its boundaries. In the process of erasing of the Polish source-text, the Bulgarian target-text is being fulfilled with translators’ creative energies. This translation strategy disrupts the stereotypical reception model of Polish poetry in Bulgaria, popularized by Boian Penev. It overcomes its asymmetrical patterns. Svetla Gurova’s and Blaga Dimitrova’s translations are analyzed as continuation of the palimpsest translation model, introduces by Dora Gabe.

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1 Przekłady Literatur Słowiańskich

1 Slavica Lodziensia

1 Studia Ethnologica Pragensia

1 Gołek-Sepetliewa D.

1 Kovacheva A.

1 Černý M.

1 2018

1 2016

1 2012

Българската поезия през 90-те години на XX век и културната памет

„Nebyl nikterak citlivůstkářem ani básníkem, jehož svět uzavírá se v komnatě…“ Počátky českého poznávání osobnosti a díla Petka Račova Slavejkova

Dora Gabe i Anna Kamieńska — dialogi poetyckie