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

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Gołek-Sepetliewa D.

Slavica Lodziensia

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2018

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tom 2

211-218

SR

-

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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ABSURD, GROTESKA I SATYRA – STRATEGIE DRAMATURGICZNE W TWÓRCZOŚCI STANISŁAWA STRATIEWA

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Gołek-Sepetliewa D.

Zeszyty Cyrylo-Metodiańskie

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2014

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nr 3

EN

The main purpose of this article is to describe the most important dramaturgical strategies (absurd, grotesque and satire) in the works of Bulgarian playwright Stanislav Stratiev. S. Stratiev explores the possibilities of the grotesque and the absurd to reveal the absurdity problems which are inherent in societies behind the Iron Curtain – in the Eastern European countries. In the plays Roman Bath (1974) and The Suede Jacket (1976) as а satirist and ironist he attempts to understand political deformation, reveals the attitude of discord against social absurdities and nonsense, uncovers the artificiality of political structures, institutions and ideologies.

PL

Artykuł nie zawiera abstraktu w języku polskim

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Obrazy Sofii w poezji bułgarskiej u schyłku XX i na początku XXI wieku

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Gołek-Sepetliewa D.

Acta Baltico-Slavica

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2022

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tom 46

PL

Niniejszy artykuł został poświęcony obrazowi Sofii w poezji bułgarskiej u schyłku XX i na początku XXI wieku. Analizie i interpretacji zostały poddane wiersze czterech znanych bułgarskich poetów – Złatomira Złatanowa (ur. 1953), Ani Iłkowa (ur. 1957), Edwina Sugarewa (ur. 1953) oraz Władimira Sabourina (ur. 1967). Za punkt wyjścia uznano syntetyczne przedstawienie genezy i ewolucji motywu Sofii w piśmiennictwie bułgarskim od połowy XVIII do końca lat 70. XX wieku. Motyw miasta stołecznego początkowo funkcjonuje w opozycji do tematyki wiejskiej. Przestrzeń miejska jest sferą oddziaływania obcych wpływów zachodnioeuropejskich i zagraża tradycyjnej kulturze patriarchalnej. Ewolucja motywu miasta następuje w ramach rozwijających się nowych nurtów i tendencji literackich w okresie międzywojennym (m.in. ekspresjonizmu, awangardy). Obrazy stołecznego miasta jako miejsca życia burżuazji, panoszącej się biedy i niesprawiedliwości społecznych pochodzą z literatury uwikłanej w konteksty ideologiczno-polityczne (nurt poezji lewicowej lat 20. XX wieku). Współcześni poeci czerpią z tradycyjnych wątków obcości miasta i trudnego położenia jego mieszkańców, jednak rozważania ujęte są w ramy postmodernistycznej refleksji filozoficznej i rodzimych kontekstów kulturowo-historycznych. Subiektywne doświadczenie Sofii tworzy różnorodne jej wymiary – fizyczny, kulturowy, symboliczny, społeczny, mityczny. Wspólnym doświadczeniem dla poetów są znaki komunistycznej spuścizny ideologicznej. Peryferie miasta przechodzą proces degradacji i rozpadu. W perspektywie egzystencjalistycznej liryczna konceptualizacja Sofii wskazuje na nieustanną obecność nierozstrzygalnych kontrastów, paradoksów i poczucia skandalicznego absurdu istnienia.

EN

This article is devoted to the image of Sofia in Bulgarian poetry in the late twentieth and early twenty-first centuries. The study analyses and interprets poems of four well-known Bulgarian poets: Zlatomir Zlatanov (b. 1953), Ani Ilkov (b. 1957), Edvin Sugarev (b. 1953) and Vladimir Sabourin (b. 1967). The starting point is a synthetic presentation of the genesis and evolution of the Sofia motif in Bulgarian literary works from between the mid-eighteenth century and the 1970s. The motif of the capital city initially functions in opposition to the rural theme. Urban space is a sphere of foreign Western European influences and threatens traditional patriarchal culture. The evolution of the city motif takes place in the context of the developing new literary trends and tendencies in the interwar period (including expressionism and avant-garde). Images of the capital city as a place where the bourgeoisie lives and where poverty and social injustice reign, come from literature entangled in ideological and political contexts (the leftist poetry of the 1920s). Contemporary poets draw on traditional themes of the alienation of the city and the problematic situation of its inhabitants. Still, their thoughts are framed by postmodern philosophical reflection and native cultural and historical contexts. The subjective experience of the city of Sofia creates its various dimensions – physical, cultural, symbolic, social, mythical. A common experience for the poets is the signs of the communist ideological legacy. The periphery of the city undergoes a process of degradation and disintegration. In an existentialist perspective, Sofia’s lyrical conceptualisation points to the constant presence of irresolvable contrasts, paradoxes, and a sense of the scandalous absurdity of existence.

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Charakterystyka paradygmatu bułgarskiej poezji odrodzeniowej – przykład twórczości Christo Botewa

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Gołek-Sepetliewa D.

Pamiętnik Słowiański

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2011

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tom 61

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nr 1

83-106

EN

In the last two decades bulgarian literary scholars make a lot of new researches focused on Botev’s poetry works. The main aim of the new analysis is the re-reading and re-interpretation of Botev’s poetic legacy. Referring to the findings of the bulgarian literary studies this article undertake the task to describe the paradigm of bulgarian revival poetry, considering Botev’s lyrical achievements as representative of this literary period. Botev is inspired from the wealth of folk traditions, he is proving his own mastery in transposition of folk designs into the new bulgarian poetry. Thematically much of the lines illustrates the pessimistic vision of the oppressed nation, which remain for several centuries under the influence of the turkish domination. The poetic imagination of tormented mother-country Bulgaria is precisely related to this concept. In this context, the poet considers as a duty to promote the patriotic idea, he becomes a teacher of his own generation, and uses poetic texts to express his social philosophy. A lirycal subject repeatedly identifies himself with the figure of a haiduk – brave fighter, rebel and revolutionary - explaining his own existence in the messianic terms. Botev’s poetry gives many original impulses in shaping the modern bulgarian poetry.

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Dychotomia pamięci w postkomunistycznej Bułgarii

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Gołek-Sepetliewa D.

Acta Baltico-Slavica

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2018

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tom 42

EN

The dichotomy of memory in post-communist BulgariaThe democratic breakthrough of 1989 in Bulgaria has resulted in a clearly problem-oriented approach of society towards memory and the past. The process of developing an efficient model of reckoning with the traumatic heritage of communism divides the national community into dichotomous memory groups with their own understanding, assessment and modes of using the past. Developing a memory policy without a clear institutional support (Georgi Lozanov) oscillates between the attitudes of retribution and reconciliation (Ana Luleva, Svetla Kazalarska). Bulgarian society is characterised by a lack of remembrance of the past and its excess at the same time (Ivaĭlo Znepolski). The recent national past remains unprocessed, which results in the emancipation of private memory, characterised by the ability to overcome the impasse thanks to reliance on shared, non-conflicting, fragmentary memories of ordinary reality (Az zhiviakh sotsializma, I lived socialism, Georgi Gospodinov, et al.). As it is today, Bulgarian culture of memory is characterised by diverse collective memories, the multiplication of conflicts over the interpretation of the past and the fragmentation of memory, which leads to growing antagonisms and social crises. Dychotomia pamięci w postkomunistycznej BułgariiPrzełom demokratyczny z 1989 roku w Bułgarii spowodował wyraźne sproblematyzowanie stosunku społeczeństwa do pamięci i przeszłości. Wypracowanie modelu rozliczenia z traumatycznym dziedzictwem komunizmu dzieli wspólnotę narodową na dychotomiczne grupy pamięci, posiadające własne rozumienie, ocenę i sposób wykorzystywania przeszłości. Tworzone polityki pamięci, nieposiadające wyraźnego umocowania instytucjonalnego (Georgi Łozanow), oscylują między postawami retrybucji oraz rekoncyliacji (Ana Łulewa, Swetła Kazałarska). Społeczeństwo bułgarskie charakteryzuje się jednoczesnym niedostatkiem i nadmiarem pamięci o przeszłości (Iwajło Znepołski). Nieprzepracowana niedawna przeszłość narodowa powoduje emancypację pamięci prywatnej, którą cechuje zdolność przełamania impasu, dzięki oparciu na wspólnych niekonfliktogennych fragmentarycznych wspomnieniach potocznej rzeczywistości (Аз живях социализма, Georgi Gospodinow i inni). W bułgarskiej kulturze pamięci dochodzi do różnicowania się pamięci zbiorowej, mnożenia konfliktów o interpretację minionego okresu oraz fragmentacji pamięci, co doprowadza do pogłębiających się antagonizmów i kryzysów społecznych.

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Kilka uwag o dysydenctwie oraz literaturze antytotalitarnej w Bułgarii

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Gołek-Sepetliewa D.

Poznańskie Studia Slawistyczne

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2014

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nr 6

EN

The aim of this article is to introduce a characteristic of the dissident movement and the anti-totalitarian literature in Bulgaria in the period 1944–1989. In the early‚ 90s a group of very important researchers began to focus on an accurate description of a Bulgarian dissident movement and migration literature. The results of researches in the field of history and literary studies do not give a coherent and explicit definition of dissent, dissident movement or migration dissident literature. In addiction recent works in literary studies, are not based on the various paradigms of dissent, but they create new terms and categories to describe the phenomena of cultural and literary period of the People’s Republic of Bulgaria from 1944 to 1989. The most popular are: alternative canon, anti-totalitarian literature, alternative literature, illegal literature – and in relation to dichotomies: literature of the PRB, socialist realism, socialist canon, official literature.

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Procesy europeizacji literatury i kultury bułgarskiej w epoce modernizmu

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Gołek-Sepetliewa D.

Pamiętnik Słowiański

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2012

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tom 62

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nr 1-2

59-76

EN

This article discusses Europeanization processes (that means adjustment to advanced western models) of Bulgarian culture and literature in the age of modernism. For Bulgarian society the Europeanization processes as an all-encompassing and demanding project generate many problems. During the age of modernism the debate centered on the opposition between traditional and modern, native – European, homely – foreign: a stronger Western orientation marked by a strong emphasis in on the Bulgarian national and identity. In this time appear inferiority complexes and serious difficulty in identifying cultural affiliation.

8

Twórczość poetycka Nikołaja Kynczewa w Bułgarii i Polsce

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Gołek-Sepetliewa D.

Przekłady Literatur Słowiańskich

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2022

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tom 12

1-12

RU

Статията представя творческия път на българския поет Николай Кънчев (1936-2007) и интерпретира негови творби, събрани в полскоезичния сборник Przeciwko nieobecności (2020) в превод на Войчех Галонзка. Текстът очертава контекстите на полската и българската рецепция на неговата поезия. В родината си поетът е категорично отхвърлен от критиката за първите си две сбирки Присъствие(1965) и Колкото синапеното зърно (1968), което води до дългогодишно мълчание (1968-1980) и успешно, макар заксъняло признание от 90-те години на ХХ век насетне. В Полша творческото присъствие на Кънчев става възможно от 80-те години на века благодарение на дългогодишните усилия на преводача Войчех Галонзка. Прегледът на литературноисторическите изследвания и оценки позволява идейните и естетическите избори в поезията на Кънчев да се окачествят с понятията неокласицизъм, метареализъм, концептуализъм, философски интелектуализъм, лаконичност и парадоксалност.

EN

This article presents analyses and interpretations of the work of the Bulgarian poet Nikolay Kanchev (1936-2007), collected in the Polish-language volume Against the Absence (2020), translated by Wojciech Gałązka. It takes into account the critical context of the Polish and Bulgarian reception of Nikolay Kanchev’s poetry. The presence of Nikolay Kanchev’s work in Poland since the 1980s is possible thanks to the long-standing efforts of his translator, Wojciech Gałązka. In his homeland, the poet experienced the censorship’s rejection of his first two volumes Presence (1965) and As a Mustard Seed (1968), many years of silence (1968-1980), and a successful but belated reception since the 1990s. A review of historical-literary studies makes it possible to identify the ideological and aesthetic choices of Kanchev’s poetry - neoclassicism, metarealism, conceptualism, philosophical intellectualism, laconicism, and paradoxicality.

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Doświadczenie przemijania i starości w twórczości Wiktora Paskowa i Stanisława Stratiewa

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Gołek-Sepetliewa D.

Slavica Wratislaviensia

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2016

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tom 163

701-709

EN

The literary works of famous Bulgarian authors Stanislav Stratiev (1941–2000) and Victor Paskov (1949–2009) may be viewed in terms of athorough study of the human being and the multidimensionality of its existence. Their reflections about existential problems also involve the experience of passing and old age that have ontological, social, cultural, symbolic and metaphorical dimension. The novel A Ballad for George Henig (1987) by Paskov and the drama On the Other Side (1994) by Stratiev include clear and ambiguous images of the end of the human life. The experience of passing and old age affects aparticular person as apersonality and its relationship with the other people. This subject reveals, on the one hand, the crisis of human relations and values in contemporary Bulgarian society, on the other hand it emphasizes the fragility of the human condition, expressed in the experience of pain, illness, passing, old age and death.

BG

Творчествотo на известнитe български автори Станислав Стратиев (1941–2000) и Виктор Пасков (1949–2009) можe да бъдe разгледанo кaто по-задълбочено изучаване на човешкото същество и на множествотo измерения на неговия живот. Интересът към екзистенциалните проблеми включва и описание на опита на преходност и старост, който притежава онтологично, социалнo, културнo, символично и метафорично измерение. Романът на Пасков Балада за Георг Хених (1987) и драмата на Стратиев От другатa страна (1994) представят изразителни и нееднозначни картини зa крайния етап от човешкия живот. Опитът на преходност и старост засяга човешкия индивид като личност и отношенията мy с близкитe и по-далечнaтa социална среда. Тeматa разкрива, от една страна, кризата на човешките отношения и на ценноститe в съвременното българското общество, от друга страна — подчертава крехкостта на човешкото съществуване, което се изразява в опита на страдание, заболяване, преходност, старост и смърт.

10

Rodzima przestrzeń małego miasta w prozie bułgarskiego twórcy Stanisława Stratiewa

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Gołek-Sepetliewa D.

Świat i Słowo

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2012

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tom 10

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nr 2(19)

271-282

EN

In the 1970’s Stanislav Stratiev wrote and published two novels: Wild Duck Among the Trees and Details of the Landscape. In these prose works the Bulgarian author describes the nature of the small town. The small town in Stratiev’s concept is a familiar space, inseparably joined to nature, where existence devoid of dynamics and variability often takes on oppressive stagnation and apathetic character. The small town space appears as an emblem of the Bulgarian province in a bygone era. The small town’s inhabitants, charged with a national stereotypical thinking, cannot overcome the cultural distance to the center of civilization and manifest serious problems with the assimilation of foreign values. People living in a small seaside town move in a familiar codes’ and symbols’ world and each change in this recognized paradigm evokes an anxiety and a fear. The main character of the novels, Sashko – maturing youth, becomes an example of a torn man: on the one hand – “fused” with the native space, on the other – saddled with inferiority complex because of his origin. A young man’s maturing process significantly changes the way of his perception of surrounding reality. Sashko wants to explore the world, and it causes the leaving of the native universe.

11

Bibliografia przekładów literatury bułgarskiej w Polsce w 2017 roku

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Gołek-Sepetliewa D.

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tom 9

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nr 3

13-15