Alexandra Antonova

This article presents three texts by the talented, early departed critic Vasil Pundev, who closely followed the creative manifestations of Theodor Trayanov and his contemporary poets and prose writers and reflected on them on the pages of the Democratic Review and in his book Bulgarian Ly-rics of Today. Pundev’s critical view is deep and analytical, his tone is sharp, his conclusions are aguemented in detail, with almost mathematical precision, with the analysis of verse and composition also branching out into a psycho-archaeology of an imagined poet’s self. In his observations on Trayanov’s poetics, Vasil Pundev takes a specific approach, deriving his positive perception of the poet from critical comments that are mostly negative in their content.

The text is based on Georgi Tsanev’s big study On Historical Novel issued in three consecutive books of his “Art and Critics” Magazine in 1942 and explores the technic of historical novel composition in Bulgarian, Russian and West European works, as also the challenges of recovery in the game of realities, the different types of historical narrative and last but not least – the dynamics of writers’, critics’ and readers’ reception.

Настоящият брой включва доклади, четени на международната научна конференция по повод 70-годишния юбилей на Института за литература, която се проведе през м. май 2018 г. Поради голямото хронологическо отстояние от конференцията някои от текстовете бяха междувременно публикувани – частично или изцяло, но целта на съставителите на броя бе да запазят автентичния формат, с който те бяха представени преди четири години.

The text works with the concept of canon in its sense of a set of ideas and cultural codes and their corresponding values ​​and norms that unite a given community. The canon is based on a collectively generated self-concept of the Self, which the research traces in possible directions of development in its relations to the other and the stranger in several stories and humorous sketches by Mihalaki Georgiev, illustrating the humor-generating collisions, inconsistencies, discrepancies between the Self and the collective, between the different collectives in the Bulgarian socio-cultural transition between the XIX and XX centuries. The encounter and failure in communication between cultural canons at the turn of the century demonstrate a rich artistic potential that sets artistic patterns in our literary canon.