Pub Date : 2023-01-15DOI: 10.37708/bf.swu.v32i1.19
Nadezhda Stalyanova
“Toponyms in Czech, Croatian and Bulgarian Phraseology“ is a contrastive book on the phraseology of Czech, Croatian and Bulgarian. The author focuses on phrasemes that contain a toponymic component in their structure. He analyses these phrasemes and within them also confronts them from the formal, semantic, motivational and typological point of view, and also notes the aspect of their origin. The book studies phrasemes with the structure of comparison, phrasemes with a nominal structure of collocation, phrasemes with a verbal structure of collocation and phrasemes with a propositional and polypropositional structure. The semantic side of the collected phraseological units with toponymic component is described using delimitation of different phraseosemantic fields. The book also includes, to the extent necessary, the theory of the proper name. An integral part of the book are chapters presenting the major Czech, Slovak, Croatian and Bulgarian phraseological theories, as well as a comprehensive survey of Czecho-Slovak and South Slavic (i.e. Bulgarian and /Post-/Yugoslav) phraseological literature
{"title":"New Comparative Study of Slavic Phraseology","authors":"Nadezhda Stalyanova","doi":"10.37708/bf.swu.v32i1.19","DOIUrl":"https://doi.org/10.37708/bf.swu.v32i1.19","url":null,"abstract":"“Toponyms in Czech, Croatian and Bulgarian Phraseology“ is a contrastive book on the phraseology of Czech, Croatian and Bulgarian. The author focuses on phrasemes that contain a toponymic component in their structure. He analyses these phrasemes and within them also confronts them from the formal, semantic, motivational and typological point of view, and also notes the aspect of their origin. The book studies phrasemes with the structure of comparison, phrasemes with a nominal structure of collocation, phrasemes with a verbal structure of collocation and phrasemes with a propositional and polypropositional structure. The semantic side of the collected phraseological units with toponymic component is described using delimitation of different phraseosemantic fields. The book also includes, to the extent necessary, the theory of the proper name. An integral part of the book are chapters presenting the major Czech, Slovak, Croatian and Bulgarian phraseological theories, as well as a comprehensive survey of Czecho-Slovak and South Slavic (i.e. Bulgarian and /Post-/Yugoslav) phraseological literature","PeriodicalId":40507,"journal":{"name":"Balkanistic Forum","volume":"124 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75378792","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The so-called „patronage movement“„The Hero is always in our lines” was designed as a state initiative in the 1970s. It was part of the ideological scenarios of the late communism illustrating the attempts for establishment of state control over the cultur-al memory in a radical manner. The Bulgarian version of „The Hero is always in our lines” was a response to the similar Soviet model „For That Lad” (Za togo parnia). The basic idea of the campaign was that a team of workers had to choose fallen com-munist „heroes as their „patrons” in order to sustain their memory. The heroes were enlisted in the payroll and work brigades fulfilled additional work assignment on their behalf and received their wages.
{"title":"From Utopia to Dummy: the Movement \"The Hero is Always in Line\" in Communist Bulgaria (1970s – 1980s)","authors":"Milka Angelova","doi":"10.37708/bf.swu.v32i1.8","DOIUrl":"https://doi.org/10.37708/bf.swu.v32i1.8","url":null,"abstract":"The so-called „patronage movement“„The Hero is always in our lines” was designed as a state initiative in the 1970s. It was part of the ideological scenarios of the late communism illustrating the attempts for establishment of state control over the cultur-al memory in a radical manner. The Bulgarian version of „The Hero is always in our lines” was a response to the similar Soviet model „For That Lad” (Za togo parnia). The basic idea of the campaign was that a team of workers had to choose fallen com-munist „heroes as their „patrons” in order to sustain their memory. The heroes were enlisted in the payroll and work brigades fulfilled additional work assignment on their behalf and received their wages.","PeriodicalId":40507,"journal":{"name":"Balkanistic Forum","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76294385","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-15DOI: 10.37708/bf.swu.v32i1.17
Evgenia V. Ivanova
A review of the book of Dimitar Ludzev “The Revolution in Bulgaria 1989–1990 in the Pantheon of Time” has been done. Publishing House of Bulgarian Academy of Science "Prof. Marin Drinov", 2022, ISBN 978-619-245-235-3.
{"title":"The Revolution as Contracted Transission","authors":"Evgenia V. Ivanova","doi":"10.37708/bf.swu.v32i1.17","DOIUrl":"https://doi.org/10.37708/bf.swu.v32i1.17","url":null,"abstract":"A review of the book of Dimitar Ludzev “The Revolution in Bulgaria 1989–1990 in the Pantheon of Time” has been done. Publishing House of Bulgarian Academy of Science \"Prof. Marin Drinov\", 2022, ISBN 978-619-245-235-3.","PeriodicalId":40507,"journal":{"name":"Balkanistic Forum","volume":"62 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73576025","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-15DOI: 10.37708/bf.swu.v32i1.10
Bilyana Todorova
Every year in Bulgaria there are publicly reported dozens of deaths of women, killed by their partners. It is a problem, broadly discussed in media. At the same time, there is a massive movement in the country against the ratification of the so called Istanbul Convention, a treaty of the Council of Europe against violence against women and domestic violence, (even from the leadership of the self-proclaimed leftist former Communist party). The voices proclaiming the need to preserve the so-called traditional values are also very popular. In this situation, it seems interesting with the help of the methods of Critical discouse analysis (CDA) to investigate the most common linguistic strategies and narratives used by people who downplay or defend violence against women. That is why two case studies are presented in this particular paper – the first one is a thread of posts on Twitter concerning the murder of a woman, who has been found dead at the International day against violence against women (25th November); and the second one is a forum thread of 100 posts that may be found after a piece of news about reported violence against a popular Bulgarian actress, published in the pro-European liberal online media Dnevnik on 4th December 2022.
{"title":"Her Goals are Quite Different. Strategies for Downplaying Violence against Women in Informal Discussions on the Internet","authors":"Bilyana Todorova","doi":"10.37708/bf.swu.v32i1.10","DOIUrl":"https://doi.org/10.37708/bf.swu.v32i1.10","url":null,"abstract":"Every year in Bulgaria there are publicly reported dozens of deaths of women, killed by their partners. It is a problem, broadly discussed in media. At the same time, there is a massive movement in the country against the ratification of the so called Istanbul Convention, a treaty of the Council of Europe against violence against women and domestic violence, (even from the leadership of the self-proclaimed leftist former Communist party). The voices proclaiming the need to preserve the so-called traditional values are also very popular. In this situation, it seems interesting with the help of the methods of Critical discouse analysis (CDA) to investigate the most common linguistic strategies and narratives used by people who downplay or defend violence against women. That is why two case studies are presented in this particular paper – the first one is a thread of posts on Twitter concerning the murder of a woman, who has been found dead at the International day against violence against women (25th November); and the second one is a forum thread of 100 posts that may be found after a piece of news about reported violence against a popular Bulgarian actress, published in the pro-European liberal online media Dnevnik on 4th December 2022.","PeriodicalId":40507,"journal":{"name":"Balkanistic Forum","volume":"88 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84452497","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Throughout 2022, the war between Russia and Ukraine continues. From the 17th century Ukraine is trying to get rid of this aggression. And today, in 2022, Ukraine is also resisting and defending its right to own culture, language, traditions, and life. All this is achieved with the blood of Ukrainians. Bloody events, the conflict between the individual and the state, blood and power are depicted in the story "Blue November" by the Ukrainian writer Mykola Khvylovy (1893-1933).The scientific problem is to the interpretation of the author's signs-codes, which reflect modernist aesthetics, which proves the focus of Mykola Khvylovy's Ukrainian identity on European searches at the beginning of of the 20th century, which influ-enced the specificity of artistic images. The aim is to study symbols, repetitions, epi-thets, metaphors, conflicts. It is the reflection on the communist ideology that was introduced in the 1920-s, the irony and ambiguous allusions around it, that form the ideological complex in the story “Blue November”, which is the modernist "quiet" internal reaction of the intellectual resistance humane artist to the bloody challenges and majority’s immorality of that time. Writer reveals the conflict between the individual and the state system, the problems of bloody power, the destruction of humane values. the impossibility of defending Ukrainian identity.
{"title":"Blood and Power/ Person and State: Mykola Khvylovyi \"Blue November\"","authors":"Svitlana Кryvoruchko","doi":"10.37708/bf.swu.v32i1.2","DOIUrl":"https://doi.org/10.37708/bf.swu.v32i1.2","url":null,"abstract":"Throughout 2022, the war between Russia and Ukraine continues. From the 17th century Ukraine is trying to get rid of this aggression. And today, in 2022, Ukraine is also resisting and defending its right to own culture, language, traditions, and life. All this is achieved with the blood of Ukrainians. Bloody events, the conflict between the individual and the state, blood and power are depicted in the story \"Blue November\" by the Ukrainian writer Mykola Khvylovy (1893-1933).The scientific problem is to the interpretation of the author's signs-codes, which reflect modernist aesthetics, which proves the focus of Mykola Khvylovy's Ukrainian identity on European searches at the beginning of of the 20th century, which influ-enced the specificity of artistic images. The aim is to study symbols, repetitions, epi-thets, metaphors, conflicts. It is the reflection on the communist ideology that was introduced in the 1920-s, the irony and ambiguous allusions around it, that form the ideological complex in the story “Blue November”, which is the modernist \"quiet\" internal reaction of the intellectual resistance humane artist to the bloody challenges and majority’s immorality of that time. Writer reveals the conflict between the individual and the state system, the problems of bloody power, the destruction of humane values. the impossibility of defending Ukrainian identity.","PeriodicalId":40507,"journal":{"name":"Balkanistic Forum","volume":"515 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85674646","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article examines the beginning of censorship in Bulgaria in the early 1950s. The author proceeds from Arlen Blum's classification of the levels of control in the Soviet Union: the first level is self-censorship; the second level is editorial censorship; the third level is Glavlitov control – carrying out the practical work of censorship; the fourth level includes the criminal police – the NKVD, the KGB in the Soviet Union and (State Security in Bulgaria) and the fifth level, which makes final decisions, is ideological censorship, carried out by the party brass through decisions, decrees, etc. In Bulgaria, the beginning of "total censorship" was marked by the institutional building of totalitarian structures during the Sovietization of the country, when new institutions were organized with the assistance of Soviet envoys and normative rules and practices were introduced to control social and cultural life. The author does not examine the different levels defined by Arlene Blum, as they must be studied in their symbiosis, but, drawing on concrete examples from archival documents, shows how self-censorship was nurtured in Bulgaria in the early years of the totalitarian communist regime.
{"title":"His Pen Took Him where He Shouldn't be. Institutionalization of Censorship in Bulgaria in the 1950s","authors":"N. Muratova","doi":"10.37708/bf.swu.v32i1.7","DOIUrl":"https://doi.org/10.37708/bf.swu.v32i1.7","url":null,"abstract":"The article examines the beginning of censorship in Bulgaria in the early 1950s. The author proceeds from Arlen Blum's classification of the levels of control in the Soviet Union: the first level is self-censorship; the second level is editorial censorship; the third level is Glavlitov control – carrying out the practical work of censorship; the fourth level includes the criminal police – the NKVD, the KGB in the Soviet Union and (State Security in Bulgaria) and the fifth level, which makes final decisions, is ideological censorship, carried out by the party brass through decisions, decrees, etc. In Bulgaria, the beginning of \"total censorship\" was marked by the institutional building of totalitarian structures during the Sovietization of the country, when new institutions were organized with the assistance of Soviet envoys and normative rules and practices were introduced to control social and cultural life. The author does not examine the different levels defined by Arlene Blum, as they must be studied in their symbiosis, but, drawing on concrete examples from archival documents, shows how self-censorship was nurtured in Bulgaria in the early years of the totalitarian communist regime.","PeriodicalId":40507,"journal":{"name":"Balkanistic Forum","volume":"45 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85015743","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-15DOI: 10.37708/bf.swu.v32i1.18
Malina Stamatova
Review of the book about female political prisoners and the memory of communism in Romania "Ni victime, ni héroïne: les anciennes détenues politiques et les mémoires du communisme en Roumanie" authored by Claudia-Florentina Dobre is done.
克劳迪亚-弗洛伦蒂娜·多布雷(Claudia-Florentina Dobre)撰写的《罗马尼亚女政治犯与共产主义记忆》(non victims, Ni heroine: les anciennes penitentes politiques et les memories du communisme en Romania)一书的评论已经完成。
{"title":"Neither Victims nor Heroines","authors":"Malina Stamatova","doi":"10.37708/bf.swu.v32i1.18","DOIUrl":"https://doi.org/10.37708/bf.swu.v32i1.18","url":null,"abstract":"Review of the book about female political prisoners and the memory of communism in Romania \"Ni victime, ni héroïne: les anciennes détenues politiques et les mémoires du communisme en Roumanie\" authored by Claudia-Florentina Dobre is done.","PeriodicalId":40507,"journal":{"name":"Balkanistic Forum","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89091013","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-15DOI: 10.37708/bf.swu.v32i1.13
Monika Vakarelova
By using the tools of in-depth anthropological research, this work explores the so-called reading styles, i.e. complex and connected reading practices which have a “common denominator” and result from the socially and biographically determined attitude of the individual towards reading and text. Four reading styles are distin-guished and analyzed, and the main distinguishing mark between them runs along the “persistency–non-persistency” axis.
{"title":"Sustainable and Unsustainable Reading Styles: Typology Attempt","authors":"Monika Vakarelova","doi":"10.37708/bf.swu.v32i1.13","DOIUrl":"https://doi.org/10.37708/bf.swu.v32i1.13","url":null,"abstract":"By using the tools of in-depth anthropological research, this work explores the so-called reading styles, i.e. complex and connected reading practices which have a “common denominator” and result from the socially and biographically determined attitude of the individual towards reading and text. Four reading styles are distin-guished and analyzed, and the main distinguishing mark between them runs along the “persistency–non-persistency” axis.","PeriodicalId":40507,"journal":{"name":"Balkanistic Forum","volume":"48 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87940001","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper examines the representation of death and dying in postwar literature in Kosovo and Bosnia. It covers the representations of death and loss in poetry and the way writers reflect on violent deaths caused by the war. By comparing the textual strategies of dealing with death as a dominant theme in the poetry of the Bosnian poet Faruk Šehić and Kosovo poet Lulzim Tafa, I will argue that the authors' approaches toward the theme of death are very similar in content, despite their different point of view. Šehić's and Tafa's poems related to the war in Bosnia and Kosovo, arise as a need to testify to human evil in general, and especially to the history of evil and dis-honour in their societies. How do writers perceive the truth of death in war reality? Do these representations serve as a complementary projection of historical reality and reveal the socio-cultural repercussions of a national human tragedy? By evoking the aesthetic notions of death as represented in certain select literary works, this paper looks at the role of literature in creating an artistic view that seeks to understand and acknowledge death as the unavoidable, all-pervasive entity in war reality.
{"title":"Death Representation in Contemporary Kosovo and Bosnian Poetry: Views on War Deaths","authors":"Blerina Rogova Gaxha","doi":"10.37708/bf.swu.v32i1.3","DOIUrl":"https://doi.org/10.37708/bf.swu.v32i1.3","url":null,"abstract":"This paper examines the representation of death and dying in postwar literature in Kosovo and Bosnia. It covers the representations of death and loss in poetry and the way writers reflect on violent deaths caused by the war. By comparing the textual strategies of dealing with death as a dominant theme in the poetry of the Bosnian poet Faruk Šehić and Kosovo poet Lulzim Tafa, I will argue that the authors' approaches toward the theme of death are very similar in content, despite their different point of view. Šehić's and Tafa's poems related to the war in Bosnia and Kosovo, arise as a need to testify to human evil in general, and especially to the history of evil and dis-honour in their societies. How do writers perceive the truth of death in war reality? Do these representations serve as a complementary projection of historical reality and reveal the socio-cultural repercussions of a national human tragedy? By evoking the aesthetic notions of death as represented in certain select literary works, this paper looks at the role of literature in creating an artistic view that seeks to understand and acknowledge death as the unavoidable, all-pervasive entity in war reality.","PeriodicalId":40507,"journal":{"name":"Balkanistic Forum","volume":"2 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86877498","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper seeks to examine the epic and canonical status of the lute and songs of the Kosovo Cycle in both, Albania and Serbia. The interplay of epics with national identity and political aims will be scrutinized, with a particular focus on the nexus of imagination, identity, and history. Moreover, the Kosovo Cycle of Serbs, takes a central position concerning the fall of the medieval state following from the Battle of Kosovo (1389). On the other hand, the Albanian Cycle is more consecrated to the hero as an individual, a brave loyal nobleman and honest chevalier who fights for his besa as code d’honeur. Millosh Kopiliqi/Miloš (K)obilić, the hero of the Battle of Kosovo, is without doubt the most chevaleresque figure of the cycle, in Albanian and Serbian songs. Why the lute became an identity corner stone of Albanians, Serbs, and the other nations in the region? Figuratively speaking, it is the lute epic space of the Kosovo Cycle in Albanian and Serbian where Millosh encounters Miloš and historical truth and imaginary encounters fiction.
{"title":"Lute and Canon: Millosh Encounters Miloš","authors":"Kujtim Mani","doi":"10.37708/bf.swu.v32i1.5","DOIUrl":"https://doi.org/10.37708/bf.swu.v32i1.5","url":null,"abstract":"This paper seeks to examine the epic and canonical status of the lute and songs of the Kosovo Cycle in both, Albania and Serbia. The interplay of epics with national identity and political aims will be scrutinized, with a particular focus on the nexus of imagination, identity, and history. Moreover, the Kosovo Cycle of Serbs, takes a central position concerning the fall of the medieval state following from the Battle of Kosovo (1389). On the other hand, the Albanian Cycle is more consecrated to the hero as an individual, a brave loyal nobleman and honest chevalier who fights for his besa as code d’honeur. Millosh Kopiliqi/Miloš (K)obilić, the hero of the Battle of Kosovo, is without doubt the most chevaleresque figure of the cycle, in Albanian and Serbian songs. Why the lute became an identity corner stone of Albanians, Serbs, and the other nations in the region? Figuratively speaking, it is the lute epic space of the Kosovo Cycle in Albanian and Serbian where Millosh encounters Miloš and historical truth and imaginary encounters fiction.","PeriodicalId":40507,"journal":{"name":"Balkanistic Forum","volume":"19 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88585764","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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