Verba iuvenium, Issue 5 (2023)https://lib.uni-plovdiv.net/handle/123456789/11602026-04-25T19:59:07Z2026-04-25T19:59:07ZMAJOR AND MAYOR – ON TWO ‘TRUTHS’ IN HARDY’S NOVELS (BASED ON A READING OF HIS OWN PREFACES)Karamitev, Dimitarhttps://lib.uni-plovdiv.net/handle/123456789/11902023-07-09T19:02:15Z2023-05-19T00:00:00ZMAJOR AND MAYOR – ON TWO ‘TRUTHS’ IN HARDY’S NOVELS (BASED ON A READING OF HIS OWN PREFACES)
Karamitev, Dimitar
The present paper offers a reading of the prefaces to Thomas Hardy’s The
Trumpet Major (1880) and The Mayor of Casterbridge (1886). We focus mainly
on the former novel and use the latter as a point of reference. In this study we try
to get a better understanding of how close to past experiences Hardy used as a
basis of his novels he actually was. The observations made in our perusal of the
prefatory texts are influenced by the hermeneutical ideas of scholars such as
Wolfgang Iser and Paul Ricoeur.
2023-05-19T00:00:00ZDARIO FO ON THE BULGARIAN SCENE – RESEARCH TRAJECTORIES AND ANALYTICAL PERSPECTIVESMincheva, ElenaМинчева, Еленаhttps://lib.uni-plovdiv.net/handle/123456789/11892023-07-09T18:58:46Z2023-05-19T00:00:00ZDARIO FO ON THE BULGARIAN SCENE – RESEARCH TRAJECTORIES AND ANALYTICAL PERSPECTIVES
Mincheva, Elena; Минчева, Елена
The text presents the research trajectories that the topic “Dario Fo on the
Bulgarian stage” sets in the process of its research. Three analytical perspectives
have been adopted – biographical, artistic and receptive. Their choice is wellmotivated and supported by grafic examples. The first two related to Fo – the
person and the artist – are commented on in greater detail. The third direction, at
this stage, is described only briefly by presenting what has been achieved so far in
the study of Fo, his reception in Bulgaria, and the possibilities for further
research.
2023-05-19T00:00:00ZTHE MONSTROUS DOUBLE. THE TAILORS’ DUMMIES OF BRUNO SCHULZStefanova, IvaСтефанова, Иваhttps://lib.uni-plovdiv.net/handle/123456789/11882023-07-09T18:53:56Z2023-05-19T00:00:00ZTHE MONSTROUS DOUBLE. THE TAILORS’ DUMMIES OF BRUNO SCHULZ
Stefanova, Iva; Стефанова, Ива
The present paper examines Bruno Schulz’s short story “Treatise on
Tailors’ Dummies or The Second Book of Genesis” by mapping out the broader
tradition of writings concerning automata with initial focus being on the
romantics and especially E. T. A. Hoffmann. Thus, there is sufficient ground for
the assumption that Bruno Schultz can be considered representative of the weird
fiction subgenre of fantastic literature, a prime example of that being the close
thematic relationship of the Polish author’s writings with those of the American
writer H. P. Lovecraft.
2023-05-19T00:00:00ZTHE BEHEADING: SALOME’S GESTURE IN THE WORKS OF WILDE, MOREAU AND BEARDSLEYTrifonova, LiliyaТрифонова, Лилияhttps://lib.uni-plovdiv.net/handle/123456789/11872023-07-09T18:49:48Z2023-05-19T00:00:00ZTHE BEHEADING: SALOME’S GESTURE IN THE WORKS OF WILDE, MOREAU AND BEARDSLEY
Trifonova, Liliya; Трифонова, Лилия
The paper explores the problem of female subjectivity in nineteenthcentury literature and visual art, focusing on the figure of Salome in the play by
Oscar Wilde and the paintings of Gustave Moreau and Aubrey Beardsley. The
biblical story of the Jewish princess Salome and John the Baptist, as well as the
fascination with the severed head served on a silver platter, is of interest to Julia
Kristeva in her book The Severed Head: Capital Visions. For Kristeva, John the
Baptist can be thought of as “the figure of the Figure”, he sets the course of the
figure of “prophecy in actuality”. On the other hand, Kristeva sees Salome as the
divine castrator who incorporates the powers of horror. She is the one who
invites us to experience the figure of John the Baptist in its severing and its
dance. In this manner, Salome is a singular figure who possesses the capacity of
that which goes beyond representation.
In the nineteenth century, we can see a shift in the artistic perspective
through which Salome’s story is introduced. Using Kristeva’s theory, this paper
will propose the term “disfigure” to refer to Salome as the one who disfigures the
whole. Beyond the tragic delight for the audience that such a gesture of
“disfiguring” brings, this moment is a turning point in the history of the reception
of Salome’s figure in art. She is not just the seductive dancer, the object of perverse
male gaze but also the subject, the doer and agent of the “incision.”
2023-05-19T00:00:00Z