| dc.contributor.author | Ruskov, Ivan | |
| dc.date.accessioned | 2021-03-21T07:01:01Z | |
| dc.date.available | 2021-03-21T07:01:01Z | |
| dc.date.issued | 2018 | |
| dc.identifier.citation | Ruskov, Ivan, "THE GLOOMY MARSEILLAISE", PAISII HILENDARSKI UNIVERSITY OF PLOVDIV – BULGARIA, RESEARCH PAPERS, VOL. 56, BOOK 1, PART B, 2018 – LANGUAGES AND LITERATURE, 23-34 | en_US |
| dc.identifier.issn | 0861-0029 | |
| dc.identifier.uri | https://lib.uni-plovdiv.net/handle/123456789/855 | |
| dc.description.abstract | The article analyses a case presented in the “Notes on The Bulgarian Uprisings” by Zahari Stoyanov. After the defeat of the April Uprising in 1876 the Bulgarian revolutionary Todor Kableshkov sings the Marseillaise in a Turkish prison. Kableshkov improvises the French text of the song to inform a friend so that the Turks wouldn’t notice it. The case is reviewed from three perspectives: first, it searches an answer to the question: Why is the Marseillaise called a gloomy song; secondly, it displays a kind of double coding allowing the French march to be regarded in the same way as the Bulgarian march “The Proud Nicephorus Wanted”, which unifies the people; thirdly, it shows how in the “Notes on the Bulgarian Uprisings” by Zahari Stoyanov certain songs are connected to different phases of the development of the Bulgarians as a nation. | en_US |
| dc.language.iso | Bulgarian | en_US |
| dc.publisher | УИ "Паисий Хилендарски" | en_US |
| dc.subject | Marseillaise | en_US |
| dc.subject | prison | en_US |
| dc.subject | song | en_US |
| dc.subject | improvisation | en_US |
| dc.subject | double coding | en_US |
| dc.subject | Zahari Stoyanov | en_US |
| dc.subject | Todor Kableshkov | en_US |
| dc.subject | “Notes on the Bulgarian Uprisings” | en_US |
| dc.title | THE GLOOMY MARSEILLAISE | en_US |
| dc.title.alternative | УНИЛАТА МАРСИЛЕЗА | en_US |
| dc.type | Article | en_US |
