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Valentina Mitkova

Albena Vacheva, V periferiata na kanona. Bulgarskite pisatelki prez purvata polovina na 20 vek (In the periphery of the canon. Bulgarian women writers in the first half of the twentieth century), Sofia: Prosveta, 2014, 372 pp., 17.00 BGN (pb), ISBN 978-9-54012-831-3.

Milena Kirova, ed., Neslucheniat kanon: Bulgarski pisatelki ot 1944 godina do nashi dni (The canon that did not happen: Bulgarian writers from 1944 to the present day), Sofia: Altera, 2014, 512 pp., 18.00 BGN (pb), ISBN 978-9-54975-792-7.

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Valentina Mitkova

distribution of and access to symbolic capital. The article thus aims to unmask the ideological structure of the Bulgarian literary canon—a solid and conservative structure—and in the process revealing Bulgarian women writers’ problematic existence and their

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Canon-Building and Popular Culture

Gender Trouble in Bulgarian Culture Today

Nadezhda Alexandrova

Milena Kirova, Literaturniat kanon. Predizvikatelstva (The literary canon. Challenges) (Sofia: Sofia University Press, 2009), 287 pp., 15 BGN (hb), ISBN 978-954-07-2811-7.

Milena Kirova, ed., Neslucheniat kanon. Bulgarski pisatelki ot Vuzrazhdaneto do Vtorata svetovna voina (The canon that did not happen. Bulgarian women writers from the Bulgarian national revival period to World War II) (Sofia: Altera, 2009), 430 pp., 18 BGN (pb), ISBN 978-954-975-732-3.

Milena Kirova and Kornelia Slavova, eds., Identichnosti v prehod: rod, medii i populiarna kultura v Bulgaria sled 1989 g. (Gender identities in transition: Media and popular cul- ture in Bulgaria a er 1989) (Sofia: Polis Publishers, 2010), 256 pp., 12 BGN (pb), ISBN 978-954-796-032-9.

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Valentina Mitkova

task of “Literaturnata istoria—pripiski kum kanona” (Literary history: Amendments to the canon), the fourth part of the collection, is to discuss, from different angles and in terms of different historical periods, what is known as the Bulgarian

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Valentina Mitkova

-and-daughters” in the Bulgarian context), by Vanya Georgieva, contribute precisely to the above-mentioned context. Apart from enriching the national literary historiography, they provoke new reflections on prominent places and figures in Bulgarian cultural history

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Edited by Raili Marling

Turkey ran parallel with the Yugoslav Europeanization process. Valentina Mitkova focuses on the formation of Bulgarian literary canon as a part of the development of national identity after the Liberation, specifically how women authors were

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A Woman Politician in the Cold War Balkans

From Biography to History

Krassimira Daskalova

This article focuses on the biography of the prominent Bulgarian woman activist and political functionary, Tsola Dragoicheva. The broader point it aims to make—together with many other feminist historians and especially with the participants in the

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Johanna Gehmacher, Svetla Baloutzova, Orlin Sabev, Nezihe Bilhan, Tsvetelin Stepanov, Evgenia Kalinova, Zorana Antonijevic, Alexandra Ghit, Chiara Bonfiglioli, Ana Luleva, Barbara Klich-Kluczewska, Courtney Doucette, Katarzyna Stańczak-Wiślicz, Valentina Mitkova, Vjollca Krasniqi, Pepka Boyadjieva, Marina Hughson, and Rayna Gavrilova

Bulgaria according to the so-called heathen model and those typical for Christians (the latter based mostly on ideological and religious principles that were indeed very well-developed in the literary sources, including those from the Bulgarian milieu after

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Ten Years After

Communism and Feminism Revisited

Francisca de Haan, Kristen Ghodsee, Krassimira Daskalova, Magdalena Grabowska, Jasmina Lukić, Chiara Bonfiglioli, Raluca Maria Popa, and Alexandra Ghit

opposed to revolutionary) means. Later revisionism morphed into “deviationism,” as in the “national deviationism” of Tito and some World War II–era partisans in Bulgaria. 2 The key element of this negative “revisionism” was that it named the process by

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Adriana Zaharijević, Kristen Ghodsee, Efi Kanner, Árpád von Klimó, Matthew Stibbe, Tatiana Zhurzhenko, Žarka Svirčev, Agata Ignaciuk, Sophia Kuhnle, Ana Miškovska Kajevska, Chiara Bonfiglioli, Marina Hughson, Sanja Petrović Todosijević, Enriketa Papa-Pandelejmoni, Stanislava Barać, Ayşe Durakbaşa, Selin Çağatay, and Agnieszka Mrozik

the work of avant-garde female artists—so remarkably present in the historical record—was diminished over time or even systematically erased from the literary canon and ignored by scholars. In order to reflect on the systematic suppression of women