Papers by Zhorzheta Cholakova
This text addresses Šafárikʼs works in which the question about the origin of the language of Cyr... more This text addresses Šafárikʼs works in which the question about the origin of the language of Cyril and Methodius is presented. The factors that complicate his adequate reception in the Bulgarian context are outlined. On the one hand, they lie in the degree of ambiguity entailed in Šafárikʼs interpretation on this issue, on the other hand, this is due to the lack of a modern translation of his writings. The third main factor is the tendentious ideological interpretation, which serves nationalist interests in shaping scholarly discourse. A special attention is paid to the Revival translations of two studies of P. J. Šafárik, which for a century and a half remain the only mediators of his reception in translation in our country, in contrast to his active metatext presence in the Bulgarian scientific discourse.
Romantický návrat k mytologii svědčí o fungování určitého strukturního vývoje uměleckého myšlení ... more Romantický návrat k mytologii svědčí o fungování určitého strukturního vývoje uměleckého myšlení zaměřeného na ontologické předpoklady existence. Otázka působení hylozoistické myšlenky na romantickou estetiku vyplývá z úsilí (pro novou generaci typického) o identifikaci umělecké představivosti s mytologickým pohledem, spojujícím lidský a božský svět, pozemskou přírodu a nadpřirozené síly ve společném ontologickém systému. Vzájemné duchovní prolínání krajiny se subjektem se uskutečňuje souběžně s romantickou introspekcí a autoreflexí, jejíž původ je v preromantickém konceptu života v přírodě (Goethe, Rousseau, Lamartine). Nejdůležitějším problémem uměleckého díla se nyní stává lidská duše ukřižovaná mezi zločinem a trestem, mezi hříchem a láskou, mezi životem a smrtí. Subjekt je odsouzen k trýzni a touží po lásce a štěstí, což odpovídá osobnímu modelu romantického hrdiny, s nímž se lze setkat i v Erbenových baladách. Jeho svět je tvořen senzuálními dotyky krutého dění a imaginárními ...
What is noticeable in the 1920s, when Czech modern poetry and Vítìzslav Nezval in particular expr... more What is noticeable in the 1920s, when Czech modern poetry and Vítìzslav Nezval in particular express their avant-garde quests through the felicitous poetic program, is the aesthetic distancing from the romantic melancholy and respectively from the interpretation of landscape as an object of contemplation and a mediator between the human soul and the universe. The preference of poetism for civilization diversity and metropolitan dynamics and its superficial disregard for nature are the reasons why this aspect of Vítìzslav Nezval's poetry has remained outside the field of literary research so far. The main objective of this paper is to discover and outline the manifestations of artistic treatment of nature in Nezval's poetry even when he denies its place in modern poetry in general. The paper focuses on those transformational processes of antimimetic nature through which the image of the landscape is no longer perceived as a reflection of the real entities of nature but as a fictional entity based on the principle of collage.
Авторитетът на смисъла. Теория и интерпретации. Сборник в чест на доц. д-р Атанас Бучков. Съставителство и научна редакция: Димитър Кръстев, Ана Маринова, Яна Роуланд. Пловдив: Университетско издателство „Паисий Хилендарски“, 58 – 179. ISBN 978-619-202-426-0, 2019
The religious type of melancholy reflects the crisis of human consciousness as regards the sacral... more The religious type of melancholy reflects the crisis of human consciousness as regards the sacral. Its first but singular instances can be found in Homer’s Iliad. Dominant throughout Antiquity was the humoral treatment of melancholy as a disease from which both the body and soul suffered. In his treatise Problema XXX Aristotle uses a new semantic emphasis, associating melancholy with genius. The Renaissance vindication of the antique philosophy of Plato and Aristotle was a prerequisite for a debate with the Christian axiology of dolourism and martyrism, which, as early as the XIV century, involved the problem of creative inspiration. In the course of historical evolution, melancholy turned from a diagnosis into an ethos. This process is illustrated in the article through the works of Petrarch, R. Burton и J. A. Komenský.
Vladimír Holan a jeho souputníci. Sborník příspěvků z III. kongresu světové líterárněvědné bohemistiky. Sv. 2. Ústav pro českou literaturu AV ČR., 2006
Figures mythiques en Europe centrale. Aspects d’un panthéon variable. Publiés sous la direction d’András Kányádi. Paris: Instutut d’Etudes Slaves, 2010
L'ouverture de la littérature tchèque au mythe d'Orphée date de la fin du XVIII e siècle, où le m... more L'ouverture de la littérature tchèque au mythe d'Orphée date de la fin du XVIII e siècle, où le mouvement du Réveil national a marqué le départ d'une véritable renaissance intellectuelle et artistique. En tant qu’incarnation de l’élévation spirituelle et de l’idée de l’existence
inspirée par des valeurs supérieures réunifiant les humains et tous les êtres dans une société harmonieuse, Orphée devient le protagoniste de la nouvelle génération d’intellectuels démocratiques qui voient en lui le symbole de la vie nouvelle et de leur propre vocation poétique. Orphée s’élève-t-il jusqu’à l’universalité idéale rappelant la vision du Paradis perdu et retrouvé – une idée très courante à l’époque du Réveil national. Les premiers témoignages poétiques tchèques montrent donc qu’il ne s’agit pas vraiment d’une interprétation du mythe mais plutôt d’une revalorisation du personnage mythique. La dernière génération du Réveil national tchèque, approuvant l’esthétique romantique, voit de préférence en Orphée le deuil de l’idéal, le dualisme entre la promesse divine de l’art et la condamnation du poète. Les textes de la seconde moitié du XIXe siècle, qui impliquent une relecture du mythe d’Orphée, évoquent à la fois l’immense puissance de la poésie et de l’amour, et l’impuissance ultime face à la mort. a poésie tchèque persévère dans la même conception esthétique jusqu’au début du xxe siècle : Orphée est l’incarnation du poète qui poursuit son idéal malgré tout et Eurydice symbolise la beauté suprême qui est la poésie elle-même. Sans aucun doute, l’interprétation la plus importante et la plus complexe de ce personnage mythique nous est présentée dans le poème philosophique de Vladimir Holan Une nuit avec Hamlet (Noc s Hamletem, 1964) où, par l’entremise d’Orphée, s’exprime la condition humaine dans le contexte d’une époque troublée.
Bohemica litteraria 13, 1–2, 2010
The article analyzes the presence of the lake in the Antiquity and in the Bible, as well as the ... more The article analyzes the presence of the lake in the Antiquity and in the Bible, as well as the literary tradition related to them until the end of the 18th century. The study of the semantic ontology of the image shows that at this time it still does not have its own range of imagery. It will be outlined and actively interpreted for the first time by Romanticism. The ancient concept of the world as being of constantly changing shapes prefers the variations in the image of flowing water (river, stream) and endless water space (ocean, sea) that reflects the world’s cosmogony. Lake has rather narrow but nevertheless clearly outlined semantic field that refers to chthonic or transitive space. Exactly as an entrance to the world of the dead it is toponomically identified in the name of Lake Avernus. We find identical meaning of the lake also in the Bible text. The background of the references in the Old and the New Testament highlights its infernal projection in the Revelation as “the lake which burneth with fire and brimstone”. This is the only case where different Bible translations do not substitute the image with another hypostasis of water. Observations also show that while the outside empirical world is axiologized in various ways, the biblical mind, just like the ancient one, perceives the lake as a transcendent topos. Representative examples from literary works and art illustrate that the artistic mind strictly follows the eschatological interpretation of the lake and as a result the image is either missing or has a quite marginal presence as a part of the landscape. The special attention Romanticism pays to the image of the lake has to be explained not merely with its interest in commensuration of human intersubjectivity with the whole universe, but first and foremost with the metaphysical approach of romantic authors to the mysterious and impenetrable depths of being.
SLAVIA časopis pro slovanskou filologii, 2016
The Black Lake is the biggest lake in the Šumava mountains and as such draws special attention of... more The Black Lake is the biggest lake in the Šumava mountains and as such draws special attention of the Czech poetry, pictorial arts and music during the second half of the 19 th century and the first decade of the 20 th century. This paper is seeking an answer to a question why this interest emerged exactly in the context of the late Romanticism and what the presuppositions for this fact were. Three main problematic spheres are outlined. The first one is the interrelation between the physical reality of the nature and the conception of landscape in art. The second emphasis is put on the aesthetic and poetical functionality of the image of the lake in the Czech poetry and the influence of Mácha's model on the forthcoming generations of poets. The third focus is connected with the image of the Black Lake in poems by Eliška Krásnohorská (Černé jezero), Jan Neruda (Romance o Černém jezeře), Adolf Heyduk (U horského jezera), and Jaroslav Vrchlický (Černé jezero). Against the background of the representation of the Black Lake in other poems written by the above-mentioned authors-as locus amoenus, as internal landscape, as historical memory, and as transcendental space, this study offers an attempt to outline the specifics of the imagery structure of this water space that is indicative for each one of them.
Máchovské rezonance. Sborník příspěvků z IV. kongresusvětové líterárněvědné bohemistiky. Jiná česká literatura? Karel Piorecký (ed.). Ústav pro českou literaturu AV ČR, Praha: Akropolis. , 2010
The lake as the transtextual code of Mácha’s poetics Mácha’s portrayal of nature, including the l... more The lake as the transtextual code of Mácha’s poetics Mácha’s portrayal of nature, including the lake in his poem Máj (May, 1836), indicates the presence of transtextual relations with mythological and literary notions/ideas of the world as a whole and the indivisible unity in which the human being is an integral part of the universe. Mácha’s mythopoetical conception leads back to the ancient idea of the lake as an entrance to the world of the dead/to the other world. The transcendental meaning of this image as a permeable boundary between life and death, nature and the other world, reality and irreality is manifested in the works of the romantic poets particularly in the preferred genre of the ballad. An illustration of this is the poetry of the Lake School and Mickiewicz where – as in Mácha’s poem – the lake and its shore become a topos of supernatural forces. The ballad’s storyline and melancholy lyricism unite the lake, the moon and the female figure into a constellation of images, with the mysterious voice of water. In the narrative poems the lake has a different function – it is philosophically oriented toward the problems of human existence. The lake either becomes a symbol of transcendent knowledge (Shelley) or it has a psychographic function in portraying/gaining insight into the state of mind of the protagonist (Byron). Examining different variations of the image of the lake allows us to trace the mythopoetical evolution of this water topos, as well as the process of development of its immanent semantics. On the other hand, this opens up the possibility for a hermeneutical study of Mácha’s poetics: his imagery gestures and articulations which are characteristic of Romanticism, as well as his unique imagery choices.
Руският класически Логос: измерения и посоки. Юбилеен сборник, посветен на доц. д-р Николай Нейчев, 2019
The article tries to rationalise Lermontov’s Demon as a personified projection of melancholy, whi... more The article tries to rationalise Lermontov’s Demon as a personified projection of melancholy, which Romanticism turned into a metaphysical concept. Because of the representative character of Schelling’s philosophy about the perspective of Romanticism, and also because of the recognised idea correspondence with Lermontov’s conception of the inseparability of good and evil, we suggest a thesis binding Schelling’s concept of the ambivalent nature of the absolute with the ambivalent nature of melancholy, inherent in Lermontov character’s ethos.
Quo vadis, Romania? Exil in/aus der Romania Beispiele aus dem 20. Jahrhundert. Wien, Institut für Romanistik, Universität Wien, 2001
Zhorzheta Cholakova, 2018
Митопоетичен генезис, художествена еволюция и контекстуализация на езерото в поезията на Чешкия р... more Митопоетичен генезис, художествена еволюция и контекстуализация на езерото в поезията на Чешкия романтизъм. Автореферат на дисертация за... „доктор на науките“ / [Mythopoetic Genesis, Artistic Evolution and Contextualization of the Lake in the Poetry of Czech Romanticism. Synopsis of DSc Thesis (in Bulgarian)]
In the genesis and artistic existence of the lake image are interwoven all sorts of questions related to nature as a mediator between the universe and man, with the processes of perception, the intellect and the assimilation of the extra-subjectove reality, with the conceptual models of space. At the same time, the evolution of the lake image outlines its own trajectory, different from the evolution of the landscape. In a large range of cultural and historical time – from antiquity and the Bible to the end of Romanticism and in various national literatures is traced the discoursive and intentional movement of the Lake image, taking into account the following: evolutionary changes from locus horribilis, towards locus amoenus, from the marginal participation in landscape composition to the image-formative centre, from the spatial hiperbolization to intimsing minimalisation. The lake-mania of Romanticism is conceptualised through the prism of evolutionary changes in the artistic consciousness of the mid-European human belonging to that cultural zone, formed through the dialogue between the two basic mythological systems - of Antiquity and of the Bible. Czech literature also belongs to this zone, being the major focus in the part dedicated to Romanticism. The mythopoetic existence of the lake in romantic poetry is considered in the light of universalist discourse, reflecting those metaphysical frames, which through the seen penetrate into the immeasurable sensual spaces of the existing.
Books by Zhorzheta Cholakova
Жоржета Чолакова, 1998
Лицата на човека в поезията на чешкия авангардизъм / Podoby člověka v poezii české avantgardy (bg)
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Papers by Zhorzheta Cholakova
inspirée par des valeurs supérieures réunifiant les humains et tous les êtres dans une société harmonieuse, Orphée devient le protagoniste de la nouvelle génération d’intellectuels démocratiques qui voient en lui le symbole de la vie nouvelle et de leur propre vocation poétique. Orphée s’élève-t-il jusqu’à l’universalité idéale rappelant la vision du Paradis perdu et retrouvé – une idée très courante à l’époque du Réveil national. Les premiers témoignages poétiques tchèques montrent donc qu’il ne s’agit pas vraiment d’une interprétation du mythe mais plutôt d’une revalorisation du personnage mythique. La dernière génération du Réveil national tchèque, approuvant l’esthétique romantique, voit de préférence en Orphée le deuil de l’idéal, le dualisme entre la promesse divine de l’art et la condamnation du poète. Les textes de la seconde moitié du XIXe siècle, qui impliquent une relecture du mythe d’Orphée, évoquent à la fois l’immense puissance de la poésie et de l’amour, et l’impuissance ultime face à la mort. a poésie tchèque persévère dans la même conception esthétique jusqu’au début du xxe siècle : Orphée est l’incarnation du poète qui poursuit son idéal malgré tout et Eurydice symbolise la beauté suprême qui est la poésie elle-même. Sans aucun doute, l’interprétation la plus importante et la plus complexe de ce personnage mythique nous est présentée dans le poème philosophique de Vladimir Holan Une nuit avec Hamlet (Noc s Hamletem, 1964) où, par l’entremise d’Orphée, s’exprime la condition humaine dans le contexte d’une époque troublée.
In the genesis and artistic existence of the lake image are interwoven all sorts of questions related to nature as a mediator between the universe and man, with the processes of perception, the intellect and the assimilation of the extra-subjectove reality, with the conceptual models of space. At the same time, the evolution of the lake image outlines its own trajectory, different from the evolution of the landscape. In a large range of cultural and historical time – from antiquity and the Bible to the end of Romanticism and in various national literatures is traced the discoursive and intentional movement of the Lake image, taking into account the following: evolutionary changes from locus horribilis, towards locus amoenus, from the marginal participation in landscape composition to the image-formative centre, from the spatial hiperbolization to intimsing minimalisation. The lake-mania of Romanticism is conceptualised through the prism of evolutionary changes in the artistic consciousness of the mid-European human belonging to that cultural zone, formed through the dialogue between the two basic mythological systems - of Antiquity and of the Bible. Czech literature also belongs to this zone, being the major focus in the part dedicated to Romanticism. The mythopoetic existence of the lake in romantic poetry is considered in the light of universalist discourse, reflecting those metaphysical frames, which through the seen penetrate into the immeasurable sensual spaces of the existing.
Books by Zhorzheta Cholakova
inspirée par des valeurs supérieures réunifiant les humains et tous les êtres dans une société harmonieuse, Orphée devient le protagoniste de la nouvelle génération d’intellectuels démocratiques qui voient en lui le symbole de la vie nouvelle et de leur propre vocation poétique. Orphée s’élève-t-il jusqu’à l’universalité idéale rappelant la vision du Paradis perdu et retrouvé – une idée très courante à l’époque du Réveil national. Les premiers témoignages poétiques tchèques montrent donc qu’il ne s’agit pas vraiment d’une interprétation du mythe mais plutôt d’une revalorisation du personnage mythique. La dernière génération du Réveil national tchèque, approuvant l’esthétique romantique, voit de préférence en Orphée le deuil de l’idéal, le dualisme entre la promesse divine de l’art et la condamnation du poète. Les textes de la seconde moitié du XIXe siècle, qui impliquent une relecture du mythe d’Orphée, évoquent à la fois l’immense puissance de la poésie et de l’amour, et l’impuissance ultime face à la mort. a poésie tchèque persévère dans la même conception esthétique jusqu’au début du xxe siècle : Orphée est l’incarnation du poète qui poursuit son idéal malgré tout et Eurydice symbolise la beauté suprême qui est la poésie elle-même. Sans aucun doute, l’interprétation la plus importante et la plus complexe de ce personnage mythique nous est présentée dans le poème philosophique de Vladimir Holan Une nuit avec Hamlet (Noc s Hamletem, 1964) où, par l’entremise d’Orphée, s’exprime la condition humaine dans le contexte d’une époque troublée.
In the genesis and artistic existence of the lake image are interwoven all sorts of questions related to nature as a mediator between the universe and man, with the processes of perception, the intellect and the assimilation of the extra-subjectove reality, with the conceptual models of space. At the same time, the evolution of the lake image outlines its own trajectory, different from the evolution of the landscape. In a large range of cultural and historical time – from antiquity and the Bible to the end of Romanticism and in various national literatures is traced the discoursive and intentional movement of the Lake image, taking into account the following: evolutionary changes from locus horribilis, towards locus amoenus, from the marginal participation in landscape composition to the image-formative centre, from the spatial hiperbolization to intimsing minimalisation. The lake-mania of Romanticism is conceptualised through the prism of evolutionary changes in the artistic consciousness of the mid-European human belonging to that cultural zone, formed through the dialogue between the two basic mythological systems - of Antiquity and of the Bible. Czech literature also belongs to this zone, being the major focus in the part dedicated to Romanticism. The mythopoetic existence of the lake in romantic poetry is considered in the light of universalist discourse, reflecting those metaphysical frames, which through the seen penetrate into the immeasurable sensual spaces of the existing.