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A Comparative Study of Post-Ottoman Political Influences on Bulgarian National Identity Construction and Conflict
A COMPARATIVE STUDY OF POST-OTTOMAN POLITICAL INFLUENCES ON BULGARIAN NATIONAL IDENTITY CONSTRUCTION AND CONFLICT BY Copyright 2008 SPENCER S. STITH Submitted to the graduate degree program in International Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Master‘s of Arts ______________________________ Elif Andac, PhD – Sociology, Chairperson ______________________________ Ebenezer Obadare, PhD -Sociology Committee Member ______________________________ Robert F. Baumann, PhD – History Committee Member Date Defended: 15 May 2008 The Thesis Committee for Spencer S. Stith certifies that this is the approved version of the following thesis: A COMPARATIVE STUDY OF POST-OTTOMAN POLITICAL INFLUENCES ON BULGARIAN NATIONAL IDENTITY CONSTRUCTION AND CONFLICT Committee: ___________________________ Elif Andac, Chairperson* ___________________________ Ebenezer Obadare ___________________________ Robert F. Baumann Date Approved: 08 June 2008 ii Abstract Bulgarian society has a successful history of maintaining a relatively peaceful multicultural environment over centuries. This thesis is a comparative analysis of three transitional periods in Bulgaria coinciding with 1) the latter years of Ottoman dominion: 1762-1877, 2) the end of the Balkan Wars and World Wars I and II: 1878- 1947, and 3) the latter years of the Communist dominion: 1947-1989. These periods will be analyzed with the aim to understand the role that regional political agendas have played in shaping an imagined Bulgarian national identity. It will be shown that when it has occurred, identity-based conflict in Bulgaria can be better explained by examining the contributions of nationalist political influences from 1876 – 1989 on identity construction rather than an inherent Balkan propensity to religious and ethnic intolerance. -
Mary Neuburger
MARY NEUBURGER 104 Inner Campus Drive, B7000 [email protected] Department of History, University of Texas Austin, Texas 78713 EDUCATION • University of Washington, Seattle. Ph.D. in History, August 1997. ACADEMIC POSITIONS • Professor, Department of History, September 2012-present. • Associate Professor, Department of History, September 2006-2012. • Assistant Professor, Department of History, August 1997-2006. ADMINISTRATIVE / EDITORIAL POSITIONS • Director, Center for Russian, East European and Eurasian Studies, Fall 2010-present. • Chair, Department of Slavic and Eurasian Studies, Fall 2010-present • Co-editor (with Dr. Richard Evans, Cambridge University) of the Journal of Contemporary History, January 2016-present. • Chair, Provost Teaching Fellows, April 2019-present. • Associate Director, European Union Center of Excellence, Fall 2012-2016. • Executive Board, Association for Slavic East European and Eurasian Studies, January 2015-8. • Board, Association for Women in Slavic Studies, January 2017-2018. PUBLICATIONS and works in progress Authored Books • Balkan Smoke: Tobacco and the Making of Modern Bulgaria, 1863-1989. Cornell University Press, 2012. [Book prize: Association for Slavic Studies, Barbara Jelavich Award] • The Orient Within: Muslim Minorities and the Negotiation of Nationhood in Modern Bulgaria, Cornell University Press, 2004. • In progress: Book manuscript with working title, “Cold War Food: A Collective Farm to Table History of Bulgarian Food” (Expected completion date September 2019) Co-edited Books • Communism -
The Subversive Folklore of Bai Ganio
The Subversive Folklore of Bai Ganio Cammeron Girvin Summer 2015 Cammeron Girvin is a PhD candidate in the Department of Slavic Languages and Literatures at the University of California, Berkeley. The Subversive Folklore of Bai Ganio Bai Ganio: The Incredible Tales of a Modern Bulgarian (Бай Ганьо: невероятни разкази на един съвременен българин) was published as a series of feuilletons between 1894 and 1895 by the Bulgarian writer Aleko Konstantinov and was collected in book form shortly thereafter.1 The title character of the work, Bai Ganio, is a crude, uncultured Bulgarian man who engages in a series of (mis-)adventures. In Part I, “Bai Ganio Leaves for Europe,” various young Bulgarians have gathered to share stories about their encounters with the character. The narrators, who have presumably been studying in Western Europe, all meet Bai Ganio, who attempts to connect with them as a fellow Bulgarian but ends up embarrassing them with his uncultured behavior. In short, Bai Ganio represents the pre-modern, unaware Bulgarian finding himself entirely out of place in modernity. Part II of the work, “Bai Ganio Came Back from Europe,” features Bai Ganio in late nineteenth-century Bulgaria, engaging in unscrupulous business and political schemes. Konstantinov’s work is regarded as wildly humorous and is a favorite of many Bulgarians. Needless to say, Bai Ganio calls into question Bulgarian national identity; as such, many different interpretations of the literary character have been proposed since the work’s publication. Significantlyless scholarly attention has been paid, however, to Bai Ganio’s travels outside of Konstantinov’s text. -
1 Violence in Bai Ganyo: from Balkan to Universal Victor A. Friedman
1 Violence in Bai Ganyo: From Balkan to Universal Victor A. Friedman University of Chicago Ulbandus. The Slavic Review of Columbia University. Vol. 13. 2010. 52-63. The theme of violence in Balkan literature has many possible trajectories. The most obvious is the recent tragedy accompanying the dissolution of former Yugoslavia and how it is treated in literature and the other arts. Another is the construction of the Balkans as, among other things, a violent and fractious Other by the Great Powers and how this was reflected in, as Goldsworthy (1998) puts it, Inventing Ruritania (see also Todorova 1997). Here I would like to consider the portrayal of violence in a Balkan literature itself, namely Bulgarian, but from an earlier period. I will examine a single nineteenth-century masterpiece that is normally not associated with violence at all, but rather with humor, namely Aleko Konstantinov’s picaresque novel Bai Ganyo (‘Uncle Ganyo’). I will argue that the role of violence in Bai Ganyo, while reflecting to some extent the prejudices of Aleko’s time, also contributes to the novel’s universal appeal and to its worthiness of a place in the canon of world literature.1 Ivan Vazov’s 1894 novel Pod igoto ‘Under the Yoke’—an account of the unsuccessful 1876 April Uprising of Bulgarian Christians against Turkish rule—is still popularly considered in Bulgaria to be the most important work of the nation’s literature.2 However, Bai Ganyo, the first edition of which appeared in 1895, has attracted considerably more attention in western scholarship, including two recent articles in Slavic Review (Daskalov 2001, Neuberger 2006; see also Todorova 1997:38-61) and the first annotated scholarly translation into English (Konstantinov 2010; all quotations in this article are from that edition).3 Even in 1913, a US periodical (The Independent, 2 January, p. -
To Chicago and Back by Aleko Konstantinov
"The past is never dead. It's not even past." William Faulkner NOT EVEN PAST Search the site ... To Chicago and Back by Like 13 Aleko Konstantinov (1894) Tweet by Mary Neuburger In 1893 Aleko Konstantinov, one of Bulgaria’s most well known literary gures, traveled to the Chicago World’s Fair. Once in Chicago, Aleko—as he is remembered by Bulgarians —observed this now-famous spectacle along with the peculiarities of the “New World” itself. The Chicago fair was a formidable vision of prosperity and progress, by far the largest of all nineteenth-century fairs, with 27 million visitors and display space three times the 1889 fair in Paris. Aleko was mesmerized by the stately neo-classical pavilions that made up the fair’s so-called “White City” but was also drawn to the Midway Plaisance. The Midway was more about entertainment than trade and industry. It featured the world’s rst ferris wheel, but also a whole world of exotic or “savage” sites, sounds, and avors. In his recently translated travelogue entitled To Chicago and Back (Do Chikago i Nazad, rst published 1894) Aleko details his complex impressions of the world, including his home country Bulgaria, on display. But it was the New World itself, on and off the fairgrounds, that most dazzled and disturbed Aleko. Privacy - Terms Bird’s eye view of the World’s Columbian Exposition, Chicago, 1893 (via Library of Congress) Historians have spilled plenty of ink on the world’s fair phenomenon—namely how nations and empires projected and encoded power at these elaborate exhibitions. -
Naylor Lecture, at OSU
The new Bulgarian: Turkisms and Europeanisms in the language of Bai Ganyo and Nov Život0 Catherine Rudin Abstract: This talk explores the richness of borrowed vocabulary in Bulgarian by comparing two eras and genres: the 19th century Bulgarian of the Bai Ganyo stories and the 21st century Bulgarian of the online newspaper Nov Zhivot. Turkish vocabulary has been plentiful in Bulgarian since Ottoman times and at least since the 19th century has had a particular stylistic flavor. In Bai Ganyo, Turkish words carried shadings of humor, irony, local color, vividness, coarseness, backwardness, and affection, making them a crucial (and hard-to-translate) part of the lexicon. Bai Ganyo also contains European borrowings, e.g. French and German, usually mangled by the main character in illustration of one of the stories' main themes; Bulgarians' unsuccessful striving to be European. Turkisms were frowned upon during the communist era and became almost nonexistent in print, but in the two decades since the change of government they have come back in full force. Turkisms abound in current Bulgarian journalistic writing, with much the same range of emotive meanings they had more than a century ago. Western European loans are perhaps even more pervasive, with anglicisims leading the pack, but with quite different overtones than in Bai Ganyo. Like virtually all languages, Bulgarian has been in contact with other languages throughout its history, and has been influenced by various languages at various times. The well-known syntactic and morphological Balkanisms are one result of such contact, but not the only one. The lexicon of modern Bulgarian also bears witness to language contact leading to large-scale borrowing of words, most notably from Turkish, but also from other languages. -
UC Berkeley UC Berkeley Previously Published Works
UC Berkeley UC Berkeley Previously Published Works Title The Subversive Folklore of Bai Ganio Permalink https://escholarship.org/uc/item/3c69w0v4 Author Girvin, Cammeron Publication Date 2015-07-01 eScholarship.org Powered by the California Digital Library University of California The Subversive Folklore of Bai Ganio Cammeron Girvin Summer 2015 Cammeron Girvin is a PhD candidate in the Department of Slavic Languages and Literatures at the University of California, Berkeley. The Subversive Folklore of Bai Ganio Bai Ganio: The Incredible Tales of a Modern Bulgarian (Бай Ганьо: невероятни разкази на един съвременен българин) was published as a series of feuilletons between 1894 and 1895 by the Bulgarian writer Aleko Konstantinov and was collected in book form shortly thereafter.1 The title character of the work, Bai Ganio, is a crude, uncultured Bulgarian man who engages in a series of (mis-)adventures. In Part I, “Bai Ganio Leaves for Europe,” various young Bulgarians have gathered to share stories about their encounters with the character. The narrators, who have presumably been studying in Western Europe, all meet Bai Ganio, who attempts to connect with them as a fellow Bulgarian but ends up embarrassing them with his uncultured behavior. In short, Bai Ganio represents the pre-modern, unaware Bulgarian finding himself entirely out of place in modernity. Part II of the work, “Bai Ganio Came Back from Europe,” features Bai Ganio in late nineteenth-century Bulgaria, engaging in unscrupulous business and political schemes. Konstantinov’s work is regarded as wildly humorous and is a favorite of many Bulgarians. Needless to say, Bai Ganio calls into question Bulgarian national identity; as such, many different interpretations of the literary character have been proposed since the work’s publication. -
Report on Methodology Design
REINFORCEMENT OF NON FORMAL EDUCATION AND THE SOCIAL PARTICIPATION OF YOUTH IN YOUTH CENTRES YOUTH programme Action 5 SUPPORT MEASURES Report on Methodology Design Introduction As a participant in the project – ‘Reinforcement of Non-formal Education and the Social Participation of Youth in Youth Centres’ - NGO Equilibrium (EQ) has undertaken to explore the theme of ‘Institutions and organisations of the European Union’ in the context of devising and piloting the implementation of a methodology in informal education. This methodology is geared towards the fulfilment of the project aims expressed in the following terms in the Memorandum of Agreement jointly signed by EQ and ARSIS – Association for the Social Support of Youth – “…strengthening of competencies of youth in danger, the improvement of their self-image and self-appreciation with the ultimate goal of prevent(ing) social marginalization and combating school drop-out.” EQ’s methodology was designed in response to the educational environment in which we find ourselves and in reaction to a Balkan child welfare paradigm characterized by an agonizingly slow departure from the traditional approach of coercion and containment directed at children who are socially disadvantaged and / or educationally handicapped. We are a long way from seeing a desire to maximize the potential of every child imbedded in institutional culture. Bulgarian Educational Environment The EQ team comprises specialists in working with children and young adults who are educationally / socially disadvantaged. In our website we state that “(y)oung people fail to thrive in their schooling and social interaction for a large variety of reasons. The problem is especially acute in countries like Bulgaria that attempt to model members of the younger generation by means of authoritarian or chauvinistic pressures”. -
Situating Oplakvane in Bulgarian Discourse As a Cultural Term for Communicative Practice
University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations Dissertations and Theses August 2015 “OF ALL, I MOST HATE BULGARIANS”: SITUATING OPLAKVANE IN BULGARIAN DISCOURSE AS A CULTURAL TERM FOR COMMUNICATIVE PRACTICE Nadezhda M. Sotirova University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_2 Part of the International and Intercultural Communication Commons Recommended Citation Sotirova, Nadezhda M., "“OF ALL, I MOST HATE BULGARIANS”: SITUATING OPLAKVANE IN BULGARIAN DISCOURSE AS A CULTURAL TERM FOR COMMUNICATIVE PRACTICE" (2015). Doctoral Dissertations. 407. https://doi.org/10.7275/6961394.0 https://scholarworks.umass.edu/dissertations_2/407 This Open Access Dissertation is brought to you for free and open access by the Dissertations and Theses at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. “OF ALL, I MOST HATE BULGARIANS”: SITUATING OPLAKVANE IN BULGARIAN DISCOURSE AS A CULTURAL TERM FOR COMMUNICATIVE PRACTICE A Dissertation Presented by NADEZHDA M. SOTIROVA Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2015 Department of Communication © Copyright by Nadezhda M. Sotirova 2015 All Rights Reserved “OF ALL, I MOST HATE BULGARIANS”: SITUATING OPLAKVANE IN BULGARIAN -
Bulgarian Banknotes, 1885-2003
Balkanologie VIII (2), décembre 2004, p. 7-31 \ 7 CHANGE THE REGIME - CHANGE THE MONEY: BULGARIAN BANKNOTES, 1885-2003 Adrian ε. Tschoegl* This paper follows the changes in the images in Bulgaria's notes from the first issue in 1885 to the most recent in 2003. In that period, Bulgaria has gone from being a monarchy to a Communist Peoples' Republic then to a Parliamentary Republic, and the pictorial elements of its money have reflected those changes. Although it is an obvious point that changes in political re gimes lead to changes in the images on the emanations of the State, be they its banknotes, coins, flags, or postage stamps, still this point has not appeared in the literature on these emanations1. BANKNOTES AND THE IDEA OF NATIONAL MONEY We see money every day, but because of its familiarity we rarely observe it. Though often aesthetically beautiful, a banknote is an oblong piece of paper without intrinsic value2. However, the banknote is also a means of communi cation ; it has symbols and images on it that carry information. Banknotes re present a unique documentation because they combine in one medium com- * Adjunct Associate Professor of Management, The Wharton School of the University of Pennsylvania, Philadelphia, [email protected] 1 I would like to thank Stanley Brunn, John Dunn, Jeffrey Miller and Georgi Spiridonov who assisted in di verse ways and Anca Metiu who provided helpful comments on an earlier draft. I would like to thank as well Garry Saint Esq. of Numismondo who kindly made available excellent scans of the banknotes that I have used in this paper.