Fictitious Anthologies in (Post)Modern Bulgarian Literature. The Creation of the Literary Canon as Art.

小说选本通过虚构和神秘化作者身份来模拟代表作品或名著的收集。他们利用选集这一元体裁的规范性权威来宣传和推崇个人的文体方向以及总体美学甚至民族文学，或者以一种戏谑和颠覆的方式质疑这一经典。因此，小说选集是表演性创作和对经典的狂欢式批评的行为。因此，从民族复兴到后现代，从神秘的《斯洛文尼亚吠陀》民歌集到后社会主义过渡时期的假选集，它们在保加利亚文学中发挥着核心作用。使用比较的角度来看，研究项目的目的是推断和检查的规范功能和审美的保加利亚“艺术选集”（S。Igov）。研究将集中在以下问题：这种功能与选集服务跨时代的保加利亚文学的国家经典建设在时代的审美范式的变化？在作者身份、原创性和剽窃问题化的情况下，各自的选集项目如何相对地嵌入（后）现代神秘化美学？从后殖民文化理论的角度来看，它们在多大程度上可以被解释为一种模仿策略，通过这种策略，使用体裁理论并从文化边缘的角度来展示自己和外国的概念？该研究项目将通过对保加利亚文学中从民族复兴到后现代的虚构选集的历时研究来回答这些问题。与此同时，它将保加利亚选集游戏置于欧洲神秘化政策的矩阵中，如詹姆斯·麦克弗森发明的英语“翻译”中的盖尔语Ossian（1760-1765）或Valerij Brjusov伪造的“俄罗斯象征主义者”（1894-1895）。因此，该项目为保加利亚和斯拉夫文学的研究做出了贡献，这也与一般和比较文学研究有关，例如目前对正典问题，神秘化理论和伪翻译的研究领域。

Fictitious anthologies simulate the collecting of representative works or masterpieces by inventing them and mystifying the authorship. They use the normative authority of the meta-genre of anthology to propagate and canonize individual stylistic directions as well as overarching aesthetics or even national literatures, or to question this canon in a playful and subversive way. Fictitious anthologies are thus acts of performative creation and carnivalesque critique of canons. As such they play a central role in Bulgarian literature from the national revival until post-modernity, from the mystified folk song collection of the "Veda Slovena" to the fake anthologies of the post-socialist transition period. Using a comparative perspective, the research project aims to extrapolate and examine the normative functions and aesthetic specifics of this Bulgarian "art of anthology" (S. Igov). The research will focus on the following questions: Which function does this playing with anthology serve across epochs in the national canon-building of Bulgarian literature in times of aesthetic paradigm change? How can the respective anthology projects comparatively be embedded in (post-)modern mystification aesthetics considering their problematization of authorship, originality and plagiarism? To what extent can they be interpreted as a mimicry strategy in terms of post-colonial cultural theory, through which concepts of the own and the foreign are played out using genre theories and from the perspective of the cultural periphery? The research project will answer these questions through a diachronic study of fictitious anthologies in Bulgarian literature from the national revival to post-modernity. At the same time it positions the Bulgarian anthology games within the matrices of European mystification policies, as manifested in James Macpherson's invention of the Gaelic Ossian in English "translation" (1760-1765) or Valerij Brjusov's forging of the "Russian symbolists" (1894-1895). The project thereby provides a contribution to the study of Bulgarian and Slavic literature, that is relevant for general and comparative literary studies as well, such as in the field of current research on canon questions, mystification theory and pseudotranslation.