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

虚构的选集通过编造代表作或杰作并迷惑作者来模拟收集代表作或杰作的过程。他们利用选集元体裁的规范权威来宣传和推崇个人的文体方向，以及总体美学甚至国家文学，或者以一种戏谑和颠覆的方式质疑这一经典。因此，虚构的选集是对经典的表演性创作和嘉年华式的批评。因此，从民族复兴到后现代，从神秘的《吠陀斯洛文尼亚》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。该研究项目采用比较的视角，旨在推断和检验这一保加利亚“文选艺术”(S.Igov)的规范功能和审美特性。研究将集中在以下几个问题上：在审美范式变化的时代，这种对选集的玩弄在保加利亚文学的国家典范建设中跨时代起到了什么作用？考虑到它们在作者、原创和抄袭方面的问题，各自的选集项目如何能够相对嵌入(后)现代神秘化美学？它们在多大程度上可以被解读为后殖民文化理论中的一种模仿策略，通过这些模仿策略，从体裁理论和文化边缘的角度来展示自己和外国的概念？该研究项目将通过历时研究保加利亚文学中从民族复兴到后现代的虚构选集来回答这些问题。同时，它将保加利亚的选集游戏定位在欧洲神秘化政策的矩阵中，如詹姆斯·麦克弗森发明的盖尔语奥斯语的英语“翻译”(1760-1765)或瓦列里杰·布鲁索夫锻造的“俄罗斯象征”(1894-1895)。因此，该项目对保加利亚和斯拉夫文学的研究做出了贡献，这也与一般文学研究和比较文学研究有关，例如在当前关于经典问题、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.