Others

https://www.ceeol.com/search/article-detail?id=1389039 https://doi.org/10.60056/Lit.2025.35.11–36   Katerina Gadjeva The article reviews the appearance of the Beauty and the Beast fairy tale in France and the challenges that illustrators have to deal with. The focus is on the first translations of the fairy tale into Bulgarian, as well as on some of our twentieth-century editions in which the text is accompanied by images. Although today it is mostly read to children, the story of the girl who falls in love with a monster was created for grown-up girls who have entered womanhood. The illustrations bring additional meaningful touches that enrich the text and direct […]

https://www.ceeol.com/search/article-detail?id=1389041 https://doi.org/10.60056/Lit.2025.35.37–59   Marina Petrova This paper explores the combination of the text of Lewis Carroll’s “Alice in Wonderland” with various of its illustrations. The illustrations are seen as a model for interpreting the book – they add new nuances to the understanding of the text, which enrich the possibilities for interpretation. The illustrations of John Tenniel (1865), Arthur Rackham (1907), Salvador Dali (1969), Barry Moser (1982) and Benjamin Lacombe (2010) are examined. The paper explores the issue of self-knowledge and choice of identity. Keywords: “Alice in Wonderland”, illustrations, identity, self-knowledge, model About the author: Marina Petrova holds a bachelor’s

https://www.ceeol.com/search/article-detail?id=1389043 https://doi.org/10.60056/Lit.2025.35.60–72   Nikolay Aretov In 1853, Hristo Vasilev Protopopovich published his translation from Greek of “Le sottilissime astuzie di Bertoldo” (1606) by Giulio Cesare Della Croce. This is one of the first Bulgarian illustrated editions; the illustrations are taken from the Greek source, and their author is unknown. These, in turn, were based on an Italian edition from 1646 and corresponded to the style of the folk book. Ludovico Mattioli illustrated a later Italian edition from 1736 based on designs by Giuseppe Maria Crespi. Numerous later editions duplicated these pictures, which were done in a more classicist style. Observations

https://www.ceeol.com/search/article-detail?id=1389044 https://doi.org/10.60056/Lit.2025.35.73–105   Bilyana Borisova The article is dedicated to Gustave Doré’s Illustrated Bible and analyzes the relationship between image and biblical text in it. The connection between the word of the Holy Bible and the artist’s illustrations as secular art is sought and presented. The artist’s approach to the biblical text, the choice of scenes and plots for illustration, the author’s visual interpretations, the peculiarities of the technique and graphic solutions for the most impactful transmission of the inner energy of the biblical narrative from Creation to the New Jerusalem are discussed. The connection is made between the life

https://www.ceeol.com/search/article-detail?id=1389045 https://doi.org/10.60056/Lit.2025.35.106–126   Margarita Ivailova Staneva The article examines the portrayal of the female fate within the framework of the patriarchal reality established by the institution of marriage, as depicted in Elin Pelin’s short story The Bride Nena and Vasily Pukirev’s painting An Unequal Marriage. The comparison of the two works is made through the lens of Simone de Beauvoir’s The Second Sex. The main ideas explored in relation to these works are the formation of woman as a social construct, the definition of her essence through “marriage,” and her role as the “Other” in relation to man. Keywords: femininity,

https://www.ceeol.com/search/article-detail?id=1389127 https://doi.org/10.60056/Lit.2025.35.127–150   Katya Zografova The text interprets a little-known children’s and youth book by the German artist, critic, and scenographer – “Monika on the Way to Madagascar.” It explores the interactions between text and photography, as well as the unusual combination of traditional illustrations by Hugo Wilkens and the original photographs by Max Metzger. Thus, Metzger’s multifaceted creative transformations are complemented by his unknown photographic talent. The book, published in Bulgaria in 1936, is the last sign of the presence of the German expressionist in the cultural scene of Bulgaria and at the same time, a definitive testament to

https://www.ceeol.com/search/article-detail?id=1389132 https://doi.org/10.60056/Lit.2025.35.151–176   Genadi Gatev The essay traces how 20th–21st-century art dissolves boundaries between text, image, and sound, recovering an ancient ritual unity while overturning modern hierarchies. From Duchamp’s readymade and Beuys’s “social sculpture” to Cage’s chance procedures, conceptualism reframed the artwork as idea and process. Photography’s “facticity” and mass reproducibility enabled dematerialized practices (Kosuth, Art & Language) and a culture dominated by images. Video and installation art—Paik’s electronic environments, Hill’s language-body experiments, Sugimoto’s time-compressed cinemas, Nauman’s claustrophobic loops, Viola’s slowed meditations—fuse media and activate viewers. Digital technologies and AI accelerate production, risking standardization, shallow reception, and a “deficit of

https://www.ceeol.com/search/article-detail?id=1389135 https://doi.org/10.60056/Lit.2025.35.177–199   Yanitsa Radeva This article explores contemporary practices from the period 2000–2025 that blur the boundaries between literature and the visual arts. It attempts to reconstruct groupings and models of literary presentation that involve the collaboration of literature with other art forms such as performance, video, and photography. The text focuses on several art collectives and specific events, as well as on the visual projects, the calligraphic paintings and others. Through these examples, the article aims to trace how new media and artistic strategies reorganize the literary space and reshape the ways in which literature is perceived, presented,

https://www.ceeol.com/search/article-detail?id=1389138 https://doi.org/10.60056/Lit.2025.35.200–242   Eleonora Shestakova Thematic desserts and their media texts are new phenomena rooted in the cultures of visuality, spectacle, leisure, hedonism; interconnected with literature’s, cinema’s, animation’s culture, painting; related to the constructions of ideology, explanation of the world order; correlating with traditions, storytelling techniques; conditioned in their foundations, principles by aesthetic, artistic, social beginnings, everyday life. They formed and perfected inseparable relations with media communications. Dessert-texts and their media texts have created and are actively developing a complex intermediate territory. This is especially evident in the examples of dessert-texts and their food photos. Artistic culture for the “mass

https://www.ceeol.com/search/article-detail?id=1389141 https://doi.org/10.60056/Lit.2025.35.243–283   Julia Jordanova-Pancheva The article clarifies the essence of photography, focusing on the specificity of the photographic image and its relationship to fiction. The topic is examined in several aspects: ontological, related to the photograph as a “natural” sign, certifying the authenticity of the object of photography; aesthetic, related to the photograph as a artificial “picture”, the meaning of which depends on the viewer; rhetorical, related to the photograph as literature without words with its own visual structure created by the photographer; pragmatic, related to the photograph as a tool of literature and a component of the book