Teodora Tzankova
Teodora Tzankova is a Senior Assistant Professor at the Department of Hispanic Studies, St. Kliment Ohridski University of Sofia.
She has a BA in Spanish Philology (2003), a MA in Translation and Editing (2005), and another MA in Literary Studies (2007) at St. Kliment Ohridski University of Sofia. She holds a PhD from the same university for her dissertation on The Portrait in Literary Modernism (Oscar Wilde, James Joyce, and José Martínez Ruiz – "Azorín"), which was revised and published in the Experior series of the Faculty of Slavic Philologies UP in 2023 (see https://philol-forum.uni-sofia.bg/library/experior/exp2/).
She is on the editorial board of the Philological Forum journal.
Teodora Tzankova translates fiction and non-fiction in the Humanities from Spanish (Javier Marías, J. L. Borges, Javier Gomá among others).
She is a board member of CALIC (the Academic Circle for Comparative Literature in Bulgaria) and of CEATL (the European Council of Literary Translators' Associations).
Her interests are in the fields of Comparative Literature and Literary Translation.
She has a BA in Spanish Philology (2003), a MA in Translation and Editing (2005), and another MA in Literary Studies (2007) at St. Kliment Ohridski University of Sofia. She holds a PhD from the same university for her dissertation on The Portrait in Literary Modernism (Oscar Wilde, James Joyce, and José Martínez Ruiz – "Azorín"), which was revised and published in the Experior series of the Faculty of Slavic Philologies UP in 2023 (see https://philol-forum.uni-sofia.bg/library/experior/exp2/).
She is on the editorial board of the Philological Forum journal.
Teodora Tzankova translates fiction and non-fiction in the Humanities from Spanish (Javier Marías, J. L. Borges, Javier Gomá among others).
She is a board member of CALIC (the Academic Circle for Comparative Literature in Bulgaria) and of CEATL (the European Council of Literary Translators' Associations).
Her interests are in the fields of Comparative Literature and Literary Translation.
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Books by Teodora Tzankova
Книгата е резултат от изследване, защитено като дисертационен труд в Катедрата по теория на литературата във Факултета по славянски филологии на Софийския университет „Св. Климент Охридски“ през 2012 г.
The book explores the portrait in Modernist literature by focusing on the novels The Picture of Dorian Gray by Oscar Wilde, A Portrait of the Artist as a Young Man by James Joyce and Doña Inés (a love story) by José Martínez Ruiz – Azorín. In order to put the theme in the necessary cultural, historical and theoretical perspective, the first two chapters are dedicated to the autonomous pictorial portrait and to different types of portraits in literature. The remaining three chapters offer a close reading of the three chosen literary works from the point of view of the portrait: the diverse manifestations of the portrait are registered, their functions are pointed out and analysed, the relationships existing between them are established, and, finally, the problems that the portraits pose are determined. As a result, the comparative analysis of the novels of Wilde, Joyce and Azorín outlines their common commitment to the representation of a contradictory, constantly developing and self-reflexive human individual. The three protagonists reject the authorities, value their individual freedom highly and perceive their identity as subject to their past. By revealing the capacity of the portrait to expound the issues pointed out above, the research deems it an adequate embodiment of Modernist worldview.The present book is a revised version of a PhD thesis defended at Sofia University in 2012.
Papers by Teodora Tzankova
between Juan Nicolás Böhl de Faber and José Joaquín de Mora which took place on the pages of the Mercurio Gaditano newspaper in the tumultuous year of 1814. After a short historical introduction, a detailed account of the theses and arguments of the opponents is given. The analysis that follows shows how both men of letters mixed aesthetic and political ideas and made use of literature (especially Calderón) for ideological purposes. Böhl de Faber presents a model for creating
a national mythology whereas Mora’s views, although more consistent, are less appealing to the general public. At the end, conclusions are made regarding the relation of the quarrel to the processes of nation formation and modernisation.
The article explores the pantheon scene in José Zorrilla`s Don Juan Tenorio against the background of the graveyard scene in Shakespeare`s Hamlet on the basis of the features they share: the return of the protagonist to his homeland after a trip abroad, the scenery, the conversation with an episodic character, the surprising news of the death of the beloved. The comparative analysis highlights the transformation of don Juan, which is due to the intervention of the supernatural shadows of doña Inés and don Gonzalo, and looks into it in details. Then the role of don Diego Tenorio, the subordination of art to religion, the topic of immortality and the orientation of the play chronologically towards the future and ideologically towards the past are discussed.
Summary: The paper examines The Pleasant Memoirs of the Marquis de Bradomín: Four Sonatas (1902-5), a series of short novels, each named after a season (Spring, Summer, Autumn and Winter Sonatas) by the Spanish modernist writer Ramón María del Valle-Inclán, focusing on the geographic locations of the stories: Italy, Mexico, Galicia and Navarra. First of all, the structure of the series associates each location with a season and an age of the protagonist: Italy with spring and youth, Mexico with summer and plenitude, Galicia with autumn and maturity, and Navarra with winter and old age. Furthermore, the locations acquire a specific meaning within the plot: Italy is the homeland of Casanova and Aretino, teachers of the protagonist in love and writing; Mexico puts forward the question of the Conquista and presents it as inadequate and anachronistic to contemporary relationships; Spain has a glorious past which is, however, irretrievably lost; Spain’s present does not offer a sensible political solution to the crisis the country is suffering and in this situation aesthetics is the only consolation for the protagonist.
Резюме Като предпоставка за изследването на портрета в литературата предложената статия си поставя за цел да очертае самостоятелното поле на живописния портрет. След като се спира на етимологията на думата " портрет " в европейските езици, текстът извежда определение на изобразителния жанр. Анализира две легенди за произхода на портрета, обръща внимание на историческия момент на възникването му в европейската живопис, представя основните конвенции и практики при създаването му. Накрая откроява разнообразните функции на портрета и проблематиката, която той задава. Настоящият текст представлява първа глава от дисертационен труд на тема " Портретът в литературата на модернизма (Оскар Уайлд, Джеймс Джойс, Хосе Мартинес Руис " Асорин ") ".
Книгата е резултат от изследване, защитено като дисертационен труд в Катедрата по теория на литературата във Факултета по славянски филологии на Софийския университет „Св. Климент Охридски“ през 2012 г.
The book explores the portrait in Modernist literature by focusing on the novels The Picture of Dorian Gray by Oscar Wilde, A Portrait of the Artist as a Young Man by James Joyce and Doña Inés (a love story) by José Martínez Ruiz – Azorín. In order to put the theme in the necessary cultural, historical and theoretical perspective, the first two chapters are dedicated to the autonomous pictorial portrait and to different types of portraits in literature. The remaining three chapters offer a close reading of the three chosen literary works from the point of view of the portrait: the diverse manifestations of the portrait are registered, their functions are pointed out and analysed, the relationships existing between them are established, and, finally, the problems that the portraits pose are determined. As a result, the comparative analysis of the novels of Wilde, Joyce and Azorín outlines their common commitment to the representation of a contradictory, constantly developing and self-reflexive human individual. The three protagonists reject the authorities, value their individual freedom highly and perceive their identity as subject to their past. By revealing the capacity of the portrait to expound the issues pointed out above, the research deems it an adequate embodiment of Modernist worldview.The present book is a revised version of a PhD thesis defended at Sofia University in 2012.
between Juan Nicolás Böhl de Faber and José Joaquín de Mora which took place on the pages of the Mercurio Gaditano newspaper in the tumultuous year of 1814. After a short historical introduction, a detailed account of the theses and arguments of the opponents is given. The analysis that follows shows how both men of letters mixed aesthetic and political ideas and made use of literature (especially Calderón) for ideological purposes. Böhl de Faber presents a model for creating
a national mythology whereas Mora’s views, although more consistent, are less appealing to the general public. At the end, conclusions are made regarding the relation of the quarrel to the processes of nation formation and modernisation.
The article explores the pantheon scene in José Zorrilla`s Don Juan Tenorio against the background of the graveyard scene in Shakespeare`s Hamlet on the basis of the features they share: the return of the protagonist to his homeland after a trip abroad, the scenery, the conversation with an episodic character, the surprising news of the death of the beloved. The comparative analysis highlights the transformation of don Juan, which is due to the intervention of the supernatural shadows of doña Inés and don Gonzalo, and looks into it in details. Then the role of don Diego Tenorio, the subordination of art to religion, the topic of immortality and the orientation of the play chronologically towards the future and ideologically towards the past are discussed.
Summary: The paper examines The Pleasant Memoirs of the Marquis de Bradomín: Four Sonatas (1902-5), a series of short novels, each named after a season (Spring, Summer, Autumn and Winter Sonatas) by the Spanish modernist writer Ramón María del Valle-Inclán, focusing on the geographic locations of the stories: Italy, Mexico, Galicia and Navarra. First of all, the structure of the series associates each location with a season and an age of the protagonist: Italy with spring and youth, Mexico with summer and plenitude, Galicia with autumn and maturity, and Navarra with winter and old age. Furthermore, the locations acquire a specific meaning within the plot: Italy is the homeland of Casanova and Aretino, teachers of the protagonist in love and writing; Mexico puts forward the question of the Conquista and presents it as inadequate and anachronistic to contemporary relationships; Spain has a glorious past which is, however, irretrievably lost; Spain’s present does not offer a sensible political solution to the crisis the country is suffering and in this situation aesthetics is the only consolation for the protagonist.
Резюме Като предпоставка за изследването на портрета в литературата предложената статия си поставя за цел да очертае самостоятелното поле на живописния портрет. След като се спира на етимологията на думата " портрет " в европейските езици, текстът извежда определение на изобразителния жанр. Анализира две легенди за произхода на портрета, обръща внимание на историческия момент на възникването му в европейската живопис, представя основните конвенции и практики при създаването му. Накрая откроява разнообразните функции на портрета и проблематиката, която той задава. Настоящият текст представлява първа глава от дисертационен труд на тема " Портретът в литературата на модернизма (Оскар Уайлд, Джеймс Джойс, Хосе Мартинес Руис " Асорин ") ".
Main areas
Please offer your contributions to one of the following thematic areas:
A Focus on Philology: reflecting on it and its avenues for development;
Literature: history and theory;
Language: history and theory;
Cultural Anthropology, Folkloristics, Ethnology: history and modern realities;
Medieval Studies: the word, the image, the melody;
New Media, Theatre and Cinema. Ambiguity in Art, Virtual Reality;
The Methodology of Teaching Language and Literature: Challenges and Perspectives;
Translation: theory and practice.
Within the Forum
As part of the Forum, we are going to hold a Discussion on Criticism, which has been conceived and organized by Senior Assist. Prof. Noemi Stoichkova, PhD.
On 18th of November, 2018, we have a planned tour entitled Sofia in Antiquity and the Middle Ages.
Attention
Upon submitting your application for participation, we will be glad if we receive a recommendation by an expert in your respective field (who has a PhD, as a minimum requirement) using the following e-mail address: [email protected].
The working languages of our Forum shall be all Slavic languages and English.
Your presentation should be no longer than 15 minutes.
There is no participation fee.
Papers shall receive commentary and assessment from groups of expert academics with the framework of each panel.
All those selected to participate shall receive a certificate of participation.
The one-night accommodation fee for participants from abroad who wish to avail themselves of our student housing facilities shall be about €10.
Deadline for the submission of your participation form: 20/10/2018.
https://philol-forum.uni-sofia.bg/en/portfolio-item/philological-forum-issue-15/
- opportunity to read the works of classic and contemporary Bulgarian authors translated into German and English in the form of e-books;
- biographical information for this author in German and English;
- bibliography of published translations of the texts of the individual author, of the variants of translation of individual work, and depositories in storing the media.
ENGLISH: http://bglit.org/page/en/home.php
DEUTSCH: http://bglit.org/page/de/start.php
БЪЛГАРСКИ: http://bglit.org/page/bg/nachalo.php
Project team: Elka Traykova, Lyubka Lipcheva-Prandzheva, Inna Peleva, Cleo Protohristova, Kalina Zahova, Maria Slavtscheva, Teodora Tzankova, Maria Endreva, Vitana Kostadinova, Milena Katsarska, Milena Kohl, Anastasiya Kaloyanova, Severina Georgieva, Mila Tronkova / http://bglit.org/page/en/about-us.php
Amadeus Genius: Звуци, които се обичат, съст. Радослав Радев. Велико Търново: Пик, 2006.
Моцарт – литературни сюжети, тематизации и контексти, ред. колегия: Клео Протохристова, Мила Кръстева, Светла Черпокова, Дияна Николова. Пловдив: Филологически факултет, ПУ „Паисий Хилендарски“, 2008.
Colloque international d’études romanes (CIER)
Sofia, 16-18 novembre 2023
Atelier 1 : « La recherche en langues et en littératures médiévales : quelques perspectives actuelles »
Atelier 2 : « Dialogues, continuité, ouverture : le cas des littératures romanes »
Atelier 3 : « 110 ans après Saussure : diversité de théories et de méthodes dans les sciences du langage »
Atelier 4 : « Histoire des études romanes en Bulgarie et ailleurs »
Calendrier :
31 mai 2023 : date limite de soumission des propositions
15 juillet 2023 : réponse du comité scientifique et des organisateurs
10 septembre 2023 : inscription au CIER
20 septembre 2023 : programme du CIER
16-18 novembre 2023 : tenue du CIER