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<p>The figure of Odysseus, situated within the discourse of world literature, presents a subject of contradiction that has been examined through the lens of late Bulgarian literary criticism in the 1980s and beyond, emphasizing the tension between the modern liberal and anti-modern conservative paradigms. This article delves into the depiction of Odysseus as a modern or counter-modern figure within two distinct narratives in Bulgarian literary criticism. Firstly, it examines the distancing of positions in the 1960s between Minko Nikolov, who sided with modern rational thinking, and Toncho Zhechev, who aligned Odysseus with the anti-modern and anti-liberal discourse. This dissensus over the critic’s style evolved into the structuralist/impressionist debate in the 1970s. Secondly, it traces back the conservative/Marxist debate of the 1980s, with prominent critics such as Toncho Zhechev and Iskra Panova as key participants. Thirdly, it outlines the postcommunist critical thought and the depiction of Odysseus in the theoretical works of authors such as Bogdan Bogdanov, Boyan Manchev, Miglena Nikolchina, and Boyko Penchev. The critical debates of the 1980s will thus be read through divergent contemporary narratives. Consequently, the article tackles the discussion surrounding Bulgarian literary criticism, considering its involvement in the interplay between the <i>conservative</i> and <i>cosmopolitan</i> paradigm.</p>

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The controversial figure of Odysseus: cosmopolitan and domestic paradigm in Bulgarian literary criticism

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  • 发表日期：

    2025年4月10日

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  • Kamelia Spassova

摘要

The figure of Odysseus, situated within the discourse of world literature, presents a subject of contradiction that has been examined through the lens of late Bulgarian literary criticism in the 1980s and beyond, emphasizing the tension between the modern liberal and anti-modern conservative paradigms. This article delves into the depiction of Odysseus as a modern or counter-modern figure within two distinct narratives in Bulgarian literary criticism. Firstly, it examines the distancing of positions in the 1960s between Minko Nikolov, who sided with modern rational thinking, and Toncho Zhechev, who aligned Odysseus with the anti-modern and anti-liberal discourse. This dissensus over the critic’s style evolved into the structuralist/impressionist debate in the 1970s. Secondly, it traces back the conservative/Marxist debate of the 1980s, with prominent critics such as Toncho Zhechev and Iskra Panova as key participants. Thirdly, it outlines the postcommunist critical thought and the depiction of Odysseus in the theoretical works of authors such as Bogdan Bogdanov, Boyan Manchev, Miglena Nikolchina, and Boyko Penchev. The critical debates of the 1980s will thus be read through divergent contemporary narratives. Consequently, the article tackles the discussion surrounding Bulgarian literary criticism, considering its involvement in the interplay between the conservative and cosmopolitan paradigm.