Blaga Dimitrova (1922–2003)
Autore di Because the sea is black : poems of Blaga Dimitrova
Sull'Autore
A prolific poet, fiction writer, playwright, and essayist, Dimitrova is one of the most important modern Bulgarian writers. In her numerous books of poetry she has created a world of her own, imbued with a conviction of the poetic Word's power. During the half century of Communist rule, she was mostra altro also prominent as a keeper of her compatriots' faith in a more just and humane society. For this, as well as for her artistry, she is highly revered today both in her country and abroad. (Bowker Author Biography) mostra meno
Fonte dell'immagine: Blaga Dimitrova (1922–2003), Bulgarian poet, writer and vicepresident By Merolina - Cropped and editted version of File:Blaga dimitrova.jpg, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=30283815
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Informazioni generali
- Nome canonico
- Dimitrova, Blaga
- Data di nascita
- 1922-01-02
- Data di morte
- 2003-05-02
- Sesso
- female
- Nazionalità
- Bulgaria
- Luogo di nascita
- Byala Slatina, Bulgaria
- Luogo di morte
- Sofia, Bulgaria
- Istruzione
- University of Sofia
- Attività lavorative
- poet
vice president of Bulgaria
novelist
essayist
playwright
journalist - Relazioni
- Vasiliev, Jordan (husband)
- Premi e riconoscimenti
- Ordre national du Mérite
- Breve biografia
- Blaga Dimitrova was born in the small town of Byala Slatina, Bulgaria. Her parents were a teacher and a lawyer. The family lived in Veliko Tarnovo and then moved to Sofia. After finishing high school in 1942, she studied Slavic philology at the University of Sofia, graduating in 1945. She joined the editorial staff of the monthly magazine of the Bulgarian Writers’ Association. In 1965, she published her first book, Journey to Oneself. Although her work was recognized by the Communist regime in the early part of the career, she received reprimands
in the 1970s, when her her writing became more critical of the government. The four poetry collections she wrote during this period -- Fireflies Fading, Rubber Plant, Questions, and Hobbyada -- were all rejected by the state publishing houses. The first two volumes of her cultural history of 20th century Bulgaria were banned and the third was not published at all. In the 1980s, she was prevented from publishing the poem Waking for the Poplars, the collection of satires Laming, and the science fiction novel Urania. Her novel Face was first rejected and then published in 1982 after extensive censorship. Reading her work came to be a political statement in Bulgaria.
After the fall of Communism, Face was restored to its original version and republished twice. Dimitrova, by now one of the most popular and beloved writers in the country, was elected to Parliament and served as vice president in the first democratic Bulgarian government in 1992-1993. Her books were translated into more than 20 languages, and she was awarded numerous literary prizes, including the Herder Prize, the Hristo G. Danov Prize,and the Krugge Prize. She also received the French Ordre national du Mérite (Medal of Merit for Freedom). Dimitrova was married to Jordan Vasilev, a literary critic, and adopted a Vietnamese orphan in 1967, after visiting the country several times as a journalist. Dimitrova was the inspiration behind John Updike's short story "The Bulgarian Poetess."
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Statistiche
- Opere
- 18
- Opere correlate
- 1
- Utenti
- 40
- Popolarità
- #370,100
- Voto
- 3.4
- Recensioni
- 1
- ISBN
- 19
- Lingue
- 3
It turns out that I already had Bulgaria covered by Julia Kristeva's [b:Powers of Horror: An Essay on Abjection|783310|Powers of Horror (European Perspectives Series)|Julia Kristeva|http://photo.goodreads.com/books/1178306736s/783310.jpg|1381198], but I decided to read Dimitrova anyway since I'm on a bit of a poetry kick.
This collection evokes a similar set of feelings as walking through an exhibition of Frida Kahlo's paintings: The work is stylized, beautiful without being romanticized, and disturbingly compelling in its representation of pain, difficulty, and death. The translation was not clunky and in their introduction, the translators describe how they managed non-translatable words and jokes. I liked the "sea" poems best; the more abstract poems later in the collection were less interesting to me. Overall, the themes of longing for and repulsion from the forbidden (whether the sea, death, or other freedoms) were consistent throughout and the volume has good flow and coherence, not an easy task for the translator/anthologists.… (altro)