20.500.12556/RUL-186302 Odnos umetnik—oblast skozi palimpsest od Cervantesa prek Bulgakova do Mayorge magistrsko delo The Artist-Authority Relationship Through the Palimpsest From Cervantes via Bulgakov to Mayorga Magistrska naloga analizira odnos med umetnikom in oblastjo skozi palimpsest v dramskih delih Don Kihot Mihaila Bulgakova in Ljubezenska pisma Stalinu Juana Mayorge. Osnovni cilj naloge je ugotoviti, kako in s kakšnim namenom sta pisatelja iz različnih časovnih obdobij prek palimpsesta upodobila odnos med umetnikom in totalitarno oblastjo. Raziskava temelji na teoriji intertekstualnosti Julie Kristeve in teoriji hipertekstualnosti Gérarda Genetta, ki palimpsest opredeljuje kot novonastali tekst (hipertekst), napisan na podlagi predhodnega teksta (hipotekst). Don Kihot je nastal na podlagi Cervantesovega romana, Ljubezenska pisma Stalinu pa na zbirki pisem, ki sta jih Bulgakov in Zamjatin poslala sovjetski vladi, zato analiza temelji tudi na primerjavi novonastalih tekstov z izvornima. Rezultati analize pokažejo, da obe deli v ospredje postavljata Mihaila Bulgakova, zato imajo pomembno vlogo tudi pisateljeve (avto)biografske in zgodovinske okoliščine. Poleg tega potrjujejo, da sta oba avtorja hipotekst uporabila za upodobitev umetnikovega brezupnega položaja znotraj totalitarnega sistema, ki podreja umetnost. Bulgakov je na podlagi Cervantesovega romana s semantično transpozicijo ustvaril satiro Sovjetske zveze tridesetih let, v kateri lik Sansona Karraska pooseblja razumskega normativnega predstavnika oblasti, ki umetnika prisili, da se odreče svojim idejam in idealom. Mayorga pa je s postmodernističnimi postopki, kot so fragmentarizacija, metateatralnost, razkroj identitete ter nedoločenost časa in prostora, zgodovinska pisma preoblikoval v dramo, v kateri je odnos med umetnikom in oblastjo spremenil v ljubezenskega. Odnos predstavi kot nekaj univerzalnega znotraj kateregakoli časovnega in zgodovinskega okvirja, zato tudi pri tej drami govorimo o semantični transpoziciji. Analiza obeh del dokazuje, da sta avtorja spremenila pomen hipoteksta za prikaz usode umetnika, ki se ne želi odreči svoji resnici in umetniški svobodi, kar ga pripelje do moralne in fizične smrti. The thesis analyses the relationship between the artist and authority through the palimpsest in Mikhail Bulgakov’s play Don Quixote and Juan Mayorga’s Love Letters to Stalin. The main objective of the thesis is to determine how and for what purpose these two writers from different historical periods used the palimpsest to depict the relationship between the artist and totalitarian authority. The research is based on Julia Kristeva’s theory of intertextuality and Gérard Genette’s theory of hypertextuality, which defines the palimpsest as a newly created text (hypertext) written on the basis of a previous text (hypotext). Don Quixote is based on Cervantes’s novel, while Love Letters to Stalin is based on a collection of letters that Bulgakov and Zamyatin sent to the Soviet government. The results of the analysis show that both works place Mikhail Bulgakov at the forefront, which is why the writer’s autobiographical and historical circumstances also play an important role. The study shows that both authors used the hypotext to depict the artist’s hopeless situation within a totalitarian system that demands the artist’s submission. Based on Cervantes’s novel, Bulgakov employed semantic transposition to create a satire of the Soviet Union of the 1930s, in which the character of Sanson Karrasko embodies the rational representative of authority who forces the artist to renounce his ideas and ideals. Mayorga, on the other hand, employing postmodernist techniques—such as fragmentation, metatheatricality, the disintegration of identity, and the indeterminacy of time and space, transformed historical letters into a drama in which he reimagined the relationship between the artist and the authorities as a romantic one. He presents this relationship as something universal within any temporal and historical framework. Therefore, we can speak of a semantic transposition in this drama as well. An analysis of both works demonstrates that the authors have altered the meaning of the hypotext to depict the fate of an artist who refuses to renounce his truth and artistic freedom, a stance that leads to his moral and physical death. ruska književnost španska književnost Mihail Bulgakov Juan Mayorga Miguel de Cervantes Don Kihot Ljubezenska pisma Stalinu palimpsest odnos umetnik — totalitarna oblast cenzura Sovjetska zveza postmodernizem Russian literature Spanish literature Mihail Bulgakov Juan Mayorga Miguel de Cervantes Don Quixote Love letters to Stalin palimpsest artist authority censorship Soviet Union postmodernism true false false [Z. Mlakar] Slovenski jezik Angleški jezik Magistrsko delo/naloga 2026-08-30 08:16:33 2026-08-30 08:16:45 2026-09-09 13:59:50 0000-00-00 00:00:00 2026 0 Ljubljana 0 Ljubljana RESUMEN: pag. 84-95 // РЕЗЮМЕ: п. 96-108 114 str. 0000-00-00 Zaloznikova Objavljeno NiDoloceno 0000-00-00 0000-00-00 0000-00-00 821.161.1.09Bulgakov M. 625406 290529795 70663.pdf 70663.pdf 1 6784D0C3D630590AB1683062151A855B 113fa32159bf899974765200f613de64e96c43b70989e7fcf91d252c468f24df f6c83eea-a439-11f1-9b0d-0050569b8976 https://repozitorij.uni-lj.si/Dokument.php?lang=slv&id=245445 Filozofska fakulteta 0 0 0