Novac od Hitlera (Ljetna mozaika)
Excerpt from the novel “Money from Hitler” written by Radka Denemarková.
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Excerpt from the novel “Money from Hitler” written by Radka Denemarková.
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The review of: Ilija Trojanow, Iza bijega; Connectum, Sarajevo, 2020.
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Excerpt from the novel “Gangster kojeg svi tražimo/ The Gangster We Are All Looking For” written by Le Thi Diem Thuy.
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Постмодерниот роман на македонскиот писател Митко Маџунков Времето на ирвасите е сложено дело напишано како реакција и интеракција со познати литературни дела. Тоа е роман за книжевноста, за љубовта, за заедничкиот балкански регион. За просечен читател тоа е многу тешко читање, кое вешто ги испреплетува елементите на славното книжевно дело Дон Кихот со реалноста. Книгата прикажува дијахрониски, хронолошки редослед, во кој се создадени некои литературни дела, разговарајќи за текот на времето каде што само она што е напишано останува вечно. Се разгледуваат многу културни прашања, додека заедничките основи на Македонија, Хрватска и Србија се обединети во една интересна приказна. Времето на ирвасите е роман кој се занимава со идентитетските прашања на неговите протагонисти, но покрај нивниот идентитет, тој го проблематизира и идентитетот на самиот роман. Исто така, се нагласува важноста од преведување литературни дела, со цел да се постигне единство кога се разговара за проблемите на општеството во кое живееме. На светот му требаат ирваси, преживари, за кои детално се зборува во книгата.
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This paper is a literary-theoretical and, above all, a cultural interpretation of six Macedonian novels from the first decade of the 21st century in which the most famous ruler of the Kingdom of Macedonia - Alexander III of Macedon appears as a literary character. They are the following novels: "Alexander of Macedon" by Vladan Velkov, "The Macedonian Pharaoh" by Trajan Petrovski, "The Dream of the Yellow Butterfly" by Apolon Gilevski, "The Secret of the Copper Book" by Alexander Donski, "Catch the Wind" by Petre Bakevski and "Returning to the Past" by Renata Mateska. Here the character of Alexander is analyzed in terms of his position as an interactive code of different cultural identities. The analysis of the six novels leads to the conclusion that the authors often emphasize the connection between the ancient Macedonians and the Macedonians today, i.e. between ancient Macedonian and modern Macedonian culture. Especially interesting is the insight that Alexander of Macedon (as literary fiction) is often related to cultures which are very remote both by space and time from ancient Macedonian culture such as American, Indian, Colombian, French and other distant cultures. The general conclusion is that in the Macedonian cultural milieu, the historical figure of Alexander III of Macedon is seen not only as a link between different cultures, but also as an inseparable part of cultural identity intersections between ancient Macedonian and modern Macedonian culture.
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The article outlines Sylvia Plath biography, facts about her suicide and a review of what the world is talking about this celebrated American poet, women fiction writer and yournalist. Special emphasis is placed on the reception of Plath's work in Macedonia. It concludes that in Macedonia Irena Pavlova de Odorico deals with the work of Plath in a most systematic way, on literary plan, and Christina Zimberova on art and translation plan. Although this is a poet who cannot be placed in the mainstream impacts in Macedonia, Sylvia Plath is an obsessive theme for these two women. Hence, we can draw two general conclusions on the question of how the Macedonians/Macedonian women talk about Sylvia Plath: - Sylvia Plath is seen in the Macedonian context as a symbol of faith in the power of art and spirituality. This belief is interpreted as a conscious, premeditated and rational decision to sacrifice life and to hear the voice of poetry that has something to say - Sylvia Plath in the Macedonian context is related to autobiography-psychological novel as a genre which places the individual on the first place - Sylvia Plath in the Macedonian context encourages gender-sensitive reviews to erase the dust and to remove the lyrics of Macedonian poets of the past from oblivion.
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The inexorable adventure evoked in « The Granite and the Silence » by Marcel Schneider retraces the experience of nothingness of a tragic couple, in an « atrocious forest », the night of the equinox, a « troubled and stormy period when the destinies change » in order to accede to the universal secret. Driven by a terrible absence from themselves, the heroes accept to destroy their terrestrial appearance so that they are reborn eternals. This metamorphic transformation emerges through symbols for any approach of mystery is confined to silence.
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The paper is concerned with Gloria Naylor’s choice to write this book in the form of a short story cycle, a fictional mode which implies a set of narrative and structural principles meant to provide unity and coherence quite distinct from those specific to other fictional modes.
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The following discourse analyses of the novel „In between“ (2008) from Irena Jordanova is focused on the literary categories of character and focalization. Using the feministic and sociological paradigm the article aims to show that the homosocial desire is crucial in establishing the patriarchal regimes for complete objectification and appropriation of the female in the erotic triangle. Even more, the analysis tends to describe the homosocial relationships of different masculinities, from the marginalized and subordinated, trough the complicit and the hegemonic as well as their transition the patriarchal network . In the specific case, the article finds out that the female is not only objectified on the story (fabula) level, but even more, the female is used as an object of symbolichomosocial transaction in the realm of the discourse (syuzhet). In this process, romance serves as homosocial normalizing and cloaking devise for safekeeping the patriarchal position.
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The gradual publishing of the novel In Search of Lost Time in the period between 1913 and 1927, or at the very peak of modern world literature, marked the paradigm of narrative innovations present in the modern novel: the plurality of the narrative subject that is both a character and the narrator, the complexity of the style that should capture the details of the experienced perceptions, but above all, the insisting on the replacement of the objective time with the inner time of the character. However, in a diachronic outline into the extensive bibliography that is dedicated to this work during the XX century, the differences, the contradictions and the premises that are mutually exclusive regarding its interpretation, are surprising. This paper is a result of our interest in the motives that made the original idealistic explanation of Proust to take the range of interpretations concerning different problems today: starting from the presence of natural and technical sciences in his work, through sociological analysis and narratology, finishing with the issues such as biopolitics.
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On the occasion of Marlen Haushofer’s 100th birthday on 11 April 2020, the present paper concentrates upon her most important text, her novel The Wall, published in 1963. After a short outline of the diverging interpretive approaches and the elucidation of the structure of the novel as well as the multiple functions of the narrative report, the paper focuses on the basic existential situation of the novel and the protagonist’s perception of time, which changes essentially throughout the novel. The wall isolates the female protagonist from her former life so that there emerge two different time levels: on the one hand her life before the wall and on the other hand her new life after the detachment from civilization. The present paper describes her replacement of chronologically measurable time and her integration into the universal context of nature. Finally, the concept of the end time is analyzed.
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The present paper explores the role of non-places in Anna Mitgutsch’s novel "In fremden Städten"/ "In Foreign Cities". The novel starts in a transit lounge, a non-place according to the French ethnologist and anthropologist Marc Augé. Lilian, the main character, leaves Austria and returns to the USA, her home country. Thus, she hopes to complete her self-image, much affected by her immigration to Europe. Lilian is rejected by Josef’s family from the very beginning because she refuses to undertake the traditional role of a wife and mother. The protagonist tries to rediscover the feeling of belonging and returns to her home country with the hope that she will be able to get over the identity crisis she is faced with. Back in America, she realizes that it is impossible for her to attain the feeling of protection and belonging. She is caught for good in an identity trap, in-between two languages, two continents, and two cultures. Only in non-places such as airports, travel agencies, hotels, trolleybuses, trains, and the holiday home of her sister can Lilian find temporary comfort.
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Among all the characters of the novel Fortress - I think their mental, physical and emotional part - naked (world) life imperceptibly cross border political space revealing the hidden foundations of ideological power / authority / system. So I thought it would be interesting if I can share my thoughts on these important issues, which marked our heterogeneous Balkan chronotope and its vulnerable subjects.
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Novel Tole Pasha by Stale Popov, in the broader framework, can be placed in the first "mimetic-representative" model. But in terms of novel Solunskite atentatori by John Boskovski which constructs direct mimetic relationship "text to what we consider history" showing respect to "fidelity to display historical events and personalities with minimal fictional author's interventions in the discourse of history Stale Popov's novel expresses its fidelity in terms of what we are experiencing as a collective oral memory of the community. Hence, novels, relationship orality-literacy will be creative model in which the historical will be written.
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The article "The "Verbal" detail in Pirej" treats the problematics of the detail in Petre M. Andreevski`s novel "Pirej". The attention is primarily directed towards the literary tools that are applied in the construction of the female character Velika. The narration, which is linear and of parallel type, allows the usage of the category "verbal" detail. As a part of a larger unit, description or portrait (description of a character) the detail occurs through a synegdotic operation which results in creation of the so called "verbal" detail. It may also be defined as an entity of ideal nature which leaves a unique mark on the authentic female characteristics in the discourse of I- the storyteller.
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The paper demonstrates a literary hermeneutic model based on Carl Gustav Jung’s theory of the archetypes and the collective unconscious, a model we have termed archetypal interpretation. Such an interpretation is possible with works of literature (and art in general) which Jung called visionary. This paper deals specifically with one of the archetypes, the Shadow, showing its actualisation in the character of Vezlevut (Beelzebub) in Dragi Mihajlovski’s novel The Death of the Scrivener.
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Macedonian Novel nowadays is probably the most popular literary form and one of the most interesting phenomena in Macedonian literature. The topic of this research is the interpretation of novelistic production of one of the creators of contemporary Macedonian literature – Kole Casule (1921-2009) - through the treatment of the history. Is history a demon and why? This text is an attempt to show certain creative relation between fiction and reality in the literary world of the Novel. This relation is the key component of the narration and it is born by the collision of established historical discourses (historical reality), established types and places of memory, with the personal history and memory of the author himself.
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This article treats the phenomenon of "stubbornness" in the novel Tvrdoglavi (“The Stubborn Ones”) by Slavko Janevski, through contextual analysis of two entities: the so-called "Stubbornness" and so-called "Macedonisms." The aim is to confirm once again the known position in our literature criticism that "stubbornness" is another name for the Macedonian national self-awareness and to show that, despite the perception of Europe and Western Balkans and for our "otherness", we are equally worthy "citizens of the world." The text tends, albeit implicitly, to emphasize the Macedonian and Balkan potential to undergo under the category of "fluidity of identity."
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After the crisis of the Modernist era, which manifested as disruption of all known values and caused by social and historical circumstances in which there is no more possibility for a person to lean on a comprehensive system of knowledge and values. Postmodernism in born exactly from such crisis. But still, it is not clear if Postmodernism presented a new era, new cultural and social beginning, or just a crisis of Modernism? Epistemology and the absurd as the main base of Modernism, were abandoned in the spectre of a new era and the ideal of rhetoric succesively prevailed. Pardox, as one of the well known and recognized figures of the rhetoric became the basic starting point of Postmodernism, because it excludes the reference to reality to something else outside itself. The specific poetical techniques and ways of postmodern writting are recognized and well known in the theory of literature: fragmentariness has thus become its main trait which does not work on a cognitive level, but rather on a communicative one. A compulsion to condense through the fragments, only offers a string of possible beginnings and endings, intentional and unfounded interruptions, lacking ambition to offer a final interpretation of its form. The uncertain narration, often without punctuation, whose sections end in false, multiple, or parodied endings, makes it possible to create multiple codification of seemingly unrelated plots, as images transferring complete, closed experiences which expel each other during the narration. All this results in unpredictable flow of the narration, inserting metafictional commentaries, addressing directly to the reader with a direct speech, including him as a figure in the text, overflow of details that prevent the visualisation of the entirety. This article deals with simmilarities and differencies of two novels, which both demonstrate the post-modern paradigms: If on a winter's night a traveler by I. Calvino and Witches by V. Andonovski.
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