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Stylistic levels are manifested in connection with what we call traditional linguistic (phonetic, morphological, syntactic and semantic) levels, i.e. the levels of phonemes, morphemes, sentences and meanings. Nevertheless, these units are not construed hierarchically upon each other, they are rather concurrent structures, displaying parallel and horizontal rather than vertical conformation, and contributing jointly and equally to the stylistic pattern of texts. When analysing the semantic implications of news textsř style, we must rely on this model of linguistic levelling. Keywords
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Miris starog ormara tjerao me je da opsesivno zatvaram vrata i preturam po ladicama u potrazi za starim slikama koje sam jednom brižljivo složila: slikom moje majke kako u dvorištu trese usamljeno drvo limuna dok ja sjajnih očiju stojim kraj nje; slikom oca u vojnoj uniformi, svježe obrijanog, strogog pogleda; slikom moga brata Hisama u školskoj odjeći, nasmijanog, kako nosi mog mlađeg brata Hammama povijenog u plave pelene; slikom na kojoj sam ja, okruglog lica, u crnoj dugoj odjeći, tijela potpuno stopljenog sa zatamnjenom pozadinom...
More...Maupassant fétichiste ? De l’érotique à l’écriture
Guy de Maupassant has often been diagnosed as a fetishist: the German doctor Max Nordau, who associated madness and artistic genius, met Maupassant and wrote an article accusing him of corrupting the young girls with his sensual texts. At the turn-of-century, fetishism is a trendy sexual perversion, linked to the importance of the objects in the new bourgeois society. Theorised by the psychologist Alfred Binet in 1887, it fast becomes a way of medicalising the sexuality and controlling the intimacy. This paper analyses Nordau’s diagnosis and then discusses how Maupassant’s texts integrate fetishist behavior to construct a new erotic philosophy.
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Vlada Uroshevikj is considered to be an author “who can see the invisible in the deep guts of the visible world” (Jacques Gaucheron). Ever since the publication of his first short stories at the beginning of the 1960s, Uroshevikj has been identified by our literary critics as an untypical figure in the Macedonian narrative universe, probably due to the fact that his narrative is much more in tune with the legacy of the European literary (art) tendencies than with the prevailing national constellations. In other words, in Macedonian literature, Uroshevikj is presented more as a cosmopolitan than a national author. He is an author of several books of short stories: Sign (1963 in Serbian, 1969 in Macedonian), The Night Coach (1972), The Hunt for Unicorns (1983), My cousin Emilia: “18 closed short stories that make an open novel” (1994), The Seventh Side of the Dice (2010) and Secret Missions (2013). This study tries to elaborate on the following issues: the typological constants and the stylistic innovations of the author, his lasting interest in the miraculous and the fantastic, the unusual and the inexplicable, his belief in the dream and the mystery, his fascination with the so-called “stories of atmosphere” and the magic of the surreal, his readiness to experiment with narrative procedures and certain new forms and techniques, etc.
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Edward Said in Reflections on Exile states that exilants have a simultaneous awareness of at least two cultures, two contexts, two homes. He also suggests that the displacement or relocation brings a sense of homelessness and a ruptured identity. Despite having that simultaneous awareness of two cultures, the characters from the novels The Museum of Unconditional Surrender and Ministry of Pain by Dubravka Ugreshikj, who are exilants, refuges, immigrants, expatriates, instead of feeling they have two homes, they feel they have none. This text examines the attempts of the narrators of the both novels to recreate their lives as a whole, by narrating their lives in fragments, and thus to overcome their feeling of discontinuity in their lives, and their sense of homelessness.
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Evgenija Janculeva, born Rakidzhieva (1875, Prilep - ?), was one of the most prominent Macedonian women in the 19th century, a teacher and activist for women's rights. She is the author of a comprehensive school report and of several short articles published in the newspapers of the time. She initiated an opening of a weekly school in which elderly illiterate women were taught. She participated in the Macedonian Revolutionary Movement and fought equally as her male counterparts. In her speeches she talked about the „emancipation of women“ and demanded equal work conditions for women and men. With her activities, she became a role model for the future cultural and social struggles of the Macedonian women and served as an example of how to defend one’s ideals.
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In this paper, an attempt was made to elaborate on the aesthetical and epistemological aspects of Vladimir Martinovski’s poetry from the point of view of the symbolism of "water" and the aesthetic category of "sublime". The main goal of this approach is to show how the terms "water" and "sublime" are manifested in Martinovski’s poetic works, with particular reference to his haiku poems in which a specific east-west view of the relation between man and nature is manifested. On the other hand, to experience a certain enlightening unity with the world, and to apply this experience in a form of successful haiku, is nothing but an expression of momentary enlightenment; an epiphany with which we perceive our own lives and the life in general. These Zen values embodied in the haiku poems of Vladimir Martinovski, as a kind of an admirable satori, can be traced in his subsequent books, which, even when they are not genre-bound to the East, carry within themselves the simplicity and unexpectedness of the eastern world view bound to beauty and sublime, very close to the author’s insights.
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To define a woman as a being, we must start from the female body as a key point. Femalе body is a mega space of social and cultural inscriptions. Starting from the Bible readings, we can conclude that the concept of woman as a subjectivity has been subordinated by man as an absolute creator of the world. Such religious concepts are seen in anthropological studies, philosopy, literature, etc. The woman as a female is the second sex and as a feminine is the second gender. She belongs to the second level and her creation is a second degree one, even with the creation of the world and humanity created in the image of men's knowledge. Such religious concepts are seen in anthropological studies, philosopy, literature, etc. We could talk about female subjectivity as it was perceived in 1949, when Second Sex of Simone de Beauvoire was published. Only women could create concepts about the self. Also, we can approach female subjectivity by deconstructing several old myths about women. Talking only about a single female subjectivity is limiting, therefore we will address different kinds of women. Each female subjectivitiy is a result of the triad: sex, sexuality and gender.
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The text is an overview of metafiction, situated in a double context. First, it is seen as situated in a literary-historical context, in order to establish the continuity of the use of metafictional devices in literary practice. Secondly, it is approached from a literary-theoretical context, in order to elaborate the dominant theoretical concepts of metafiction (Linda Hutcheon, Patricia Waugh and Mark Currie) and their intersections. Referring to terminological proliferation, this paper suggests a certain terminological distinction between several synonymous terms.
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The paper "The Status of Slam Poetry and Slam Poets in Macedonia" summarizes the history of the slam cultural scene in Macedonia – its beginning, progress and expansion. It provides an insight of the slam’s dynamics as a cultural scene, its characteristics as both literary and performing art, as well as the insight of the rules and regulations of the slam contests, both worldwide and nationally. The paper emphasizes the discussion of the status slam enjoys in Macedonia. It concludes that the official literary criticism has not directed its attention towards slam yet and invites it to do so.
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This article shows that the Booker Prize for fiction, which is neither the oldest nor the richest award given for novels in English, is nevertheless widely conceded to be the pre-eminent recognition. Sometimes it is called the "most significant"; sometimes the "most famous"; ultimately these two qualities are inseparable. I canvass some of the explanations for the Booker's position as top prize and argue that the most important reasons are Publicity, Flexibility, and Product Placement. The Booker has managed its public image skillfully; among the devices that assure its continued celebrity is the acceptance, almost the courting, of scandal. Flexibility is partly a function of the practice of naming five new judges each year, but the Booker has also been responsive to challenges, including the recognition that it paid too little attention to female authors. The decision to admit American books into the competition was a sign of flexibility, as it was a guarantee of scandal. And the Booker has followed a path of "product placement" that positions it accurately between demands for high art and for "readability," as examination of several periods in its history demonstrate.
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