МУЗЕИ ПЕТЕРБУРГА ЭПОХИ НИКОЛАЯ II В ПУБЛИКАЦИЯХ СОВРЕМЕННИКОВ
В настоящее время отсутствуют исследования, посвященные анализу публикаций современников о музеях Петербурга, возникших в эпоху правления Николая II.
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В настоящее время отсутствуют исследования, посвященные анализу публикаций современников о музеях Петербурга, возникших в эпоху правления Николая II.
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The paper aims to examine the relationship between folkloristics and cultural studies as two distinct but complementary areas of cultural research - folk and popular. The key question in the text is whether and what can actually be changed in folkloristic research influenced by cultural studies? Or put differently, what is the benefit to folkloristics from its contact with cultural studies and vice versa? Using the findings from both disciplines, we would like to offer some arguments in favor of using a multidisciplinary approach to the analysis of culture that is being created today. This approach shows that folk and popular culture are not in opposition to each other, but on the contrary, we can refer to their common interfaces, their relation to the dominant culture and other issues. At the same time, inspired by the American folklorist Erwin Beck, particularly address the issues of cultural spheres, genres, resistance and creativity, and the relationship of community and tradition.
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This paper presents some aspects of the study on ancient literature covering the period of two and a half millennia. Special attention is given to the question about literary critic and literary history development from ancient to modern times, as well as to the research and development of ancient literature studies in Macedonia from the twentieth century.
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Medieval poetics is a historical, creative and expressive realization of forms and methods that are manifested in the medieval literature (from the second half of the 7th century until the first half of the 15th century). The stylistic expression had one major function – the reflection of civilized and cultural experiences originating in the Byzantine creative cliché, which were used as sources by most of the South Slavic literacy traditions. The discourse which characterized the typological poetic breakthroughs, first played a literary-creative function in order to succumb the traditional ancient poetic experiences through their identification with Christianity as a model of religious manifestation and as a form of philosophical thinking and living culture. Between the 9th and the mid-15th century, when the Slavic factor gained an official collective spiritual and cultural identity, the global ideological and creative concept was supported continuously as an established standard in the Byzantine literature. The same form was manifested creatively in many South Slavic literature contexts through divergence of the Slavic linguistics authenticity. What followed was a process of massive translations of Byzantine authors to literary old churchSlavic language, while simultaneously original Slavic texts were created. The literature of this period was not mainly religious lacking invention, because religion in its essence expresses lyrical sensations, through which theological and ritualistic elements blended into esthetics. These literary works were used for typologizing concrete norms or standards of poetics, built and created on the basis of the philosophical assumptions for the soteriological perception of man, but also on his role to discover authentic forms and methods for creative transfer.
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This paper attempts to provide a summary of the key points of the book “Poetry and the Sublime” by Ivan Djeparoski. His research is a sciencebased study of two phenomena: Poetry and the Sublime. Djeparoski offers an overview of the most relevant theoretical and philosophical works from the second half of the 20th and the first decades of the 21st century and uses them to analyze the place of the sublime in the contemporary Macedonian poetry. “Poetry and the Sublime” is dedicated to the poetic work of several authors: V. Urosevikj, R. Pavlovski, K. Kjulavkova, V. Chejkovska, S. Gj. Dimoski, B. Tashkovski, V. Martinovski, E. Prendzova and I. Djeparoski.
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The disciplinary duality of literary hermeneutics as a theory of interpretation and as an interpretive practice has numerous manifestations in both theoretical and literary contexts. One such confirmation also offers interiorized interpretations in specific literary texts, such as the Henry James’s story The Figure in the Carpet. By interpreting it as a hermeneutic parable, the focus is placed on the interpretative models affirmed in the story (the triad intention operis, intention lectoris, intention auctoris) and on the procedures of parodic and autoironic undermining and problematizing of those models.
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In “The Laugh of the Medusa of Hélène Cixous – The First Manifesto of Écriture Féminine“ the first manifesto of woman’s writing as écriture féminine is illustrated. Hélène Cixous defines écriture féminine as a text written by femininity and with the female body language. According to Cixous, feminine writing is circular and fluid similarly to the female body. Women writers have a maternal sense of self, and that is why they write with white ink, i.e., with breast milk and the mother’s gender role. Based on this thesis, Cixous equates the mother with the writer. According to Cixous, writing for women is an attempt to change the world. She points out that every female subjectivity is unique and is a key to writing different women’s histories and experiences in language. The main thesis of Cixous in this manifesto is that the transformation of women’s history can be accomplished on two levels: a) At the level of individuality - The woman writes for herself. She will turn into the body that is placed like a strange alien on the screen. The body’s censorship censors both breath and voice. Thus, the writer will penetrate into the secrets of the female body organs and gender markers when writing. Body territories that are darkened by self-awareness and self-analysis lead to the exploration of the female body as a dark continent. The female subject realizing herself must urgently become aware of herself and start talking about herself. In this sense, the woman must inspire the breath of the whole woman aware of herself and aware of her needs. b) At the level of the female subject’s utterance - Writing about her own bodily sensations, the woman actually expresses herself and her spiritual state and breaks the trap of silence. The body speaks the truth, physically materializes what it thinks, sees, listens to and loves. She insinuates what she is saying outside the linear, objectified and generalized story of history. Through this, Cixous emphasizes female points of view and the female narrative and expressive subject(s) on the statement itself. This Manifesto defines the paradigm of écriture féminine and its stylistic features and themes. The creativity and metaphor of birth, sex differences and differences in literary discourse are presented as differences between female and male script. The power of women is to get out of syntax by breaking the popular themes, having to write about a small topic that they express. The writer uses bodily syntax, bodily and passionate words. The writer’s language is a body language. Body language is created when the oppressed exits through the act of utterance, and then, the voice and truth of women is heard.
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In this paper, we analyze the depictions of hell and the devil in Macedonian literature, in the 19th century. Notable works of moralizing-didactic character in Macedonian literature are found in the first half of the 19th century, in the texts of Kiril Pejcinovich, Theodosij Sinaitski and especially Joakim Krchovski. Moreover, depictions of hell and the devil are found in various manuscripts and the works of Grigor Prlicev, Jonche P. Snegar, Janaki Strezov, in the folklore art by Miladinovci brothers, Stefan Verkovic, the Molerovi brothers, in the remarkable stories by Marko Cepenkov and others. Their descriptions, mention, and understanding of the term hell refer primarily to fire, as dominant component of the Last Judgment, the place where sinners end up. It can also be concluded that literary texts are stricter in penalizing perversion and crime. Thus, in folklore art, the sale of the devil’s soul or its association with it leads to the torment of the body in hell. Yet, even under such conditions, there are examples in which the outcasts were delivered by fire or by the will of God in the cauldron. The literary records of Macedonian writers know no forgiveness and the possibility of deliverance: hell is dark, gloomy, and a hermetically closed place from which there is no way out. As it can be seen from their and other texts in question, the depictions of hell and the devil in the 19th century Macedonian literature primarily have a moralizing-didactic role, which through such plays was intended to deter believers from bad deeds and approaching ethical and moral behavior.
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Fragments from Csaba Nánó's novel "Kertvárosi keringő" (Suburbian Waltz).
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This paper analyses Black Hole, one of the most emblematic and complex plays of Goran Stefanovski, written in 1987 and announcing the end of an era – the fall of communism and war in ex-Yugoslavia. The play rereads the story of “Siljan the Stork” by Marko Cepenkov, resetting its initiatory talein the context of agonising socialism. Deconstructing the initial teleological and didactic matrix of the story, the play questions the sense of its redemptive ending in the context of a post-ideological and devastated world. The paper further considers the rupture marked by Stefanovski’s dramaturgy in regard to the traditional normative concept of drama. The play’s hybrid and open form, which constantly reinvents and deconstructs itself, is approached as representative of a new “rhapsodic” poetics of modern contemporary drama.
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In my opinion, environmental criticism is an exemplary project since it directs our attention to the issues we need to think about. Raising awareness is its essential potential. Eco-critics encourage others to think deeply about man’s interaction with nature, to highlight the aesthetic and ethical dilemmas created by the ecological crisis, and the ways in which language and literature convert values with profound ecological implication. Within criticism, there is no dominant figure with the kind of domination that defined the subject through his theories, such as in the case of Freud’s psychoanalysis or Derrida’s deconstruction. So criticism itself is a diverse biosphere, Brill would say. If we wish that there was no apocalypse, if we wish to hear the song of the Earth or nature that reveals the universal truth of man, if we do not wish the bird in the cage to forget the song, then we are forced (ecologically) to interpret. In this context, the ecological interpretation of Starova’s novels argues that in the environmental literature, the inhuman environment is present not only as an aesthetic form, but also as a presence that begins to suggest that human history is involved in natural history.
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