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“Emigrantologia Słowian” is an interdisciplinary scientific journal of the Committee of Slavonic Emigration Studies affiliated by the International Committee of Slavists. The main aim of “Emigrantologia Słowian” is to publish research papers, reviews and reports on various aspects of life of the Slavonic communities in emigration: culture, literature, language situation (with special reference to bilingualism).
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Prije nego što pokušamo odrediti funkcije dokumenata u suvremenom makedonskom romanu, dužni smo odgovoriti na pitanje: što je roman? Već sam naslov naše rasprave implicira sva ona poimanja koja smatraju da je roman jedini žanr u nastanku, odnosno da je riječ o žanru koji ne podliježe »kanonizaciji«.1 Roman je žanr koji neprestano pomjera svoje žanrovske granice »prema nebeletrističkoj prozi (memoarskoj literaturi, putopisu, dijalogu, satiri, istoriografiji, dnevnicima, pismima), a romaneskni govor postojano je upućen prema različitim savremenim govornim slojevima, odnosno, postoji u više jezičkih ravni,2 u ’razngglasju’ karakterističnom za žive jezičke procese. Otud je jezik ovog žanra, zapravo, ’sistem je zik a ’, i od početka podrazumeva mogućnost literarnog korišćenja raznorodnih neliterarnih oblika: dijalekatski govor, stilova epistolarnih i dnevničkih, dokumentarističkih, naučnih, filozofsko-esejističkih« (Lj. Jeremić, 1978, 84), a da i pored toga zadrži status načelno promjenjivog i nestabilnog, a i relativno rano u svojoj povijesti svjesnog sebe kao izuzetnog u ovom smislu.
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Përcaktuesit kryesorë poetikë të letërsisë maqedonase nuk kanë ndryshuar shumë këto njëzet vitet e fundit. Ndryshimi formacional që ndodhi në të tetëdhjetat, atëherë kur postmodernizmi mbisundonte skenën letrare,vazhdoi të shfrytëzojë frytet e suksesit të vet edhe në dy dekadat e ardhshme.
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This paper studies the cultural, in this case literary (prose),communication between writers-representatives of different nations. After the determination of the term interculturality and function of culture in slowing the stigma, ghettoisation, passes to the analysis of literary and social activities of two writers,members of the same minority in Serbia - Laslо Vegеl and Laslo Blašković. In the case of different strategies (writing in their native or second language, orientation towards his national community, the relationship to the majority, according to a former state – Yugoslavia – and present, Serbia, treatment of political issues, etc.) Establishes their relationship to their own entity stronghold and possibilities of overcoming its possible oppression (the term Gayatri Chakravorty Spivak) or oppressiveness (termed Susan Stanford Friedman).
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The text problematizes the concept of national history and trauma in the play Erigon, written by the contemporary Macedonian playwright Jordan Plevneš. The starting point of the analysis are some peculiarities of Plevneš’s poetics and of the theatrical conceptions of Antonin Artaud that are central to Erigon as well as the problem of the representation (and performance) of history in drama and theatre. In Erigon one can recognize the critique of eurocentrism and the European centres of power along with their influence on the formation of political and historical processes in Macedonia and the Balkans in general. The main question concerns the societal role of political theatre and its power.
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The purpose of this article is to comment on Polish‑Macedonian and Macedonian‑Polish translations published in 2015. The main aim was the synthesis of the literature translated (5 works overall) and to reflect upon what types of challenges the translator faced and how successful the result of the work was. The second objective was an evaluation on what the pattern of the choices was and to analyse the purposes of choosing these particular positions from the vast literature resources of both countries. The main conclusion is that even though the literatures examined are not popular, new translations are regularly published and the choice is either literature that is modern and popular, or classical.
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This paper explores the question of autobiographical discourse in the work "Аutobiography" by Marko Cepenkov. Firstly, we will determine the basic theoretical settings according to which a text can be said to be autobiographical or it contains autobiographical elements. Then, we will specifically indicate the presence of the explicit and implicit techniques or elements in certain works that are used by the author in addition to which his work can be called an "autobiographical text". Even though his theoretical model will be used, in the same time the inconsistencies in this model will be indicated as well as its modification in the literary works of autobiographical discourse. In that context, the "Autobiography" by Marko Cepenkov will be reviewed, in which, joining the private and the socially-public, depicted through the whole relevant Balkan situation in that time, he created a specific autobiographical – biographical discourse of memoirs. In that manner, the uncertain theoretical status of autobiography will be confirmed, the previous definition of autobiography as "dogmatic" will be unmasked and a notion that autobiography cannot be seen isolated from the other genres will be created, i.e. the existence of hybrid genres will be confirmed.
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The European topos in the new Macedonian novel is accepted as a home. Young Macedonian authors consider Europe their home. The fact that they live outside the European Union, or outside the European West, which has for a long time been considered the implicit cultural centre of the world, does not make them less European. Originally born in Macedonia, a cultural centre of the distant past that used to consider Western Europe a periphery, writers such as Goce Smilevski and Olivera Kjorveziroska materialize in their works the ‘Western European topos’ in a seemingly sidelong, but none the less essential manner. They draw attention to the dark side of Western culture and the suppressed content that official historiography tends to conceal. They remind us that Europe’s spiritual being knows no boundaries and that literature transcends institutional, conceptual, and ethical frontiers. Liberated from European stigma (fallacious moral, repressed memory, colonial traumas), these Macedonian authors reveal certain parts of the European Shadow (the collective unconscious, the historical archives full of shameful bits). No civilization is without its dark facets. That is the law of Light. That is how Europe is, composed of West and East, but also of North and South. It is liminal and intercultural. In its process of assimilating, it becomes assimilated. The interpretation focuses on novels by Goce Smilevski (Razgovor so Spinoza / Conversation with Spinoza, 2002; Sestrata na Sigmund Frojd / Sigmund Freud’s Sister, 2007/2010, Vrakanjetо na zborovite / The Return of the Words, 2015) and by Olivera Kjorveziroska (Zakluchenoto telo na Lu / Lou’s Locked Body, 2005).
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In the era of globalization, Blazhe Koneski is not only the name that divides the ages, but also the backbone of the Macedonian collective linguaculture. However, his work should not be read as a kind of a „linguistic gospel“”, but more as a „linguistic message“ to the present and future Mace-donian generations that will need to take good care of their own mother tongue, in order to love, respect, and behave actively and creatively with it. The famous English philosopher and linguist of Austrian origins Ludwig Wittgenstein once said: „The limits of my language are the limits of my world“. Koneski’s message is that every Macedonian needs to contribute as much as possible to the expanding of the boundaries of their own language, thereby expanding the boundaries of their world. The development of the Macedonian linguaculture as an open, self-isolated universe of linguistic and cultural practices, is the direction in which to act.
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The study is dedicated to one of Macedonia’s greatest scholars when it comes to the study of the Macedonian literary language of the 19th century, Vancho Tushevski. His exceptional works are the result of his passion for research and language. He delves deeply into each written word from the Macedonian Enlightenment scholars, offering additional analyses and judgements. His works are the source of countless data, new perspectives, and new inspiration for further research.
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The paper is dedicated to Macedonian expatriate writers who lived and worked primarily in neighbouring Balkan countries (Bulgaria and Serbia) during the first half of the twentieth century. It examines the issue of the writers' identity, their tendentious representations, the struggle between domestic and foreign stances, the respective authors' affiliation and/or exclusion in certain cultural environments, the (im)possibility of an intercultural dialogue with said neighbouring countries, and the mutual relations between the Macedonian and other cultural backgrounds.Identity is viewed as a construct built upon significant criteria related to the writers’ national self-determination, birthplace, language, religious affiliation, social stratum, topics covered by their work, and other cultural factors (traditions, individual worldview, sense of collective belonging). The paper aims to open existing taboos in identity claims, contributing to the perception of said expatriate not to be marked by national and stereotypical identification. Instead of lengthy and difficult discussions about their affiliation/ non-affiliation to certain nations, it is better to examine them within the context of global cultural memory asintercultural authors who bridge Balkan nations, cultures and traditions. Through this brief overview, the paper acknowledges the possibilities for development of intercultural processes and interpretations within the Balkans and Europe, past and present.
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The Home of Literature is a metaphor of the literature and literary community. However, this metaphor is connected with the home obsession in contemporary post-Yugoslavian literatures. After the collapse of the Former Yugoslavia and Bosnian war, the home is one of the constant themes in contemporary literature in all area. We can see that in the poetry of the Bosnian-Slovenian poet Josip Osti, but also in the novels and essays of the famous emigrant writer Dubravka Ugrešić, as well as in the works of Peter Semolič, Miljenko Jergović, Vida Ognjenović, Jasna Koteska etc. The home is often present even in the titles of their works (House of Language by Osti, House of Words by Semolič, The House of Dead Scents by Ognjenović), and what is more important – the home is a counterpart of the literature as a place of the sense in the world that every day loses a part of its sense and good taste. The literary home is not a utopian place, because it is a collective image and it could be the dystopian place as well. We mark that through the works about the prison and concentration camps – The Damned Yard by Ivo Andrić, the novels and stories by Danilo Kiš, Dragoslav Mihailović, Branko Hofman, Miroslav Popović etc. At all events, the literary home is always a place of the reinventing of the sense.
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Ever since its origin, poetry has been closely linked to the topos of the journey. Many poets have written their best verses, poems, books of poetry when embarking on a journey. Along these lines, the newest collection by Ivan Dzheparoski (1958), The Light of the Holy Mountain (2015), which received the “Miladinov Brothers” Award at the Struga Poetry Evenings Festival, represents a unique achievement both in terms of his poetic opus, as well within the paradigm of poetry-spiritual journey. This book represents a rare example of travel literature in contemporary poetry, not only in Macedonian poetry, but in the global context as well. All the poems have been born out of Dzheparoski’s five journeys to the Holy Mountain (Mount Athos) in the period between 2010 and 2015. Furthermore, The Light of the Holy Mountain is a unique phenomenon in Macedonian poetry, as a collection wholly dedicated to and inspired by a spiritual journey to Mount Athos. The book can be read as a poetic travelogue: the spiritual pilgrimage of the poet to all 20 Athonite monasteries (and a number of sketes) is shaped as a coherent poetic journey through the spiritual heights of the Holy Mountain. Throughout it all, Dzheparoski is masterfully subtle and precise in recognizing and recording with the passion of a chronicler the spiritual legacy left by the Macedonian monastic tradition at Mount Athos.
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Taking into consideration Manfred Fister’s criteria regarding the intensity of the level of intertextuality, from mild to intense, this study examines the “Song of Songs” (Song of Solomon) as a hypotext, or an earlier text to the novel The Navel of the World by contemporary Macedonian author Venko Andonovski. At the same time, it builds a purposeful and signified relation with Andonovski’s novel. It communicates with both stories/parts in the novel, “The Lock” and “The Key.” Since the Old Testament poem is a unique celebration of sexual love/attraction between the two lovers, its fragments are used to euphemize the explicit sexual scenes of making love, as a subtle, innovative act of censorship. Furthermore, in the second part called “The Key”, the Chorus of the daughters of Jerusalem receives an extremely powerful ideological significance. The main character in this part is constantly struggling with the idea of originality, as well as the open-ended question, namely whether unsatisfied erotic desire leads towards essential wisdom. Finally, the idea of the navel as a bowl is seen as an eruptive quotation point from the “Song of Songs,” since its meaning was dispersed into several concentric circles, all contained in the syntagm of “navel of the world.”
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Selected bibliography in the field of Bulgarian Studies published in 2015-2016
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Josif Cheshmedziev (Skopje 1890 – Sofia, Bulgaria 1964) has significant position among the collectors of Macedonian folk creations. Although he collected numerous Macedonian folk songs he has remained quite infamous, mostly due to the fact that his work has not been published. Cheshmedziev, who used to live and work in several towns in Bulgaria after the Balkan wars, has published several small collections of Macedonian folk songs, but today most of his records are to be found in the State Archive in Sofia, Republic of Bulgaria. As someone educated in music (having finished the Music Conservatorium in Leipzig, Germany), he was recording the songs with their notes, which gives them additional value. This paper concentrates on his life and work, his published and non-published Macedonian folk songs.
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The paper stems from the claim that migrants are a shared theme for Pavel Velikovski's novel The Last Horse of Pompeii and Lidija Dimkovska's novel Hidden Camera. Starting with the novel's shared context (the period of social and economic transition) and the similarities across the authors' respective biographies, the paper analyzes those commonalities within the two novel's plots: the Eastern European intellectual as a Western European migrant. This, in turn, offers a basis for the analysis of the narrative techniques and thematic cores (dissent and nomadism, the worldview of the migrant as a starting point for self criticism, and that of their "own" world, the demythologizing of the West, etc.), so as to conclude that this position demystifies the binary opposition of a communist East and a capitalist West. Namely, that despite equality, ethnics and liberty are mere utopist concepts still worth fighting over.
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