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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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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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Selected bibliography in the field of Bulgarian Studies published in 2015-2016
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The article focuses on the history of the Book of Revelation of St. John the Theologian among Orthodox Slavs in the Middle Ages. The aim is to present its place among the other biblical books, related to Cyril and Methodius’ literary tradition and follow its origin, its way of life and spreading in the Slavia Orthodoxa. The two main versions of the distribution of the book are presented – without interpretations and with the interpretations of St. Andrew of Caesarea, while the specifics of the basic versions of the book are also presented (East Slavonic and South Slavic versions with commentaries, Bosnian Cyrillic version, the earliest Serbian transcript, Croatian Glagolitic fragments, Bulgarian calendar version). An opinion has been expressed that a common initial translation is at the root of all these versions of the book, which was accompanied by interpretations, and probably made in Bulgaria at the end of 9th–10th C. Subsequently, it has been edited at different Times and in different locations, placed in the composition of different collections, or as a separate book.
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The paper raises the question of the functionalization of the figure of St. Clement of Ohrid in modern culture comparing his representation in the Bulgarian and Macedonian traditions. The focus is on various texts of the Bulgarian and Macedonian National Revivals (perceived as historiographical constructs). The points of reference are two “grand narratives” inscribed into the Bulgarian and Macedonian scientific discourses. The aim is to show the context for the modern creating of the “beginning of the nation”. The paper presents both the 19th century image of the most famous Cyrillo-Methodian disciple and a hermeneutic deconstruction of its usage.
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