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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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In this article we analyze the portrayal of the neighbour and the neighbourhood in the Macedonian graphic stories of the Nikad robom (Never a Slave) comic book edition. It was not only one of the most influential mass and pop culture phenomena in ex-Yugoslavia, but it also participated in the ideological shaping of images and depictions of the neighbour and the neighbourhood as special types of sociopolitical and identity cogitations. The comic book, as a graphic story and a dominant pop culture phenomenon in the 1950s and 1960s, had strong ideological and political power in the processes of legitimizing the dominant social values. Within said processes, we have located several key representations and images of the neighbour in this edition which not only reveal the influence of the political and ideological factors in the shaping of national identities but also participate in the process of (re)creation and consolidation of Macedonian self-awareness as distinct from that of its neighbours. The building of the Macedonian identity, as an articulated story of itself, is largely based on perceptions and representations of and feelings for the neighbour. Hence, we come to the assumption that the portrayal of the neighbour is a type of self-portrait.
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This paper presents an analysis and interpretation of the essential narrative specifics in the latest (third) collection of short stories by Venko Andonovski, titled “Taming of the Bitch” and subtitled “Stories about Madness”, published in 2018 by the publishing house “Tri”. In the analysis and interpretation of the short stories we follow the moral decline of the modern man, but also of man in general, which is the dominant theme in this collection. This moral decline is demonstrated successively in the three narrative cycles (“Frescoes”, “Icons”, “Caricatures and Grotesques”), starting from the sacred (in the first two cycles of the collection) and through the profane to the chthonic (in the third cycle of short stories). In the conclusion of the paper, it is emphasized that the primary message in the collection of short stories “Taming of the Bitch” by Venko Andonovski - which is a narrative presentation of all forms of madness whose negative reflections result in moral decline and dehumanization of man - is demonstrated very skillfully both through the form and through the content of the short stories.
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The paper refers to the book “Long journey home” (2022) by Vesna Kozhinkova, which resulted from her research for her doctoral dissertation on the topic: “The Aegean Theme in Contemporary Macedonian Prose through the Modalities of Domesticity”. With this book, Kozhinkova explored a whole thematic complex in Macedonian literature, recognizable by the fact that it treats the subject of forcibly exiled Macedonians from Aegean Macedonia during the Civil War in Greece. The paper presents the overall content of the book's chapters and comments on the issues raised in it, as well as the author's approach and conclusions. Kozhinkova's “Long Journey Home” represents an extremely big research in the field of Macedonian philology and cultural science, more precisely in the field of contemporary Macedonian literature and culture, which contributes to the affirmation and reference of Macedonian literary-theoretical scientific thought. This book represents a thorough research that will be the basis on which some future researchers will build on, supplement and debate.
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Professor Dr. Kiril Penushliski was and remains a leading name in Macedonian folklore studies. Without his work, our knowledge of Macedonian folklore would be much poorer because the greatest successes of this scientific discipline in our cultural context are connected precisely with his name. Both when it comes to publishing monographic works from Macedonian folklore and when it comes to republishing significant collections of Macedonian folk works, they are associated with his name. Professor Kiril Penushliski is one of the few complete folklorists, who in his work unites several creative procedures, from recording folk creations, through their study, to their publication. It is also significant that he is one of the rare folklorists who researched the entire Macedonian folk art, folk songs, stories, short genres, customs, etc. The text examines the significance of Kiril Penushliski’s work in defending the Macedonian national identity. Penushliski repeatedly pointed out that folklore is the most powerful proof of the Macedonian national identity. In that context, the Macedonian revolutionary folk songs whose motifs are the people’s struggle for freedom, as well as the people’s determination to create a state of the Macedonian people, are of the utmost importance.
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The paper aims to offer a cross-section of the works of the famous Macedonian writer and reformer of the Macedonian language, Blaž Koneski. As an excellent connoisseur of the works of B. Koneski (he is the author of three monographs, two of which have been translated into Macedonian) makes a synthesis of Koneski's literary achievements by presenting his poetry, poetic, and narrative prose. Koneski's basic poetic ideas, and his creative metamorphosis, can be traced through four phases of his creative growth and development. Having presented presentation of the literary work, essays, criticism and translations of this "sage of the Macedonian language" the author concludes that the Macedonian science of language and literature appreciates the contribution of B. Koneski as rich, precious, diverse and indispensable. The contemporary and future history of Macedonian culture, science and art are unthinkable without the valuable, contentrich and diverse creative work of Blaž Koneski.
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The short phrase "simple and strict Macedonian song" from the famous "Vezilka" (“Embroider”) became a "kind of emblem” of the creative genius Koneski, his poetic manifesto” (according to Lidija Kapushevska-Drakulevska) Atanas Vangelov emphasizes that when he says that the criterion - a simple and strict poem has spread to the entire poetry of Blaze Koneski, achieving a degree of general and immediate provision. The first part alludes to the simplicity of the poetic utterance, but it is that unusual ordinaryness characteristic for Chekhov's poetics, or that simplicity which, as Yuri Lotman would say, is a consequence of mastered complexity, because it does not precede it, but appears on its background (according to Milan Gjurchinov). Complementary to the symbolic principles is the second part of the symbolism - the rigor of the poem which suggests the rational control and self-criticism of the poet in the act of creation. Thus, the two options that are experienced as two extremes / opposites intertwine and build the unique, unique verse of Koneski.
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Various environmental changes threaten local environments and the world at large. Some of these changes have visible immediate effects on people’s lives, as exemplified by the pollution in the Macedonian capital of Skopje, which for several years has ranked among the world’s most polluted cities. Additionally, global warming is estimated to have devastating consequences for all life on Earth. While American writers have increasingly incorporated discussion of climate change into their fiction, Macedonian literature has rarely delved into environmental issues. Therefore, this article aims to contribute by exploring specific environmental aspects in several previously unexplored Macedonian dystopian works by Branko Prlja, Ivan Šopov and Biljana Crvenkovska. These works are compared to the novel Forty Signs of Rain by the American writer Kim Stanly Robinson, analysing the approaches employed in addressing environmental threats. The comparative view, as well as placing all of these works in the context of existing factual information about climate change and pollution, indicates the cultural differences between the narratives, but also the common ground they share about possible responses that may be undertaken to tackle environmental problems.
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Na osamljenu grčkom otoku, čijoj ljepoti tešku protutežu čini okrutnost male i sve manje zajednice, susreću se dvije priče, dvije povijesti, dvije ljubavi otvorena kraja koje jedna drugu sestrinski naslućuju. Knjigu otvara razglednica, ili se tako barem čini; tkanje nalik na pismo davnoj prijateljici, ili prvoj ljubavi — ili oboje. No ubrzo postaje jasno da nije riječ o epistolarnoj cjelini, nego o dvjema polovicama, magnetski vezanima intuitivnom srodnošću, ali odvojenima životnim okolnostima, stegama koje će ih odvojenima držati do njihova ovostranog kraja. Roman Strah od barbara makedonskog autora Petra Andonovskog (u hrvatskom prijevodu Ivice Bakovića) fragmentarna je studija prijateljstva i neprijateljstva, doma i obezdomljenosti, užasa pred drugačijim i nepoznatim, i užasa kojim taj užas rezultira.
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This paper presents one possible reading of Igor Stanojoski's novel "Dyssomnias" interpreted through Bauman's fluid interpersonal relations and the ethical norms of the postmodern age. It is a novel in which the narrator's personal family drama is intertwined with the collective drama of the revolutionary protests on Maidan Square in 2013 in Ukraine, as well as with the conditions in Macedonian society, fake democracy, psychological warfare and fake news, and the influence of the new forms of propaganda on the psychological state of the individual. The starting point for the interpretation of the novel are the critical views of Malcolm Waters on globalization and the global village where the interests of powerful transnational structures can be easily incorporated, and realized through various manipulations The paper also uses the recommendations of the psychologist Claude Steiner for recognizing and exposing the manipulations of the two involved parties in the global conflicts and their transmission through the working style of of individual media personalities, which then also affects their private love life. Through a detailed analysis of the two parts of the novel, which have as their motto statements from the collection of short stories "War Doesn’t Have a Female Face" by the Nobel laureate Svetlana Aleksievich, the paper concludes that in the postmodern globalized society, in order to achieve the goals of the globalizers, people are often subject to manipulations that have a negative impact on ethics and interpersonal relations. Subsequently we are still far from the end of unification, which shall be preceded by long exhausting military conflicts involving all resources of humanity.
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Stojan Tarapuza is a Macedonian poet for children, who belongs to the second generation of contemporary Macedonian authors for children. He has been actively present on the Macedonian literary scene for more than six decades, primarily in the literary genre of children’s poetry, but he also shows his creative curiosity as a story - teller. On the occasion of 90 years since the birth of Tarapuza and 62 years since his creation, the paper referred to his life and work, focusing on the specificities, features and determinations of his poetry opus. For this purpose, the paper analyzed part of his poetry collections and gave the answers to the questions – What kind of poetry are we talking about here? and What are the specificities, the features of this poetry in today’s stage of its development? It was concluded that it is poetry with traditional sensibility, a part with modern sensibility, which is dominated by “the principle of creative freedom and thematic-motive versatility.
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In Jonathan Culler’s theoretical descriptions of lyric, the apostrophe is seen as an essential and endemic feature through which some of the constitutive features of this genre are manifested. Starting from these theoretical premises, the purpose of the article is to interpret the apostrophe in Kocho Racin's poetry collection White Dawns. The interpretive focus is placed on two levels: first, on the role of the apostrophe as a mechanism through which the "intratextual communicativeness" (Yuri Levin) is articulated in the poem; secondly, on the function of the apostrophe in the creation of “egotive-appellative “(Yuri Levin) lyrical models in Racine's poetry.
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The fiction of Živko Čingo, Macedonian writer created in the spirit of magic realism, is based on the mythical and magical core generating myth about the Holy Land Paskvelia, which has been destroyed due to the frequent mistakes of its inhabitants and transformed into Pustelia (Wasteland). The structure of the fictional world in this novel is based on the connection between the traditional, patriarchal, religious, and the new socialist, communist atheistic world, on the mutual interaction of Chaos and Cosmos, of good and evil, ultimately leading to the "last times" and an apocalyptic end. Therefore, the goal of this paper is to determine, using the literary-historical, analytical, anthropological and comparative method, as well as the artistic means through which the narrative of cosmogony and apocalypse is achieved in Čingo's narrative prose.
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The book “On the other side of the Not-Being: conversations with Svetlana Shopova about Aco Shopov” by Ivan Antonovski has a vision of that weaving that Blazhe Koneski insists on in his “Embroidery”. This book is built through a “simple and strict” dialogue, a “simple and strict” conversation, as Antonovski himself writes in the preface, “between times – that of Shopov and today” and “between generations”. And that means that the author had to thoroughly clean Shopov and thus master that complexity and then elevate it, transform it into a simple conversation. Because only in that way could he be a (somewhat) equal interlocutor to Shopova. The paper attempts to clear this literary conversation between Antonovski and Shopova through the several modalities of memory (witness, memory, souvenir, monument and museum).
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The paper is a critical review of the collection of papers "Antevo delo" (Skopje: Kalamus, 2022), in which the papers from the international scientific symposium held in September 2021, within the international poetic-cultural manifestation "Ante Popovski – Antevo Pero" were published, on the occasion of the 90th anniversary of the birth of academician Ante Popovski. By referring to individual texts from the collection, the paper apostrophizes questions about further understanding and interpretation of the work of the great Macedonian author, Ante Popovski, establishing syntheses between the latest scientific insights and segments of Popovski's work, going beyond the field of poetry. In the collection, the paper identifies a starting point for further thorough references to the work of Ante Popovski, indicating the need for a comprehensive evaluation of the work of this prominent Macedonian author of the 20th century.
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Using the specific form of fictional reconstruction, the author of Freud’ sister (Smilevski, 2019) has given the voice of the narrator to a woman who was at least doubly fogotten. She was recorded as just a marginal figure by the official history, but she was also, through the irony of circumstance, and together with the three other sisters, forgotten by the most beloved and the one who was closest to her - her own brother. The brother is no less than the famous creator of psychoanalysis, which aimed not only at redefining the crucial mechanisms of man’s existence, but also at determining the nature of woman, her position and her role within culture, history and civilization. Limited by her own sex which reduces her potential for sublimation and creativity, she is, according to Freud, destined to remain in the shadow of man’s cultural achievements. If she takes a positive stance by accepting this role allotted to her sex, she will be able to fulfill the purpose of her femininity and will abstain from attempting to subvert the progress of culture. The reader as a political figure and the one who participates in the ghostly romance can’t help seeing the two voices as similar to two bells perpetually clashing against each other, two different ways of perceiving reality unable to find the common ground, while some of the darkest moments in history are going on. Even though one of these two has established the authority of its own insights in the legacy of historical and cultural memory, while the other has been silenced into nonexistance, Smilevski has written an alternative history and cultural memory, demonstrating that this other voice – that of the forgotten women – does not only convey a greater degree of authenticity, but also a more profound and a more humane understanding of life and reality.
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The article attempts to reflect on the folk topos of a walled-up woman-mother and its norm-creating authority in Bulgarian and Macedonian culture. The reflection is based on the examples of two contemporary moral novels: Ivana Trajanoska’s "Desa" and Theodora Dimova’s "Majkite" [Mothers]. In this paper, I explain the original position of this motif in the process of forming traditional cultural gender patterns, and then reflect on its two hypoleptic interpretations. As a result, I demonstrate that Dimova (seemingly subversive as a feminist “theologian”) uses the topos to defend conservative values, while Trajanoska emphasizes its subversive and therapeutic potential. In both cases, the folk topos enjoys authority as an active element of cultural memory, aiding communication and demanding new recapitulations.
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This text dwells on the experiences of European and Macedonian modernism and the procedures of creative modification of traditional themes and motifs. The subject of our analysis is the dramatic text "Jane Zadrogaz" by Goran Stefanovski in the context of the innovative and avant-garde techniques with which this dramatic text modernizes the established literary-poetic, dramaturgical and cultural standards. Therefore, in our analysis we will stick to the interpretation of the specific articulation of this dramatic discourse as a "quoted text" as a "postmodernist articulation of the intertext, but also with a subtle emphasis on modernist existential human problems in correlation with the universal dichotomy between good and evil."
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Овој труд понудува споредба на литературните претставувања на емоциите во два романа на чешки јазик и во нивните преводи на македонски јазик. Во него се анализираат модусите и традициите во прикажувањето на емотивниот свет на ликовите во фикцијата на двата јазика, со споредба на книжевните средства за опис и доловување на емоции во расказите на Михал Вивег и во романот Работилница на ѓаволот од Јахим Топол, односно во нивните преводи на македонски јазик. Главната цел е да се покаже како во преводот емотивното книжевно нијансирање се разликува од она во оригиналните текстови. Анализата е фокусирана врз рецепцијата на двете прилично различни авторски писма од страна на еден ист преведувач, како и врз преведувачката реакција на различните емотивни аспекти својствени за оригиналните дела. Пристапот е интердисциплинарен, во пресекот на преведувачките студии, книжевните студии и семиотиката, со посебен фокус на емоционалноста. Главната цел е да се постигне поблиско разбирање на емоциите и нивните литературни претстави на чешки и на македонски јазик, поточно нивната репрезентација во двата различни културни контекста.
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The interest in this paper was focused on couple of operative terms, mainly on the repetitive metaphor as a shared motif in two contemporary Macedonian novels – Senkite na sonot/Dreams’ shadows (2009) by Jovan Damjanovski and Pozhar/Arson (2010) by Petre Dimovski, both published by the Panili publishing house. These novels were published in the same time period and both of their authors are born the same year (1946). These are just a few of the similarities between these texts and precisely this makes their reading through the same interpretative optics possible. However, more importantly, in both of these novels we encounter something that we defined as “the repetitive metaphor”, which serves as a shared motif in both of the novels and functions both on literary and figurative level. The repeating metaphor of the so called “dreams’ shadows” in Damjanovski’s novel is used to signalize the shift from this material and physical world, to the world of dreams, to the oniric, the sensed, the almost imagined world “on the other side” (of life and of life experience). The repeating metaphor of the arson, as well as of various related synonyms of fire, is used in Dimovski’s novel to distinguish a shift in his character’s inner world and how they perceive reality. Thus, the repeating metaphor is a shared motif in both of these novels, which also share other features, such a similarity in treated topics (the beginning of the Macedonian transition), similar characters (self-aware and introspective ones), similar treatment of female characters (traditional vis-à-vis modern, progressive, emancipated female characters). The conclusion should show that the repeating or repetitive metaphor serves on multiple levels of the novels.
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