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Poems written by Daniela Andonovska-Trajkovska: *Ravnostrani trougao *Pustinja duše *Iskotrljano vrijeme
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Poems written by Slavčo Koviloski: *Čitanje pjesama *Predosjećaj *Zaista (ti bi voljela da me nema)
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Poems written by Vesna Mundiševska-Veljanovska: *Zeleni kraj *Rupa bez dna *Kafe-portal
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Poems written by Ana Stojanoska: *Postoji smisao u kojem sve hemijske formule imaju zvuk usamljenih nota skupljenih u kasnu jesen *Pitanja *Ponoćna
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Poems written by Gordana Stojanoska: *Kuda me vodiš... *Nesanica *Odlazi...
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Reflecting on the work of linguist Anna Wierzbicka about words and meanings, this paper invites not only specialists but also the common reader to ponder over the dead-ends to which some ethnocentric approaches have so far led and to consider the need for a new theoretical framework that will open new vistas. We seek to promote a new, meaning-based approach to the study of Macedonian language, as a historically shaped universe of meaning and to reveal Macedonian’s cultural underpinnings and their implications for the modern world. This reflection speaks out openly and firmly in defense of the notion of culture and the need for culture theory to describe culture-specific conceptual and behavioral patterns characteristic of a particular culture.
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This paper is a literary-theoretical and, above all, a cultural interpretation of six Macedonian novels from the first decade of the 21st century in which the most famous ruler of the Kingdom of Macedonia - Alexander III of Macedon appears as a literary character. They are the following novels: "Alexander of Macedon" by Vladan Velkov, "The Macedonian Pharaoh" by Trajan Petrovski, "The Dream of the Yellow Butterfly" by Apolon Gilevski, "The Secret of the Copper Book" by Alexander Donski, "Catch the Wind" by Petre Bakevski and "Returning to the Past" by Renata Mateska. Here the character of Alexander is analyzed in terms of his position as an interactive code of different cultural identities. The analysis of the six novels leads to the conclusion that the authors often emphasize the connection between the ancient Macedonians and the Macedonians today, i.e. between ancient Macedonian and modern Macedonian culture. Especially interesting is the insight that Alexander of Macedon (as literary fiction) is often related to cultures which are very remote both by space and time from ancient Macedonian culture such as American, Indian, Colombian, French and other distant cultures. The general conclusion is that in the Macedonian cultural milieu, the historical figure of Alexander III of Macedon is seen not only as a link between different cultures, but also as an inseparable part of cultural identity intersections between ancient Macedonian and modern Macedonian culture.
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Itís been 150 years since the death of Gjurcin Kokaleski, a significant person from the past of the Mijak region in West Macedonia. He got a reputation as a businessman, the guardian of Christianity in this region, as builder of churches, important for the education and for his fight against the Greek spiritual domination. He is remembered as the leader of Lazaropole and all "Deborija". There have been many songs sung about him, and he remained present in the oral tradition of Mijak region.
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In this study we present Koneski’s conclusions regarding the benefits of St. Clement of Ohrid and the Ohrid Literary School related to the cultural tradition created on the Macedonian ground, via several relevant points: 1. Through the independent cultural action of St. Clement of Ohrid, 2. By the application of the original ideas of the Moravian mission: in the written Slavic language and the Slavic alphabet (Glagolitic), 3. The role of St. Clement in creating the cult celebration of Saints Cyril and Methodius, 4. Forming the cult memories of the early Christian saints, 5. The role of St. Kliment of Ohrid in the enlightening and strengthening the Macedonian national consciousness, 6. Through the relations between Clement’s legacy and the contemporary cultural and political conditions.
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The poetry of Blazhe Koneski, with all of its qualities, has a fundamental place in the contemporary Macedonian literature. With his ideas Koneski’s poetry has a testamental dimension. The poems of this author are a testament about life and about poetry.
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Blaže Koneski has had the role of an instigator of the continuity and development of the Macedonian language, namely as a linguist who has paved the way of the history of the Macedonian language. He was a participant and leader for the codification of the Macedonian literary language, uppermost expert, researcher of its development. He was sn excellent expert in the Slavic handwritten heritage, with an accent on the texts with Macedonian editing. He drew upon literary texts for his linguistic insights, from the Old Slavonic period all the way to his death in 1993. In this way, along with his development in the history of the Macedonian language, he appears inevitably as a historian of Macedonian literature as well.
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The aim of this interpretation of Koneski’s poetry is to point out the importance of nature and especially the flora in constructing Koneski’s poetic worlds. The contemporary approach to poetry from the point of view of bioethics, eco-criticism and the floral or botanical imagination allows, today, the poetic work of Koneski to be accessible from the positions of these contemporary ways of interpreting reality and hence interpreting poetry. In this way new hermeneutical strategies are drawn in relation to the ontological, epistemological, ethical and eco-critical aspects of Koneski’s poetry in which nature and the world of plants, as a kind of places of individual and civilizational memory, occupy one of the central places.
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The paper will attempt to explore the work of Blaze Koneski in Albanian. For this purpose, the collected bibliographic units (collected over thirty) and their recording of the translations of Koneski’s literary work in Albanian and my translation of the poetry in Albanian will be used. The paper will show how necessary the contribution of translation within the intercultural communication is, which is realized in our country in fragments. The paper will also advocate for the position that poets are better translators of poetry than professional and academic translators. I will try to demonstrate that in the analysis of Koneski’s translated poetry from Macedonian to Albanian.
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The article focuses on the editorial experiences concerning the preparation of Volume VI (The Macedonian XIX Century, edited by A. Gjurčinova, L. Kapuševska-Drakulevska and B. Karapejovski) from the “Edition of Criticism of the Complete Output of Blaže Koneski”, research project of MANU, initiated and commenced by the editorial work of Academician Milan Gjurčinov (1928-2018). Motivated by the materials found in the archive of Academician Gjurčinov, as well as by the notes and commentaries composed by prof. d-r Georgi Stalev, the following steps were understaken: recording, completing, selection and classification. The structure and composition of the final version of this volume respects the selection of the texts from the book The Macedonian XIX Century by Academician Blaže Koneski (above all, those whose theme is literary history), expanded by other texts dedicated to this topic, already selected and marked by Academician Gjurčinov. The concept of the book follows the chronological and thematic principle. The work contains the historical as well as the current aspect of research. Through the aspects of the literary archive of Academician Koneski, the memory and remembrance merge with our contemporary moment, and illustrate the relevance of the past today, as well as the ways in which the heritage of history and tradition redefine our present.
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While working on the so-called “Stanislav’s Prologue” from 1330, and after writing an entire study on the language in this prologue, an exceptional thought crossed Blaže Koneski’s mind: “...why hagiographies are written only for the prominent ones, and cannot be written for ordinary people.” (Andreevski, 2020: 250) Thus, learning from the hagiographies of persons who had a special status in the religious, church tradition, he decides to share with the reader the urge to write his so-called prologue hagiographies of people with invisible halos, who “...no one declares martyrs. No one declares saints.” (Andreevski 2020: 251) This is how his famous “Prologue Hagiographies” is created, dedicated to certain seemingly social outsiders - people from his surroundings who left an impression on him or for whom he heard stories in his family tradition. For Koneski, they are a true inspiration because they bore the mark of some greatness. In this poetic act in which, unlike the medieval pattern, there is no insistence on hyperbolizing glorification through the codes of the miracle, the miraculous and the fantastic, those personalities are elevated to the level of new (non-canonized) saints and martyrs. As a secular author, without being burdened by what religious texts require, he returns to the source (secular hagiography) and creates new, contemporary hagiographies. Significantly deviating from the medieval model, Koneski achieves a hybrid, cohesive poetic unification of elements from the original tradition of the hagiography genre with the modern expression of the simple and strict Macedonian song, in a contemporary chronotope. In this way, he shows that with such a creative-thought venture, this genre can come to life as non-cliché and non-anachronistic, with new dimensions and in a new form, in a contemporary literary and cultural context.
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The work follows the intellectual and poetic curiosity that Koneski showed for the works of classical literature such as: Plato’s dialogues, Virgil’s Aeneid, the chronicle of Pseudo-Callisthenes, the biographies of Plutarch, etc. Koneski’s relation to classical culture is seen on several levels: according to the analysis of Plato’s teaching, by drawing thematic and motive parallels between ancient written tradition and the Macedonian oral tradition, and by the influences of ancient authors in his poetic work of which he was not aware at the time. All this would not have been possible if Koneski had no interest in the dignity of classical culture embedded in the works with which he came into contact.
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Literary and cultural heritage represents an unavoidable phenomenon that must be taken into account in literary inquiries. It is a very important aspect of the works written by Blaze Koneski and Venko Andonovski, since they enforce its true actualization. In the essays, Koneski underlines the specific efforts that Pejcinovic, Zinzifov, Prlicev and Cepenkov made, regarding the development of the Macedonian language and culture, and their work contributed to measuring the extent to which foreign impulses would be integrated in the authentic cultural process, which was not perceived as of lower degree or quality, in regard to the foreign context. Koneski analyses the artistic and cultural activity of Zinzifov, especially in terms of his poetic and narrative works, and makes it evident in his short story “Vineyard” from the eponymous story book (first published in 1955). Instead of Zinzivof’s well-thought and impregnated digressions, which he uses in order to reflect the contemporary circumstances, seen through his critical and publicist perspective, Koneski relies on the phenomenon called “feeling into” (Einfühlung), and by employing it, he elaborately describes the character, but also problematizes the nature of the story event. In the works of Andonovski, the active relationship with the tradition and its transformation (in the way Koneski actualized them) signifies a constant re-valorization of the inherited concepts. Andonovski dialogizes with Koneski’s works, especially in the story “Sun – God’s egg”, from the book Taming of the Bitch, and implicitly in the other stories as well. The title of this short story refers to one folklore genre, made apparent inBrothers Miladinov Anthology, and analyzed by Koneski in a separate essay. On the other hand, the dramatic text of Venko Andonovski (Riddled Souls) connects the events that happen in the home of the shoemaker Branko Popovic, prior to the bloodshed day in Kraguevac in 1941, with the symbolism of the divine justice and omnipresence, represented by the request of the young girl Verica, the author’s mother, to have a roll with the egg for breakfast. Her desire is transformed in terms of her father’s sacrifice, which can be interpreted as a sort of cosmogony, a rise of the new world that mythologically happens when the more powerful ones make a sacrifice for the good of the majority (e.g. the figures of Purusha and Prajapati in the Indian mythology). The dramatic situation puts under suspicion the black and white depiction of characters and culminates in priest Danilo’s sacrifice, who is a kind of true cultural hero, an individual able to grasp the essence of existence and save the humanity. That is the part where the agony of Christianity and the German rationalistic mind clash, and pose the question of the symbolic understanding of the world, seen as synchronicity and a coexistence of different time periods. By evoking the tradition, Koneski and Andonovski in a certain way cast a light on the meaning of the term “everyday phantastic”, which enables old things to be seen in a different manner, thus manifesting the freshness of the creational process.
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Blaze Koneski’s work consists of many linguistic and literal and historical elaborations of the reviving nineteenth century, which he considers vital for the continuity of the codification process for an autonomous national development of the Macedonian language. According to Koneski, the tendency for an autonomous national development of the Macedonian nation through religious, linguistic and national autonomy is strongly emphasized, especially in the second half of the nineteenth century. The subject of this thesis is Koneski’s views related to the literature and the historical conditions and processes in which the Macedonian revivalists worked during the age of the national awakening. Within these frames, Koneski, very analytically and thoroughly, elaborates the key figures of the Macedonian Revival Era. But, at the same time, he points to an interesting idea, i.e. a direction for the time distance as a paradigm of the meaning of success of the cultural and historical processes in the struggle for national autonomy. When writing about his predecessors (from the 19th century), Koneski believes that some of them were rightfully dissatisfied with the success (the national autonomy) achieved in the 19th century, but Koneski’s generation, who has an opportunity to look at this period from a wider cultural and historical base, can see the nineteenth century as a very significant in the continuity and finally, the success in solving the linguistic and national issue. Today, in the 21st century, with much larger distance from these processes in terms of time and history, the revival period and the importance of Blaze Koneski’s work are extremely significant, but at the same time, they are a challenge and an oath to preservation and further continuity.
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