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We all know that in the ancient tragedies there are no written stage directions. But it does not mean that there are no stage instructions. Without no doubts the fifth century BC tragedies were theatre productions. Of course they were influenced by the Athenian theater of the day, but in every age the drama is influenced by the theatre of its days. And translation of a drama requires to be imagined by the translator who is never free from any influences or references to the stages and theatres of authors’ time. That is why in this paper I would like to examine what kind of staging the translators suggest in their translations and stage directions they insert in the texts.
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This article contemplates the system of moral and aesthetic values which predetermined the main characteristics of Pavel Vasilyev's artistic system, and traces the main stages of his creative biography. The main attention is paid to his key works – poems The Song about Death of Cossack Army, Salt Revolt, Khristolyubovskiye Printed Cottons, Summer, and August, as well as the poems written during the period of 1930–1937 (Farewell to Friends, Stonemason, Old Moscow, Serafim Dagaev's Town, Horse, Camel, Injured Song, Oath on Chalice). The article raises the question about the most important role of the concept of “generic origin”, Christian values and Christian symbolism in Vasilyev's poetics and studies the problem of using various forms of verbal folk art in the art structure of his poems for the reflection of Russian orthodox traditions. The axiological approach and methods of historical typological and structural semiotic methods for studying art texts are used.
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Article is devoted to the study of the transformation of the genre of the Christmas story in modern literature. The article analyzes the influence of the classic Christmas story by Hans Christian Andersen The Little Match Girl on the structure of modern texts of mass and elite literature (D. Bykov The Little Match Girl gives a light, L. Petrushevskaya Black Coat). The subject of the study is a strategy of rethinking, recoding the source of the original content in the fabric of a new product. The structural and semiotic analysis of the texts revealed some tricks to updates the genre: filling-up with the new semantics, complicating a genre model of a Christmas story. Analysis showed that referring to the genre of a Christmas story; modern authors have different purposes, using different artistic strategies and methods. Some of them tend to reproduce the canon, appealing to the reader's memory (D. Bykov). Others develop the genre of a Christmas story, enriching it with new structural elements, interlacing it with other genres (L. Petrushevskaya).
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Under this article juxtaposed three projects of the tragic work: by Aristotle, Nietzsche and (though not expressed in any theoretical text, but abstracted from his works) Juliusz Słowacki. In the course of deduction was included a number of questions, which can be reduced to two most important: question about what tragedy is and question about the nature of tragedy. In the article i set out to find the common features of the proposed proposals and offered my own meta-tragic discourse, which could open horizons for further research on misticism of Juliusz Słowacki and his compounds with „mystical tragedy” – as a series of transformations and reevaluations, occurring in the subject, but presence in dramas and poems.
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Shihāb al-Dīn al-Hafāğī (b. 1571), writer, qadi and an Egyptian military judge wrote a maqāma entitled al-Maqāma al-Rūmiyya ridiculing the Sheikh al-Islam Zekeriyazade Yahya- effendi for preventing al-Hafāğī’s promotion in service and degrading him to the position of an ordinary judge in Egypt. At the same time, in this maqāma al-Hafāğī riduculed the overall situation in the Ottoman Empire, primarily in Istanbul. An unknown author provided a commentary to the maqāma, trying to alter the meaning of the text by al-Hafāğī and present the ridicule directed at Sheikh al-Islam as an attempt to ridicule all religious scholars, religion and the state.
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Der vorliegende Beitrag befasst sich mit dem 1953 entstandenen und 1964 erstmals vollständig publizierten Gedichtzyklus Buckower Elegien von Bertolt Brecht. Er stellt die knapp zwei Dutzend kurzen Gedichte Brechts in den literarhistorischen Kontext der Lyrik der Nachkriegszeit, wobei er der politischen, der existenzialistischen, der poetologischen und der naturlyrischen Tradition der Dichtung nach 1945 besondere Aufmerksamkeit zuteil werden lässt. Der Bezug zur Antike, der in Brechts Buckower Elegien durchweg spürbar ist, zeigt sich nicht nur in dessen bewusster Entscheidung für die Gattung der Elegie, sondern auch in den zahlreichen expliziten Rückgriffen auf antike Dichter und antike poetische Traditionen.
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Vorliegender Beitrag untersucht aus der Perspektive der Hypertextualität die Brecht-Rezeption in der frühen Lyrik der rumäniendeutschen Dichterin Anemone Latzina. Anemone Latzina gehört zu den ersten Autoren der rumäniendeutschen Lyrikszene der endsechziger Jahre, die Brechts Dialektik und sein sozialkritisches Engagement in ihren Versen aufgegriffen hat.
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In our winter issue we publish the text of Oblivion, the performance created by Belgian artist Sarah Vanhee. The performance premiered in 2015 at the CAMPO in Gent, having since toured different festivals, such as TESZT at Timisoara in 2017. Sarah Vanhee gathered her real and virtual garbage for a whole year in order to use it in a performance: it is a story of the slow unpacking on stage of this garbage that is revealed through the monologue of the performer, enriched with allusions and quotes. Oblivion is about lost and rediscovered things, about the foggy line between valuable and worthless, property or not, useful and useless, dirty or not, in fact about the abject itself. Eventually, Vanhee’s performance explores the politics of validation and its role of creating a subject, placed on stage in the context of the consumer society where it questions even the role of the artist and the gestures of creation.
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This paper represents an attempt to provide a summary of the key points of the poetic work of the Macedonian poet Vlada Uroshevikj (1934), through the analysis of poems from 12 books of poetry that he has published during the course of the last 6 decades. The poetic world of Vlada Uroshevikj impresses with its encyclopedic versatility and distinctiveness, the hurricane force of his ability to surprise, as well as his (hyper)sensitivity for the miraculous and the unusual in both life and art. Vlada Uroshevikj is a poet who manages, in every stage of his career, with every new book, and with every new poem to both maintain and deepen his ability to stay fresh and his sense for the Unseen, Unexplored, Undiscovered. Every verse of his is a new quest for an intellectual, spiritual and linguistic adventure: for Uroshevikj, poetry represents a journey towards immensely exciting revelations that are described through the power of language. One of the privileged aspects of his poetry is reserved for the creative transformation of ancient and modern myths: those seemingly well-known stories always shine with a new and surprising light in the poetry of Vlada Uroshevikj. The poetry of Uroshevikj represents one of the most telling arguments which prove that Macedonian culture truly belongs in the Mediterranean cultural area. In his poetry, the Mediterranean is present as a miraculous chronotope and a miracle in itself. His poetry is infused with the Mediterranean sun, landscape, atmosphere, scents, colours and shades. The poetic sensibility of Vlada Uroshevikj is quite sensitive to the changes in both nature and the urban landscape. Starting with his first collection of poetry, he draws poetic images in an almost painterly manner to depict the subtle changes and the interplay between the light and the shadows. Dreams as a theme are one of the key creative volcanic outlets which burst with the lyrical inventiveness of this poet, while the chronotope of the dream is most often linked to the one of the city. Dreamers are one of the main heroes in a series of poetic cycles in the opus of Vlada Uroshevikj. The privilege to be a dreamer is one of the greatest gifts that a human being can have. Because, as the poem “The Dreamers’ Secret” says: The sleepers are sleeping, only the dreamers are dreaming. In the poetry of Uroshevikj, the dream as the “generator of Miracles” plays a myriad of different roles. It can be the primordial outflow of human creativity, “contemplation in images”, intuitive perception; finally, it can be a form of never-ending surprise. It is common knowledge that Uroshevikj is a poet who has always been in a subtle dialogue with art, especially painting. He is the author of the first cycle of ekphrastic poetry as a constituent part of the contemporary Macedonian poetry. Specifically, that is the sonnet cycle “Canvases”, included in the second book of poetry Unseeing (1962), a poetic cycle which constitutes a deliberate and refined poetic dialogue with the mysteries of fine art. Another unique phenomenon in Macedonian poetry is linked to Uroshevikj that is the fact that a significant portion of his poetry is written in rhymed quatrains. Moreover, it wouldn’t be an exaggeration to state that his sonnets are among the greatest achievements of musical semiosis in the entirety of contemporary Macedonian poetry.
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This paper explores the literary practices in the Macedonian cultural milieu from the ancient period. The research took into account data on ancient authors with different ethnic backgrounds who resided in the Macedonian royal court and who were engaged in literary activities, as well as available data on authors of Macedonian origin who were engaged in literary creation in one of the ancient cultural centers. The offered overview of the literary reflections, values and traditions in the Macedonian cultural milieu from the ancient period is an insight into the mutual Macedonian - Hellenic literary connections in antiquity that arise as a result of different forms of historical coexistence with non-literary and literary marker.
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By the late 19th century and the early 20th century some European intellectuals showed interest in the Macedonian Question. Evidence for this can be found in a series of publications, as well as in the daily newspapers notices. In this paper, I present the views of Karl Hron, Richard von Mach, and William Ewart Gladstone, along with a report from The New York Times (1854/1922) and the opinions of some European intellectuals expressed in a survey distributed by the newspaper The Balkan Federation during the period between 1925 and 1929.
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The aim of this paper is to link Racin’s position towards Bogomilism as a “new science” on the territory of Macedonia with its religious, spiritual and social orientation. Basically the Bogomils nurtured an antagonistic attitude towards the canonical teachings of the Church establishment and towards the feudal order in general. Such attitudes were expressed through already established theological and dogmatic principles and through religious teachings of a dualistic orientation, according to which all material creations identify with diabolism. In the paper we emphasise the main postulates of Bogomilism in relation to Kosta Racin's views in his famous essays on Bogomils. They actualize Bogomilism for its contemporary, socio-political and social conditions through the aspect of "the bright truth for Bogomils". According to Racin, Bogomilism as an ideology of those people, attracted broad masses into religious opposition and organized the founding resistance against the feudal lords, and with their "new science" strongly frightened the old world because it promoted an equal society.
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The classification proves that this intercultural author Luan Starova, translated into over 20 languages, interpreted through the three paradigms of critical-theoretical reasoning, is proof that he is a read author, but somehow insufficiently proficient to suit a novelist of such a profile. Although the fact remains that it is interpreted more proficiently in Macedonian than in Albanian. The theoretical classification and interpretation of the above critical-theoretical interpretations raises the essential question, Do we in our literary criticism somehow accelerate when we wish to criticize, interpret through some contemporary theories and critical considerations? Do we hurt the text while trying to practice the newer theories in and through the text? Questionnaires remain open for further consideration. One thing is certain, some societies did not practice this or that art, but we have to agree with the fact that some artistic activity in them has always existed. That's how Stefan Moravski thinks, that we don't know societies without art and without aesthetic experiences. Since it has been experimentally proven that art is a biological instinct, the need for beauty, for aesthetics, will save literature.
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In the 19th century, Parashkeva Sirleshchova (Bansko, 1823 - ?) was one of the most prominent Macedonian interpreters of folklore. She was one of the most important informants of the brothers Dimitar and Kostadin Mollerov of Bansko. Taking advantage of the fact that she was gifted with exceptional hearing, the two brothers, between 1898 and 1900, wrote rich Folk material, consisting of songs, stories, various wedding and funerary customs, Easter customs, Mitrovden customs, more records on folk medicine, clothing, children's games, demology, folk meteorology etc. The collected materials were published just over half a century later, in 1955.
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Starting from the so-called "right" and "left" critique of popular culture and critical theory, this paper aims to answer the question why chick literature is so much read and written. Tracing the reception of the genre in Macedonia (through the FEMINA forum in absence of academic research) and Croatia, the study transmits more than the distinctive features of the genre. Accepting the thesis that we are living in a posthegemonic era provides answers about the popularity of the genre which lie in the transfer of the norm in fact. If, in the age of hegemony, power arises from objectivization of value, i.e. "value", in the posthegemony age power is a factual value. The fact takes the logic of the value, so the chick literature allows sharing the frustration-related experience of a new state that requires new models of life and literary practices.
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This study analyses the work of Azade Seyhan, a professor of comparative literature, Turkish literature, and German philosophy and literature. In exploring the literary categories of memory, exile, and identity, Seyhan problematizes the process of "writing outside of the nation," and in so doing, foregrounds such contemporary phenomena as the roles of national borders and writing in foreign languages. As a comparativist, Seyhan's work on Turkish literature is always inflected by a valorization of varied perspectives. This study explores her writings on the process of writing-in-exile. Seyhan theorizes identification, cultural memory, and foreignness. The interpretation of art in her theory is always invested in the application of methodologies from comparative literature and cultural theory.
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In this article, I seek to present a “metaphorology” of the shipwreck through a literary example. As Hans Blumenberg has noted, the shipwreck has served as a metaphor for the contingency of human existence in Western culture. Building on Blumenberg’s ideas, I argue that modernity heightens contingency and destroys the possibility of a coherent, anthropocentric discourse. For Quentin Meillassoux, the modern outlook exposes the contingency and inhumanity of reality. Building on Meillassoux and Blumenberg’s work, I address ideas pertaining to contingency and the metaphor of modernity-as-shipwreck by engaging with Dan Simmons’ historical novel, The Terror (2007), based on events surrounding the failed Franklin Expedition of 1845-48. The sinister, frozen wastelands of the Arctic figure as the limit of both European humanity and rationality. In Simmons’ novel, the traumatic encounter with cultural otherness conjures up visions of an implosion of colonial ambitions, as the crew members are gradually consumed by both the harsh environment and the ancient Inuit ice demon Tuunbaq and must confront the indifferent frozen wastes of a mythological, gothic North. Simmons’ gothic North Pole constitutes an example of “extro-science fiction,” situated beyond the limits of all knowledge.
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