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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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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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