14 меѓународен славистички конгрес охрид, 10-16 септември 2008 зборник од резимеа
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Marco Sabbatini
Dystopia through the poetic language of S. Stratanovsky and V. Krivulin
Viktor Borisovich Krivulin (1944-2001) and Sergey Georgevich Stratanovsky (1944-) are two of the most relevant personalities that emerged from the Russian poetry underground (podpol’e). The ‘Underground’, together with the ‘Bards’, may be considered as the most original cultural phenomenon that egresses in the context of uncensored literature of the last thirty years in the USSR (1950s-1980s). This unofficial movement characterizes the specific development of the Leningrad cultural discourse, where Krivulin and Stratanovsky actively operated from the early 1970s, in the period of ‘stagnation’ that followed the illusions of Khrushchev’s epoch. These years were defined by the parallel existence of independent literature in relation to Soviet official reality, with its distinct aesthetic, spiritual and philosophical principles and with its own methods of production and diffusion by means of samizdat of a large quantity of prose, poetry, translations and critical essays. The end of this movement coincides with the perestroika and the abolition of the censorship law in 1990. During this period of radical historical changes Stratanovsy and Krivulin wrote several poems that deal with the mythology of Russian and Socialist Utopia and its realization in a dystopian reality. The aim of the paper is to put in evidence how Krivulin and Stratanovsky’s poetical language, melting soviet life realia with classical Russian literary symbols and metaphysical figures, gives the sensation of high ideals degeneration. Their language underlines a state in which the condition of life is extremely hard, in an everyday deprivation and in an ontological oppression determined by a primordial sensation of Terror. The structure of several texts is based on antiphrasis, lexical abuses and semantic oppositions, and attests the paradoxes of Russian life, on the unreadable and unexpected development over the ending point of Soviet Union. Far from being merely theoretical the problem of dystopia is one of the main subjects of contemporary Russian literature as demonstrate Stratanovsky and Krivulin poetry. Through the metonymic world of Leningrad, these poets offer a particular point of view of apocalyptical events occurring during the last years in USSR. Recreating with an original language the cosmological aspects of a utopia of the past, they anticipate the historical and social decadence of the Russian present day. If, according to Likhachev, Russian life is strictly involved in myths, with a natural tendency to go to the extremes, and to the cultural instances of utopianism, do these authors give chance for a new dystopian mythology? The last aim of the analysis and interpretation of their poems is to find an answer to this question as well.
Giovanna Siedina
Неолатинская поэзия в поетиках киево-могилянской академии: Украина в европейской LATINITAS.
In my paper I examine the Neo-Latin poetry that was composed at the Kiev Mohyla Academy in the period 17th-18th centuries, and is found in the manuals of poetics pertaining to this institution. The curriculum of the Kiev Mohyla Academy for the first time witnessed the widely recognized acceptance by an East-Slavic Orthodox institution of the secular culture that had its origin in Latin language and the pagan Classical (mainly Latin) literature. In particular, through the analysis of some poetical compositions of the epideictic genre (that comprehended congratulations and panegyrics), I intend to show the ways through which, by inscribing Greek-Latin mythology into their reality, Kievan professors of poetics aimed to insert contemporary Ukraine into the European Latinitas, and to establish a dialogue with the centuries-old cultural legacy of Western Europe.
Krassimir Stantchev
О переводческой деятельности Константина-Кирилла и Мефодия в свете интерпретации двух сведений их пространных житий
В доклада се подлагат на критически анализ интерпретациите на някои моменти от Пространните жития на Кирили (ЖК XV) и Методий (ЖМ XV).
Анализира се сведението в ЖК XV че в Моравия Константин превел “целия църковен чин” и се прави опит да се докаже, че не става дума за корпус от богослужебни текстове, а за превод на пособие регламентиращо и/или изясняващо реда [“чинъ”] на богослужението. В тази връзка се предлагат някои наблюдения върху употребата на лексемата “чинъ” в традицията на Slavia Orthodoxa.
По повод израза “от(е)чески книги” в ЖМ XV се припомня изказаната от Ал. Наумов хипотеза, че тук може би не става дума за друг превод (бил той на патерик или на сборник със светоотчески творения), извършен наред с Номоканона, а за разширено пояснение на гръцкия термин: “Тогава преведе и Номоканона, ще рече правилата на Закона и [тези от] книгите на отците [на църквата]”. Прави опит да бъде подкрепена тази хипотеза както с доказателства от ръкописната традиция на номоканоните, така и с контекстуален анализ на някои от употребените лексеми.
Пак по повод ЖМ XV се предлага една различна интерпретация на израза “избрани църковни служби”, основана на анализ на употребата на словосъчетанието “църковни служби” в най-старите паметници.
Svetlana Stipcеvić
Srpska kniževnost i srpski jezik u svetlu italijanske književne istoriografije
Depuis la deuxième moitié du XIXe (C. Cantù, D. Ciampoli ) jusqu’à la fin du XXe siècle (A. Cronia, B. Meriggi, S. Gracotti, etc.), plusieurs histoires de la littérature et de la langue serbes ont été publiées en Italie. Leur principale caractéristique est de traiter la langue et la littérature serbes conjointement avec la littérature croate, ou yougoslave – pour reprendre les différentes appellations politico-juridiques; la langue des littératures serbe et croate y est considérée comme une seule et même langue du point de vue linguistique. Elle est appelée serbo-croate, croato-serbe, serbe ou croate ou encore, lorsqu’il s’agit d’époques littéraires plus lointaines (celles de la littérature des régions de Dalmatie, de Dubrovnik, de Kotor, etc.), « ilirski », « slovinski », « naški » ou encore « langue populaire ». Bien que les littératures serbe et croate aient été considérées dans le cadre d’une histoire littéraire commune, elles ont quasiment toujours été traitées séparément, à l’exception de la période dite de la « littérature yougoslave » qui coïncidait partiellement avec la création et l’existence de l’Etat yougoslave. La mise en valeur de certaines époques littéraires serbe et croate dans l’historiographie littéraire italienne dépend en grande partie non seulement des goûts littéraires qui dominaient au moment de leur émergence, mais aussi de facteurs historiques et politiques déterminés par la politique de l’Etat italien. La désintégration de la Yougoslavie dans les années quatre-vingt-dix du siècle dernier et la création de plusieurs États indépendants ont posé la question de la dénomination de la langue serbo-croate et de la définition du corpus de la littérature serbe.
Mots clefs : histoire de la littérature, historiographie littéraire en Italie, littérature serbe, littérature croate, littérature de la région de Dubrovnik et de Dalmatie, langue serbe, langue croate, serbo-croate, illyrien, « slovinski », langue populaire.
Silvia Toscano
The Roman missions of St. Cyrillus and St. Methodius and the documentary role of the Latin sources. The ‘status questionis’ at the dawn of the third millenium
Konstantin-Cyrillus and Methodius’ Roman missions and their relations with the Papacy consitute one of the most important moments of their earthly vicissitude. Rome gave the ‘imprimatur’ to the Moravian mission, with the total or partial approval of the liturgy in Slavic language and of the Slavic translation of the sacred texts, it permitted the creation of an indipendent archbishopship for Moravia and Pannonia with Methodius as the head. It also accentuated the ecumenical role of the Thessalonicien brothers making them fundamental figures in European history, and not just medieval.
In order to reconstruct the essential moments of the Roman missions with historical accuracy we are able to consult quite a large variety of sources in Slavic and in Latin, the latter being of relevant documentary value. However, even considering the efforts of the scholars who have been facing this subject since the second quarter of the XIX century, many problems remain unsolved, starting with the fact that it is still unknown exactly how many times Methodius returned to Rome after the death of Cyrillus in ‘869, or when he was actually appointed Archbishop. The Slavic sources (as The Life of Saint Constantine-Cyril and The Life of Methodius) which have been subject of recent studies don’t give exact evidence on the matter, as they leave doubt over the actual attitude of the Popes Hadrian II and John VIII toward the use of Old Church Slavic in the liturgy.
The present article proposes itself as a general riconsideration of the ‘status questionis’ and a comeback to the Latin sources as historical documents, the only ones able to give answers to the various questions that Cyrillus and Methodius’ Roman missions still pose today.
ЈАПОНИЈА
Ičiro Ito
The Sex of the Sun and Moon in Slavic Folklore
In this paper we discuss the problem of personification of the sun and the moon in Slavic folklore.
In Slavic Languages the sun is of the neuter gender (solnce, sunce, słońce etc.) and the moon is ordinarily of the masculine gender (mesec, mjesjac, księżyc etc.), except mesečina in Bulgaria and Macedona, luna in modern Russian.
In the case that the sun appears alone, though its gender is neuter, usually it is personified in a male, as in the Bulgarian mythic motif “Marriage of the Sun”. In the case that the moon appears alone, in accordance with its gender, usually it is personified in a male, but in Bulgarian and Macedonian folklore, in which the moon is called by the feminine word “mesečina”, usually moon is a female.
In the case that the sun and the moon correlated as binary opposition or as two members of trinomial opposition, we can distinguish following three cases: (1) the sun is female and the moon is male as in East Slavic Christmas carol ; (2) both of the sun and the moon are male as in the South Slavic mythic songs, in which usually after the sun and the moon is referred the third male or female member (Venus, Pleiad, lightning, rain etc.); (3) the sun is male and the moon is female, an exceptional case in Macedonian and Bulgarian folklore, which may be explained partly by the common Balkan cultural tradition.
Such a diversity of the correlation of the celestial bodies in Slavic folklore owes to the ambiguity of the sex of the sun, which is derived from the neuter gender of the word designating it.
Shin’ichi Murata
Dramaturgy of M.Tsvetaeva : rebellious silence or attempt to overcome lyricism
In M.Tsvetaeva’s early lyrical works are already evident clear dramaturgic elements, particularly in the form of
In the 1920s, making good use of her personal experience of frequentation of the artists from The Moscow Art Academy Theatre and The Vakhtangov Theatre, M.Tsvetaeva writes some dramatic plays. Later on most of her dramas will be based on themes from ancient Greek Mythology. They show her attempt to give up lyric poetry : through them M.Tsvetaeva changes her creative orientation and persistently develops a brand new type of poetry based on the theme of resistance to God’s force.
The dramaturgic essence of M.Tsvetaeva’s works as shown in her plays, evolves into the ability to create her own peculiar poetical drama. As a result the dramaturgic essence makes a comeback in her theatrical poetry.
M.Tsvetaeva’s dramaturgic concept is reflected in her plays of the 1920s and will have a strong influence on her poetic production of later years. It is therefore Tsvetaeva’s dramaturgic concept the object of our research.
КАНАДА
Н. Г. Жекулин
Тургенев о переводе
Известный тургеневед М. П. Алексеев с полным правом назвал И. С. Тургенева “пропагандистом русской литературы на Западе.”1 Более того, Тургенев являлся и посредником между русской и европейскими литературами. Очень важную роль в этом сыграла обширная переводческая деятельность самого Тургенева. Хотя большинство его переводов на русский язык (с французского, немецкого и английского) было включено в первое или второе академические издания его произведений, его переводы на другие языки (в частности с русского и с немецкого на французский) никогда не переиздавались в наше время.
Настоящий доклад, базирующийся в основном на изучении корреспонденции Тургенева, рассматривает его многочисленные высказывания о переводе. Обсуждаются как теоретические принципы, так и критические замечания о конкретных переводах (своих и чужих) и переводчиках. Хотя у Тургенева не было разработанной теории перевода в современном научном смысле слова, у него была определенная позиция по целому ряду вопросов, связанных с переводческой деятельностью. Если учесть как начитанность этого разносторонне образованного человека, так и его роль посредника между литературами, то взгляды Тургенева на перевод сами по себе интересны. Помимо того, без ясного понимания его взглядов на переводческую практику трудно судить о том, насколько Тургенев придерживался своих же принципов в собственных переводах.
Natalie Kononenko
Ukrainian Ballads in Canada: Adapting to a New Environment
Folklore reflects the concerns of the people who perform it. Ballads sung in Ukraine traveled to Canada along with the pioneers who performed them. To remain meaningful, the songs adapted to their new setting and only certain of the old ballads were retained. The old ballads sung in Canada deal with identifiable pioneer issues. Conflicts between parents and children are portrayed. As might be expected, parental authority was contested when the younger generation adopted Western values, values different from those of their parents. Mother-/daughter-in-law tensions were acute, especially in newly isolated acreage life. Sexual relations were problematic, especially when entering a love affair with a person from a different ethnic group and with differing sexual mores. Interestingly, magic was a contentious issue. Ukraine is characterized by a magical world view. Canada prized rationalism and is almost anti-magical. In the process of adopting this new outlook, Ukrainians sang ballads that condemned the use of magic, portraying the person who resorts to magic as a villain. This paper will examine the content of ballads recorded in Canada and seek to draw parallels between ballad thematics and the issues of prairie life.
Svitlana P. Kukharenko
Negotiating Magic:Ukrainian Wedding Traditions and Their Persistence in Canada
Magical efficacy is important in the Ukrainian wedding ritual. This paper is an examination of magical beliefs and practices in the context of weddings among Ukrainians living in Ukraine and Canada. In both countries, informants were subdivided into four groups: villagers, urban dwellers, divorced people, and the clergy. They were interviewed retrospectively about details of their wedding days. The korovai, rushnyk, omens, showering of the couple, gifts, and taboos of the wedding day were the focus of attention as they are “sacred” objects and ceremonies of a Ukrainian folk wedding and are imbued with prophetic qualities. The results of the study show that Ukrainians in Ukraine and Canada have different magical belief systems, or worldviews: magical and anti-magical respectively. Ukrainian immigrants in Canada tend to know and believe in magical objects/actions during the wedding significantly less. It is concluded that magical beliefs and practices are the most fragile part of the folklore complex transmitted to another country. This contrasts to the material culture, which usually becomes a major means of ethnic identification – well preserved and cherished.
Allan Reid
Gorbanevskaia and Poland
In this paper I will assemble and examine for the first time the details of Natalia Gorbanevskaia’s complex, fruitful, and important relationship with Poland and Polish culture from the 1950s to the present. I will trace its trajectory over the past 50 years or so beginning with her initial discovery of Polish literature and cinema in the late 1950s and then moving to her accomplishments associated with her responsibilities for Polish (and other East European matters) in Kontinent, Russkaia Mysl, and Radio Liberty. She not only kept Russophones informed about the ups and downs of the Solidarity movement, but played other important roles as well, both as an inspiration for many Polish underground activists, and as support and aide to countless Poles in exile or transit in Paris. She maintained important contacts with Kultura, and was personally and philosophically close to its directors and supporters. She has both translated and been translated by outstanding Polish literary figures, and is currently the chief translator and member of the editorial board of Novaia Pol’sha. Finally, in addition to several important awards over the years, she was granted Polish citizenship in 2006. The picture which emerges is one which adds several important dimension to our understanding of this important literary and social figure–about whom relatively little is known beyond the bare outlines of her contributions to the Soviet human rights/samizdat movement–but which also clarifies her relationship with important developments in Polish cultural and political history.
ЛИТВАНИЈА
Darius Baronas
Grand duke Algirdas of Lithuania in Polish, Russian and Byzantine eyes (14th–15th c.)
Grand duke Algirdas of Lithuania (1345–1377) extended the limits of his realm to most of present-day Belarus and Ukraine. He was deeply involved in Rus’ political life in terms of military and diplomatic affairs. His activities ranged from as far north as Pskov and Novgorod to as far south as the Black Sea coast. In his dealings with Tartars and Moscow he aspired to supremacy all over Rus'. At the same time, Algirdas happened to be the father of a numerous family: many of his sons founded princely clans in Rus' and one of them, notably King Władysław II Jogaila (1386–1434) of Poland, was the progenitor of the Jagiellonian dynasty. All this accounts for his becoming part and parcel of later historiography in a number of countries: Poland, Lithuania, Muscovite Rus' etc. He continues to hold his sway over historical imagination in some quarters even to this day. No surprise, his personality tended to be depicted in widely different colours. This paper attempts to make sense of such contradictory statements. On the one hand we can observe similar motifs being invoked in such different sources as Polish and Muscovite chronicles and annals in which, to all probability, they had not the same meaning. On the other, we can observe an evolution of Algirdas's image in Muscovite sources in particular which, in the early fifteenth century, tend to set him as an example to be imitated by Orthodox Rus'ian princes despite the fact that he was depicted as a pagan. This image was bound to change from the late fifteenth century onwards when he came to be depicted as a subject ruler of low birth, although an Orthodox one. It is to be remembered that Algirdas was one of a few Lithuanian rulers who came to be known in Byzantine intellectual circles (although anonymously, as his true name was ignored). Such men of letters as Nikephoras Gregoras and Michael Balsamon produced two different pictures of Algirdas in the light of which he may either be viewed as almost a pious Christian or a tyrant capable of persecuting Christians. These Byzantine images provide us with a means to show better how the image of Algirdas could be made to serve different or similar ends in different contexts.
Artūras Dubonis
The Amount of Political Influence of the Duchy of Halich-Volhynia in the Formation of the Lithuanian State in the Thirteenth Century
In the thirteenth century the Duchy of Halich-Volhynia played an intermediary role in introducing the Lithuanian ruling dynasty to Eastern and Central European politics.
In 1219 the duke of the south-western Rus’ian lands Daniil Romanovich attempted to use the forces of Lithuanian dukes for his own political interests. His relations with the then most ducal family of Lithuanian lands and subsequently with Vytautas were the main factor defining the political principles of behaviour of the Lithuanian state in the south.
The relations between Mindaugas and Daniil deteriorated in the early 1240s when the Lithuanians established themselves in the Russian towns of the upper reaches of the Nemunas River. In the internal wars of 1249-1254 Mindaugas retained and consolidated his power in Lithuania, however he was forced to make territorial and political concessions to the rulers of Halich-Volhynia by the treaty of 1254.
When the terms of this treaty were breached, Mindaugas was on a collision course with Halich-Volhynia and established friendly relations with the land of Novgorod.
After Mindaugas’ murder in the autumn of 1263, his son Vaišelga, an Orthodox monk, acceded to the throne of Lithuania in 1264. During his rule Lithuania fell under the influence of the Romanoviches of Halich-Volhynia, and this process was stopped only by the duke Traidenis (1268-1282), who was brought to the throne by the Lithuanian nobility.
Traidenis exploited the internal strife in the Romanovich dynasty, selecting its most prominent representative duke Lev Daniilovich as his ally. These connections enabled Traidenis to avoid a conflict with the Tartars and to establish good relations with the Mazovian dukes in Poland.
Dainius Razauskas
The Slavic Motif of “Incorrect but Favourite to God Prayer” in the Light of Lithuanian Data
There is a motif in Slavic folk tradition (known from some written religious and litterary sources too) of a saint, living on isle in the sea or sea-shore or bank of some other water body, who doesn’t know Christian prayers properly but on the occasion of being instructed by a travelling preacher of official Church unexpectedly reveals his abbility to walk on the surface ot the water. Seeing that, the preacher tells him to pray as he wishes for his prayers are obviously favorite to God. The motif belongs to the type AT(U) 827 entitled A Pious Innocent Man Knows Nothing of God recorded all over the Europe and sparcely in other continents, but the considerable body of records are namely Slavic. These have been surveyed and analysed by the outstanding Russian scholar late Nikita Ilyich Tolstoy in his special article “The Slavic Legend of Favorite but Incorrect Prayer”. The scholar has marked off the area of Byelorussia and North Ukraine from the whole of the Slavic world for a variation of the motif (rarely recorded also in Poland) distinguished by the following features: the would-be saint lives not on the isle but in the forest as a wild man; his prayer consists in jumping over the brooklet or log and chanting “this is for you, God, this is for me, God”; after being persuaded to go to the church he walks over the surface of a lake but after attending the Mass (or being instructed in the common Christian prayer) on the way back begins to sink. The point is that this “Byelorussian-Ukraine” variant absolutely conforms with the samples collected in very great number in Lithuania (and Latvia too). It is to be emphasized that there is in Lithuania seemingly not even a record of the legend where the Pious Innocent Man would be presented as a Christian saint: he is just a wild man (or child) sometimes overtly opposed to Christianity as also in some Byelorussian records presented by N.I. Tolstoy. Considering this to be an indication of archaicity of the variant and taking into account its mentioned geographical distribution we could infer the motif being of prechristian origin and having been originated in the area with supposed (Eastern) Baltic substrate including contemporary Baltic countries.
Sergej Temchin
The Activities of Cyril and Methodius in the Monastery of Polychroniou and the History of the Old Church Slavic Gospel
Before their mission to the Slavs, Cyril and Methodius devoted themselves to certain book activities in the monastery of Polychroniou. These activities may be related to translations from Greek into Slavonic, but more data are needed to prove this assumption.
The information about the monastery (the number of fathers and the annual income), presented in the Life of Methodius, does not correspond to the Byzantine realities of the 9th century. However, it can be related to certain symbolic realities of Christian culture.
The 70 fathers (or 72, if we add Cyril and Methodius themselves) in the monastery presents us a number with a rich symbolic meaning: a) the 70 (or 72) nations among whom the earth was divided; b) the 70 (or 72) languages created by God during the attempt at building the Tour of Babel; c) the 70 elders of Moses (or 71, if we add Moses himself), who received from God the spirit of Moses and started preaching; d) the 72 (or 70) Jewish elders, who translated the Septuagint in the course of 72 days; e) the 70 (or 72) St Apostles, who received the Holy Spirit and started preaching in different languages; f) the 72 chapters introduced by Andreas of Caesarea in the Book of Revelation; g) the 72 (or 71) books the Christian Holy Writ is composed of (as counted by Cassiodorus).
The annual income of 24 bushels of gold may also be divisible by 72, if bushel here really means the Roman pound (consisting of 72 solidi).
This cultural context may serve as a proof for the assumption that in the monastery of Polychroniou certain Biblical books were translated from Greek into a new language. These can be identified with the Russian Gospel and Psalter, mentioned in the Life of Cyril.
Starting from this point, the paper will present a relative chronology of different structural types of the Old Church Slavonic Gospel.
МАКЕДОНИЈА
Tanas Vražinovski
Holy and secular characters in the Macedonian folk tradition
The Macedonian folk tradition has created two basic myths: a) the myth about the holy hero, that is, the religious and saintly hero, and b) the myth about the secular hero. The myth about the holy hero is primarily introduced through the characters of the God and some common Christian saints, as for instance: the Virgin Mary, St. Peter, St. Elias, St. George, St. Michael and St. Nicholas, as well as of the Macedonian national saints Ss. Clement and Naum of Ohrid, who were the founders of the Macedonian Christian culture, and the Macedonian local saints: St. Joakim Osogovski, St. Gavril Lesnovski and St. Prohor Pčinski who were known as hermits.
The main representative of the myth of the holy hero is the God who is presented as the creator and the Lord of the world. He rules the world and determines the destinies of people in life and in death. His decisions must be obeyed and can not be changed. Those people who break his requests are punished and suffer terribly. Besides the God there are saints who perform certain functions, the main of which is the mediation in the relation to man-saint-God and vice versa. The Virgin Mary, St. Elias, St. Michael and some other saints are mediators between the man and the God who fulfills the prayers of people through their mediation. Next functions refer to healing abilities, when the saints heal the sick and disabled people by means of miracles, and to protection which means that saints are patrons of many settlements, churches and monasteries. The most significant representatives of the two latter functions are Ss. Clement and Naum of Ohrid. Some icons, mainly those of St. Mary, as well as the relics of some saints, also have healing powers.
The secular myth of the hero in the Macedonian folk culture was created in a completely different way in comparison to the myth of the holy hero. This myth is connected to various figures from our history, as for instance to Alexander of Macedonia, King Marko, who are of particular importance for the Macedonian folk tradition. A specific type of the myth of the hero deals with the activists of the Macedonian liberation movement against the Ottoman rule, as for instance: Goce Delčev, Jane Sandanski, Pitu GUli, Jordan Piperkata, etc., whose personalities became mythologized in the course of the time.
The secular hero also performs certain functions, although they differ in dependence to the period of time and to the social and political environment in which he lived and worked. Thus, the functions of Alexander of Macedonia differed from those of King Marko, and the functions of the Ilinden hero were of completely different type. The basic function of the Ilinden hero was his struggle for liberation of his homeland from foreign rule. All other activities were subdued to this function.
To know the myths of our own country means to know our own origin, culture and identity (both religious and material ones).
Милан Гюрчинов
Полилингвизм в столкновении с творческим порывом
Александр – Ацо Караманов – македонский поэт периода Второй мировой войны. Он начал творить еще в детстве и проявил себя как исключительно плодовитая и талантливая личность. Караманов родился в 1927 году в Радовише, Восточная Македония, а погиб в начале октября 1944 года, когда велись последнии бои за освобождение Македонии. В то время ему было лишь 17 лет, но после себя он оставил очень богатое литературное наследие, которое долго время было неизвестно. После того как в 2003 году стал доступным его личный архив, десятки лет находившийся за пределами нашей страны, стало ясно, что Ацо Караманов – одно из самых занимательных и значительных имен среди предшественников новой македонской поэзии периода Второй мировой войны. Литературная критика долгое время сомневалась, включать ли его многостороннее наследие в корпус национальной литературной истории, поскольку Ацо Караманов ни одно свое произведение не написал на родном языке. Он писал исключительно на сербохорватском и болгарском языках.
Вопрос о национальном языке, являющимся первичным условием для существования любой национальной литературы, а также соотношение этой аксиомы и полилингвизма большей части балканских писателей XIX и XX веков давно привлекали внимание литературных историков, стремящихся определить национальную и литературную самоидентификацию таких авторов. По этому вопросу существуют многочисленные и разнообразные (зачастую диаметрально противоположные) точки зрения и ответы.
Караманов начал писать на сербохорватском языке, прекрасно зная сербскую и хорватскую литературы. Этот язык в течение нескольких лет был языком его образования, когда он как сын чиновника учился и жил в Сербии. Позже, по возращении в Македонию и приезде в Скопье похожим образом он познакомился с болгарской литературой и большую часть своих поэтических произведений в 1942-1943 гг. написал на болгарском языке. Он прекрасно владел обоими языками. Находясь в партизанском отряде в последние месяцы своей жизни, Караманов, по свидетельству его товарищей, начал писать на своем родном македонском языке. Эти его стихи были безвозвратно утеряны, тетради уничтожены при погребении убитого поэта.
В 1963г. посмертно был опубликован его поэтический сборник “Красная весна”, содержащий примеры народно-освободительной и революционной лирики Караманова.
И спустя 30 лет, после долгих исследований и после публикации сборников “Серебрянные сны” (1994г.) и “Великая песня Ацо Караманова” (2006г.) представления о наследии и ценности этого молодого и преждевременно погибшего поэта коренным образом изменились. Архивные находки подтвердили предположение о том, что в лице Ацо Караманова македонская поэзия, создаваемая во время народно-освободительной борьбы и войны, приобрела исключительно талантливого и высокообразованного литературного творца, чье дальнейшее развитие в освобожденной Македонии могло принести такие плоды, о которых мы можем только догадываться.
В настоящее время очень актуален вопрос: кому принадлежит Ацо Караманов и его творчество? К какой и чьей национальной литературе следует отнести его исключительное поэтическое наследие? И следующий вопрос: до каких пор на Балканах нас будет преследовать навязчивый вопрос о «принадлежности»? И стоит ли задаваться этим вопросом, ставя «принадлежность» намного выше, чем «ценность», т.е. литературную и поэтическую ценность того, о чем мы говорим?
В новейшее время встречается решение, при котором такие случаи рассматриваются в рамках «функции текста» поэтов полилингвистов. В ряде случаев этот подход приносит результаты. Но в случае с Ацо Карамановым его нельзя применить, поскольку этот Mолодой поэт за свою короткую жизнь не опубликовал ни одного своего стихотворения! Его стихи переписывались и читались только его самыми близкими друзьями и коллегами! И как быть в таком случае?
Следует ли в таком случае уничтожить и стереть из памяти поэтические достижения Ацо Караманова, следует ли заявить, что его творчество создавалось вне времени и без опоры на какую-либо национальную почву, а самого Караманова объявить поэтическим Агасфером, который парит в неопределенной области балканского лингвистического и литературного пространства?
Или? Мы попытаемся подробнее рассмотреть эти проблемы и пути их решения в нашем выступлении на Съезде.
Marko Kitevski
Ratzin and Koneski (A Folkloristic Perspective)
The most important Macedonian poet and revolutionary Koco Ratzin has accomplished significant results as collector and researcher of Macedonian folk creations. He used to read the most important folklore researchers (Kravcov, Veselovski, Ivanov etc.), he consulted the most significant collections of Macedonian folklore creations (Miladinovci, Verkovic, Sapkarev, Cesmedjiev, Kiselinov, SbNU etc.), he wrote down the collections with Macedonian revolutionery songs (Macedonian songs from the National Liberation War, 1943), he wrote a paper on the Macedonian folk songs, but what's more folklore has considerable role in his work, specially his poetry opus.
Blaze Koneski has written on Koco Ratzin and his opus on several occasions, specially regarding his poetry and the folklore inspiration it consists. Koneski points out that Ratzin was inspired by the oral tradition because some folk songs that were popular at the time when his songs were published (Lenka, Tatunco etc.), served the poet as inspiration. Koneski reveals the same for himself, claiming that he was inspired by the oral tradition so his poetry encloses some of the legends and stories he used to hear in his childhood. The story of the horrifying Sterna is still buzzing in his ears, he claims. Koneski is also known as collector of folk creations (Collection of Macednian Folk Songs, Collection of songs “From the fight”) and his researches on the folklore issues have everlasting values.
The paper will emphasise the significance of these two Macedonian genius in terms of collection and research of the Macedonian folklore as well as regarding the folklore motifs in their literary work.
Kata Kulavkova
Historiographic metafiction as metahistoriographic fiction – critical re-reading of the metafictional paradigm –
The study redefines the key notions of the postmodern epistemological paradigm as related to the historical novel and the so-called historiographic metafiction: auto-referential fiction, narcissist prose, historic fiction, metafiction, theoretical fiction, metahistoriographic fiction and metahistorical metafiction (narrative, dramatic, theatrical, filmic). Based on this revision, the study offers a classification of the fictional, the metafictional and the metahistoriographic practices, accompanied by examples from the world and the Macedonian literatures. An emphasis is put on the need of replacing the conventionalized notion of historiographic metafiction with the notion of metahistoriographic fiction.
Key words: historiographic metafiction, metahistoriographic fiction, typology, revision of official narratives, Macedonian novel, postmodernism
Добрила Миловска
Святая Гора и македонская письменная традиция
Славянские монастыри на Святой Горе играли особо важную роль в развитии славянской книжности. В этих монастырях создавались новые и переписывались старые славянские тексты. Многочисленные рукописи, которые были написаны в других местах, поступали в святогорские собрания рукописей. Однако, и рукописи со Святой Горы очень часто оказывались в чужих странах. Между тем, в данном труде нас интересуют лишь рукописи, связанные с Македонией и Святой Горой. На самой Святой Горе в середине 19-го века были обнаружены два интересных текста, написанные глаголицей – это Зографское и Мариинское четвероевангелия. Они были переписаны в первые десятилетия 9-го века, сначала – Зографская, а позднее и Мариинская рукопись, которая является одной из старейших рукописей с введением языковых новшеств, характерных для македонской территории. В том же веке были найдены и другие рукописи македонского происхождения. И по сей день сохранились связи между святогорскими и македонскими монастырями, где хранится небольшое количество рукописей, которые обогащают многие иностранные собрания рукописей.
Jasmina Mojsieva – Gusheva
Aspects of Imaginary in Contemporary Balkan Prose (From the other side of reality)
This article derives from three-year researches made for the needs of the Project ‘Similarity among Balkan Literatures’ with particular review to the matter of Reality and Imaginarity, worked out in the Institute for Macedonian Literature in Skopje (Macedonia). It exposes comparative analysis of the research of imaginarity, which incorporates different anthropological secrets, stories, illusions. The field of interests is only limited to two countries of the Balkans (Macedonia and Croatia) presented through one representative of modern prose (Venko Andonovski and Pavao Pavliciќ) with one of their novels (Papokot na svetot and Koralna Vrata).
The paper indicates the subtle transition between the real and imaginarity worlds as well as the key immanent core around which imaginary concepts are organized. It not only presents a kind of conglomerate of imaginarity but it is also cognizable for its specifically elaborated structure of imaginarity. Namely, actual concepts of postmodernism have been applied interweaved with theoretical concentration of the known researches of imaginarity: Jean Paul Sartre, Gaston Bashelard, Gilbert Durand, and etc. At the same time it attempts to answer the question how much the texts can multiply meanings and codes, and if such in-depth multiplication of meaning induces exchange of the two worlds; if imaginary worlds created by Macedonian and Croatian modern writers Venko Andonovski and Pavao Paviciќ and their meaning have power to trick reality.
Key words: real world, imaginary world, mistification, intertextuality, autoreference, ludism
Vesna Mojsova-Cepisevska
About the creative correction through the experience of Koco Racin
It is an irrefutable fact that the reflections of all major and important literary-esthetic movements in Europe arrive later in these regions, and here, in Macedonia, they arrive last. It is for this very reason that it is a shame that Koco Racin will not appear on the literary stage with his individual book of poetry, and here we are primarily thinking of The Anthology of Pain of 1929, a period when in Macedonia there was an insistence on folklore realism, regionalism, on an ethnographic-folklore component in literature.
In the finally defined text, in this case, Racin’s poems written in Serbian/Croatian, the presence of other texts can be seen through the intertext, which once again refers to the dialogue of the text with texts of other literatures, but in this case, more concrete and more complex in the spirit of that Bahtin saying that foreign culture, only in the eyes of another culture, can reveal itself more freely, more meaningfully, deeper.
The dialogue that Racin has, especially with the Croatian poets, fits in with what Andre Zhid, at the beginning of the last century (in the distant 1900), defines as a lack of fear from influences. Zhid believes that great poets, among whom we unreservedly include the Macedonian Koco Racin, are those who are not only fearless, but also in search of influences, they look for them and through that productive comparison and encounter, they develop their individuality and their characteristic. In that context we can mention Thomas Stern Eliot (the representative of textual poetics) and his belief about the discussion with “the dead poets” in the esthetic overvaluing of the place and role of every modern poet, or just poet in general. Upon discussion between two cultures, says Bahtin, they unite, yet they do not negate each other, rather each of them keeps their unity and oneness with which both are mutually enriched. We pose the foreign culture new questions, questions it has not posed itself... This knowledge establishes such a philosophy of culture, within which, existence as well as the fact of cultural differences, rather than being obstructive, are in fact constructive and stimulative, encouraging and at the same time deepening the process of understanding, as well as enriching individual cultural experiences. What is a greater challenge in all this is the connection (spiritual, friendly, political, artistic) that Racin has with Croatia, especially in his reaction to his so-called poetic father (the predecessor) manifested through the category creative correction (the reading of the parent-poem by the second poet - the follower). It is this connection that leaves a great mark on the Croatian cultural heritage.
Naume Radičeski
The meanders of Expressionism in South-Slavic literatures
Soon after its authentic emergence in the German and the wider western European region towards the end of the first decade of the 20th century, the powerful currents of expressionism also took hold of the South-Slavic cultural regions. They primarily and especially took hold of the north most parts of the South-Slavic literary regions, the Slovenian and the Croatian ones, however they did not simply pass by the remaining national literatures of the Slavic south, and they yielded results appropriate to the potentials of the said national literary subjects. On the other hand, bearing in mind the variety of literary, cultural and other circumstances in each of the national South-Slavic literatures, the powerful currents of expressionism were not felt to the same extent everywhere, but rather, they frequently meandered throughout the choppy South-Slavic - Balkan cultural region. This led to its development and realization in the South-Slavic literatures. It develops differently in the Slovenian and Croatian literatures in the north, differently in the Serbian literature, whereas in, at that time, the less and not so typically developed Macedonian and Bulgarian literature in the South-Slavic south and southeast, it subsides and does not have such a developed expression.
Блаже Ристовски
Македонистические идеи Петра Драганова и отзывы в славистике
Бессарабский болгарин и видный российский славист Петар Даниилович Драганов (1857-1928) является не только основоположником македонистики как науки в России, но и человеком, открывшим новую главу в славистике вообще. Будучи воспитанником петербуржского слависта В.И. Ламанского, он был послан преподавать в Болгарской экзаршей гимназии «Кирилла и Мефодия» в Салониках. В течение двух учебных лет он всесторонне изучал родину Кирилла и Мефодия с культурно-исторической, филологически-литературной, фольклорной и этнографической точки зрения. В Санкт-Петербург он вернулся с трехтомным «Македонско-славянским этнографическим, диалектологическим, литературным и лексилогическим сборником», который сразу же был принят с большим интересом, награжден и рекомендован к печати Этнографическим отделением Императорского Русского географического общества. Публикации пришлось ждать до 1894 г., опубликован был только первый том.
Собранные материалы и сведения о прошлом и настоящем турецкой провинции Македония поразили русскую научную общественность, а также более широкие общественно-политические круги. При поддержке своего научного руководителя Ламанского П.Д. Драганов стал компетентным свидетелем ситуации в Македонии, он опирался на богатый оригинальный полевой научный материал и обладал всесторонним знанием о реальном положении дел, о степени развития македонского национального самосознания, а также о формах и методах разрушительной деятельности иностранной национальной пропаганды в Македонии. Драганов первый в русской истории, основываясь на неопровержимых проверенных научных фактах, начал говорить о том, что македонский народ представляет собой отдельный культурно-национальный организм в славянском мире, а македонский язык – отдельный объект в славянской филологии, что историческое развитие македонцев является непрерывным и что македонцы борятся за собственную культурно-национальную будущность.
Публичные выступления П.Д. Драганова вскоре вызвали бурную дискуссию в славистических кругах о истории, языке, письменности, фольклоре, этнографии и национальном самосознании македонцев. В сущности за год до выступления Драганова в русском обществе началась оживленная полемика по вопросу о языке, фольклоре и этнографии Македонии, которая была вызвана опубликованным в то время в Петербурге этнографическим сборником И.С. Ястребова. Главным образом обсуждался вопрос, являются ли македонцы сербами, как утверждал Ястребов, или болгарами, что доказывал Марин Дринов. Появление Петра Драганова внесло третий субъект в полемику с указанием на то, что македонцы являются не сербами и не болгарами, а представляют собой отдельный славянский культурно-национальный организм – македонцы.
В эту «этнографическую дискуссию» в русской славянофильской и другой печати включились не только видные русские слависты и публицисты, но и известные представители сербской и болгарской славистики, и даже некоторые представители македонской интеллигенции, находившейся под влиянием балканских великодержавных концепций. Данные события открыли новую главу в истории славянской филологии второй половины XIX – начала XX века.
Вера Стојчевска-Антич
Македонские прототипы рукописей: Новгородские листы, Мирославово евангелие и Драголев сборник
Св.Климент Охридский кроме своей учительской и церковно-книжевной деятельности, стал основоположником значительной Охридской книжевной школы. Начиная с 886 года эта школа оказала сильное влияние в развитии рукописного дела на многие славянские книжевности. В данном труде мы обращаем свое внимание на характерный пример - на македонскую рукопись Новгородские листы, на чьей основе появилось русское Остромирово евангелие. Новгородские листы представляют собой Самуилов царский кодекс подаренный в Х-ом веке Киевской Руси.
И другие две рукописи, представленные в этом труде раскрывают македонский прототип.
НОРВЕШКА
Knut A. Grimstad
Kabaret w Polsce okresu międzywojennego: osmoza polsko-żydowska?
Mój artykuł jest wstępnym studium na temat kilku teoretycznych i metodologicznych problemów dotyczących analizy elementów żydowskich w polskiej kulturze popularnej okresu międzywojnia. Interesuje mnie zwłaszcza udział tak zwanych zasymilowanych Żydów w warszawskim kosmopolitycznym świecie kabaretowym – znaczącej, prawie nieudokumentowanej przestrzeni kontaktów międzykulturowych, jak również przestrzeni formowania się polskiej tożsamości. Punktem wyjścia dla moich rozważań jest doświadczenie, które określić można mianem uwięzienia w pułapce ambiwalencji polsko-żydowskiego outsidera, doświadczenie nienależenia w pełni do żadnej z etniczno-kulturowych społeczności. Mam tu na myśli takich słynnych artystów kabaretowych jak Julian Tuwim, Marian Hemar, Kazimierz „Lopek” Krukowski i Ludwik Lawiński.
Z tej perspektywy mój wywód będzie dotyczył przedstawienia „żydowskości” zarówno przez tych kabareciarzy, którzy uważali się za Żydów, czy chociażby zdawali sobie sprawę ze swojego żydowskiego pochodzenia, jak również przez tych, którzy byli postrzegani jako Żydzi (bez względu na ich status w świetle prawa żydowskiego). Bardziej niż na przedstawieniu otwartych treści żydowskich skoncentruję się na zbadaniu – po pierwsze – w jaki sposób niektóre formy i gatunki kabaretowe rozwinięte zostały przez Żydów; po drugie – dlaczego owa zainscenizowana „żydowskość” tak bardzo przemawiała do polskiej publiczności; i po trzecie – w jaki sposób ów lęk przed byciem postrzeganym jako Żyd mógł przeniknąć do stylu oraz treści tekstów i przedstawień. Moją hipotezą jest, że w czasie coraz bardziej nacjonalistycznego okresu międzywojennego warszawski kabaret stał się jednym z głównych miejsc osmozy polsko-żydowskiej. Zamierzam dowieść, że zjednoczone wysiłki artystów kabaretowych, mające na celu wykreowanie zainscenizowanej „żydowskości”, mogą zostać odczytane nie tylko jako projekcja zuniwersalizowanej tożsamości, ale także jako odrodzenie się elementów tradycji polskiej różnorodności.
Erik Egeberg
Romanticism and Realism in the works of I. S. Turgenev
Ivan Turgenev, usually regarded as a Realist writer, also exposes Romantic traits in his works, but these are not equally distributed over all the genres in which he wrote. In my paper I will show how the various elements are combined in his novels, short stories, and poems.
Vebjørn Kirkesæther
Bakhtin’s metaphoric hermeneutics
In his writings Bakhtin uses concepts that, in the light of recent development in cognitive poetics, can be interpreted as conceptual metaphors: e.g. being-as-event (событие бытия), the dialogicity of truth (диалогичность истины). Cognitive theories are controversial and it is possible to read Bakhtin in such a context only in a restricted way. However, his universe contains metaphors that certainly are more than decorative ornaments, in traditional philosophy believed to be in principle dependent on more precise, literal meanings. Being and truth have traditionally been seen as the invariant, the substantial core of things and it has in general been held to be the task of science to reflect this objectively and literally. For Bakhtin, being and truth primarily mean movement and (ex)change anchored in our embodied existence, and this kind of being and truth find their true expression in what can be seen as conceptual metaphors. In this speech I analyze possible theoretical affinities and contrasts between some of Bakhtin’s fundamental phenomenological concepts and cognitive poetics’ attempt to understand our thinking as embodied and therefore metaphorical.
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