Романтичарската традиција и современиот македонски фантастичен расказ

The fantastic short story in Macedonian literature has developed along lines typical for fantastic literature in general; through the folklore collections made by Marko Cepenkov, it leads to modern artistic literature, thus accomplishing a synthesis of tradition and innovation of its own. There are numerous authors in Macedonian literature who are admirers of the fantastic short story as a form of literary narration within the frameworks of fiction. Some typical forms of traditional romantic fantastic short stories could be found in the literary work of Macedonian writers: Slavko Janevski, Vlada Urošević, Mitko Madzunkov,  Krste  Čačanski,  Dimitrie  Duracovski,  Dragi  Mihajlovski, Aleksandar Prokopiev, Venko Andonovski, etc. The popularity of fantastic short stories in Macedonian literature has not diminished over time; on the contrary, it has gained intensity. The fantastic short story tries to retain the polymorphism of eyes’ and souls’ visions. In the very name of Romanticism, therefore, we can say that: “Romanticism is not dead!”.The fantastic short story in Macedonian literature has developed along lines typical for fantastic literature in general; through the folklore collections made by Marko Cepenkov, it leads to modern artistic literature, thus accomplishing a synthesis of tradition and innovation of its own. There are numerous authors in Macedonian literature who are admirers of the fantastic short story as a form of literary narration within the frameworks of fiction. Some typical forms of traditional romantic fantastic short stories could be found in the literary work of Macedonian writers: Slavko Janevski, Vlada Urošević, Mitko Madzunkov,  Krste  Čačanski,  Dimitrie  Duracovski,  Dragi  Mihajlovski, Aleksandar Prokopiev, Venko Andonovski, etc. The popularity of fantastic short stories in Macedonian literature has not diminished over time; on the contrary, it has gained intensity. The fantastic short story tries to retain the polymorphism of eyes’ and souls’ visions. In the very name of Romanticism, therefore, we can say that: “Romanticism is not dead!”

Contours of Mácha´s myth

In 2010, Czech culture celebrates the 200-year anniversary of the birth of Karel Hynek Mácha, the Czech romantic poet. The early reactions to Mácha´s works were for the most part rejections: national culture did not want to admit themes that would not serve the immediate goal of developing Czech patriotic culture. In despite of this, from the 1860´s, Mácha´s legacy gradually advanced into the focus of Czech culture. Nevertheless, Mácha can be seen as indisputable part of the Czech cultural canon from the late nineteenth century. The ways in which Mácha became the greatest inspiration appearing in Czech literature, music, visual ATS, films or theatre were different, although they all created the mythological interpretations of poet.In 2010, Czech culture celebrates the 200-year anniversary of the birth of Karel Hynek Mácha, the Czech romantic poet. The early reactions to Mácha´s works were for the most part rejections: national culture did not want to admit themes that would not serve the immediate goal of developing Czech patriotic culture. In despite of this, from the 1860´s, Mácha´s legacy gradually advanced into the focus of Czech culture. Nevertheless, Mácha can be seen as indisputable part of the Czech cultural canon from the late nineteenth century. The ways in which Mácha became the greatest inspiration appearing in Czech literature, music, visual ATS, films or theatre were different, although they all created the mythological interpretations of poet

Śladem romantycznej kreacji bohatera w chorwackiej poezji końca XX wieku. Od wampira do konsumenta

One of the distinctive traits of Romantic literature was its frenetic feverishness and frightening otherness, the embodiment of which was, among many other beings, the vampire. This character in neo-Romantic contexts was sometimes invoked by the representatives of Croatian poetry of the late twentieth century. However, in its different currents it performed a different task. War and martyrdom poetry collected in the anthology “U ovom strašnom času” used the specter for the creation of a portrait of the enemy, while using the familiar clichés of Renaissance variant of Croatian romanticism. Branko Maleš’ vampiric themes merge into an indivisible whole with references to contemporary consumerism and co-create an ironic self-portrait of a postmodern neo-Romanticist. Maleš reaches for the themes of romantic strangeness and deconstructs them in a ludic manner.One of the distinctive traits of Romantic literature was its frenetic feverishness and frightening otherness, the embodiment of which was, among many other beings, the vampire. This character in neo-Romantic contexts was sometimes invoked by the representatives of Croatian poetry of the late twentieth century. However, in its different currents it performed a different task. War and martyrdom poetry collected in the anthology “U ovom strašnom času” used the specter for the creation of a portrait of the enemy, while using the familiar clichés of Renaissance variant of Croatian romanticism. Branko Maleš’ vampiric themes merge into an indivisible whole with references to contemporary consumerism and co-create an ironic self-portrait of a postmodern neo-Romanticist. Maleš reaches for the themes of romantic strangeness and deconstructs them in a ludic manner

Frenezja sadyczna po czesku: Křesadlo, Zykmund, Urban

In Czech literature of the second half of 20th century a sadistic frenzy is present in several few novels by Jan Křesadlo, Václav Zygmunt and Miloš Urban. Although Czech writers do not copy the work of Marquise de Sade, they do use the motif of sadism to diagnosis the human condition in modern times, just as he did. In his novels Gravelarks and The Lord of Castle Křesadlo comes back to the times of Czechoslovakian Stalinism. In the novel Graduates’ Jubilee Zykmund criticizes the middle-class mentality, while Urban, in his novel Michaela, depicts a world between fiction and reality. Czech authors present the sadistic frenzy as a synthesis of exclusivity and primitiveness. In this way they express the more general subject, that is the relationship between culture and nature in modern times. A more or less perceptible deformation of nature is a side-effect of human aspirations to rule over nature. The sadistic frenzy shows a extreme variant of this phenomenon.In Czech literature of the second half of 20th century a sadistic frenzy is present in several few novels by Jan Křesadlo, Václav Zygmunt and Miloš Urban. Although Czech writers do not copy the work of Marquise de Sade, they do use the motif of sadism to diagnosis the human condition in modern times, just as he did. In his novels Gravelarks and The Lord of Castle Křesadlo comes back to the times of Czechoslovakian Stalinism. In the novel Graduates’ Jubilee Zykmund criticizes the middle-class mentality, while Urban, in his novel Michaela, depicts a world between fiction and reality. Czech authors present the sadistic frenzy as a synthesis of exclusivity and primitiveness. In this way they express the more general subject, that is the relationship between culture and nature in modern times. A more or less perceptible deformation of nature is a side-effect of human aspirations to rule over nature. The sadistic frenzy shows a extreme variant of this phenomenon

Mácha w awangardowym teatrze E. F. Buriana

This essay is devoted to the Czech avant-garde stage-adapter from the 1930's and 1940's, Emil František Burian and his theatre D34 (also called “Dečko”). Burian adapted the output of the romantic poet, Karel Hynek Mácha, for the stage, using it to explore and express his conception of avant-garde theatre. In the words of Burian, Mácha was the “Czech Shakespeare”, far from any realism, so the meaning of his output, staged in the traditional, realistic theatre, was distorted. Trying to find the right way of staging Mácha, Burian finds his own idea of the new theatre, inspired by the conceptions of the Russian stageadapters Vakhtangov and Tairov. The most important categories in the Burian’s theatre were: motion, light and music. Burian was looking for a way to translate the language of unrealistic, romantic literature into the modern language of theatre. In cooperation with M. Kouřil and J. Lehovec he created what was known as Theatergraph, which began the era of “multimedia” performances. Burian’s modern conceptions of actor’s play also inspired others.This essay is devoted to the Czech avant-garde stage-adapter from the 1930's and 1940's, Emil František Burian and his theatre D34 (also called “Dečko”). Burian adapted the output of the romantic poet, Karel Hynek Mácha, for the stage, using it to explore and express his conception of avant-garde theatre. In the words of Burian, Mácha was the “Czech Shakespeare”, far from any realism, so the meaning of his output, staged in the traditional, realistic theatre, was distorted. Trying to find the right way of staging Mácha, Burian finds his own idea of the new theatre, inspired by the conceptions of the Russian stageadapters Vakhtangov and Tairov. The most important categories in the Burian’s theatre were: motion, light and music. Burian was looking for a way to translate the language of unrealistic, romantic literature into the modern language of theatre. In cooperation with M. Kouřil and J. Lehovec he created what was known as Theatergraph, which began the era of “multimedia” performances. Burian’s modern conceptions of actor’s play also inspired others