"Blaze Koneski" Faculty of Philology
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Item type:Publication, After the fall of the Wall: tranzicijska iskustva postsocijalističkog Balkana(Filozofski fakultet Sveučilišta u Zagrebu, Zagrebačka slavistička škola, 2013)Banovikj-Markovska, Angelina - Some of the metrics are blocked by yourconsent settings
Item type:Publication, Балканизмот/византизмот како ресемантизирана меморија (споделена точка на допир во културната историја на Балканот)(БАН, София, 2017)Banovikj-Markovska, AngelinaThis essay is based on the premise that in these areas there is one specific cultural memory, which could be not only an important link for understanding and interpreting the Balkan's past, but the starting point for future dialogue forms. It takes into account recalling and forgetting - recalling as an ability to recall into our memories past events and times, while forgetting as a suppressed type of "experience" which functions both as the source and the depository of our knowledge. This could contribute to the creation of a (re) semanticized memory, that would not be burdened by the ethnogenesis of the Balkan peoples, but with the shared "sites of memory", with potential points of contact, which reveal who we are, based on what we no longer are. In this respect, the terms milieux de mémoire and lieux de mémoire from Pierre Nora's concept seemed exceptionally important and adequate. The former as entry into the mnemonic restructuring of the lived collective memory in the Balkans (which led to the creation of an internalized, sedimentary and commemorative memory), while the latter as the key for mnemonic deconstruction of that inherited memory and for creating an externalized counter-memory, which in the symbolic displays, sites and ideals of the Balkan cultural history, would recognise the common, referential and almost productive "points of contact". In this essay I will focus on Balkanism/Byzantism as a shared "memory site" whose cultural mission - redefining the contaminated image of the Balkans - paves the way towards horizontal and vertical integration of Balkan peoples and cultures. - Some of the metrics are blocked by yourconsent settings
Item type:Publication, OD TRANZICIJE DO GLOBALIZACIJE: POLITIČKI (NE)IDENTITET(I) EUROPE(Odjel za kulturologiju Sveučilišta J. J. Strossmayera u Osijeku, Institut društvenih znanosti Ivo Pilar u Zagrebu, 2014)Banovikj-Markovska, AngelinaIt is evident that the final phase of European identity formation would happen in South-Eastern Europe, although for the majority of European citizens, it is still a rather empty, only mental idea. However, for their governments, it represents a minor “grey zone” related to pre-political consciousness which refuses to participate in a democratic search for European legitimacy. The mentioned project tries not only to (re)integrate the present political borders, but also to create a democratic public space which would stimulate the political and cultural promotion to create a new identity. The question raised is: Which way has European Union chosen to create its new, post national, civic or better to say, transnational political identity? - Some of the metrics are blocked by yourconsent settings
Item type:Publication, Бегство и пограничные субъекты в ‘Романе о Лондоне’ Милоша Црнянского(2009)Banovikj-Markovska, Angelina - Some of the metrics are blocked by yourconsent settings
Item type:Publication, Politika, Kultura, Identitet (interkulturalni dijaog)(odjel za kulturologiju Sveucilista Josipa Jurja Strossmayera u Osijeku, Skolska knjiga, 2013) - Some of the metrics are blocked by yourconsent settings
Item type:Publication, TRI FUNKCIJE BALKANSKE MUŠKOSTI(Mediacentar, Sarajevo, 2013-01-30)The study “Three Functions of the Balkan Masculinity” by Jasna Koteska investigates the notorious concept of the Balkan masculinity and its status in the post-war 21st century Balkans. The study offers a reading of the intersection between the concepts of Balkanism, masculinity and their media representations, via a detailed readings of the Serbian film “Parade” (2011) and of the Macedonian film “Punk is Not Dead” (2011) in their multiple textual, gender, national and cultural dimensions. The text distillates three main characteristics of the concept of the Balkan masculinity as represented in the art products from the 21st century post-war Balkans: (1) avoiding the social responsibility, (2) censorship of homosexuality, and (3) a tight idea of a brotherhood. All of the three detected elements are elaborated with different examples from art practices: film, literature, and media. The text is using an interdisciplinary approach in interpreting the phenomena of the Balkan masculinity with methods from several related disciplines: film studies, literary criticism, gender studies, nationalism studies, theoretical psychoanalysis, and philosophy. - Some of the metrics are blocked by yourconsent settings
Item type:Publication, За статуса на несъзнаваното и съня. (2005, на бугарски јазик)(E80. 39grama bulgarian culture, 2005) - Some of the metrics are blocked by yourconsent settings
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Item type:Publication, Narativne melioracije povijesti(Knjizevna smotra Hrvatsko filološko društvo, Filozofski fakultet, Zagreb, 2016)Marija Gjorgjieva Dimova
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