Tasevska Hadji Boshkova, Iskra
Preferred name
Tasevska Hadji Boshkova, Iskra
Official Name
Tasevska Hadji Boshkova, Iskra
Main Affiliation
Email
iskratasevska@yahoo.com
85 results
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Item type:Publication, „Оживеаната“ расказност во ерата на методолошкиот плурализам (Атанас Вангелов „Теорија на прозата“)(Филолошки факултет „Блаже Конески“, 2010)Inquiring the problem of narration and narratology in this contemporary epoch rich with its post-methods (postmodern, poststructural, psychoanalytic, feminist, postcolonial, etc.), and analyzing the interest in narrativity as tradition even before initializing the term “narratology” by Tzvetan Todorov in “Grammar of Decameron” (1969), we are witnesses of the unstoppable actualization and reactualization of narration as narratological fundamental. It is understandable why it is necessary to reestablish and depict the importance of basic narratology texts (first published in Macedonian in “Teorija na prozata”, Skopje, 1996), as well as to reaffirm the intelligibility of such scholar as Atanas Vangelov, who composed the preface to this publication, uniting following theoretical acknowledgments into metatheoretical basis and dialogization (syncronical and dyacronical). It is important to gaze at the impulses and reflections that this unique translation provoked in the Macedonian literary science, rendering Atanas Vangelov highly professional individual into the “praxis” of total. - Some of the metrics are blocked by yourconsent settings
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Item type:Publication, Идентитетот како реинтегрирано културно наследство во „Историјата“ на Ѓорѓија Пулевски(Институт за македонска литература, 2011)The analysis of how identity experiences constant cultural redetermination in Pulevski’s “History” implies the indispensable suppletion of existing accounts, as well as the need for reaffirmation of culturally inherited works of art, which are usually cast out in the area of non-artistic or quasi-artistic (due to the dominant central genres’ conception). Pulevski’s predetermined goal to create a Balkan history puts him into a position to search and rediscover, but also to rework historical facts and existing representations, that obviously and to great extent bear the stigma of the dominant ideologies, of the context in which they have been created. At first glance, the discourse in “History” seems completely monologic, trapped into the constant need for finding an adequate way of unmasking historical “lies”, that on the other hand acquires its implicit ideology. However, the realization of how Pulevski prefigure (and transfigure) the historical fact destroys this primal illusion. The act of envisaging the notion of national as cultural unity of differences does not diminish the incoherencies that exist in certain parts, yet it underlines the “ideological” and ”formal-argumentative” explanation in historical representation, whose ultimate achievement is not (and should not be) the creation of stereotypes, and stigmatized concepts. - Some of the metrics are blocked by yourconsent settings
Item type:Publication, The problem of authorship (author and the literary work of art)(Institute of Knowledge Management, 2019)This paper represents an attempt to systematize the various presumptions concerning the author of a certain literary work of art. At the same time, it re-evaluates the standard and schematized terms regarding literature as a whole, the essence of literary language, the existence of literary genre, etc. A theoretical possibility of this kind of re-evaluation is the re-examination of the phenomenon called literature, as well as the investigation of its boundaries, that cannot be confined to the Western centric hypothesis of literary language, or the existence of literary genres. Our postmodern epoch has confirmed the necessity of certain extension of the approach to what is called literature, as well as its field of study. Today, it is almost impossible to frame the discrete elements, or the factors that acknowledge the thesis of the independent position of literature in the social process. On the other hand, this kind of relativization of terms has led to the need for more differentiated and more detailed assumption of a certain minimum of elements or aspects, that differentiate literature and artistic creations overall from the other non-artistic phenomena (or the ones that cannot claim this kind of attribute). This kind of necessity takes us back to the re-evaluation of the established notions and categories, since without their existence it is not possible to scientifically analyze literature and literary process overall (even if that analysis is being developed through cultural terms). Hence, the re-investigation of modern and postmodern critical analyses is one of the possible methods to evaluate and examine the key concepts regarding the author and its work. At the same time, the analysis of the problem of authorship does not only concern literary theory, although it poses this question as the most dominant one, since its main preoccupation is the search for meaning of literary work, as well as the way this meaning is being diffracted in various instances of the text. On the other hand, an essential part of this process is the necessity to reveal the person that created this meaning. It is undoubtedly true that this so-called person can in fact represent a shadow of the various unconfirmed, but present voices of a certain epoch or cultural region, from which this man or woman, signed as an author of the text or work, comes from. The proper investigation of the discursive identity called literary work thus requires an exploration of numerous discrete nuances, through which different social and historical accents come into being. However, this does not mean that the critic is a person that is in constant search of lost meanings. In fact, literary theory, spreading the field of its analyses, has provoked the unstoppable interest of its researchers and their necessary investigation of other social sciences and humanities, as well as their different approaches to the broad field, where cultural phenomena come into being. - Some of the metrics are blocked by yourconsent settings
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Item type:Publication, Културната историја како предуслов за повеќенасочно историско паметење(Сојуз на друштвата за македонски јазик и литература, 2012)Cultural history (and, concerning the chronology, especially new cultural history) is a domain which acquires unavoidable interdisciplinary accounts and results. Visualizing the wide context between culture-text-history, cultural history enables the reading through, and the reinterpretation of the dominant structures. Cultural history enriches cultural studies with its creativity and modification, thus demonstrating the power of formal argument as vibrating field of tradition, itself realized as a phenomenon (civilization), and as a deep structure (culture). At the same time, this is the main concept, paradigmatic as far as its methods and assumptions of the scientific problems are concerned, which only appear to be illogical or tautological in their connection with the hypothesis. - Some of the metrics are blocked by yourconsent settings
Item type:Publication, Genres of Popular Culture and Their Aesthetic Value(Institute of Macedonian Literature, 2016)In this postmodern epoch, it is an indubitable fact that genre criticism has broadened its perspective. Since questions risen concern not only generic form, but also the coincidence between the aesthetic range of literary work of art, genre, and popular culture, the proposed article wishes to examine the crucial problem – What is the beauty of popular culture/literature? And yet another question: What are the historical grounds of popular literature? Ever since Plato and Aristotle, forms of mimesis (as a certain modes of enunciation, containing specific subject matter) have always been analyzed throughout their beauty and truthfulness. Aristotle gave rise to the “aesthetic” difference between tragedy and comedy, and the other forms of representation. This stratification in the period of classicism was known as difference between high (noble), middle and low (simple) genres. If we accept the argument of the theory of literary reception, we can point out to the questions in a different direction – What are the decisive conditions that determine writer’s choice of particular genre? Is everything acceptable from artistic point of view? This rumination leads us back to the nature of aesthetics and its mixed nature (since the beginnings) that consists of the verisimilar and the artistic (Longinus’ poetic fantasy). We propose a general view of one specific genre in Macedonian popular culture, i.e. column in historical perspective, starting from one of the exclusive genres in the 19-century Macedonian literature – sermon (discourse). In this context, we underline the specific nature of pseudo-fictional columns (narratives) of Macedonian professor and writer Venko Andonovski, whose venture is to combine the factual and the fictional in order to examine the grounds and possibilities of literary conventions. - Some of the metrics are blocked by yourconsent settings
Item type:Publication, Проблемот на идентитетот во романите на Орхан Памук и Живко Чинго(Институт за македонска литература, 2017)Мултикултурниот свет, кој се манифестира како директна последица од глобализацијата (која, во строго научна смисла, ја предвидe уште Маршал Мек Луан со неговите темелни претпоставки за глобалното село и медиумот како порака), значи можност за темелно превреднување на сите наследени концепти. Тој процес во голема мера се одрази врз новото и активно концептуализирање на поимот идентитет (Бенедикт Андерсон, Вилијам Е. Коноли и др.), што подразбираше најпрво негово поставување во однос на националноста и припадноста кон една поширока заедница воопшто. Нашиот текст се фокусира врз истражувањето на идентитетот и неговите манифестации во романите „Црната книга“ од Орхан Памук и „Бабаџан“ од Живко Чинго, првенствено од аспект на наративната структура и нејзините трансформации во делата на Орхан Памук, како и во однос на навестените постмодернистички постапки во творештвото на Живко Чинго. Поставувањето на двајцата автори во контекстот на употребените наративни техники во нивните дела отвора можност за преиспитување на поширокиот културолошки модел, кој со оглед на активното повикување на минатото (особено кај Чинго), подразбира истражување и на големиот број имаголошки претстави од најразличен вид. - Some of the metrics are blocked by yourconsent settings
Item type:Publication, Авторот како препејувач и препејувачот како автор – за двете преобразби на поемата „Сердарот“(Филолошки факултет „Блаже Конески“, 2013)One of the main conditions to provide a thorough inquiry of the specifics connected with the role (and the relation) of the author, and verse translator in the literary work of art is the diverse methodological orientation. On the one hand, the phenomenological implications are obvious, and they treat the nature of art and culture in general, and on the other, the mistreatment of the contemporary postmodern researches that emanated from the surpass of structural and phenomenal explorations can lead to a complex (and incorrect) conclusions. According to this, the primary intent that directs this analysis is not light up through the necessary confrontation between insufficiently discussed literary and theoretical problems, but instead, it is focused on their foundation in appropriate context, which can lead to important results applicable in the broader aesthetic analysis. In order to achieve transparency, our investigation is foremost directed to the two authors/verse translators (Georgi Stalev, and Gligor Prlicev), whose artistic method in the poem “Serdarot” makes their comparison possible. The verse translation creates a place of modification between the two value contexts, and the specific existence-in-extinction of the being in the literary work of art underlines impossibility of author’s destruction, and diminution. It is obvious that aesthetics is in embryo, according to its categories.