Duev, Ratko

Preferred name

Duev, Ratko

Official Name

Duev, Ratko

Translated Name

Ратко Дуев

Alternative Name

Дуев, Ратко

Duev, R.

Дуев, Р.

Main Affiliation

ratko@fzf.ukim.edu.mk

Now showing 1 - 10 of 30

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Епски пејачи во микенскиот свет?
(Филозофски факултет, Скопје, 2006)
Analysis of the Linear B records shows that, although the word aoidoi cannot be found on the tablets, the existence of box lyres - the traditional instrument of the aoidoi - in this period can be corroborated through ru-ra-ta-e (TH Av 106); the personal names Ru-ro (KN V 832, PY Aq 64, PY Jo 438); and Ki-ny-ra (PY Qa 1301, Vn 865 and maybe in PY Aq 218). These were the names of functionaries in Mycenaean society and this fact confi rms the importance of this instrument for the upper classes. The connection of Ki-ny-ra with the Semitic knr reveals the infl uence of other Mediterranean cultures on Mycenaean culture. The ethnics Ai-ku-pi-ti-jo, Mi-sa-ra-jo, Ai-ti-jo-qo and Turi-jo also demonstrate the existence of relations between the Mycenaean and other Mediterranean civilizations of this period in which epic poetry prospered; and this fact shows that it would have been impossible for the Mycenaeans not to have learnt anything about such singers and poetry. Archaeological findings corroborate the existence of the lyre in this period, in particular the lyre-player depicted in the fresco in the throne-room at Pylos, who undoubtedly resembles an aoidos. Even if we accept claims that all such representations existed only in the context of a cult, this would serve simply to confi rm rather than deny the existence of aoidoi. Moreover, given that Demodocus sings of the love between Ares and Aphrodite in The Odyssey, we can claim that religious hymns were a part of the repertoire of the aoidoi together with epic poetry.
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Some Thoughts on Indo-European Supreme God
(Živa Antika & The Faculty of Philosophy, Skopje, 2019)
Comparative analyses indicate that many attributes of the Indo-European thunder-gods are reminiscent of those of Zeus. There are some notable differences, however, which preclude the sky-god and storm-god from being equated. The Indo-European Dyēus is not a supreme god, but that role is assumed by the storm-god. The only reflection of the Sky Father in Greek and Roman religion is the king of the gods, but as a thunder-god. The supremacy among the gods in the Indo-European Pantheon cannot be tied to heaven alone, as suggested by comparative analyses of German mythology and their sovereign god Wodan/Odin.
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Hermaphroditus: the Other Face of Hermes
(Филозофски факултет, Београд, 2006)
Although the evidence about the myth of Hermaphroditus leads to the conclusion that it originates from the later period, the written evidence from the Mycenaean period points out of some peculiar connection of Hermes to the female divinities. According to this, Hermes and Aphrodite can be united in the bisexual figure of Hermaphroditus as a consequence of their own bisexual background.
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Митот за Европа – во потрага по изгубениот идентитет
(Филозофски факултет, Скопје, 2010)
Митологијата не е историска вистина, но сепак сите светски митологии имаат одредена историска подлога. Интересно е навраќањето на еден од најстарите хеленски митови – за Европа, за скриената порака која овој мит ја носи во себе, особено за името по кое е наречен континентот во чија историја голема улога имала и Македонија, како дел од неа. Особено денес кога предзнакот европски/а/о претставува култ, правец, политика, култура и заедништво, без оглед на реалноста, потомците на Европа забораваат на пораката која им ја оставила во наследство мудроста на античките митотворци.
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Gusla: the origin and beyond
(Živa Antika & The Faculty of Philosophy, Skopje, 2011)
Although the general position within musicology is that all musical instruments originate from the Middle East, it is still possible that in the case of the gusla – at least regarding the way it was played, with a bow – that it was a Slavic innovation or a modification of a similar instrument. The theory of the bow’s origin from the nomadic people of Central Asia does not exclude the Slavs, who were in their vicinity and lived in a similar manner. The etymology of the term is the strongest proof concerning the specificity of the gusla. Compared to the other similar instruments, their names subsisted with certain variations among all the people who adopted them. For instance, the Sumerian pan-tur in Greece and Byzantium became pandoura and pandura in Rome, then the Semitic kinnor became kinyra, kithara in Greece, the Arabic rabab became rubab, rabob, robab, ribab, rbab, rababa, in Europe rebec, etc. It may be expected that the Slavs had some kind of a transcription of the rabab, the zither, or the Byzantine lyre, not their own terms which managed to subsist in spite of the strong influences of the musical traditions of the powerful empires throughout the medieval era and up to modern times.
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За микенската лира
(Филозофски факултет, Скопје, 2003)
The Lyre is the only stringed instrument attested for the Mycenaean civilization, and this seems to foreshadow its dominance in Classical Greece, where only the pipes approach it in importance and all other instruments are of marginal significance. The tablet TH AV 106 presents ru-ra-ta-e ‘two lyre players.’ This written evidence shows that lyra, which was probably a round-based box lyre or giant lyre played by two players, is older term than kithara or phorminx in spite of all previous suggestions.
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Авлоси (au–ro? – auloi) во Микенскиот свет
(Živa Antika & The Faculty of Philosophy, Skopje, 2003)
The practice of playing auloi was universal in the Eastern Mediterranean. In Aegean region we can see their appearance in a figurine from the Cycladic island of Keros from the middle part of the third millennium and in a sacrificial scene on the Hagia Triada sarcophagus from Minoan period. Unusual, there is no appearance in Mycenaean period. The earliest evidence dates from the end of the eighth century BC. In the Homeric poems the instrument is mentioned only twice in places of the Iliad, which are generally agreed to be additions from later rhapsodes. The word aulos is attested on KN Sd 4402.a. as au-ro in its basic meaning ‘tube’ or ‘duct.’ The fact that there is no evidence in the Aegean Region is due to the fact that: auloi are made of organic materials such as wood and lacking in dignity. The absence of figure depiction is most likely due to the fact that the auloi were not respected in upper class circles or among clergy, but it was present among the lower walks of life.
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Migrants et réfugiés dans le monde Mycenéen? Les sources écrites
(Živa Antika & The Faculty of Philosophy, Skopje, 2018)
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Nous réexaminons les mentions d’étrangers dans les sources écrites mycéniennes, ainsi que la collection de noms de personnes et de démonymes, afin de déterminer si ces personnes sont des réfugiés ou des migrants, ainsi que le type de migrants auquel elles appartiennent. Cependant, la position d’un migrant ou d’un réfugié implique une «altérité» claire et visible de la société dans laquelle il immigre, ainsi que des problèmes d’intégration et un faible niveau de participation à la société; les « étrangers » mentionnés dans les textes mycéniens ne semblent pas présenter ces traits. Nous constatons que, même si la majorité d’exemples attestés sont clairs, incontestés et posent peu de problèmes, la base méthodologique de la question elle-même est problématique, car elle semble reposer sur des notions de société modernes, qui ne devraient être appliquées aux sociétés prémodernes que avec une prudence extrême.
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Homer and the South-Slavic Epic Singers
(Филозофски факултет, Скопје, 2006)
Many authors consider that the development of music and musical instruments in the Aegean region was discontinued after the fall of Mycenaean civilization. However, the more detailed analyses of the archaeological findings, particularly of those originating from the so called Dark Age of the Aegean and of the Mediterranean, as well as of the Mycenaean music, compared with the evidence met in Homer’s epics, indicate a transitional phase in the musical developments up to the archaic period. The reduction of lyre strings to four does not mean to use only four musical tones. The phorminx players, presented on the paintings from that period, are most usually encircled by dancers, in the same way as Demodocus in Homer’s Odyssey sings about the love of Ares and Aphrodite surrounded by young boys who dance around him. Thus the presentation of aoidoi who sang heroic songs in the royal palaces gets a new dimension, as well as the musical possibilities of their phorminx. The attempts to reconstruct the singing of Homer’s times are directed mainly by the evidence on rhapsodes from the classical period and by the comparison with the performances of Balkan epic singers of the 19th and 20th centuries. The singing is reduced to a monotonous melody of four tones which is performed in unison with the four tones of the phorminx, excluding any possibility to use more tones and ignoring the rhythm of epic poetry – dactylic hexameter. The recent studies of the rhythm of the contemporary dance – syrtos confirmed that it has the equal scheme of dactylic hexameter which throws new light on this problem.
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За транскрипцијата на старогрчките антропоними и топоними на македонски јазик
(Институт за македонски јазик „Крсте Мисирков“, Скопје, 2006)
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Duev, Ratko

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