SLAV CULTURAL MEMORY, NOSTALGIA AND HUMOURIN THE OEUVRE OF DANILA VASSILIEFF (1897-1958), RUSSIAN ÉMIGRÉ ARTIST IN AUSTRALIA

Danila Vassilieff(1897–1958) was a Russian émigré artist who lived and worked in Australia. By far the largest and most significant part of his painterly and sculptural oeuvre Vassilieff executed on Australian soil, in the states of New South Wales and Victoria.This article explores Vassilieff’s visual arts ideas and idiom created within the parameters of his Russian and Slav cultural memory and characterised by his émigré experience. It argues that Vassilieff’s art was fully formed only after the artist’s experiencing anexistence of a permanentémigré in Australia and that both his ideas andhis idiom flourished in opposition to the cultural traditions of his new environment.Vassilieff’s relationship with his Russian and Slav cultural heritage was traced in the monograph Imaginary homelands, the art of Danila Vassilieff(Bojic2007). This essaycomplements the extant research by examiningVassilieff’s relationship with his Australian environment as reflected in his work. Vassilieff’s experience of a permanent émigré formed his visual arts idiom and provided for the large pool of themes and topics in his work. Much of his oeuvrebridgedthe varied cultural traditions of his Russian homeland and the hardshiphe experienced living in a barren Australian land. There weretwo reasonsfor this. One was the artist’s positionof being an émigré; the other was that of being an artist. His initial alone-ness in a new Australian environment allowed for his one-ness and thus contributed to the uniqueness of his expression and his oeuvre, recognised as such later on by his Australian peers. Thechronic trauma of being a permanentémigré was a continualfeature of Vassilieff’slife and of his work. Hisdeep feelings ofnostalgiawerean essential quality of his existence in exile.The artist himself would attempt to counterbalance 19this with his all-pervasive energetic good will and his refined sense of humour and sweet ironyon occasions leading into a sarcasm, evident in many of his works.

THE PRESENT PARTICIPLE IN ENGLISH FUCTIONING AS A PREDICATIVE ADJUNCT AND ITS EQUIVALENTS IN MACEDONIAN

This paper investigates the use of the present participle in English as a predicative adjunct and its Macedonian translation equivalents. The English present participle is widely used in a position after the predicate in a sentence. The research is focusedon the present participle used predicatively.The research is conducted on a corpus of sentences, excerpted from English and American literature and their Macedonian translation equivalents. Consequently, comparative and descriptive methods have been used to analyze the excerpted sentences. The results show that mostly the present participle and the present participle clauses having the role of the predicative adjunct are translated into Macedonian with a verbal adverb and clauses with verbal adverb functioning as adverbial manner clauses. However, there are also examples in which the present participle is translated with a verbal adjective, also having the function of adverbial manner clauses. Besides the present participle clauses translated into Macedonian with a verbal adverb and verbal adjective there are clauses with a verb in Present, clauses with a verb in Aorist, clauses with a verb in Imperfect, clauses with da-construction, clauses with prepositional phrases and temporal adverbial clauses.

REFLECTION THEORY: PUNISHING FEMALE NARCISSISM IN THE WORKS BY LEV NIKOLAYEVICH TOLSTOY

Even though Lev Nikolayevich Tolstoy is mostly known as an opponent of (female) sexuality, this essay argues that female narcissism is an equally controversial category. As plots of three texts –the novellas “TheKreutzer Sonata” and “Family Happiness”,and the novel Anna Karenina –show, female characters have to convert ego-libido into object-libido in order to, while overcoming disappointment, reach Tolstoy’s idea of living for others. The first part of the essay is based on a close reading of Tolstoy’s novellas, and the second part examines the female characters of Anna Karenina. Instead of pointing out the differences between Kitty, Dolly and Ana, I am trying to foreground the ways in which they reflect each other, while linking Anna’s intertextual representations, two portraits, to Tolstoy’s remarks on the social functionof art. .

A PICTORIAL POWER OF LANGUAGE IN THE TEXTS OF TROBAIRITZ AND LES PRÉCIEUSES

The article presents the authors of literary creation, based on the theory of Julia Kristeva Tales of Love,1987andMarie Nikolajave Reading for Learning, 2015. Trial is the author of medieval trobairitz, enlightenment préciosité, romanticwomen fairy tale writersto contemporary trobairitz. The texts of the authors of the intertextual, dominated by emotional motifs (love, trust, loyalty), supported by actions (Love test) reflect the symbols (garden fountain, wall). Central emotionalekphrasis -love the emotion that has similar symptoms as anxiety (expectation,call andmeeting). The authors express themselves with metaphors, often asliterary parallelism -externalization of the inner landscape -literal and emotional winter. The authors are suggestible translate visuals into verbal world -songs(Azalais de Porcairagues, Comtessade Dia, Maria de Ventadorn), memories (Helena Kottanner), fairy tales (Jeanne Marie Leprince de Beaumont).

WAR TRAUMA IN THE CONTEMPORARY SERBIAN NOVEL: THE HOUSE OF REMEMBRANCE AND OBLIVIONBY FILIP DAVID, THE DELUSION OF ST. SEBASTIANBY VLADIMIR TABAŠEVIĆ, THE DOG AND THE DOUBLE BASSBY SAŠA ILIĆ

The paper discusses the literary shaping of war traumas in the novels “The House of Remembrance and Oblivion” by Filip David, “The Delusion of St. Sebastian” by Vladimir Tabašević and “The Dog and the Double Bass” by Saša Ilić. The manner in which the Holocaust influences the life of Albert Weiss and the lives of other characters, decades after World War II, and the mystical contemplation of the meaning of evil stand out as the most important themes of David’s novel. The interpretation of “The Delusion of St. Sebastian” proceeds via the protagonist Karl and his attitude to the language he learned during the war. The war induces dissociative identity disorder, the protagonist’s adoption and subsequent overcoming of the victim’s position. The analysis of Ilić’s work focuses on the protagonist of the novel “The Dog and the Double Bass”, Filip Isaković, and his post-traumatic stress disorder, as well as psychiatric and anti-psychiatric treatment methods.

REPUDIATING NOSTALGIA: THE DISILLUSIONED HOMELAND IN MIRKO DEMIĆ’S PENTALOGY

Mirko Demić’s war pentalogy provides a complex and nuanced view of nostalgia as part of the epistemological world. The exile’s sorrow for a lost country is shown through the instability of the émigré’s post-war identity, the traumas caused by the 1990s wars on the territory of former Yugoslavia and the essential impossibility of a return. An unstable self contains emotional cracks that arise from the lack of homeland, the (self)naming of the refugee and his (self-)marginalization, reaching a climax in the narrator’s silence. The devastating effect of war is evident in the meticulously depicted entropy of a warrior’s psyche, a re-examination of desertion, a sense of superfluousness in the mad military carnival. A special narrative obsession with (Balkan) borders places the protagonists of Demić’s stories and novels in borderline situations. The national boundaries, the cross-border “walls”, essentially hinder the return of the expatriate, and his longing for the things he left behind intensifies.The wounded self attempts to achieve a measure of psychological equilibrium by opening the question of forgetting. Another important point is the narrator’s need to overcome the victim experience and his witnessing of violence, and to deal with nostalgia by rationalizing it, by suppressing the binary opposition of the place one longs for and the place one inhabits. The writer finds the means to abolish the stasis of homeland loss: in creating a superborder, a superstructure, a mythical parergon, a parable of Odysseus’s homecoming and a temporal escapism. In it, the literary topos of his homeland, Petrova Gora, is positioned in an ancient historical framework, suitable for the interpretation of agon, both within man and between warring nations.

VISUAL COMPARISON IN ENGLISH-LANGUAGE POLITICAL ADVERTISING

The article carries a review of research works on visual stylistic means in advertising. Researchers see them as the means of manipulation that evoke specific associations and assessments in recipients. The main aim of the article is to prove the validity of identification of visual comparison as visual stylistic means. Visual comparisonin political advertising is regarded as an ideological means of influence on a global recipient. Visual comparison is in the nature of correlation or opposition and is effectively used in political advertising compared to other visual stylistic means.The correlation includes two images that are used to draw the attention of the addressee to certain socio-political problems, to form a positive image of the candidate and his program. The mean of opposition is based on a comparison of two antagonistic images, which forces the recipient to make a choice in favor of one of them. The obtained results can be used for further development of the theory of visual textual stylistics and for the creation of texts of politicalInternet advertising.

THE DISCURSIVE WALKS OF MIGRANT WORKERS AS A TRAUMA:FROM A COLLECTIVE EXPERIENCE TO A FEELING OF NOSTALGIA

The paper starts by tracing the shifts in the status of Anđelko Krstić in the framework of Serbian and Macedonian literature. We interpret the possibility of Krstić being unconditionally accepted as an author with more than one homeland as a non-ideological principle of literary history that could be involved in a de-traumatization of the past and the creation of a conflict-free future. The similarities in the depiction of migrant workers in the novels Trajanby Anđelko Krstić and Infidelityby Dejan Trajkoski are marginal when compared to the involvement of contemporary novelistic protagonists in the modernization processes which open the affected individuals to the experiences of the Other. However, we conclude with the observation that the discrete historical context of Infidelityreproduces memory narratives that perceive their subject solely as a victim of collective trauma in the past. Although Infidelitycontains elements of an invigorating relativization of memory, it is influenced by dominant discourses that abandoned multi-perspectives of the Balkan past and the inclusion of the Other. Such multifaceted perspectives which include the Other represent a prerequisite for a conflict-free future of the Balkan peoples and cultures.

THE DEPICTIONSOF HELL AND THE DEVIL IN MACEDONIAN FOLKLORE IN XIXTHCENTURY

In this paper we analyze the depictions of hell and the devil in Macedonian folklore from the 19thcentury by comparing several mediums: folk songs, stories, curses, proverbs, etc. Adam and Eve’s exile from Paradise marks the first internal and external exile in the history of mankind. In light of this, we focus on numerous descriptions of hell as a place full of fire in which sinners are exposed to torments, and of the image of the devil as a master of evil. Inthis context, we look at different names for hell and the devil that represent social and spiritual apostasy and disapproval of existing ethical and moral norms.

ACTIONAL CODE OF “ORPHAN WEDDING” (THE TRADITION OF PRIKAMYE IN RUSSIAN CONTEXT)

The laments of an orphan bride is one of the markers of orphanhood as a special status in the traditional community. The article examines the ritual actions that accompanied the singing of such laments, as well as the loci and the objects which are used by participants. The research material includes archival data and publications of the 19th –21st centuries. The Perm versions of the ceremony correlate with the traditions of other regions and detail the image of a Russian orphan wedding. The two most typical loci where orphan lamentations were performed are the home and the cemetery. In the house, the bride and assistants use the table, the periphery of the dwelling, and border loci. Sometimes orphan rituals included elements of theatricalization (searching for deceased parents, treating them, inviting a person-ritual substitute for the deceased). Border loci (hill, crossroads) were also selectedoutside the home and cemetery. A number of ritual gestures and objects (scarf, towel), which were used in an orphan's wedding, are known for the performances of funeral laments and are included in the common part of the “dictionary” of “lamentable” culture.