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ISSN 1409-6900 | UDK 82+7     Blesok no. 118 | volume  | March-April, 2018



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                     Peer-reviewed journal
Blesok no. 118March-April, 2018
Reviews

THE BROAD SPECTRUM OF SHORT FICTION IN THE -ANOTHER STORY - IMPRINT

Translated from Macedonian: Milan Damjanoski


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p. 1
Darin Angelovski

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THE BROAD SPECTRUM OF SHORT FICTION IN THE  -ANOTHER STORY - IMPRINT

     (Presenting the Another Story imprint, Edited by: Nikola Gelevski, Ivan Shopov, Skopje)  

    1.
    In the introductory essay to the Anthology of Short Prose Fiction in French Literature, given the title Forests Under the Sea after the short story written by the great traveler, poet and novelist Jean Orizet, Vlada Uroshevikj depicts the mise-en-scene behind the occurrence and the essence of the short story in the following manner: “Of all the literary forms, short prose fiction is most certainly the youngest. It will be brought to life by the spirit of the beginning of the 19th century, riding on the wave of dissatisfaction with the existing order that will colour European Romanticism, the revolt against the strict division of literary genres imposed by Classicism poetics, the widespread flouting of conventions, as well as the passionate quest for something new. This short prose form originated in France. However, works from other parts of the world had a hand in the preparation of the fertile soil where it sprung from…“ (Урошевиќ, 1994: 7). By defining short prose as an expression of a radiant valence as well as a specific need of French literature and culture, Uroshevikj states his opinion that this prose genre flourished and produced remarkable results in France unlike in any other national literature, yet that the short prose fiction has long ago surpassed the boundaries of the French linguistic expression and has grown into a general linguistic phenomenon. “Proof of this “- he says- „is that today the short prose genre is experiencing an ever greater expansion worldwide” (Урошевиќ, 1994: 20).
    One of the first theoretical descriptions of the principles of the poetics of short prose or flash fiction in Macedonia which encouraged literary criticism- and subsequently the public- to embrace this genre, took place in the mid-1980s in Elizabeta Sheleva’s text The Fragment as a Work of Art. There, Sheleva views this specific literary tissue as an “energy concept which is closely related to the prose rhythm and the literary act. Depending on the dimensions of the construction,” – she states –“each element of the structure is granted a different function, power and weight in relation to the overall prose whole; thus smaller literary forms are marked by greater energetic power and more intense prose rhythm. All of this is necessary to comprehend that flash






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