Intertextual Connections Research Articles

Mosaic of Meaning: A Redemptive Reading of Genesis 3:16 in Light of Its Biblical Contexts and Inter-Texts

This paper provides a fresh redemptive reading of Gen 3:16, viewed in light of a whole mosaic of canonical contexts and intertextual connections. These include, among others, the full equality without hierarchy of man and woman in Gen 1–2; the paradigmatic nature of egalitarian marriage with mutual submission between husband and wife in Gen 2:18–24; the rupture of husband–wife relationships in Gen 3:6–13; the covenant lawsuit of Gen 3:14–19; the meaning of mashal in Gen 1:16–18 and 4:7; the meaning of teshuqah and grammatical–syntactical parallels and contrasts in Gen 4:7 and Song 7:11 (Eng. v. 10); the redemptive aspects of the woman and her seed in Gen 3:15; and the intertextual connections with New Testament passages. Considering this mosaic of contexts and connections, it is suggested that Gen 3:16 must be viewed only in reference to marriage; it is never broadened to include man–woman gender relationships in general. In Gen 3:16, God provides a temporary, remedial measure to preserve harmony and unity in a ruptured marriage relationship, with an implicit call for husbands and wives to return as soon as possible from the mashal–teshuqah relationship to the paradigmatic egalitarian marriage set forth in Gen 2:24. This return to the divine creation ideal for marriage is empowered by the redemptive promises of Gen 3:15, confirmed in the reversal of the Gen 3:16 marital relationship articulated in the Song of Songs—the inspired commentary on Gen 1–3—particularly Song 7:11 [Eng. v. 10]), and reaffirmed in the consistent citations of Gen 2:24 (and not Gen 3:16) in the NT (Matt 19:5, 6; Eph 5:31).

CБОРНИКИ Н. Ф. ПАВЛОВА «ТРИ ПОВЕСТИ» И «НОВЫЕ ПОВЕСТИ» КАК ВАРИАНТ ИНДИВИДУАЛЬНО-АВТОРСКОГО ТЕКСТОВОГО ЕДИНСТВА

The article analyzes the collections of N. F. Pavlov “Three Stories” (1835) and “New Stories” (1839) in the aspect of the functioning of such a type of supertext as an individual author’s textual unity, realized in the form of a collection. Since it is compiled by the author, its components are selected and grouped by him in accordance with a certain intention. The texts within each writer’s collection correspond with each other. In their plot, there is a clear orientation towards “an incident from life”; the plot is based on the clash of the heroes with a rejecting secular environment. The common properties of all structural components of Pavlov’s collections are elements of psychologism, romantic stylistics (sustained motifs, characters endowed with unusual passions, poetics of a fragment) with an emphatically social sound, attention to everyday details, and the use of physiological features. Unifying impulses are also set by extra-textual elements (titles, subtitles, epigraph to the first collection). In the form of a collection, Pavlov’s stories are combined into a kind of megatext, endowed with “super meaning,” which fundamentally changes the scale of the depiction of reality and ensures a higher level of the author’s awareness of the most pressing problems in society. The core of this version of textual unity is the author’s idea, which determines the presence of intertextual connections between the components of the collection and their general modality. However, in the presence of a structure and internal logic set by the author, the collection differs from the adjacent phenomenon — the cycle — in that the compositional arrangement of individual parts is not of decisive importance here, the connections between the stories that make up the collection are significantly weakened.

‘Nostalgia for the sacred’: Pier Paolo Pasolini’s Theorem

As a pervasive term in Pier Paolo Pasolini’s work, ‘nostalgia’ remains theoretically enigmatic and often politically contradictory. This article argues for the critical potential of nostalgia in Pasolini’s political aesthetics through a seemingly unlikely subject: his 1968 film and novel Teorema (Theorem). Set in post-war Milan, Theorem depicts the transformative encounter between a godlike visitor and five archetypes of the bourgeois household. After he leaves, they must reckon with his departure. I suggest that Pasolini’s formal and theoretical interest in nostalgia is crucial to understanding Theorem’s aesthetic invocation of the sacred, which the film stages through an interplay of presence and absence in bodies, spaces and temporalities. Unpacking the etymological roots algos (‘pain’) and nostos (‘return’), my reading forges intertextual connections within Pasolini’s oeuvre while also suggesting that Pasolini’s oblique, materially rooted nostalgia encourages a re-evaluation of the critical productivity of this term more broadly.

The Significance of Τοῦτο in Act 2:16 to the Eschatology of Acts

Abstract The demonstrative pronoun “τοῦτό” in Acts 2:16 carries pragmatic weight, suggesting markedness and emphasizing the eschaton (v. 17). Despite scholarly oversight, verse 16’s syntactical placement within the main clause underscores its significance. This article seeks to rectify this neglect by examining Acts 2:16’s theological and syntactical importance, particularly the usage of “Τοῦτο” and its implications for understanding Acts’ eschatological framework. Through linguistic analysis, theological exploration, and intertextual connections, this study aims to reveal the profound implications of Acts 2:16 for the eschatological discourse in Luke’s narrative.

“Being / together”: Bernardine Evaristo’s Girl, Woman, Other and the Black British Women’s Movement

Abstract This essay locates Bernardine Evaristo’s Booker Prize-winning novel Girl, Woman, Other (2019) within the sociopolitical history and written lineage of the Black women’s movement in Britain. It identifies contextual resonances with the 1970s and 1980s praxis of collaboration and collectivity and traces intertextual connections with Evaristo’s own early writing (including theater, verse fiction, and the radio story from which the novel evolved) and the periodicals, anthologies, and organization newsletters of the time. These references illuminate the novel’s structure, lineation, and narrative mode. I argue that Girl, Woman, Other reanimates the rallying call “we are here,” affirming the presence and diversity of Black lives in Britain, while its distinctive “fusion fiction” form actively engages readers, realizing the Black feminist political principle of “speaking out.”

“Is the Embryo a Living Being?” (Aët. 5.15)

Abstract Building on previous studies, this essay discusses the use of embryological images and analogies in Anaximander, Empedocles, Democritus, and Lucretius. It pursues their intertextual connections arguing that in ancient philosophy embryology was not only relevant for conceiving the early formation of the cosmos as has been claimed so far, but that it also shaped the conception of the primeval rise of animal life and the living processes of plants.

The educational potential of a literary quotation: linguistic, aesthetic and methodological aspects

Introduction. Despite significant differences in the traditions and practices of literary reading at school in different countries, the question of the role of reading in the process of developing reading strategies, intercultural competence and personal development of students remains relevant in pedagogical research. The influence of reading on the emotional and psychological state of a person, “bibliotherapy of the soul” have been actively studied not only in philosophy and hermeneutics of the twentieth century, but continues to be a subject of controversy in modern science. The study attempts to identify the features of perception, understanding and interpretation of a literary quotation as a significant element of a work of art. Purpose of the study: to identify the educational potential of literary quotation and to actualize the problem of creating methodological conditions for its implementation in the system of school literary education. Materials and methods. Research methods: pedagogical observation; introspection, contextual analysis of explanatory dictionaries; a survey of schoolchildren and students, as well as identifying expert opinion on assessing the significance of a quote for the Russian language. 199 students of the Herzen Russian State Pedagogical University. Took part in a pilot survey aimed at understanding and interpreting a literary quotation. A.I. Herzen, of which 28 are studying at the Faculty of Economics, 86 at the Faculty of Biology, 85 at the Faculty of Philology. For the survey, we chose a quote from the work of A.S. Pushkin “Mozart and Salieri” (cycle “Little Tragedies”) “And genius and villainy are two incompatible things. Isn’t it true?” Results. The survey showed that the most serious problem is ignorance of the precedent phenomenon – quotes from a classical text: 85.7% of students of the Faculty of Economics and 66.3% of students of the Faculty of Biology did not indicate the author and source of the quotation. 99% of students of the Faculty of Philology recognized the quote. It was also difficult for respondents to understand the meaning of the quote and its connection with life. None of the survey participants, in their reflections in tasks 2 and 5, cited as an argument the difference between the concepts of “evil” and “evil action”, or paid attention to the word “incompatible” and the special linguistic construction of the phrase. In third place in terms of difficulty in completing the task is understanding intertextual connections in the text, including quotes in someone else’s speech. Analysis of the survey results helped to identify problem areas in the perception and interpretation of quotes and types of tasks that could later become part of the system of working with quotes in literature lessons at school. Conclusion. A literary quotation has great methodological potential for developing the reader’s interpretive activity. The conducted research revealed that a literary quotation can become an effective tool for educating the reader as a person. The prospect of our research is the creation of a system of exercises and tasks for working with quotes in literature lessons.

Sergei Parajanov in Search of Identity: Between Self-Burial and Reflection on Death

This article continues the discourse on humanitarian thanatology and the question of mortality in art. The author describes the initial impulses of the manifestation of the motifs of self-mourning and self-burial with reference to the habitus of Parajanov and his work and other intertextual connections. As the empirical material shows, the motifs in question manifested themselves in different years through different channels of communication (memories of friends, letters, scripts, collages, photographs, photographs of performative acts, etc.). These motifs were an important leitmotif of his creative nature. Parajanov’s encounters with death in various formats show that he, as a survivor of prison, was confronted with the problem of death. Through performative acts, he repeatedly replayed his experiences of death through self-mourning and selfburial games. The analysis shows that almost all performative acts manifest the code of carnivality. The problem of a funeral and self-mourning is presented indirectly. The great Parajanov is also mourned through cultural and religious images (Gioconda, Catholicos of all Armenians). Sergei Parajanov also acts as a director, aestheticising the wake and funeral of his relatives and close friends (son-in-law, sister). His detachment from the death of his loved ones and the aestheticisation of the funerals show that in his mind, the code of mourning is replaced by carnivality. The funeral procession is aestheticised, what happens is perceived from a distance, but with an emphasis on beauty.

REPRESENTATION OF THE GOSPEL CODE IN THE NOVEL “GETTING INTO CHARACTERˮ BY H.L. OLDIE THROUGH THE PRISM OF SHAKESPEARE’S THEATRICAL METAPHOR

In the presented study the novel “Getting into Characterˮ (1991) by Henry Lyon Oldie (the pen name of Dmytro Hromov and Oleh Ladyzhens’ky) is considered as a part of Hamlet`s text of modern Russian-language literature. The peculiarities of the representation of the Gospel code of the novel are analysed. They are conditioned by the author’s concept of the artistic world, which assumes the recreation of reality according to the stage laws. It is established that the transformation of the Gospel code in the novel occurs at the level of the image system (Actor-Hamlet-Christ, mentor/Master-Messiah, pupil/apprentice-follower, stage word as Logos, theatre as religion, abyss as unrealised creative work), motif structure (motifs of mentoring, faith, salvation and resurrection of the soul). The ideological and thematic content of the artistic work is changed (the theme of art and its Creator, the problem of faith and faithlessness, the idea of redemption of human sins – the humanistic mission of the protagonist). It is determined by the theatricality as the most important category of the novel`s poetics, underlying the construction of the artistic reality of “Getting into Characterˮ. Special attention is paid to the representation of Shakespearean theatrical metaphor, as well as to the intertextual connection of H.L. Oldie’s novel with Shakespeare’s “Hamletˮ tragedy.

Значение интертекстуальных связей в истолковании религиозно-нравственного аспекта рассказа И.А. Бунина «Темные аллеи»

<p>The article is dedicated to the analysis of the intertextual connections of the story "Dark Alleys" with biblical texts — the book of Job, the book of Ecclesiastes and the story of A.I. Kuprin "Sulamith". The quote from the book of Job is analyzed in a biblical context, which indicates the failed repentance of the hero of the story Nikolai Alekseevich. A careful analysis of the quotation from the book of Job makes it possible to offer a new understanding of the author's choice of the name of the heroine Nadezhda (Hope). The allusion to the story of A.I. Kuprin "Sulamith" also makes it possible to refer to the biblical context of the story — the book of Ecclesiastes. The intertextual connections of the story with the biblical Old Testament books make it possible to explain the probable spiritual subtext of the story, in which the theme of the main character's failed repentance, which causes his misfortune and hopelessness, sounds.</p>

Features of Intertextuality in the Vocal Part of Abai from the Opera by Akhmet Zhubanov and Latif Hamidi

The presented article is devoted to the analysis of the vocal part of Abai from the same-name opera by Latif Hamidi and Akhmet Zhubanov using the method of intertextuality. The study is conducted in the context of the rich traditional culture of Kazakhstan, including musical, literary and semantic aspects of the opera part. The authors of the article turn to modern theoretical concepts of intertextuality to analyze the connections between the musical elements of opera and various cultural texts. Special attention is paid to intertextual references in Abai’s vocal part, which makes it possible to understand the deep context and semantic load of the musical utterances of the main character. The authors turn to numerous sources, including contemporary studies in the field of musicology, opera and culture, to present a deeper analysis of the “Abai” opera and its place in cultural context. The results of the study help not only to understand the complex structure and content of opera, but also to expand the awareness of how the intertextuality method can contribute to a deeper analysis of musical works.The work is based on the theory of intertextuality and includes the analysis of musical, literary and cultural aspects of the opera. A comparison of Abai’s vocal part with folk songs, poetic works and historical plots is carried out. Also, intertextual connections were revealed, as well as its correlation with the cultural heritage of Kazakhstan. The influence of the national musical heritage on the creation of the opera is discussed. The results of the analysis are presented, which make it possible to expand the understanding of the “Abai” opera in the context of the opera art of Kazakhstan.The conclusions of the study emphasize the importance of using the intertextuality method for in-depth analysis of opera music. The article contributes to the development of the research direction and fosters to a deeper comprehention of the cultural significance of the “Abai” opera.

SELF-TORTURE AND ASCETICISM IN THE SEMIOSIS OF THE LEGEND ABOUT ST. MARGARET

This paper examines Medieval hagiography about St. Margaret from the viewpoint of self-torture depiction. Suffering, physical pain and humiliation in the form of self-mutilation belong to the basic means of her achieving holiness. Semiosis of the legend reveals an anthropological discourse (psychological and sexual aspect) alongside a purely religious interpretation. Anthropological horizons are hidden behind semiosis with religious intentionality. The aim of this paper is to demonstrate that the traditional religious interpretation that St. Margaret underwent self-torture with an effort to resemble the suffering Christ could also be supplemented by other reasons. Following interpretation focuses on the then reality in touch with literary tradition. It shows intertextual connections with the Bible as well as with other medieval and ancient hagiographies. Asceticism as a practice of self-discipline, self-denial, or self-renunciation to achieve a spiritual goal applies in the life of St. Margaret in five ascetic practices: fasting, sexual abstinence, poverty, self-inflicted pain and seclusion. Alongside with topoi, this paper points also to the idiosyncratic motifs, unique in the genre of medieval legends. It notices contrasts and hyperbolization to emphasize heroism of St. Margaret. Practices of medieval female saints are also compared with those of men. Since the lives of saints described in legends were to serve as examples of Christian life, this text also shows a change in Christian life practice – exemplary in the Middle Ages it is today considered to be no longer appropriate.

Letare Taxandria: Regionalism and Hagiographic Interactions between Sint-Oedenrode, ’s-Hertogenbosch, and Liège in the Medieval Cult and Liturgy of St Oda

“Rejoice, Texandria, for Oda!” Thus begins the series of chants and readings commemorating the virgin St Oda, patron of the village that took her name—Sint-Oedenrode—in the late medieval liturgy of the town of ’s-Hertogenbosch. Overt praise for the surrounding region, Texandria, extending across the northern limits of the duchy of Brabant and diocese of Liège, is a recurring theme in the liturgy inspired by the saint’s legend. Yet how did Oda, of Scottish origin, become so closely associated with this remote region? And what was the significance of her liturgical veneration in ’s-Hertogenbosch, to which Sint-Oedenrode was enfranchised? Exemplifying interactions between central and secondary places within a specific region, this study argues for the relevance of the historical approach to urban–rural dynamics in medieval hagiography and its related liturgy. Recognition that smaller towns and villages played important roles in regional networks prompts more focused attention to regional priorities in the legends and liturgies of local saints. That Oda’s cult is attested by a diversity of extant documentary evidence—historical, hagiographic, and liturgical, including newly discovered liturgical readings—facilitates interpretation of her veneration in ’s-Hertogenbosch and of the intertextual connections between her legend and those of other saints, notably Lambert, associated with the duchy and diocese. As suggested by this example, regionalism merits greater scrutiny as an integral component of civic religion.

Сценичность рассказов Раймонда Карвера

The interest of theater directors in R. Carver’s short stories and their adaptability to the demands of the stage opens up new frontiers for the study of his novellas. The texts meet the demands of the stage/screen due to several features. The writer preferred a “dramatized” way of reflecting reality. The aim of this research is to identify the stage characteristics of R. Carver’s texts. The scientific novelty of the paper consists, on the one hand, in identifying the unique thematic and stylistic features of Carver’s writings, his place in American literature, as well as in the context of world literature, and, on the other hand, the paper expands the boundaries of the literary canon, enriching the cultural experience of researchers in Russia. The uniqueness of the research lies in advancing our understanding of the literary genre. By expanding the boundaries of the genre, clarifying its historical evolution, analyzing reader reception, exploring intertextual connections, and assessing literary influence, such a paper makes a valuable contribution to the field of literary studies. The research findings have shown that R. Carver’s experiments with drama and screenplays were reflected in his prose works and manifested themselves in the creation of the “stage story”. The elements of drama used in short stories help recreate an atmosphere of mystery and arouse interest in what is happening off-screen. Dramatic techniques are found at various levels of the narrative: in the composition of the material, in the construction of dialogues of the stories, in attention to the inner life of the characters, expressed in the external, for example, in the description of gestures.

‘Eastern’ Onomasticon of I. A. Bunin Prosaist: Hierarchy and Systematicity

This article addresses the representation of the artistic image-topos of the East in the works of I. A. Bunin. The research aim is to identify, classify, and systematize the onyms of the writer’s ‘Eastern’ onomasticon. Prosaic texts related to oriental themes and those unrelated to the Eastern topic were analyzed in the study. The following methods were employed: philosophical-logical (analysis, generalization, synthesis), descriptive, taxonomic, quantitative, and contextual analysis. It was established that Bunin’s ‘Eastern’ onomasticon is a hierarchically organized structure containing various semantic groups of real and mythological names: anthroponyms / mythoanthroponyms, toponyms / mythotoponyms, hydronyms / mythohydronyms, biblionyms, etc. It is noted that the systematicity of the explicant onyms of Bunin’s East is ensured by extralinguistic and linguistic factors: authorial presupposition, reader’s background knowledge, intratextual and intertextual connections of onyms. The authors conclude that the multifaceted toponymic series, the synonymy of choronyms and theonyms, the intersecting astionymic and mythoanthroponymic series in poetry and prose, and the onyms-intertextems indicate the syncretism of the artistic image-topos of Bunin’s East, its representation by specific geocultural images of spaces such as Egypt, Turkey, Palestine, India, etc.

“Above all, there’s our humanity”: Teachers’ intertextual responses to reading an ancient Hebrew text

This study examines the role played by intertextual connections suggested by teachers engaged in an interpretive dialogue on a sixth-century Hebrew text. This is a multiple-case study based on intertextual conversation research. The participants—26 Hebrew-as-L1 teachers in secular schools in Israel—were asked to study the text in havruta, a traditional Jewish approach to studying sacred texts, involving a dyad of learners who debate their meanings. Every havruta conversation was considered a case and was compared to the others. After the conversations, interviews were conducted with some of the teachers to learn more about the intertextual links that emerged. The findings suggested significant variance in the number and content of intertextual connections between the groups, given the teachers’ religiosity or previous experience with traditional Jewish texts. The connections suggested shaped the processing of the text, the teachers’ attitudes thereto, and their willingness to teach it. The main conclusion is that studying in multicultural havruta groups increases intertextual connections emerge and helps teachers to interpret the text.

Actualization of Ancient Images in Works of Contemporary Playwrights

The article explores the reception of ancient imagery in contemporary playwrights’ works. The study focuses on the plays “Besieged” by E. Grishkovtsev, “Two Wives of Paris” by E. Isaeva, and “Micropolis” by E. Vodolazkin. A comprehensive analysis of these works is conducted to examine the modernization of ancient images, identifying intertextual connections and individual stylistic features in the use of precedent phenomena by different playwrights. The novelty of the research lies in tracing the discursive properties of motifs and images rooted in ancient culture and reimagined in contemporary plays. The analysis demonstrates how contemporary playwrights' engagement with familiar material enriches the semantic field of new works, offering fresh perspectives on eternal themes and exploring new and unexpected connections between the past and present, myth and reality. This study is relevant for the study and development of cultural dialogue across different epochs and communities. The authors conclude that in contemporary dramaturgy, ancient images possess significant discursive potential and serve as a means of artistic exploration of modern reality.

Identification of the network structure of the Hebrew Bible texts based upon the notion of the otherworld and the afterlife

In this paper, we apply the methods of graph theory to reveal hidden relations within the corpus of the Hebrew Bible texts. The structure of relations between different texts was studied based upon their interpretation of the otherworld and the afterlife. We have identified 43 most relevant texts that contained concepts related to the notion of the otherworld and constructed a graph representing the relations between the considered texts. The obtained graph was decomposed into 3 densely connected subgraphs using the Louvain method. An initial interpretation has been given to the results of the decomposition. Furthermore, we used different ranking methods to determine the most important texts forming the network structure of the intertextual connections. It turned out that there is an invariant set of texts that can be interpreted as having the larger influence or importance on the development of the idea of the otherworld. These texts are Proto-Isaiah, Qoheleth, Job, Psalms, and Proverbs as well as 1 Samuel, Ezekiel, and Book of Genesis. Furthermore, a detailed analysis of the notions, associated with these texts, reveals that there are several concepts that are likely to be associated with the most influential texts.

Justice suspended: Rethinking institutions, regimentation, and channels from a human rights law perspective

AbstractThis article analyzes institutions as sites for political and social change by looking beyond regimentation and fixedness as the central discursive features of institutionalization. Drawing on research at the European Court of Human Rights—one of the world's most extensive human rights courts—I analyze how human rights actors redeploy normative institutional logics through creative approaches to institutional categories. I argue that lawyers and advocates working within the Court and Convention system naturalize and fix boundaries of law and politics and use that distinction to activate an excess of potential meanings and intertextual connections in legal judgments. This involves using institutional affordances to keep cases open and structure collaborative waiting. These strategies allow people to mutually inhabit open‐ended relationships to texts in intentional ways. In so doing, lawyers and activists defer resolving legal judgments—until new coalitions take political power, there are generational shifts in attitudes or shifts in geopolitical power arrangements that render state actors subject to diplomatic pressure. Analyzing how people improvise, learn, and teach others to manage institutional channels and excess opens up the black box of institutionality as a site for social transformation.

A hermeneutics of literary identities

In hermeneutics, to understand and then to interpret a narrative text implies identifying its markers of ambiguity—its riddles and enigmas—which are interconnected like a cobweb. In this article, the researcher develops a literary hermeneutic model for interpreting any literary narrative text, based on the conceptual arsenal of literary hermeneutics and narratology. The model is called ‘divinatory’, since it is inspired by Friedrich Schleiermacher’s idea for ‘divinatory hermeneutics’ and Roland Barthes’ ‘hermeneutic code’, and it is applied on a very enigmatic short story by Julio Cortázar. The theoretical premise of the article also argues for the benefits of studying the complex systems of literary identities in literary texts and of re-establishing hermeneutics of literature as a ‘hermeneutics of literary identities’.
 Due to its unique ambiguity, Cortázar’s famous short story “Las babas del diablo” has numerous interpretations and too many title translations: after Michelangelo Antonioni’s movie, it is known as “Blow-Up” in English, but also “The Devil’s Drool”, “The Devil’s Cobweb”, “The Cobweb/Kiss of St. Michael’s Summer”, and “The Thread of the Virgin” in other languages. Therefore, its unriddling divinatory interpretation provides an excellent initial interpretative model for any fictional narrative text. By analyzing the hermeneutically encoded aspects of its main narrative factors—the story and its discourse, narrator/s and focalization, narrative time and space, as well as intertextual connections—this interpretation finds that the short story’s search for the identities of its subjects and events is, in fact, a search for the hermeneutic identity of meaning.
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 Publication history note: This is the first publication of this essay in its English translation. This translated version has also been significantly updated and modified. Its first introductory theoretical parts are shortened to half their original length. All parts of the model-defining thesis and the structural composition in the main body of the text remain the same, but the application parts are extended, updated, and modified to match and elaborate on the English translation of the analyzed short story, which greatly differs from the previously analyzed Macedonian one. The reference list is updated accordingly. The previous version of the essay has been published only in Macedonian: firstly, in Kjulavkova, K. (2005) Hermenevtika na kniževnite identiteti [A Hermeneutics of Literary Identities]. In Dijalog na interpretacii [Dialogue of Interpretations], K. Kjulavkova, J. Bessier, and Ph. Daros (eds.), Skopje, Ǵurǵa, pp. 61–115; later, for instance, in Kjulavkova, K. (2006) Hermenevtika na identiteti [Hermeneutics of Identi-ties]. Kumanovo, Makedonska rizinica, pp. 61–104.