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ISSN 1409-6900 | UDK 82+7     Blesok no. 07 | volume II | February-March, 1999



                     Peer-reviewed journal
Blesok no. 07February-March, 1999

Love In the Macedonian Fantastic Story

(Some Aspects: Hibris, Vampirism, Portrait-Mirror, Love Triangle and Castration)

p. 1
Jasna Koteska

1. Introduction, the Fantastic Genre

    Love and death are two central topics in poetry in general. “Their relation is not always the same, still, it is always present” – Tzvetan Todorov says (1987: 139). He states the example of the fairy-tale “Little Red Riding Hood” by Pêrot, which clearly displays the relation between “going in bed with a being from the opposite sex” and “being eaten, die” (Todorov, 1987: 139). It is well known that orgasm during the sexual act is identified with the so-called little death, which means that although different, the phenomena love and death are, in a certain way, closely related.
    The fantastic is connected to the archetypal models and it is, therefore, regarded that the fantastic stories have a finite number of combinations. Rogé Cayoix, Louis Vax and others have constructed lists of fantastical topics (Urošević 1987: 15). Among the oldest and best known topics of those lists is the one of the interweaving between love and death.
    Fantastic literature corresponds to the subconscious desires of the human beings, and Freud’s psychoanalysis has shown that the subconscious is composed of sexual desires, suppressed and directed towards the wrong or the forbidden objects. The centering of the sexual desire and the manifestation of fantastical creative energy are relatable operations. When Croir claims that “the fantastic is the outlet and the catharsis of dark desires” (Urošević 1987: 28) then it becomes clear that love and the fantastic, apart from being undefinable, own other common traits.
    Tzvetan Todorov analysis fantastic literature through the aspect of hesitation that this type of literature provokes. In Živko Čingo’s short story “The Ghost Who Was in Love” the teacher catches a sight of a ghost in the window of his room, and his existence cannot be explained with the physical laws of the world which we live in. The narration asks from us to decide whether we believe that the teacher saw the ghost or that he hallucinated. While we hesitate the fantastic element asserts its place. We observe, together with the character, the oppositions of the two worlds: the real and the fantastic and the scope of the genre is established in the formula “we almost believe”.
    The fantastic is a genre mostly situated between the two other genres: the strange and the supernatural. In fantastic literature we are relieved from both blind trust and blind disbelief, for both take us out of the scope of this

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