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ISSN 1409-6900 | UDK 82+7     Blesok no. 26 | volume V | May-June, 2002



                     Peer-reviewed journal
Blesok no. 26May-June, 2002
Theatre Reviews

Essaysm as we have less and less

on the book of theater essays Time of the moment by Trajče Kacarov, "Tri", Skopje, 2000

p. 1
Robert Alagjozovski

     When I was a little boy, I was wondering about one strange habit of my father to note on paper various thoughts and sayings by numerous authors whose books he used to read. Those little pieces of paper were often in my way (they were dispersing around) when later, I was reading those books. My problem was that I didn’t see any sense in that habit. Later I realized that the well-known “belle” verbalism of my father is built exactly that way. Even later I found out that some 400 years ago some guy Montaigne invented this kind of practice – to write down his notes, and then to gather them in the separate books. That kind of activity practices my friend Kacarov, who, in opposite of my father (who actually remained oral essayist), Kacarov did published his essays in written form. The book, by my humble opinion, is quite badly done from a technical and visual view, and has a little difficult and complicated title, but contains a live essayism inside, less and less used in our environment, especially from those trend-setters or trend-makers at the social key-spots (cathedras, literary and public institutions, media, etc.).
    What’s characteristic for the essayism of Kacarov? Brian MacHale, in his book “Postmodern prose” separates the literature writing in two variants of the writing itself: epistemological and ontological, and in that way he makes the distinction between the modern and postmodern. Texts with epistemological dominant are trying to comprehend the world and the phenomena, to categorize and to specificate them, while in the texts with ontological dominant the world and things are only expressed and narrated, and they become an ontos, a being. Here, in our literature, the last few years dominates the epistemological essayism. That essaysm is scientifically hyper-determined, hyper-quote oriented, hyper-objective, tight, neutral in the language and in the expression. Trajche Kacarov is out of that trend. He, completely at the margins, consistently and constantly, works on his ontological essayism whose characteristics would be the narrativisation (or better: narratification) of the essay, the subjective, strongly expressive and affective expression with numerous rhetorical figures and with emphasized irony. Here also exist a kind of a chiazmatic paradox. The contemporary tendencies in the science strive to break through its rigid scientism, knowing of its numerous inconsistencies, and they try to “ontologize” the science. But at the same time, as we said, exactly the scientism

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