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    • Abstract:
      In Republic of Macedonia, the female muteness, female metaphorical silence as a fact and reality has never been an openly discussed issue, especially when it comes to analyzing the phenomenology of female writing, a well-developed female literary character or a female discourse. The "feminine" has been considered only as an inseparable segment of the male perception for submissive, sexual object and passive 'doer' without any proactive role in reexamining her personal position in the society. The problem of the female literary madness, which has been present since ancient times as a subversive social mechanism within the book pages of the literatures of the democratic societies, is in its (almost) entire, complete nonexistence and absence in the framework of the Macedonian literary tradition. The existing paradox is even greater because of the fact that the Macedonian literary tradition is founded on the basis of the female talent - women have been gifted poetesses, story-tellers such as Dafina from Serez, Mitra Miladinova, Depa Kavaeva, Arsa Strezova, Petrevica Ginoska, Velika Turundizeva, Ana Jovanova, Despina Popsimonova, Vera Dameva, Marija Parmakova, Viktorija Popstefanija and so on; they have, furthermore, inspired men to create artistic works and literary pieces. And since we know almost anything and everything as regards male literary dominance and writing, the biographies of all the prominent male writers, we know nothing about Macedonian literary women and their literature - they remain mute, silenced, negated, marginal figures in our society. Their metaphorical muteness prevents them from expressing themselves openly, inhibits them to demonstrate and show their "artistic madness" as well as to change proactively, and above all, subversively the Macedonian society. [ABSTRACT FROM AUTHOR]
    • Abstract:
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