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| place = Sofia, Bulgaria |
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'''''Macedonian Blood Wedding''''' (original title: Македонска кървава свадба, transliterated as Makedonska Krvava Svadba}}) is a play by [[Voydan Pop Georgiev – Chernodrinski|Voydan Chernodrinski]] first published and shown in theaters in [[Sofia, Bulgaria]] in 1900. The drama was written in the [[Macedonian language|Macedonian]] [[Debar dialect]] with influences from [[Turkish language|Turkish]] and following several [[Bulgarian language|Bulgarian]] Cyrillic orthography norms.<ref name="jezik" /> |
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'''''Macedonian Blood Wedding''''' ({{lang-bg|Македонска кървава свадба|Makedonska Kărvava Svadba}}) is a play by [[Voydan Pop Georgiev – Chernodrinski|Voydan Chernodrinski]] first published and shown in theaters in [[Sofia, Bulgaria]] in 1900. From today perspective the drama was written in the [[Macedonian language|Macedonian]] [[Debar dialect]] with influences from [[Bulgarian language|Bulgarian]] and [[Turkish language|Turkish]].<ref name="jezik" /> At that time [[Macedonian dialects]] were widely considered to be part of the [[Bulgarian dialects|Bulgarian diasystem]].<ref>The Macedonian partisans established a commission to create an “official” Macedonian literary language (1945), which became the Macedonian Slavs' legal “first” language (with Serbo-Croatian a recognized “second” and Bulgarian officially proscribed). D. Hupchick, The Balkans: From Constantinople to Communism, Springer, 2002, {{ISBN|0312299133}}, p. 430.</ref><ref>"The obviously plagiarized historical argument of the Macedonian nationalists for a separate Macedonian ethnicity could be supported only by linguistic reality, and that worked against them until the 1940s. Until a modern Macedonian literary language was mandated by the communist-led partisan movement from Macedonia in 1944, most outside observers and linguists agreed with the Bulgarians in considering the vernacular spoken by the Macedonian Slavs as a western dialect of Bulgarian". Dennis P. Hupchick, Conflict and Chaos in Eastern Europe, Palgrave Macmillan, 1995, {{ISBN|0312121164}}, p. 143.</ref><ref>''In one respect, however, Macedonian nationalism threw up a problem which the Communist Party could not ignore: the question of the status of the Macedonian language. If, as [[Dr Johnson]] remarked, languages are the pedigrees of nations, then the Slav inhabitants of Macedonia were by any reasonable linguistic criteria part of the Bulgarian nation... The construction and dissemination of a distinctive Macedonian language was the medium through which a sense of Macedonian identity was to be fixed... The past was systematically falsified to conceal the fact that many prominent ‘Macedonians’ had supposed themselves to be Bulgarians, and generations of students were taught the pseudo-history of the Macedonian nation. The mass media and education were the key to this process of national acculturation, speaking to people in a language that they came to regard as their Macedonian mother tongue, even if it was perfectly understood in Sofia.'' For more see: Michael L. Benson, Yugoslavia: A Concise History, Edition 2, Springer, 2003, {{ISBN|1403997209}}, p. 89.</ref> |
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==Plot== |
==Plot== |
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The play's main topic is "the hard and unbearable position of ''Macedonians'' under |
The play's main topic is "the hard and unbearable position of ''Macedonians'' under Turkish rule".<ref name="paper" /> It starts with the kidnapping of Cveta, a Macedonian [[Orthodox Christian|Orthodox]] girl by Osman [[bey]] while she works in the field with her family members during the harvest season. He takes her to his [[harem]] where he tries to change her ethno-religious identity. There, she is pressured by the bey, the Muslim Priest Selim and two Macedonian girls, Krsta and Petkana who had succumbed to the pressure and are now the bey's wives.<ref name="paper" /> Both her brother Duko and the young shepherd Spase, her love interest are strongly objecting to the forceful kidnapping. |
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Her relatives report the case to the mayor, the [[Consul (representative)|consuls]] and [[Carigrad]] where the seat of the Ottoman [[Sultan]] is. This forces the mayor to have a public ruling of the case where Cveta is asked in front of all her relatives and the officials whether she wants to become Turkish.<ref name="paper" /> Cveta refuses to change her identity despite the attempts by Priest Selim to mar her mind by giving her opiates. Cveta is free again and after a while her wedding with Spase in the village begins. Furious that the girl has escaped, Osman bey goes together with his soldiers to the event to take her back to his harem. All the villagers start protesting, the bey kills Duko, Cveta stabs him with his knife. In the end, one of Osman Bey's soldiers kills her and before her death, she reiterates that she died but did not become Turkish.<ref name="paper" /> |
Her relatives report the case to the mayor, the [[Consul (representative)|consuls]] and [[Carigrad]] where the seat of the Ottoman [[Sultan]] is. This forces the mayor to have a public ruling of the case where Cveta is asked in front of all her relatives and the officials whether she wants to become Turkish.<ref name="paper" /> Cveta refuses to change her identity despite the attempts by Priest Selim to mar her mind by giving her opiates. Cveta is free again and after a while her wedding with Spase in the village begins. Furious that the girl has escaped, Osman bey goes together with his soldiers to the event to take her back to his harem. All the villagers start protesting, the bey kills Duko, Cveta stabs him with his knife. In the end, one of Osman Bey's soldiers kills her and before her death, she reiterates that she died but did not become Turkish.<ref name="paper" /> |
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The play takes place in the late 19th century, when the [[region of Macedonia]] was still under the rule of the [[Ottoman Empire]]. The [[Slavic speakers in Ottoman Macedonia|local Slavic population]] was then a subject to forced [[Islamization]] and oppression. The author found inspiration to write the play in the real-life case of a girl named Bozhija Manadzhieva from [[Valandovo]] about which he read in the newspaper ''Reformi''. The girl, who worked on the fields for an [[Agha (title)|agha]] was kidnapped by the Turkish and was taken to [[Thessaloniki]].<ref name="Luzhina">{{harvnb|Luzhina|2000|p=36}}</ref> |
The play takes place in the late 19th century, when the [[region of Macedonia]] was still under the rule of the [[Ottoman Empire]]. The [[Slavic speakers in Ottoman Macedonia|local Slavic population]] was then a subject to forced [[Islamization]] and oppression. The author found inspiration to write the play in the real-life case of a girl named Bozhija Manadzhieva from [[Valandovo]] about which he read in the newspaper ''Reformi''. The girl, who worked on the fields for an [[Agha (title)|agha]] was kidnapped by the Turkish and was taken to [[Thessaloniki]].<ref name="Luzhina">{{harvnb|Luzhina|2000|p=36}}</ref> |
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The play tells the story of a young woman Cveta who is kidnapped by the [[bey]] who is in charge of the fictional region of the village Stradalovo. It follows her resistance to be converted to [[Islam]] and renouncing her |
The play tells the story of a young woman Cveta who is kidnapped by the [[bey]] who is in charge of the fictional region of the village Stradalovo. It follows her resistance to be converted to [[Islam]] and renouncing her national identity along with the parallel revolt of the locals against the Ottomans. Substantiating his motifs to write the play, Chernodrinski has explained in the book's preface: |
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Petkana: (sadly) We were born Christian, my sister. For more see: Йорданов, Ник., Случаят Войдан Чернодрински – “Македонска кървава сватба” и историите на тяхната “История”, в-к Културен форум, [https://web.archive.org/web/20050225010617/http://www.geocities.com/mac_truth/voidan-chernodrinski.html 25 фев. 2005,] (in Bg).</ref><ref>"''Until the late 19th century both outside observers and those Bulgaro-Macedonians who had an ethnic consciousness believed that their group, which is now two separate nationalities, comprised a single people, the Bulgarians. Thus the reader should ignore references to ethnic Macedonians in the Middle ages which appear in some modern works. In the Middle ages and into the 19th century, the term ‘Macedonian’ was used entirely in reference to a geographical region. Anyone who lived within its confines, regardless of nationality could be called a Macedonian. Nevertheless, the absence of a national consciousness in the past is no grounds to reject the Macedonians as a nationality today."'' "The Early Medieval Balkans: A Critical Survey from the Sixth to the Late Twelfth Century," John Van Antwerp Fine, University of Michigan Press, 1991, {{ISBN|0472081497}}, pp. 36–37.</ref><ref>"''At the end of the World War I there were very few historians or ethnographers, who claimed that a separate Macedonian nation existed... Of those Macedonian Slavs who had developed then some sense of national identity, the majority probably considered themselves to be Bulgarians, although they were aware of differences between themselves and the inhabitants of Bulgaria... The question as of whether a Macedonian nation actually existed in the 1940s when a Communist Yugoslavia decided to recognize one is difficult to answer. Some observers argue that even at this time it was doubtful whether the Slavs from Macedonia considered themselves to be a nationality separate from the Bulgarians''." [https://books.google.com/books?id=ZmesOn_HhfEC&pg=PA66&dq=Bulgaria's+Macedonia:+Nation-building+and+state-building&hl=bg&ei=r-47TrjECsn_-gbr-PShAg&sa=X&oi=book_result&ct=result&resnum=6&ved=0CEgQ6AEwBQ#v=onepage&q&f=false ''The Macedonian conflict: ethnic nationalism in a transnational world''], Loring M. Danforth, Princeton University Press, 1997, {{ISBN|0-691-04356-6}}, pp. 65-66.</ref> along with the parallel revolt of the locals against the Ottomans. Substantiating his motifs to write the play, Chernodrinski has explained in the book's preface: |
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<blockquote> |
<blockquote> |
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"What did I write? I [personally] did not write anything. I only copied from the still unwritten bloody history of Macedonia, that which the reader will read and the spectator will see in the theater. Of the bloodlust of our Turkish beys, the preparedness of female Macedonians to die and not to change their religion and the manhood of the Macedonian man to courageously avenge the bloodshedders who will try to taint his family honor, that is mainly what the content of the play consists of".<ref name="paper" /> |
"What did I write? I [personally] did not write anything. I only copied from the still unwritten bloody history of Macedonia, that which the reader will read and the spectator will see in the theater. Of the bloodlust of our Turkish beys, the preparedness of female Macedonians to die and not to change their religion and the manhood of the Macedonian man to courageously avenge the bloodshedders who will try to taint his family honor, that is mainly what the content of the play consists of".<ref name="paper" /> |
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==Release== |
==Release== |
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[[File:Makedonska Karvava Svatba Postcard.jpg|thumb|250px|A |
[[File:Makedonska Karvava Svatba Postcard.jpg|thumb|250px|A postcard from the early 20th century, depicting a scene from the play.]] |
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| ⚫ | The play was written in 1900 and its premiere was scheduled for 7 November in Sofia with a performance by Chernodrinski's theater group ''Skrab i uteha''.<ref name="paper" /> In order to avoid additional exasperation of its relations with another of its neighbours - the Ottoman Empire, the government banned the premiere of the openly [[anti-Turkish]] play. However, the policemen sent to the theater encountered resistance from some activists of the Supreme Macedonian Committee, and the play took place.<ref name=Glenny>{{cite book | last = Glenny | first = Misha | title = The Balkans, 1804 - 2012: Nationalism, War and the Great Powers | year = 2012 | url = https://books.google.be/books?id=BVdheJDLWnkC&pg=PT253&lpg=PT253&dq=misha+glenny+macedonian+blood+wedding&source=bl&ots=pqwJzQUvWl&sig=OE96slteFhdKrK2v0z2kKmcJKiI&hl=en&sa=X&redir_esc=y#v=onepage&q=misha%20glenny%20macedonian%20blood%20wedding&f=false}}</ref> |
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[[File:Alexander Shoumenoff Add in Naroden Glas.jpg|right|thumb|250px|Advertisement of the Shoumenoff bookstore in the local Bulgarian newspaper "Naroden Glass" in Granite City. The Chernodrinski's play is listed at No. 12.]] |
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| ⚫ | The play was written in 1900 and its premiere was scheduled for 7 November in Sofia with a performance by Chernodrinski's theater group ''Skrab i uteha''.<ref name="paper" / |
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Chernodrinski reworked it later to give the plot and the libretto for a new opera called ''Cveta'' that was written by the Bulgarian composer [[Georgi Atanasov (composer)|Georgi Atanasov]].<ref>{{cite web|url=http://bg3.chitanka.info/mylib/lib/text/8501/8|title=Любомир Сагаев — Книга за операта (8); ''Book on opera'', Lyubomir Sagaev, 1983|publisher=bg3.chitanka.info|accessdate=2020-02-16|last=|first=|language=bg}}</ref> In the mid-1930s, Aleksandar Shoumenoff from [[Gorno Dupeni]], owner of the |
Chernodrinski reworked it later to give the plot and the libretto for a new opera called ''Cveta'' that was written by the Bulgarian composer [[Georgi Atanasov (composer)|Georgi Atanasov]].<ref>{{cite web|url=http://bg3.chitanka.info/mylib/lib/text/8501/8|title=Любомир Сагаев — Книга за операта (8); ''Book on opera'', Lyubomir Sagaev, 1983|publisher=bg3.chitanka.info|accessdate=2020-02-16|last=|first=|language=bg}}</ref> In the mid-1930s, Aleksandar Shoumenoff from [[Gorno Dupeni]], owner of the First Bulgarian Book Store in [[Granite City, Illinois|Granite City]], USA, published Chernodrinski's works. The text wasn't translated into English but the play became popular among the [[Macedonian Bulgarian]] emigration.<ref>Георги Николов, Било ли е, не е ли било, или е само черен сън. [https://literaturensviat.com/?p=39199 Литературен свят, брой от 29 май 2011].</ref>{{unreliable source}} |
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==Linguistic analysis== |
==Linguistic analysis== |
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Three editions were published in Sofia of the play; one in 1900, one in 1907 and a last one in 1928.<ref name="paper" /> There are several linguistic differences between the versions published in 1900 and 1928 and the lexicon and the syntax contain a lot of influence from [[Bulgarian language|Bulgarian]] and [[Turkish language|Turkish]] |
Three editions were published in Sofia of the play; one in 1900, one in 1907 and a last one in 1928.<ref name="paper" /> There are several linguistic differences between the versions published in 1900 and 1928 and the lexicon and the syntax contain a lot of influence from [[Bulgarian language|Bulgarian]] and [[Turkish language|Turkish]]. The original dialect on which the book is based is the [[Debar dialect]], part of [[Dialects of Macedonian|Western Macedonian dialects]], as the author was born in Selce.<ref name="jezik">{{cite journal|url=http://darhiv.ffzg.unizg.hr/id/eprint/8876/1/Download%20File.pdf|title=Jezicna analiza drame „Makedonska krvava svadba“ autora Vojdana Popa Georgieva Černodrinskog|trans-title=Linguistic analysis of the drama Macedonian Blood Wedding by the Author Vojdan Pop Georgiev Chernodrinski|first=Tihana|last=Peša|publisher=[[Faculty of Humanities and Social Sciences, University of Zagreb]]|language=Croatian|date=2016}}</ref> Professor Maksim Karanfilovski from [[Ss. Cyril and Methodius University of Skopje]] argues that the language of the book cannot be solely attributed to the Debar dialect and notes that some of the features used are typical of the country's central dialects and some cross the borders of the Macedonian language.<ref>{{harvnb|Karanfilovski|1975|p=34-40}}</ref> The language used by the main characters is mainly conversational. In order to successfully capture the atmosphere and the everyday language spoken in the villages of Macedonia at the time, the author used numerous Turkish loanwords which are currently considered archaic and are not used anymore in modern-day Macedonian.<ref name="jezik" /> Bulgarian influence can also be seen in some verb conjugations, numbers, pronouns and loanwords as well as the [[orthography]] as the book was printed in [[Bulgarian alphabet|Bulgarian Cyrillic]] in [[Reforms of Bulgarian orthography|older Bulgarian orthography]].<ref name="jezik" /> |
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===Language dispute=== |
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Nikolai Jordanov, a writer for the Bulgarian ''Homo Ludens'' magazine, argues that the original drama was referring to the characters in the play as Bulgarian and that after Chernodrinski's death in 1951 in then [[SR Macedonia]], the drama ''Macedonian Blood Wedding'' was transliterated into the newly codified [[Macedonian language]]. In addition to this, he argues that parts of the text where the words "Bulgarian" were used in the publications in 1900, 1907 and 1928, were replaced with "Christian" or "Macedonian" in later editions of the play.<ref name="forum">{{cite web|last=Jordanov|first=Nikolai|title=Случаят Войдан Чернодрински – “Македонска кървава сватба” и историите на тяхната “История”|trans-title=The case of Vojdan Chernodrinski = Macedonian Blood Wedding and the stories of the secret history|url=https://web.archive.org/web/20050225010617/http://www.geocities.com/mac_truth/voidan-chernodrinski.html|language=Bulgarian|work=Homo Ludens|date=25 February 2005|accessdate=16 February 2020}}</ref> He further emphasizes that all of the other mini-texts which do not involve the conversations between the characters, such as the preface and the instructions to the actors are written using the Bulgarian language norm.<ref name="forum" /> |
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==Modern day== |
==Modern day== |
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The play is considered today as one of the most important works in [[Macedonian literature]].<ref name="paper">{{cite journal|title=„Македонска крвава свадба“ – нови интерпретативни аспекти|trans-title="Macedonian Blood Wedding" - New Interpretative Aspects|first1=Tole|last1=Belčev|first2=Ranko|last2=Mladenoski|date=2006|journal=Yearbook Faculty of Philology|publisher=Faculty of Philology, [[Goce Delčev University of Štip]]|language=mk}}</ref> The play was [[film adaptation|adapted]] into a movie in 1967 under the direction of Macedonian director Trajče Popov.<ref name="publicitet">{{cite web|url=https://www.publicitet.mk/filmoljubie/item/6652-50-godini-na-filmot-makedonska-krvava-svadba|title=50 години на филмот "Македонска Крвава Свадба"|trans-title=50 years of the film Macedonian Blood Wedding|first=Gjoko|last=Simjanoski|publisher=Publicitet.mk|language=mk|date=6 December 2017|accessdate=14 February 2020}}</ref> |
The play is considered today as one of the most important works in [[Macedonian literature]].<ref name="paper">{{cite journal|title=„Македонска крвава свадба“ – нови интерпретативни аспекти|trans-title="Macedonian Blood Wedding" - New Interpretative Aspects|first1=Tole|last1=Belčev|first2=Ranko|last2=Mladenoski|date=2006|journal=Yearbook Faculty of Philology|publisher=Faculty of Philology, [[Goce Delčev University of Štip]]|language=mk}}</ref> The play was [[film adaptation|adapted]] into a movie in 1967 under the direction of Macedonian director Trajče Popov.<ref name="publicitet">{{cite web|url=https://www.publicitet.mk/filmoljubie/item/6652-50-godini-na-filmot-makedonska-krvava-svadba|title=50 години на филмот "Македонска Крвава Свадба"|trans-title=50 years of the film Macedonian Blood Wedding|first=Gjoko|last=Simjanoski|publisher=Publicitet.mk|language=mk|date=6 December 2017|accessdate=14 February 2020}}</ref> Following its premiere, the play was shown in numerous other Bulgarian cities.<ref name="forum" /> Later, the play was widely shown in numerous Macedonian cities.<ref name="forum" /> |
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==References== |
==References== |
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Revision as of 17:15, 16 February 2020
| Macedonian Blood Wedding | |
|---|---|
 | |
| Written by | Voydan Pop Georgiev – Chernodrinski |
| Characters | Cveta Spase Osman Bey Duko |
| Date premiered | November 7, 1900 |
| Place premiered | Sofia, Bulgaria |
| Original language | Macedonian[1] |
Macedonian Blood Wedding (original title: Македонска кървава свадба, transliterated as Makedonska Krvava Svadba}}) is a play by Voydan Chernodrinski first published and shown in theaters in Sofia, Bulgaria in 1900. The drama was written in the Macedonian Debar dialect with influences from Turkish and following several Bulgarian Cyrillic orthography norms.[1]
Plot
The play's main topic is "the hard and unbearable position of Macedonians under Turkish rule".[2] It starts with the kidnapping of Cveta, a Macedonian Orthodox girl by Osman bey while she works in the field with her family members during the harvest season. He takes her to his harem where he tries to change her ethno-religious identity. There, she is pressured by the bey, the Muslim Priest Selim and two Macedonian girls, Krsta and Petkana who had succumbed to the pressure and are now the bey's wives.[2] Both her brother Duko and the young shepherd Spase, her love interest are strongly objecting to the forceful kidnapping.
Her relatives report the case to the mayor, the consuls and Carigrad where the seat of the Ottoman Sultan is. This forces the mayor to have a public ruling of the case where Cveta is asked in front of all her relatives and the officials whether she wants to become Turkish.[2] Cveta refuses to change her identity despite the attempts by Priest Selim to mar her mind by giving her opiates. Cveta is free again and after a while her wedding with Spase in the village begins. Furious that the girl has escaped, Osman bey goes together with his soldiers to the event to take her back to his harem. All the villagers start protesting, the bey kills Duko, Cveta stabs him with his knife. In the end, one of Osman Bey's soldiers kills her and before her death, she reiterates that she died but did not become Turkish.[2]
Background and conception
The play takes place in the late 19th century, when the region of Macedonia was still under the rule of the Ottoman Empire. The local Slavic population was then a subject to forced Islamization and oppression. The author found inspiration to write the play in the real-life case of a girl named Bozhija Manadzhieva from Valandovo about which he read in the newspaper Reformi. The girl, who worked on the fields for an agha was kidnapped by the Turkish and was taken to Thessaloniki.[3]
The play tells the story of a young woman Cveta who is kidnapped by the bey who is in charge of the fictional region of the village Stradalovo. It follows her resistance to be converted to Islam and renouncing her national identity along with the parallel revolt of the locals against the Ottomans. Substantiating his motifs to write the play, Chernodrinski has explained in the book's preface:
"What did I write? I [personally] did not write anything. I only copied from the still unwritten bloody history of Macedonia, that which the reader will read and the spectator will see in the theater. Of the bloodlust of our Turkish beys, the preparedness of female Macedonians to die and not to change their religion and the manhood of the Macedonian man to courageously avenge the bloodshedders who will try to taint his family honor, that is mainly what the content of the play consists of".[2]
Release
The play was written in 1900 and its premiere was scheduled for 7 November in Sofia with a performance by Chernodrinski's theater group Skrab i uteha.[2] In order to avoid additional exasperation of its relations with another of its neighbours - the Ottoman Empire, the government banned the premiere of the openly anti-Turkish play. However, the policemen sent to the theater encountered resistance from some activists of the Supreme Macedonian Committee, and the play took place.[4]
Chernodrinski reworked it later to give the plot and the libretto for a new opera called Cveta that was written by the Bulgarian composer Georgi Atanasov.[5] In the mid-1930s, Aleksandar Shoumenoff from Gorno Dupeni, owner of the First Bulgarian Book Store in Granite City, USA, published Chernodrinski's works. The text wasn't translated into English but the play became popular among the Macedonian Bulgarian emigration.[6][unreliable source?]
Linguistic analysis
Three editions were published in Sofia of the play; one in 1900, one in 1907 and a last one in 1928.[2] There are several linguistic differences between the versions published in 1900 and 1928 and the lexicon and the syntax contain a lot of influence from Bulgarian and Turkish. The original dialect on which the book is based is the Debar dialect, part of Western Macedonian dialects, as the author was born in Selce.[1] Professor Maksim Karanfilovski from Ss. Cyril and Methodius University of Skopje argues that the language of the book cannot be solely attributed to the Debar dialect and notes that some of the features used are typical of the country's central dialects and some cross the borders of the Macedonian language.[7] The language used by the main characters is mainly conversational. In order to successfully capture the atmosphere and the everyday language spoken in the villages of Macedonia at the time, the author used numerous Turkish loanwords which are currently considered archaic and are not used anymore in modern-day Macedonian.[1] Bulgarian influence can also be seen in some verb conjugations, numbers, pronouns and loanwords as well as the orthography as the book was printed in Bulgarian Cyrillic in older Bulgarian orthography.[1]
Language dispute
Nikolai Jordanov, a writer for the Bulgarian Homo Ludens magazine, argues that the original drama was referring to the characters in the play as Bulgarian and that after Chernodrinski's death in 1951 in then SR Macedonia, the drama Macedonian Blood Wedding was transliterated into the newly codified Macedonian language. In addition to this, he argues that parts of the text where the words "Bulgarian" were used in the publications in 1900, 1907 and 1928, were replaced with "Christian" or "Macedonian" in later editions of the play.[8] He further emphasizes that all of the other mini-texts which do not involve the conversations between the characters, such as the preface and the instructions to the actors are written using the Bulgarian language norm.[8]
Modern day
The play is considered today as one of the most important works in Macedonian literature.[2] The play was adapted into a movie in 1967 under the direction of Macedonian director Trajče Popov.[9] Following its premiere, the play was shown in numerous other Bulgarian cities.[8] Later, the play was widely shown in numerous Macedonian cities.[8]
References
- ^ a b c d e Peša, Tihana (2016). "Jezicna analiza drame „Makedonska krvava svadba" autora Vojdana Popa Georgieva Černodrinskog" [Linguistic analysis of the drama Macedonian Blood Wedding by the Author Vojdan Pop Georgiev Chernodrinski] (PDF) (in Croatian). Faculty of Humanities and Social Sciences, University of Zagreb.
{{cite journal}}: Cite journal requires|journal=(help) - ^ a b c d e f g h Belčev, Tole; Mladenoski, Ranko (2006). "„Македонска крвава свадба" – нови интерпретативни аспекти" ["Macedonian Blood Wedding" - New Interpretative Aspects]. Yearbook Faculty of Philology (in Macedonian). Faculty of Philology, Goce Delčev University of Štip.
- ^ Luzhina 2000, p. 36
- ^ Glenny, Misha (2012). The Balkans, 1804 - 2012: Nationalism, War and the Great Powers.
- ^ "Любомир Сагаев — Книга за операта (8); Book on opera, Lyubomir Sagaev, 1983" (in Bulgarian). bg3.chitanka.info. Retrieved 16 February 2020.
- ^ Георги Николов, Било ли е, не е ли било, или е само черен сън. Литературен свят, брой от 29 май 2011.
- ^ Karanfilovski 1975, p. 34-40
- ^ a b c d Jordanov, Nikolai (25 February 2005). "Случаят Войдан Чернодрински – "Македонска кървава сватба" и историите на тяхната "История"" [The case of Vojdan Chernodrinski = Macedonian Blood Wedding and the stories of the secret history]. Homo Ludens (in Bulgarian). Retrieved 16 February 2020.
- ^ Simjanoski, Gjoko (6 December 2017). "50 години на филмот "Македонска Крвава Свадба"" [50 years of the film Macedonian Blood Wedding] (in Macedonian). Publicitet.mk. Retrieved 14 February 2020.
Bibliography
- Luzhina, Jelena (2000). "Македонска крвава свадба сто години подоцна" [Macedonian Blood Wedding one hundred years later] (in Macedonian). Skopje: Grafostil.
{{cite journal}}: Cite journal requires|journal=(help); Invalid|ref=harv(help) - Karanfilovski, Maksim (1975). "Јазикот на Војдан Чернодрински во Македонска крвава свадба" [Vojdan Chernodrinski's Language in Macedonian Blood Wedding] (in Macedonian). L3b XXII (2). Ss. Cyril and Methodius University of Skopje.
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External links
- Чернодрински, Войдан. „Македонска кървава сватба“ (трето собствено издание). 1928, София. Chernodrinski, Voydan. Macedonian Bloody Wedding (third edition). 1928, Sofia.