FOLKLORE REPRESENTATION OF VAMPIRES IN THE STORIES AFTER NINETY YEARS AND BROTHER MATA BY MILOVAN GLIŠIĆ

Abstract

The subject of this paper is the folklore representation of vampires in the stories After Ninety Years and Brother Mata by Milovan Glisić. In the first section, it was important to explain the importance of Milovan Glišić in the era of Serbian realism. The poetics of Milovan Glišić's creativity was observed in contact with Gogol's type of fantasy, through parallel connections, but also certain poetic differences, but also bringing it into connection with the poetics of the Serbian realist short story in which it is constituted as a certain turning point, in the spirit of folklore fantasy. Then, in the context of a better understanding of this author's work, the way of using specific speech in this work is presented, through examples, especially through the story of Brother Mata. In this way, it was possible to see how the vampire story is constructed, who the witnesses are, but also who does not believe in the story, who deconstructs it. Specica's archetypal oppositions in images of the world are also presented, more specifically, in the concepts of good and evil, derived from folk beliefs, which are necessary for a proper understanding of the stories presented. The most significant were oppositions in terms of temporal and spatial determinants, i.e. space inside: outside, day: night, village: city. The story After Ninety Years is analyzed in two ways: on the one hand, it is viewed through the postulates of a fairy tale, where the main event shows the course of the hero's rite of passage, in which he goes through the phase of separation, the liminal phase and the aggregation phase; on the other hand, the vampire part of the story consistently follows popular belief - from the characterization of the vampire himself, his behavior, until the discovery of the grave and its destruction. In the analysis of Brother Mata's story, the attention was focused mostly on the representation of the vampire motive, which was presented in a humorous way. That folklore fantasy and the unchanged fear of man from the appearance and encounter with demonic beings served as a source for the contemporary Serbian short story, but also as inspiration and material for contemporary and more voluminous prose works.