FEMALE IMAGES IN THE WORKS OF P.M. ANDREEVSKY THROUGH THE PRISM OF THE ARCHETYPE

Petre M. Andreevski (1934–2006) belongs to the classics of Macedonian literature. In his love lyrics of the 1960s, and novels dedicated to the events of the Balkans and the First World War (Wheatgrass, 1980) and the Second World War (Nebeska Timyanovna, 1988), female images are brought to the fore. In this article they are analyzed through the prism of Carl Gustav Jung’s theory of the archetype. Three main female hypostases are identified: Goddess, Mother and Warrior. Thus, at the heart of Denitsiya, the central image of the cycle Denitsiya (1968), endowed with the perfection and beauty of the goddess of the dawn, lies the archetype of the Primordial Woman. In its artistic embodiment, the author uses a vivid metaphori cal style, emphasizing the great creative power of love. Velika, the main character of the novel Wheatgrass, is the keeper of the hearth and folk traditions, and will be viewed through the prism of the Mother archetype. This is a strong character that grows into a symbol of the resilience of the Macedonian people. The partisan and revolutionary Nebeska Timyanovna, the heroine of the novel of the same name, is a Warrior endowed with firmness and will of character. As the plot develops, her image evolves and becomes closer to the Mother archetype. In general, the female images of the Macedonian writer combine several hypostases — the Primordial Woman, the Mother and the Warrior, although the predominance of the first two is especially noticeable. In recent Macedonian literature, the archetypal basis of female images is noticeably changing, as the presence of women writers in the liter ary process is growing, offering their “feminine” view of the world, the history of their country and its present.