Ratko Duev
Born on the 26th of June, 1970 in Veles, Macedonia. From 1999 to 2001 worked as an assistant researcher at Macedonian academy of science and arts in the Center for Areal Linguistics. In 2000 was elected as a assistant at the Department of Classics in the Faculty of Philosophy in Skopje, and that same year he was elected secretary of the international scientific journal Ziva Antika from Skopje. In 2010 he was elected Assistant Professor of Science in the disciplines of Mythology, Greek and Roman literature, and Greek and Roman culture. In 2013, he became the editor of the international scientific journal Ziva Antika from Skopje. In 2015, he was elected Associate Professor.
Phone: +389 2 3116520 ext. 207
Address: Dr. Ratko Duev
Depratment of Classics
Faculty of Philosophy
Goce Delcev 9a
MK-1000 Skopje
Republic of Macedonia
Phone: +389 2 3116520 ext. 207
Address: Dr. Ratko Duev
Depratment of Classics
Faculty of Philosophy
Goce Delcev 9a
MK-1000 Skopje
Republic of Macedonia
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Papers by Ratko Duev
value of the Linear B script indicates a familiar transliteration of
words related to the worship of the god Zeus. But Linear A is undeciphered, and the reason for such interpretations is the most often reverse research methodology, beginning with commonly known testimonies from the historical period.
shows many inconsistencies in the manner that the Neolithic culture in
the Aegean and wider Europe is usually defined. The conventional views
on the cult of Mother Earth and the god of vegetation are not based on
firm evidence; therefore, one must not exclude the possibility of a cult
of a Sky God.
the 16 recipients of olive oil most frequently used are the designations “to all
gods” and qe-ra-si-ja. The biggest quantities were offered to qe-ra-si-ja, but the
quantity is doubled to “all gods”. Many sanctuaries are mentioned, so the offerings
to “all gods” were made in Knossos and in Amnissos in certain months.
Although this poses a problem because Zeus and the other gods are not the only
ones mentioned, like on the Knossos tablet Fp(1) 1 + 31, it is possible that it resembles
Homer’s use of the formula.
The question as to why they occur on Crete, and not on the land again
resembles Homer’s description. Also, this portrays the connection between the
Minoan culture and Asia Minor.
The etymology of the term is the strongest proof concerning the specificity of the gusla. Compared to the other similar instruments, their names subsisted with certain variations among all the people who adopted them. For instance, the Sumerian pan-tur in Greece and Byzantium became pandoura and pandura in Rome, then the Semitic kinnor became kinyra, kithara in Greece, the Arabic rabab became rubab, rabob, robab, ribab, rbab, rababa, in Europe rebec, etc. It may be expected that the Slavs had some kind of a transcription of the rabab, the zither, or the Byzantine lyre, not their own terms which managed to subsist in spite of the strong influences of the musical traditions of the powerful empires throughout the medieval era and up to modern times.
found on the tablets, the existence of box lyres - the traditional instrument of the aoidoi
- in this period can be corroborated through ru-ra-ta-e (TH Av 106); the personal names
Ru-ro (KN V 832, PY Aq 64, PY Jo 438); and Ki-ny-ra (PY Qa 1301, Vn 865 and maybe
in PY Aq 218). These were the names of functionaries in Mycenaean society and this
fact confi rms the importance of this instrument for the upper classes. The connection
of Ki-ny-ra with the Semitic knr reveals the infl uence of other Mediterranean cultures
on Mycenaean culture. The ethnics Ai-ku-pi-ti-jo, Mi-sa-ra-jo, Ai-ti-jo-qo and Turi-
jo also demonstrate the existence of relations between the Mycenaean and other
Mediterranean civilizations of this period in which epic poetry prospered; and this
fact shows that it would have been impossible for the Mycenaeans not to have learnt
anything about such singers and poetry.
Archaeological fi ndings corroborate the existence of the lyre in this period, in
particular the lyre-player depicted in the fresco in the throne-room at Pylos, who
undoubtedly resembles an aoidos. Even if we accept claims that all such representations
existed only in the context of a cult, this would serve simply to confi rm rather than deny
the existence of aoidoi. Moreover, given that Demodocus sings of the love between
Ares and Aphrodite in The Odyssey, we can claim that religious hymns were a part of
the repertoire of the aoidoi together with epic poetry.
The tablet TH AV 106 presents ru-ra-ta-e ‘two lyre players.’ This written evidence shows that lyra, which was probably a round-based box lyre or giant lyre played by two players, is older term than kithara or phorminx in spite of all previous suggestions.
Books by Ratko Duev
value of the Linear B script indicates a familiar transliteration of
words related to the worship of the god Zeus. But Linear A is undeciphered, and the reason for such interpretations is the most often reverse research methodology, beginning with commonly known testimonies from the historical period.
shows many inconsistencies in the manner that the Neolithic culture in
the Aegean and wider Europe is usually defined. The conventional views
on the cult of Mother Earth and the god of vegetation are not based on
firm evidence; therefore, one must not exclude the possibility of a cult
of a Sky God.
the 16 recipients of olive oil most frequently used are the designations “to all
gods” and qe-ra-si-ja. The biggest quantities were offered to qe-ra-si-ja, but the
quantity is doubled to “all gods”. Many sanctuaries are mentioned, so the offerings
to “all gods” were made in Knossos and in Amnissos in certain months.
Although this poses a problem because Zeus and the other gods are not the only
ones mentioned, like on the Knossos tablet Fp(1) 1 + 31, it is possible that it resembles
Homer’s use of the formula.
The question as to why they occur on Crete, and not on the land again
resembles Homer’s description. Also, this portrays the connection between the
Minoan culture and Asia Minor.
The etymology of the term is the strongest proof concerning the specificity of the gusla. Compared to the other similar instruments, their names subsisted with certain variations among all the people who adopted them. For instance, the Sumerian pan-tur in Greece and Byzantium became pandoura and pandura in Rome, then the Semitic kinnor became kinyra, kithara in Greece, the Arabic rabab became rubab, rabob, robab, ribab, rbab, rababa, in Europe rebec, etc. It may be expected that the Slavs had some kind of a transcription of the rabab, the zither, or the Byzantine lyre, not their own terms which managed to subsist in spite of the strong influences of the musical traditions of the powerful empires throughout the medieval era and up to modern times.
found on the tablets, the existence of box lyres - the traditional instrument of the aoidoi
- in this period can be corroborated through ru-ra-ta-e (TH Av 106); the personal names
Ru-ro (KN V 832, PY Aq 64, PY Jo 438); and Ki-ny-ra (PY Qa 1301, Vn 865 and maybe
in PY Aq 218). These were the names of functionaries in Mycenaean society and this
fact confi rms the importance of this instrument for the upper classes. The connection
of Ki-ny-ra with the Semitic knr reveals the infl uence of other Mediterranean cultures
on Mycenaean culture. The ethnics Ai-ku-pi-ti-jo, Mi-sa-ra-jo, Ai-ti-jo-qo and Turi-
jo also demonstrate the existence of relations between the Mycenaean and other
Mediterranean civilizations of this period in which epic poetry prospered; and this
fact shows that it would have been impossible for the Mycenaeans not to have learnt
anything about such singers and poetry.
Archaeological fi ndings corroborate the existence of the lyre in this period, in
particular the lyre-player depicted in the fresco in the throne-room at Pylos, who
undoubtedly resembles an aoidos. Even if we accept claims that all such representations
existed only in the context of a cult, this would serve simply to confi rm rather than deny
the existence of aoidoi. Moreover, given that Demodocus sings of the love between
Ares and Aphrodite in The Odyssey, we can claim that religious hymns were a part of
the repertoire of the aoidoi together with epic poetry.
The tablet TH AV 106 presents ru-ra-ta-e ‘two lyre players.’ This written evidence shows that lyra, which was probably a round-based box lyre or giant lyre played by two players, is older term than kithara or phorminx in spite of all previous suggestions.