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Macedonia is a country that has demonstrated incredible resilience to the perpetual confrontation between different “national interests” as they are conceived by the dominant ethnopolitical elites (Janev 2011: 8).

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The specifics of national literatures do not oppose otherliteratures, in fact they point out particular features based on history, traditions, habits of a certain place.

Thus a text can be assigned to a particular national literature, when important rulers become characters in literary creations.

While the classical repertoir and the opera have participated to the nation-building project, vernacular genres have always represented the ethos and the issues of local groups.

During the 1970s and 1980s, folk artists have been able to embody and represent the class and power relations, the transition from agricultural to industrial economy and the cultural subordination of southerners.

On the trace of Baudrillard’s thought, it proposes that the sense of loss, while perhaps misconstruing what was lost, nevertheless is real enough to shape and complicate contemporary understandings of national identity and to haunt the struggle for national autonomy by the former Yugoslav republics.

The evolution of the cultural institutions under the communist regime in the Central and Eastern area of Europe can be compared, from the institutional point of view to the development of the cultural institutions in Western European countries after the Second World War.

Japan’s identity has been a subject of particular array of discourses called nihonjinron generated primarily in its native environment.

Those discourses were especially dominant in postwar period and often marked as a result of national quest for reconstructing national identity after devastating defeat.

One of the great men who became an inspirationfor Romanian writers, due to his acts of bravery as well as his faults, is Stephen the Great.

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