Summary The present article deals with Easy-to-read Russian. It focuses on the level of syntax which is mainly characterized by the avoidance of complex sentence structures. The necessity to write sentences that are as short and simple as possible is intuitively comprehensible, but often difficult to implement in practice since Easy-to-read texts also have to express causal, final or many other relations. Suggestions for avoiding complex syntactic structures in Russian are submitted and put up for discussion by consulting results and important proposals of studies about German “Leichte Sprache”. This includes both clause constructions and complex sentences with their individual subgroups as well as asyndetic compound sentences. On the whole, the study is intended to make a linguistically substantiated contribution to the development of Easy-to-read Russian, for which there are only initial approaches available today.
{"title":"Zur Syntax der russischen Leichten Sprache","authors":"Claudia Radünzel","doi":"10.1515/slaw-2021-0019","DOIUrl":"https://doi.org/10.1515/slaw-2021-0019","url":null,"abstract":"Summary The present article deals with Easy-to-read Russian. It focuses on the level of syntax which is mainly characterized by the avoidance of complex sentence structures. The necessity to write sentences that are as short and simple as possible is intuitively comprehensible, but often difficult to implement in practice since Easy-to-read texts also have to express causal, final or many other relations. Suggestions for avoiding complex syntactic structures in Russian are submitted and put up for discussion by consulting results and important proposals of studies about German “Leichte Sprache”. This includes both clause constructions and complex sentences with their individual subgroups as well as asyndetic compound sentences. On the whole, the study is intended to make a linguistically substantiated contribution to the development of Easy-to-read Russian, for which there are only initial approaches available today.","PeriodicalId":41834,"journal":{"name":"ZEITSCHRIFT FUR SLAWISTIK","volume":"66 1","pages":"446 - 490"},"PeriodicalIF":0.2,"publicationDate":"2021-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45391451","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Nachruf auf Professor Dr. Hans Rothe (5. Mai 1928–31. März 2021)","authors":"L. Udolph","doi":"10.1515/slaw-2021-0022","DOIUrl":"https://doi.org/10.1515/slaw-2021-0022","url":null,"abstract":"","PeriodicalId":41834,"journal":{"name":"ZEITSCHRIFT FUR SLAWISTIK","volume":"66 1","pages":"517 - 521"},"PeriodicalIF":0.2,"publicationDate":"2021-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45446980","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Summary This study offers a comprehensive comparative analysis between F. M. Dostoevskij’s classic Prestuplenie i nakazanie (PSS 6, 1973) and the black-and-white adaptation Crime and Punishment created by Alain Korkos and David Zane Mairowitz (2008). According to author and artist, the adaptation is meant for recipients acquainted with the novel and first readers of the graphic novel alike. With 417 pages of close-printed canonic text turned into a picture-dominated graphic novel of 118 pages, the adaptation – paying attention to the sequence of crucial fictional scenes – follows the storyline from the beginning of the canonic text to the Epilogue. About 95 % of the precisely and densely formulated verbal material contained in captions can easily be traced back to Dostoevskij’s classic. In this respect, the adaptation is „true to the source material“ (Kick 2012). However, as large portions of text concerning Sonja or Sonja and Raskol’nikov are – discernibly purposefully – eliminated, the adaptation turns out to be a revised version of the canonic novel. E.g., Sonja neither reads the Lazarus-chapter to Raskol’nikov nor follows him to Siberia. In contrast to Sonja, Raskol’nikov – with his emotional-mental instability, rebellion against the state of the world, self-authorization to commit crimes – is represented in accordance with the source text. The hermeneutic gain caused through verbal-pictorial reproduction of the classic text – i. e. through meaningful handling of panels and graphic design within the panels – is significantly enlarged through verbal-pictorial material not inspired by the classic text, e. g. a poster showing Edvard Munch’s graphics The Cry. In view of the 21st century’s preference for visual and multimedial presentation, the study encourages the coexistence and ‚co-reception‘ of the literary classic and the graphic novel as well as further forms of cultural processing.
本研究对陀思妥耶夫斯基的经典小说《Prestuplenie i nakazanie》(PSS 6, 1973)与阿兰·科尔科斯和大卫·赞恩·迈罗维茨创作的黑白改编小说《罪与罚》(2008)进行了全面的比较分析。根据作者和艺术家的说法，改编的目的是为熟悉小说的读者和漫画小说的第一次读者。417页的密密麻麻的经典文本变成了118页的以图片为主的漫画小说，改编——注意到关键的虚构场景的顺序——从经典文本的开始到尾声都遵循着故事情节。在标题中包含的精确而密集的语言材料中，大约95%可以很容易地追溯到陀思妥耶夫斯基的经典。在这方面，改编是“忠于原著”(Kick 2012)。然而，由于关于索尼娅或索尼娅和拉斯科尔尼科夫的大部分文本被有意地删去了，改编结果是经典小说的修订版。例如，索尼娅既没有给拉斯科尔尼科夫读《拉撒路》一章，也没有跟着他去西伯利亚。与索尼娅相反，拉斯科尔尼科夫的情绪和精神不稳定，对世界状态的反叛，对犯罪的自我授权，都是按照原文来表现的。通过对经典文本的文字图像复制(即通过有意义地处理面板和面板内的平面设计)所获得的解释学收益，通过不受经典文本启发的文字图像材料显着扩大，例如展示爱德华·蒙克图形的海报呐喊。鉴于21世纪对视觉和多媒体呈现的偏好，本研究鼓励文学经典和图形小说以及其他文化处理形式的共存和共同接受。
{"title":"Autopsie einer Graphic Novel: Dostoevskijs Prestuplenie i nakazanie (1866) in der Adaption von Alain Korkos und David Zane Mairowitz (2008)","authors":"B. Schultze, Beata Weinhagen","doi":"10.1515/slaw-2021-0018","DOIUrl":"https://doi.org/10.1515/slaw-2021-0018","url":null,"abstract":"Summary This study offers a comprehensive comparative analysis between F. M. Dostoevskij’s classic Prestuplenie i nakazanie (PSS 6, 1973) and the black-and-white adaptation Crime and Punishment created by Alain Korkos and David Zane Mairowitz (2008). According to author and artist, the adaptation is meant for recipients acquainted with the novel and first readers of the graphic novel alike. With 417 pages of close-printed canonic text turned into a picture-dominated graphic novel of 118 pages, the adaptation – paying attention to the sequence of crucial fictional scenes – follows the storyline from the beginning of the canonic text to the Epilogue. About 95 % of the precisely and densely formulated verbal material contained in captions can easily be traced back to Dostoevskij’s classic. In this respect, the adaptation is „true to the source material“ (Kick 2012). However, as large portions of text concerning Sonja or Sonja and Raskol’nikov are – discernibly purposefully – eliminated, the adaptation turns out to be a revised version of the canonic novel. E.g., Sonja neither reads the Lazarus-chapter to Raskol’nikov nor follows him to Siberia. In contrast to Sonja, Raskol’nikov – with his emotional-mental instability, rebellion against the state of the world, self-authorization to commit crimes – is represented in accordance with the source text. The hermeneutic gain caused through verbal-pictorial reproduction of the classic text – i. e. through meaningful handling of panels and graphic design within the panels – is significantly enlarged through verbal-pictorial material not inspired by the classic text, e. g. a poster showing Edvard Munch’s graphics The Cry. In view of the 21st century’s preference for visual and multimedial presentation, the study encourages the coexistence and ‚co-reception‘ of the literary classic and the graphic novel as well as further forms of cultural processing.","PeriodicalId":41834,"journal":{"name":"ZEITSCHRIFT FUR SLAWISTIK","volume":"66 1","pages":"363 - 445"},"PeriodicalIF":0.2,"publicationDate":"2021-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45222308","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Summary The article examines Soviet memorial designs of the Great Patriotic War period (1941–1945). These monuments were unorthodox in terms of visual language, and they differed strikingly from the Stalinist neoclassical mainstream of the previous decade. Architects tried to find means of commemoration of the enormous tragedy of war that they faced. Analysis of the poetics of their designs along with the commonplaces of the respective critical discourse reveals the process whereby the memorial genre was transformed. This article discusses the monumental tradition developed by the 1940 s, the models, the sources of motifs and solutions, and some stylistic and architectural peculiarities characteristic of wartime projects. Whereas previously the Soviet architects from the early 1930s had been working on the ‘ultimate’ monument – the Palace of Soviets in Moscow – with the beginning of the war they shifted to improvising in order to ‘stretch’ the limits of genre. I examine the ways in which they broke the limits and shaped the dense, overwhelming memorial narrative to be transmitted by the monuments. New memorials were considered as a form of heroic epic, analogous to the literary epics but expressed by means of architecture and sculpture. The nationalistic sentiments typical of the war years were reflected in both the design ideology and the perception of memorials. Alongside persistent motifs (such as 'prancing' tanks) emerged new themes (the commemoration of victims along with heroes). The technique of provoking the viewer’s emotions, as well as the visual language and architectural style of some structures and particular solutions (such as massive stone cubes), demonstrate the inheritance from the post-Revolutionary Modernist architecture. This unorthodox stylistic flexibility illustrates the ‘liberation’ of architects – and the short cultural ‘liberalization’ on the wartime period.
{"title":"Designs of Soviet war monuments, 1941–1945: transformation of the memorial genre, the models, the visual language and its sources","authors":"V. Bass","doi":"10.1515/slaw-2021-0014","DOIUrl":"https://doi.org/10.1515/slaw-2021-0014","url":null,"abstract":"Summary The article examines Soviet memorial designs of the Great Patriotic War period (1941–1945). These monuments were unorthodox in terms of visual language, and they differed strikingly from the Stalinist neoclassical mainstream of the previous decade. Architects tried to find means of commemoration of the enormous tragedy of war that they faced. Analysis of the poetics of their designs along with the commonplaces of the respective critical discourse reveals the process whereby the memorial genre was transformed. This article discusses the monumental tradition developed by the 1940 s, the models, the sources of motifs and solutions, and some stylistic and architectural peculiarities characteristic of wartime projects. Whereas previously the Soviet architects from the early 1930s had been working on the ‘ultimate’ monument – the Palace of Soviets in Moscow – with the beginning of the war they shifted to improvising in order to ‘stretch’ the limits of genre. I examine the ways in which they broke the limits and shaped the dense, overwhelming memorial narrative to be transmitted by the monuments. New memorials were considered as a form of heroic epic, analogous to the literary epics but expressed by means of architecture and sculpture. The nationalistic sentiments typical of the war years were reflected in both the design ideology and the perception of memorials. Alongside persistent motifs (such as 'prancing' tanks) emerged new themes (the commemoration of victims along with heroes). The technique of provoking the viewer’s emotions, as well as the visual language and architectural style of some structures and particular solutions (such as massive stone cubes), demonstrate the inheritance from the post-Revolutionary Modernist architecture. This unorthodox stylistic flexibility illustrates the ‘liberation’ of architects – and the short cultural ‘liberalization’ on the wartime period.","PeriodicalId":41834,"journal":{"name":"ZEITSCHRIFT FUR SLAWISTIK","volume":"66 1","pages":"290 - 322"},"PeriodicalIF":0.2,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/slaw-2021-0014","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42136323","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Summary Antonomasia implies two opposing semantic mechanisms: the replacement of a proper name by an appellative, epithet or periphrasis (e. g. the Iron Lady standing for Margaret Thatcher), or the attribution of a proper name to an appellative or a set of certain personality traits (e. g. a Penelope standing for a faithful, devoted wife). The aim of this paper is to show that studying antonomasia as a figure of speech driven by a cognitive metonymic and metaphoric mechanism can contribute to revealing how women are conceptualised and consequently talked about. We do so by analysing figurative antonomasia in a dataset of 307 examples extracted from Bosnian/Croatian/Montenegrin/Serbian (BCMS) webpages, although the findings are generisable to other languages as well. We show that antonomasia is frequently based on entrenched stereotypes about women and that in the collective consciousness of the BCMS speakers women are often conceptualised as (sexual) objects, typically valued by aesthetic criteria, as well as in relation to their possession of certain stereotypical female traits (self-sacrifice or subordination to others, excessive emotion but also cruelty, manipulativeness, showiness, talkativeness, etc.). In addition, the analysis also revealed that a woman is principally identified through her relations with other beings (as a mother, sister, wife or lover). Our study thus confirms that studying antonomasia within gender and language studies is a goal well worth pursuing.
{"title":"Antonomasia in BCMS and a woman’s place in the Balkan society","authors":"Deja Piletić, Milica Vuković Stamatović","doi":"10.1515/slaw-2021-0009","DOIUrl":"https://doi.org/10.1515/slaw-2021-0009","url":null,"abstract":"Summary Antonomasia implies two opposing semantic mechanisms: the replacement of a proper name by an appellative, epithet or periphrasis (e. g. the Iron Lady standing for Margaret Thatcher), or the attribution of a proper name to an appellative or a set of certain personality traits (e. g. a Penelope standing for a faithful, devoted wife). The aim of this paper is to show that studying antonomasia as a figure of speech driven by a cognitive metonymic and metaphoric mechanism can contribute to revealing how women are conceptualised and consequently talked about. We do so by analysing figurative antonomasia in a dataset of 307 examples extracted from Bosnian/Croatian/Montenegrin/Serbian (BCMS) webpages, although the findings are generisable to other languages as well. We show that antonomasia is frequently based on entrenched stereotypes about women and that in the collective consciousness of the BCMS speakers women are often conceptualised as (sexual) objects, typically valued by aesthetic criteria, as well as in relation to their possession of certain stereotypical female traits (self-sacrifice or subordination to others, excessive emotion but also cruelty, manipulativeness, showiness, talkativeness, etc.). In addition, the analysis also revealed that a woman is principally identified through her relations with other beings (as a mother, sister, wife or lover). Our study thus confirms that studying antonomasia within gender and language studies is a goal well worth pursuing.","PeriodicalId":41834,"journal":{"name":"ZEITSCHRIFT FUR SLAWISTIK","volume":"66 1","pages":"183 - 207"},"PeriodicalIF":0.2,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45754500","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Summary This paper is based on newly collected data from the research project on translanguaging and language attitudes carried out in Lviv and Horodok, Ukraine and in Vilnius, Lithuania. The data covered in the article consists of 90 responses from students at Ukrainian and Lithuanian Polish minority schools. The study involves a description and contrast of the Polish communities in Ukraine and Lithuania, and analysis of the sociolinguistic peculiarities of the Polish language, focusing on translanguaging in the daily use of several languages by members of Polish ethnic minority schools. It aims to report the linguistic behaviour tendencies. The study shows that different state and school language policy contexts are characterised by varying linguistic attitudes and language proficiency. The paper reveals the importance of translanguaging for maintaining the Polish language within a mixed culture environment.
{"title":"Translanguaging in Polish minority schools in Ukraine and Lithuania","authors":"Kinga Geben, Maria Zelinska","doi":"10.1515/slaw-2021-0011","DOIUrl":"https://doi.org/10.1515/slaw-2021-0011","url":null,"abstract":"Summary This paper is based on newly collected data from the research project on translanguaging and language attitudes carried out in Lviv and Horodok, Ukraine and in Vilnius, Lithuania. The data covered in the article consists of 90 responses from students at Ukrainian and Lithuanian Polish minority schools. The study involves a description and contrast of the Polish communities in Ukraine and Lithuania, and analysis of the sociolinguistic peculiarities of the Polish language, focusing on translanguaging in the daily use of several languages by members of Polish ethnic minority schools. It aims to report the linguistic behaviour tendencies. The study shows that different state and school language policy contexts are characterised by varying linguistic attitudes and language proficiency. The paper reveals the importance of translanguaging for maintaining the Polish language within a mixed culture environment.","PeriodicalId":41834,"journal":{"name":"ZEITSCHRIFT FUR SLAWISTIK","volume":"66 1","pages":"229 - 248"},"PeriodicalIF":0.2,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/slaw-2021-0011","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46688882","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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