Taberna libraria 1 – Die Magische Schriftrolle: Serialausgabe Teil 5 (German Edition)

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The emphasis in much current translation research is based on the theory that retranslations tend to be getting back to the source text. The article focuses on the translations of lexical Sovietisms. A complete domestication of Sovietisms may lead to a loss of some connotative meaning essential for understanding the context, while foreignization of terms which are most likely unknown to western readers may disturb the fluidity of reading and cause confusion. My comparative analysis employs the Retranslation Hypothesis as well as taxonomies suggested by Vlakhov and Florin , and Davies ; they form the basis for this case study.

Gogol lived in Rome intermittently between and and there he penned some of his most important works. As he himself claimed, Rome provided him with the necessary distance to see Russia and write about it. But despite his long sojourn in Italy, he did not produce a significant text on an Italian theme or a travel narrative.

I argue that structurally, the fragment is organized by physical movement through European and Roman space and rhetorically, the text adopts the literary and visual tropes of the eighteenth-century Grand Tour to Italy. But the Gogolian Grand Tour arrives with a twist: Gogol reverses the traditional itinerary Paris — Rome, and posits Rome as both originating point and final destination, with Paris merely as a detour — and, as I suggest, as a foil to Rome. In this respect, the article draws on existing historical and sociocultural research on nineteenth-century fatherhood Igor Kon, John Tosh and others , which has moved away from the portrait of the nineteenth-century father as a patriarch with unlimited power towards a more nuanced view of him as a subject who operates within specific historical conditions.

The study focuses on Lebedinyi stan The Demesne of the Swans , which contains sixty-two poems written between March and December Chernyshevsky, the famous radical critic, whose biography comprises the fourth chapter of the novel. Chernyshevsky, on the other hand, fails to recognize the formations of unaccented syllables, which thereby precludes his proper understanding of Russian verse form. Compared to the dilettantism of Yasha Chernyshevsky and the poetic poverty of N. This article reflects on memories, language, translation and literary creation in the autobiographical oeuvre of Vladimir Nabokov.

Nabokov wrote his memoirs first in English Conclusive Evidence , then self-translated them into Russian Drugie berega , and created a revised English version Speak, Memory. I track how his memoirs evolved from English to Russian, the language in which most of the memories narrated took place, and back into English. By including Speak, Memory in my analysis I put to test the results of previous literary studies, which had paid more attention to the English-to-Russian rewriting. My work first shows that whereas the English rewriting increases the amount of detail in the text, the Russian gives rise to the most emotional changes.

Finally, I incorporate the results of psycholinguistic studies on Russian-English bilinguals into my own analysis. The influence of Grand Princess Euphrosyne second wife of Prince Roman Mstislavovitch explains the appearance among the Galician-Volhynian princes of Christian names which were unusual and unique for the Rurikides. This is the name Daniel, which was later included into the name list of the Moscow princes. This name spread among the princes due to the expansion of the cult of St Daniel the Stylite and the rising interest in the attributes of Stylitism.

This can be seen in sphragistics and in the numerous architectural monuments of Galician-Volhynian Rus' of the 13th—early 14th century. Thanks to the family links between the Galician-Volhynian and the Vladimir-Suzdal princes, this cult spread in the North-Eastern Rus' and later to Moscow. The fact that Euphrosyne of Galicia was the daughter of Basileus Isaak II explains the unexpected rise of interest in Stylitism among the princes of Rus' and their milieu.

Solzhenitsyn’s heritage as a cultural phenomenon and an object of scholarly study

Thus he astonished his contemporaries, since the Stylites had lost the influence over the emperors that they had exerted at the time of iconoclasm. The Byzantine hagiography concerning Sts.

Daniel the Stylite was the spiritual father and the main adviser of Emperor Leo I. Apparently this relationship was reflected in the names of the father and the son, the Galician-Volhynian princes Daniel Romanovich and Lev Danilovich. He impresses Stalin with his act, sliding all the way up close to Stalin on his knees while blinded by his hood pulled over his eyes.

But Stalin suspects he has seen the man before. The secret of their first encounter will ensure the suspense of the narrative, focused on the feast in an Abkhazian sanitarium honoring Stalin and featuring his inner circle: Beria, Voroshilov, Kalinin and others. His characters do not so much communicate verbally as perform before each other. Often they keep silent, but strike telling postures and assume marked facial expressions. When they do speak, rather than stating what they mean, they say something else, expecting the other to infer their message from the silent language of mime.

Reading Iskander, one is immersed in intense semiotic interaction. This system has three major functions. First, children and texts complexly interact in the larger endeavor to preserve traces of the fragile past into an uncertain future. Finally, genealogical figures form a metapoetic level that mirrors and focuses interpretation of the literary text. The central question discussed in my paper is how poetics of water is metaphorically present in visual discourses of boundary transgression and blending, both static and dynamic, namely painting and film of the Russian Symbolist period.

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In my analysis of the painterly and cinematic texts selected, I apply concepts from cognitive linguistics, specifically Conceptual Metaphor Theory and Conceptual Blending Theory that see the roots of the human proclivity for metaphor in somatic embodied experiences. Borisov-Musatov and two scenes from a film by E. The innovative aspect of my work is found in my applying it to interacting art forms, which supports the central stance of Conceptual Metaphor Theory: that metaphor is not just a figure of language, but first and foremost, a figure of thought.

As small as this class of nouns is, their examination raises several issues. Among other things it involves us in an examination of whether or not partner nouns can combine with numerals, for on this question, according to Saloni , their gender, or agreement class soglasovatel'naja klassa , after Zaliznjak , depends. After discussing partner nouns as a lexical-semantic class, including their socio-linguistic aspect from the contemporary point of view, their commonly perceived sexism , we direct attention to the question of the agreement class of partner nouns in - o stwo based on their combinability, or lack of it, with numerals.

We conclude that they are logically countable, but that in practice they are not counted for lack of need, the lack of an appropriate counting model, and because of the existence of a serviceable paraphrase model for avoiding having to count them. In the end, we conclude that, in any case, numerical combinability cannot be used as a reliable indicator of gender in Polish, because the system of collective numerals on which it is mainly based is atrophying and unstable.

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In particular, two elements are missing from the second part: the role of hypermetrical stress and the relative strength of stresses on strong syllables. Taranovsky recognized these phenomena, but they are nowhere reflected in his statistical data and conclusions, presumably because to take them into account would require an element of subjectivity.

Сергей Арутюнов. «Send Me An Angel» - Слепые прослушивания - Голос - Сезон 7

Taranovsky and his followers were proud that they could produce verifiable repeatable results. However, these results can only be repeated by scholars who agree on the same strict set of rhythmic conventions. The author of this essay argues that these conventions are oversimplifications. By omitting the question of hypermetrical stress, Taranovsky ignores some of the most important and memorable lines of Russian poetry. The paper ultimately suggests that scholars of verse should be more concerned with poetry as performance and less with the attempts to turn verse rhythm into an exact science.

This retrospective review-essay sets Melodics in multiple contexts. What remains of permanent value in Melodics is a body of brilliant syntactical observations on Zhukovsky, Pushkin, Lermontov, Tiutchev, and Fet. Any, James M. I first provide a sketch of the work of Sergei Bernshtein and Sofia Vysheslavtseva, two declamation theorists who were personally acquainted with Mandelstam and whose work both informed and was, in turn, informed by his declamations.

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I then go on to reflect on what we can glean from the way Mandelstam reads his lyric. This reveals what might be called choreography in the mouth — gestural patterns that lead into a somatic experience of the poem and provide it with an additional layer of structure. I close by thinking about what is lost when the oral realization of a poem is disregarded.

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This article examines the prosody and other features of Hebrew and Yiddish translations of Eugene Onegin , which were composed as a part of Ashkenazi Jewish cultural movements in Eastern Europe, Russia, and Palestine. Russian literature played an important role within the history of modern literature in both Hebrew and Yiddish. Translating Russian literature tested the limits of the literary Yiddish and Hebrew languages.

The changes in Hebrew pronunciation during this period were reflected clearly in the changing limits of the ability of writers to translate Onegin. Though motivated by an inward-facing drive to produce modern and Western literature in one Jewish language or another, these translations were also a manifestation of the cultural bond between secular, East European Jewish intellectuals and Russian literature.

I argue that for both predicaments, Khodasevich proposes an identical solution: the redemptive assimilation into Russian imperial, supranational culture.

Dictionary of Spoken Russian/English-Russian

This vision crystallized during World War I. Yet an attempt to realize this vision in the poem discussed underscores its inner ambiguity, since it reinforces clear-cut imperial narratives of Russia as the epitome of humanitarian values while leaving the logic of imperial power struggle untouched. The subject matter of this paper is the "Soviet language" SovYaz for short , a variety of Russian that was used in official contexts during the Soviet period.

  1. Translation of "чей-то голос прозвучит похоже" in English.
  2. Dictionary of Spoken Russian/English-Russian.
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  4. The use of the term "Soviet language" does not signify a commitment to viewing it as a language or a dialect in the linguistic sense. The question of whether SovYaz is, in fact, a social dialect sensu stricto, is beyond the scope of this paper and irrelevant to its purposes, although the materials presented here may help clarify the argument. This study of SovYaz seeks to utilize three relatively recent developments: newly opened archives with previously unimaginable sources of linguistic data; abundant searchable texts in electronic form; and a powerful new research tool, the National Corpus of the Russian Language NCRL.

    The goal is methodological--to illustrate an approach to the study of SovYaz made possible by these new developments. The paper makes extensive use of the following procedure.