@article{Prieto2021, author = {Prieto, Julio}, title = {'La poes{\´i}a no da para tanto'}, series = {Bulletin of Hispanic studies : a record and review of their progress / The University of Liverpool}, volume = {98}, journal = {Bulletin of Hispanic studies : a record and review of their progress / The University of Liverpool}, number = {1}, publisher = {Liverpool Univ. Press}, address = {Liverpool}, issn = {1475-3839}, doi = {10.3828/bhs.2021.5}, pages = {67 -- 86}, year = {2021}, abstract = {This article focuses on the unique combination of poetry, fiction and autobiography that distinguishes Lorenzo Garcia Vega's recent work. Through a reading of this work and, in particular, of the 'bad novel', Devastacion del Hotel San Luis (2007), a rethinking of the concept of autofiction is proposed, based on Benveniste's linguistic analysis of enunciation modes and on a revision of Kate Hamburger's theory of literary genres. My reading situates the question of autofiction in this author in the context of his conflictive dialogue with the group Origenes, tracing the mixture of narrative and lyrical modes of autofiguration in Garcia Vega's unique project: rewriting both Proust's autobiographic narrative and Lezama's neobaroque poetics.}, language = {es} } @article{Gabowitsch2021, author = {Gabowitsch, Mischa}, title = {Belarusian protest}, series = {Slavic review : interdisciplinary quarterly of Russian, Eurasian and East European studies / publ. by the Association for Slavic, East European, and Eurasian Studies}, volume = {80}, journal = {Slavic review : interdisciplinary quarterly of Russian, Eurasian and East European studies / publ. by the Association for Slavic, East European, and Eurasian Studies}, number = {1}, publisher = {Cambridge University Press}, address = {Cambridge}, issn = {0037-6779}, doi = {10.1017/slr.2021.28}, pages = {27 -- 37}, year = {2021}, abstract = {The Belarusian protest movement that started in August 2020 has been discussed from the point of view of strategy and objectives, and as the cradle of a new subjectivity. This essay goes beyond those two perspectives by looking at the regimes of engagement, developing in interaction with the material and technological environment, that have given the protests their distinctive style. The first part looks at coordination and representation at protest events and in producing protest symbols such as flags. The second part discusses the role of Telegram and the emergence of local protest groups. Even though the movement did not grow organically out of everyday concerns, there are some signs that it has begun to reassemble local communities from above. Yet there are also indications that politics continues to be seen as distinct from everyday life, making it uncertain that the movement will lead to a deeper transformation of society.}, language = {en} } @article{Barthel2021, author = {Barthel, Christian}, title = {Die Prophezeiung des Karour (Charour)}, series = {Le mus{\´e}on : revue d'{\´e}tudes orientales}, volume = {134}, journal = {Le mus{\´e}on : revue d'{\´e}tudes orientales}, number = {1-2}, publisher = {Peeters}, address = {Leuven}, issn = {0771-6494}, doi = {10.2143/MUS.134.1.3289397}, pages = {35 -- 77}, year = {2021}, abstract = {This article discusses the so-called 'Apocalypse' of Carour, a text preserved in a Codex (M586) of the famous Hamuli-find, that originally emanated from the environment of the Pachomian monastic enterprise. It addresses a series of disasters and communal deficiencies through metaphorical imagery and similes that struck the community after the death of its founding father Pachomios. After presenting a few conjectures to the editio princeps and providing a German translation, the 'Apocalypse' is contextualized within the historical and liturgical background of this late antique monastic community. The author asserts that this unique text not only displays the symptoms of disaster, but also gives us new insights into how the Pachomians productively coped with crises. In contrast to modern scholarship, the author argues that the 'Apocalypse' is in fact a prophecy (ex eventu) that was based on an instruction, which was publicly read at the large Easter assembly of the Pachomians, most likely by Horsiesos, the third abbot of the Koinonia. Using the figure of the frog, C(h)arour, to symbolize the biblical plague but also the Egyptian concept of rebirth, the instruction was intended to strengthen group cohesion and especially to prepare the novices that were about to receive their baptism during the Easter celebration for a life devoted to the Koinonia and its principles. To this initial prophecy, which developed an antithesis to the ideal monastic life envisioned by the Pachomians, another text was later added that narrated an unsuccessful attempt to overthrow Apa Besarion, the fifth abbot of the Koinonia. In a much more practical manner this second part of the prophecy elaborated on the same themes while also displaying the resilience of the community in averting crises through remembering and recommitting to its founding precepts. The convoluted text we possess now should therefore be equally viewed as a testament to the communication structures of the Pachomians as well as their memorial culture, which targeted moments of crisis and despair to imbue future generations with the necessary persistence to overcome possible disasters themselves and secure the long-term existence of the Koinonia.}, language = {de} } @article{Schmid2021, author = {Schmid, Herta}, title = {От психологического комизма к механическому комизму}, series = {Russian literature}, volume = {125-126}, journal = {Russian literature}, publisher = {Elsevier}, address = {Amsterdam}, issn = {0304-3479}, doi = {10.1016/j.ruslit.2021.11.006}, pages = {89 -- 107}, year = {2021}, abstract = {Research has characterized Nadezhda Teffi as the female Chekhov.1 However, connections can also be found between her work and that of Ivan S. Turgenev. In particular the one-act plays (Conversation on a Highroad; 1851) and (The Woman Question; 1907) are suitable for comparison. Not only does my comparison consider the gender conflict between man and woman, but also a dialectic method which Teffi may have discovered in Turgenev's work and elaborated further. The dialectical considerations are connected with different comic approaches: the psychological comedy of the realist Turgenev in the middle of the 19th century and the mechanical comedy of the utopian Teffi at the start of the 20th century. Its mechanical comicality shows that relates to an international debate, in which Paul Julius Mobius' essay 'Uber den physiologischen Schwachsinn des Weibes' ('On the Physiological Idiocy of the Female'; 1900) may well have played an unfavourable role.}, language = {ru} } @article{CoudenysWarditz2021, author = {Coudenys, Wim and Warditz, Vladislava}, title = {Is translation child's play?}, series = {Die Welt der Slaven : internationale Halbjahresschrift f{\"u}r Slavistik}, volume = {66}, journal = {Die Welt der Slaven : internationale Halbjahresschrift f{\"u}r Slavistik}, number = {1}, publisher = {Harrassowitz}, address = {Wiesbaden}, issn = {0043-2520}, doi = {10.13173/ws.66.1.46}, pages = {46 -- 69}, year = {2021}, abstract = {1765 and 1767 saw the publication of the German, respectively the English translation of Lomonosov's Kratkij rossijskij letopisec s rodosloviem (1760). For the very first time the European reading public could find out how Russians saw their own history. These translations testified to Russia's ascent both as an empire and as a part of European learned society, and were made by youths who wanted to further their own career and were neither professional translators nor historians. In this article, we argue that the translations of Lomonosov's Kratkij rossijskij letopisec should not be studied as an isolated act of cultural transfer but as an episode in a longer history of circulation of knowledge. We demonstrate the complexity of this circulation by reassessing the 'quality' of these translations and positioning them in that longer history of circulation of knowledge by analysing the distribution of historical concepts (Begriffe) in Lomonosov's original and its translations.}, language = {en} } @article{Keskin2021, author = {Keskin, Cem}, title = {Şey-substitution and constituent structure in Turkish}, series = {Turkic languages}, volume = {25}, journal = {Turkic languages}, number = {2}, publisher = {Harrassowitz}, address = {Wiesbaden}, issn = {1431-4983}, doi = {10.13173/TL.25.2.243}, pages = {243 -- 275}, year = {2021}, abstract = {This paper attempts to account for the syntactic distribution of the particle sey in Turkish, in particular its suffixed variant which is a placeholder for expressions that have to be inserted into the discourse later. The paper argues that the distribution of suffixed sey is determined by constituent structure, meaning that Bey can only substitute for syntactic constituents. Thus, sey acts as a pro-form, similar, for instance, to pronouns substituting for noun phrases. This has two implications: First, as sey is a quasi-universal pro-form with the ability to substitute for a wide range of constituents, sey-substitution can be used as a constituency test to peek into the constituent structure of virtually any major syntactic domain. Second, the overall sey-substitution pattern across different syntactic domains constitutes evidence for Kayne's binary branching hypothesis.}, language = {en} }