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In the context of the “postcatastrophic” culture after the Shoah, the question of the ethics of seeing has developed its own specificity and incisiveness, one that resulted from the complex distribution of the visibility and invisibility of the criminal acts themselves.
On the one hand, the perpetrators’ efforts to conceal their crimes and erase their tracks stood in opposition to the desire of the same to meticulously document their crimes. On the other hand, local communities became direct eyewitnesses to the persecution and killing of Jews—in mass shootings as well as in the extermination camps, which were frequently set up close to populated areas.
It is precisely these two aspects—the photographic archives of the perpetrators as well as the bystanders’ eyewitnessing—around which heated debates unfold.
They are also of primary interest to postmemorial art, which grapples with the legacy of this visuality and visibility of the Shoah.
This chapter discusses the possibility of a critical analysis of the images from contaminated photographic material in the Nazi archives in postmemorial art and film as well as artistic projects focussing on the problem of visibility and seeing that deal with the question of the possibility of the witnessing of bystanders and of future generations who are faced with the legacy of the bystander experience.
These projects were developed during the time of intense examination—and not only artistic—of the role of direct eyewitnesses to the Shoah, examinations that were characteristic for the public discourse in Poland after the year 2000.
Der russische Krimi
(2024)
Die erste umfassende Darstellung des Kriminalgenres in Russland. Sie geht auf Bücher und Filme ein und berücksichtigt die Debatten der Literaturkritik, da sich die Kulturpolitik während der sowjetischen Jahrzehnte schwer damit tat, dem Kriminalgenre überhaupt ein Existenzrecht zubilligen. Sympathie für die Miliz zu erzeugen wurde schließlich offizieller Zweck dieses politisch zu einer Nischenexistenz gedrängten Genres. Entsprechend liegt ein Akzent der Studie auf der Ideologie, besonders bei der Darstellung der Helden und ihrer Gegner und der Lebenswelt, die die Leser als ihre wiedererkennen sollten. Dabei erfahren sie eine Menge über die Gesellschaft, vor allem über deren sonst eher verschwiegene Schattenseiten.
Nicht zuletzt wegen der langen Entbehrung spannender Texte wurde der Krimi nach dem Ende des Sozialismus zu dem Bestsellergenre schlechthin. Am Beispiel des Frauenkrimis (Marinina und Nachfolgerinnen) und des postmodernen Krimis (Akunin) wird die postsowjetische Entwicklung bis in die 2010er Jahre gezeigt.
The book offers a comprehensive overview of current research in Slavic linguistics from a theoretical and experimental perspective and from a variety of languages. The selected papers from the 11th European Conference on Formal Description of Slavic Languages (FDSL 11) that took place at the University of Potsdam in 2015, illustrate the advancement of Slavic linguistic studies and their outreach for the development of general linguistics. The guest paper by Noam Chomsky at the beginning of the book sets a clear sign in this direction and may be taken as an acknowledgement of the field.
Is translation child's play?
(2021)
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.
Im Artikel werden von Frauen verfasste Filmdrehbücher der 1910er Jahre im Russischen Kaiserreich chronologisch untersucht. Zunächst werden die ersten Drehbuchautorinnen Makarova und Tat’jana Suchotina-Tolstaja, die am Anfang der 1910er Jahre in Koautorschaft mit den bekannten Autoren (Makarova mit den Regisseur Vladimir Gončarov; Suchotina-Tolstaja mit ihrem Vater Leo Tolstoj) arbeiteten, und ihre Filme in Betracht gezogen. Dann wird der Film Ključi sčastʹja / Schlüssel zum Glück (Vladimir Gardin, Jakov Protazanov, 1913, Russisches Kaiserreich) nach dem Roman von Anastasija Verbickaja näher behandelt. Verbickajas Film demonstrierte, dass eine Drehbuchautorin eine selbständige Autorin sein kann und diente als Impuls für die Entwicklung der Frauenfilmdramaturgie im Russischen Kaiserreich, deren Aufschwung in der zweiten Hälfte der 1910er Jahre begann, und prägte bestimmte Erwartungen von auf weiblichen Drehbüchern basierenden Filmen. Maria Kallaš, die an den Drehbüchern zu den Verfilmungen des russischen literarischen Kanons 1913 arbeitete, kritisierte Verbickajas Text als pseudofeministisch und behauptete in ihrem Essay „Ženskie kabare“ („Frauenkabarett“), dass Frauenliteratur noch „keine eigene Sprache“ habe (1916). Anna Mar begann ihre Arbeit im Kino 1914, parallel zu Verbiсkajas Nachfolgerinnen, und konzentrierte sich in ihren Filmen auf die soziale Problematik – die Stellung moderner Frauen in der Gesellschaft. Damit eröffnete Mar eine neue Entwicklungsperspektive für das weibliche Drehbuchschreiben.
Im Artikel werden von Frauen verfasste Filmdrehbücher der 1910er Jahre im Russischen Kaiserreich chronologisch untersucht. Zunächst werden die ersten Drehbuchautorinnen Makarova und Tat’jana Suchotina-Tolstaja, die am Anfang der 1910er Jahre in Koautorschaft mit den bekannten Autoren (Makarova mit den Regisseur Vladimir Gončarov; Suchotina-Tolstaja mit ihrem Vater Leo Tolstoj) arbeiteten, und ihre Filme in Betracht gezogen. Dann wird der Film Ključi sčastʹja / Schlüssel zum Glück (Vladimir Gardin, Jakov Protazanov, 1913, Russisches Kaiserreich) nach dem Roman von Anastasija Verbickaja näher behandelt. Verbickajas Film demonstrierte, dass eine Drehbuchautorin eine selbständige Autorin sein kann und diente als Impuls für die Entwicklung der Frauenfilmdramaturgie im Russischen Kaiserreich, deren Aufschwung in der zweiten Hälfte der 1910er Jahre begann, und prägte bestimmte Erwartungen von auf weiblichen Drehbüchern basierenden Filmen. Maria Kallaš, die an den Drehbüchern zu den Verfilmungen des russischen literarischen Kanons 1913 arbeitete, kritisierte Verbickajas Text als pseudofeministisch und behauptete in ihrem Essay „Ženskie kabare“ („Frauenkabarett“), dass Frauenliteratur noch „keine eigene Sprache“ habe (1916). Anna Mar begann ihre Arbeit im Kino 1914, parallel zu Verbiсkajas Nachfolgerinnen, und konzentrierte sich in ihren Filmen auf die soziale Problematik – die Stellung moderner Frauen in der Gesellschaft. Damit eröffnete Mar eine neue Entwicklungsperspektive für das weibliche Drehbuchschreiben.
Efficiency is central to understanding the communicative and cognitive underpinnings of language. However, efficiency management is a complex mechanism in which different efficiency effects-such as articulatory, processing and planning ease, mental accessibility, and informativity, online and offline efficiency effects-conspire to yield the coding of linguistic signs. While we do not yet exactly understand the interactional mechanism of these different effects, we argue that universal attractors are an important component of any dynamic theory of efficiency that would be aimed at predicting efficiency effects across languages. Attractors are defined as universal states around which language evolution revolves. Methodologically, we approach efficiency from a cross-linguistic perspective on the basis of a world-wide sample of 383 languages from 53 families, balancing all six macro-areas (Eurasia, North and South America, Australia, Africa, and Oceania). We explore the grammatical domain of verbal person-number subject indexes. We claim that there is an attractor state in this domain to which languages tend to develop and tend not to leave if they happen to comply with the attractor in their earlier stages of evolution. The attractor is characterized by different lengths for each person and number combination, structured along Zipf's predictions. Moreover, the attractor strongly prefers non-compositional, cumulative coding of person and number. On the basis of these and other properties of the attractor, we conclude that there are two domains in which efficiency pressures are most powerful: strive towards less processing and articulatory effort. The latter, however, is overridden by constant information flow. Strive towards lower lexicon complexity and memory costs are weaker efficiency pressures for this grammatical category due to its order of frequency.
Efficiency is central to understanding the communicative and cognitive underpinnings of language. However, efficiency management is a complex mechanism in which different efficiency effects-such as articulatory, processing and planning ease, mental accessibility, and informativity, online and offline efficiency effects-conspire to yield the coding of linguistic signs. While we do not yet exactly understand the interactional mechanism of these different effects, we argue that universal attractors are an important component of any dynamic theory of efficiency that would be aimed at predicting efficiency effects across languages. Attractors are defined as universal states around which language evolution revolves. Methodologically, we approach efficiency from a cross-linguistic perspective on the basis of a world-wide sample of 383 languages from 53 families, balancing all six macro-areas (Eurasia, North and South America, Australia, Africa, and Oceania). We explore the grammatical domain of verbal person-number subject indexes. We claim that there is an attractor state in this domain to which languages tend to develop and tend not to leave if they happen to comply with the attractor in their earlier stages of evolution. The attractor is characterized by different lengths for each person and number combination, structured along Zipf's predictions. Moreover, the attractor strongly prefers non-compositional, cumulative coding of person and number. On the basis of these and other properties of the attractor, we conclude that there are two domains in which efficiency pressures are most powerful: strive towards less processing and articulatory effort. The latter, however, is overridden by constant information flow. Strive towards lower lexicon complexity and memory costs are weaker efficiency pressures for this grammatical category due to its order of frequency.
The present volume contains a selection of papers presented at the Fifth International Symposium Russian Grammar: System–Usus–Language Variation, from September 22 to 24, 2021, at the University of Potsdam (Germany). The selected essays tackle the issues that arise when Russian Grammar meets new linguistic paradigms (such as corpus linguistics) and new challenges (such as heritage languages). The relevant findings are discussed with a particular focus on an updated version of the 1980 Academy grammar of Russian.
This paper intends to explore the interaction between aspect and lexical means, in this case temporal adverbials, in the bounding of representations of situations. First, the theoretical basis is outlined, followed by the results of a corpus analysis of coccurrences with adverbs that limit situations. The term situation encompasses all representable processes, states, events, or actions. Finally, some theoretical conclusions are drawn concerning the cognitive category of bounding, using the example of aspectuality. The imperfective verb forms maintain their aspectuality in delimiting connections with adverbs, resulting in a complex, multi-dimensional aspectuality. In nongrammaticalized forms, such as lexical markers, the speaker is free to make a temporal localization or an aspectual perspective. Lexical expressions can make temporal and aspect markings even more precisely and clearly than tenses. They can also limit or extend situations and thus express aspect. Aspectuality thus presents itself as a compositional category, in which external bounding and the internal representation of a course of action or development can interact.
Introduction
(2021)
Belarusian protest
(2021)
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.
When the "Ostjuden" returned
(2021)
This article examines the dynamics that allowed the derogatory term "Ostjuden" to reappear in academic writing in post-Holocaust Germany. This article focuses on the period between 1980's and 2000's, complementing earlier studies that focused on the emergence of the term "Ostjuden" and on the complex representations of Eastern European Jews in Imperial and later Weimar Germany. It shows that, despite its well-evidenced discriminatory history, the term "Ostjuden" re-appeared in the scholarly writing in German and has also found its way into German-speaking public history and journalism. This article calls for applying the adjectival term "osteuropaische Juden" (Eastern European Jews), using a term that neither essentializes Eastern European Jews nor presents them in an oversimplified and uniform manner.
The present article ties in with an earlier study by Chomsky (1970) on nominalizations in English, which was then refined primarily in the influential work of Jane Grimshaw (1990) and is dealt with in detail in Borer (2013) and in Kosta (2020). In contrast to the English gerundives, which do not lose verbal behavior due to the derivation in the syntax and maintain all grammatical categories and characteristics of verbs, which is why one can speak of a real conversion while preserving the verbal semantics, the situation is somewhat different in Czech. In the deverbal, deadjective and other derivations, the Czech apparently made the transition to the noun with its critical properties, which is shown by certain restrictions in the aspectuality marking of deverbal noun phrases on -ni-, -ti-, which, e.g., do not pass the progression durativity test (Vendler 1967). In passive constructions, as is well known, a valence point in the position of the external argument is reduced compared to the corresponding active sentences, while the external argument position in anti-causatives is also not available in the deep structure. In addition to the syntactic restrictions that are evident in nominalizations in the context of simple sentences of different sentence types (causative, anti-causative, passive) and demonstrate the nominal character of certain types of deverbal noun phrases in the first part of this article, the second part of the essay deals with more complex structures and extends its analytical and theoretical part to the phenomenon of nominalizing subordinate clauses. The aim of the central part of this contribution is therefore to test the nominal properties of embedded conjunctional sentences and of embedded headless relative sentences on the basis of empirical data and thus contribute to the knowledge of whether certain types of relative sentences can (or must) be nominalized.
Yiddish culture developed in Argentina within the context of a self-perception that figured Buenos Aires as a marginal and peripheral locale on the global Yiddish map. Against this backdrop, Argentine Yiddish culturalists argued for the strengthening of local Yiddish culture with a goal of elevating Buenos Aires's status within the international hierarchies of Yiddish culture. Buenos Aires indeed emerged in the 1920s as a producer of Yiddish cultural contents, maintained networks of international cultural contacts with other Yiddish centers, financially supported Eastern European Yiddish establishments, and hoped that these contacts would allow for solving Buenos Aires reputation problems. The pre-World War II preoccupation with the status of Buenos Aires as a center of Yiddish culture provided a basis upon which post-Holocaust discourse of Argentine Jewish responsibility for the maintenance of Yiddish culture was constructed.
Die konservative Revolution in Polen hat ihre Thinktanks, Intellektuellen und ihre Literatur. Jarosław Marek Rymkiewicz genießt in rechten Kreisen den Status eines Nationaldichters. Bereits in den frühen 1990ern schloss sich Rymkiewicz den radikalen Kritikern der polnischen Transformation an. Er gehört zu den prominenten Unterstützern der PiS. Sein literarisch fesselndes und politisch brisantes Spätwerk übt großen Einfluss auf die Radikalkonservativen in Polen aus.
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.
Die fachdidaktischen Tagespraktika (FTP) bilden ein Kernelement im Potsdamer Modell der Lehrerbildung, weist man ihnen doch eine „studienleitende Funktion“ zu. Wie aber realisiert sich diese Funktion in den einzelnen Fächern an der Universität Potsdam und welche Folgen ergeben sich für die Ausbildung der Lehramtsstudierenden ? Zur Beantwortung dieser Frage wurde eine Analyse der Verankerung der FTP in allen Studienordnungen hinsichtlich qualitativer (Inhalte und Ziele, Prüfungsformen, Belegungsvoraussetzungen) und quantitativer (Leistungspunkte, Semesterwochenstunden) Kriterien durchgeführt. Leitfadengestützte Interviews mit verantwortlichen Fachdidaktikerinnen und Fachdidaktikern dienten der Untersuchung der konkreten Umsetzung und der Relevanzzuschreibung. Ziel war es, durch das Zusammenführen beider Zugänge – der realiter existierenden Curricula, der individualisierten Praktiken sowie der subjektiven Überzeugungen – ein Verständnis eben jener „studienleitenden Funktion“ zu erlangen und anschließend Diskussions- und Handlungsfelder für die Weiterentwicklung des FTP herauszuarbeiten.
Bilingual Disorder
(2018)
Der Band widmet sich kleinen Formen in der deutschen, polnischen, russischen, slowakischen, tschechischen und ungarischen Dichtung. Er befasst sich mit der Poetik des lyrischen Minimalismus, seinem ästhetischen Reiz und kreativen Potenzial. Dabei nimmt er Mittel- und Osteuropa in den Blick: eine Region, deren Dichter und Dichterinnen allgemein das Unfertige, Unsystematische und Undogmatische als subversive Protestform zu nutzen wussten und wissen.
Grochowiaks Haiku-images
(2021)
Der Artikel diskutiert den Roman „A jak królem, a jak katem będziesz“ (1968, „Und wenn du König und wenn du Henker bist“) von Tadeusz Nowak unter besonderer Berücksichtigung der Frage, wie die – durch die Augenzeugenschaft der Shoah begründeten – Traumata des polnischen Dorfes in Nowaks Text sichtbar werden. Der Roman ist geprägt durch ein ambivalentes, zwischen Wunsch- und Schuldnarrativen pendelndes Erzählen. Der Protagonist verkörpert einen unbequemen Helden, der tief verwurzelt in den volkstümlichen Traditionen seiner bäuerlichen Herkunft ist. Als paternalistischer Beschützer und Rächer seines jüdischen Freundes erlebt er die Zerstörung der dörflichen Idylle. Taumelnd zwischen Rachegedanken und Schuldgefühlen gegenüber seiner Dorfgemeinschaft verfällt Piotr dem Wahnsinn. Ein Weiterleben nach Kriegsende ist für ihn nur durch Amnesie und kathartische Wiederaufnahme in das dörfliche Kollektiv möglich. Die Stärke von Nowaks Roman liegt nicht allein in der Rekonstruktion der polnischen volkstümlichen Kultur. Vielmehr zeigt der Roman den Versuch, die historischen und sozialen Traumata des polnischen Dorfes während der Jahre 1939–1945 – die in der direkten und unmittelbaren Augenzeugenschaft der Shoah begründet liegen – mit dem der ruralen Bevölkerung eigenen Wort-, Legenden- und Erfahrungsschatz wiederzugeben.
There are few data analysing to what specific extent phonomicrosurgery improves vocal function in patients suffering from Reinke's oedema (RE). The recently introduced parameter vocal extent measure (VEM) seems to be suitable to objectively quantify vocal performance. The purpose of this clinical prospective study was to investigate the outcomes of phonomicrosurgery in 60 RE patients (6 male, 54 female; 56 ± 8 years ([mean ± SD]) by analysing its effect on subjective and objective vocal parameters with particular regard to VEM. Treatment efficacy was evaluated at three months after surgery by comparing pre- and postoperative videolaryngostroboscopy (VLS), auditory-perceptual assessment (RBH-status), voice range profile (VRP), acoustic-aerodynamic analysis and patient's self-assessment using the voice handicap index (VHI-9i). Phonomicrosurgically, all RE were carefully ablated. VLS revealed removal or substantial reduction of oedema with restored periodic vocal fold vibration. All subjective and most objective acoustic and aerodynamic parameters significantly improved. The VEM increased on average from 64 ± 37 to 88 ± 25 (p #x003C; 0.001) and the dysphonia severity index (DSI) from 0.5 ± 3.4 to 2.9 ± 1.9. Both parameters correlated significantly with each other (rs = 0.70). RBH-status revealed less roughness, breathiness and overall grade of hoarseness (2.0 ± 0.7 vs 1.3 ± 0.7). The VHI-9i-score decreased from 18 ± 8 to 12 ± 9 points. The average total vocal range enlarged by 4 ± 7 semitones, and the mean speaking pitch rose by 2 ± 4 semitones. These results confirm that: (1) the use of VEM in RE patients objectifies and quantifies their vocal capacity as documented in the VRP, and (2) phonomicrosurgery is an effective, objectively and subjectively satisfactory therapy to improve voice in RE patients.
The Author as Researcher
(2019)
This article proposes a new perspective on avant-garde travel writing through the lens of scientific field work, investigating these new writing techniques in Boris Pil’niak’s expedition prose. In the 1920s, the researching writer represents a hidden, but influential counterpart to the widely propagated figure of the working writer. While the author as producer combines word and deed in an operative act, the author as researcher investigates the production of knowledge. This entails revising the centrality of facts. Literature as artistic research subverts factography by going beyond the horizons of veristic data registration to include uncharted realms and vague possibilities. This exploration leads to specific genres: the author as researcher tries his hand at a kind of laboratory text, a prolific genre at the intersection of testing equipment, recording media, and hypothetical thought. Not confined to a sterile lab, avant-garde writer-researchers, as members of research expeditions, oscillate between their home writing desks and the remote depths of the emerging USSR. At the same time, they explore writing practices situated between data acquisition, sampling, fact-finding, observation and recording.
The author stems from the premise that modern anthroponymy effectively incorporates data from related fields of knowledge, primarily those of cultural and political history, thus getting enlarged through interdisciplinary research. An integrated approach allows one to deduce the extra-linguistic mechanisms which lay behind anthroponymic changes. In the same vein, the present paper focuses on the dynamics within the Russian anthroponymic paradigm caused by the changing vectors of political, ideological, cultural, and religious identity in the historical perspective of the New Time (1700-1920s). The study aims to establish the connection between specific trends in naming and the precedent names, events, and texts of political, cultural, and religious life. The mechanisms of anthroponymic shifts are illustrated by the cases of individual names becoming socially significant in a particular historical context. Using interdisciplinary methods of cultural anthropology, the study builds on textual sources, primarily name indexes to the collections of works by outstanding cultural figures and scholars, and biographical dictionaries. Some examples of pragmatic naming strategies in works of art (literature, opera, cinema) are also provided. Preliminary findings reveal some major trends in the Russian anthroponymic system of the New Age such as Europeization vs. Russification, modernization vs. archaization, as well as their synthesis. These tendencies remain key up to the present day and can be traced and characteristically defined within a set (or corpus) of names relating to the particular epoch, in terms of their frequency and the parameters of the sociolinguistic distribution. The diachronic perspective of the study also supports the sociolinguistic observation that the newly introduced names, which are currently in use, have a pronounced social resonance, which is getting neutralized as their frequency increases. Further development of the topic implies, among other things, statistical verification of preliminary findings.
The border shifts and population exchanges between Central and East European states agreed at the 1945 Potsdam Conference continue to reverberate in the culture and politics of those countries. Focusing on Poland, this article proposes the term “border trouble” to interpret the politicized split in memory that has run through Polish culture since the end of the Second World War. Border trouble is a form of cultural trauma that transcends binaries of perpetrator/victim and oppressor/oppressed; it is also a tool for analyzing the ways in which spatial imagination, memory, and identity interact in visual and literary narratives. A close analysis of four recent feature films demonstrates the emergence of a visual grammar of cosmopolitan memory and identity in relation to borderland spaces. Wojciech Smarzowski’s Róża (“Rose,” 2011) and Agnieszka Holland’s Pokot (“Spoor,” 2017) are both set in territories that were transferred from Germany to Poland in 1945. Wołyń (“Volhynia,” released internationally as “Hatred,” 2016) and W ciemności (“In Darkness,” 2011), also directed by Smarzowski and Holland respectively, are set in regions that were under Polish administration before the war but were transferred to Soviet Ukraine in 1945. All four productions break new ground in the memorialization of the post-war legacy in Poland. They deconstruct hitherto dominant discourses of simultaneity and ethnic homogeneity, engaging in Poland’s wars of symbols as a third voice: anti-nationalist, but also refusing to essentialize cosmopolitan identity. They show the evolution of border trouble in response to contemporary political and cultural developments.
This introduction to the special section on Poland’s wars of symbols analyzes the symbolic contestation that has characterized the country in recent years, studying a range of phenomena including nation, gender, memory, and religious symbolism within the overall framework of political conflict. In doing so, it offers a multidisciplinary view on political fractures that have resonated throughout Europe and the “West.” Overall, the four case studies in this section study ways in which national symbols, topoi, and narratives have been deployed as tools in drawing and redrawing boundaries within society, polarizing and mobilizing the political camps as well as contesting and resisting power. These studies enable us to situate recent political events in a historical perspective, mapping the rise of populism in Poland against the background of legacies specific to the East-Central European region.
This book features four essays that illuminate the relationship between American and Soviet film cultures in the 20th century.
The first essay emphasizes the structural similarities and dissimilarities of the two cultures. Both wanted to reach the masses. However, the goal in Hollywood was to entertain (and educate a little) and in Moscow to educate (and entertain a little).
Some films in the Soviet Union as well as in the United States were conceived as clear competition to one another – as the second essay demonstrates – and the ideological opponent was not shown from its most advantageous side.
The third essay shows how, in the 1980s, the different film cultures made it difficult for the Soviet director Andrei Konchalovsky to establish himself in the US, but nevertheless allowed him to succeed.
In the 1960s, a genre became popular that tells the story of the Russian Civil War using stylistic features of the Western: The Eastern. Its rise and decline are analyzed in the fourth essay.
Die Herausgeber der „Potsdamer Beiträge zur Sorabistik/Podstupimske pśinoski k Sorbistice“ sind erfreut, nach längerer Pause einen neuen Band veröffentlichen zu können. Gemeinschaftlich legen der Kulturwissenschaftler Tobias Preßler, welcher hier debütiert, und der ausgewiesene Denkmalpfleger i. R. Alfred Roggan, vier Artikel zur niedersorbischen Kulturgeschichte vor. Die Autoren widmen sich der sorbischen Sprache im Norden der Niederlausitz, ihrer ehemaligen Verbreitung und den Umständen ihres Verschwindens. Alle Beiträge nähern sich aus unterschiedlicher Perspektive diesem Thema, wobei die Schwerpunkte auf verschiedenen Zeiten und Regionen liegen. Mit Paul Thol wird sich einem Restaurator und Künstler zugewandt, dessen Werk und Schaffen in die bewegte 1. Hälfte des 20. Jahrhunderts fällt. Diese Zeit bildet gleichsam den Abschluss einer epochenübergreifenden Darstellung zur Politik gegenüber den Sorben und ihrer Sprache, welche ein weiterer Artikel skizziert. In den beiden Herzstücken des Bandes wird der Leser in die frühe Neuzeit entführt. Es wird ein bisher wenig beachtetes Druckwerk aus dem Jahre 1694 vorgestellt, das seinerzeit bewusst in zwölf Sprachen herausgegeben wurde. Als wahres Kleinod der sorbischen Sprachgeschichte findet sich dieses Werk – ein Gedicht – überliefert, das in einem nunmehr ausgestorbenen Dialektzweig verfasst ist. Neben dem Gedicht selbst, werden auch dessen bisherige literarische Bearbeitungen sowie der Entstehungshintergrund des Druckes eingehender beschrieben. Der vierte Beitrag widmet sich einer Region, in welcher wohl der gleiche Dialekt wie der des Gedichtes gesprochen wurde. Bis zum Verklingen der Sprache im 18. Jahrhundert war sie hier genauso lebendig wie sie es heute noch in ihrem Kerngebiet ist.
Der Teufel ist in der russischen Literatur vielfach dargestellt worden, und seine Bilder und Funktionen ändern sich durch die Jahrhunderte – in Entsprechung zum Wandel der Epochen und literarischen Moden. In den Teufelsvorstellungen mischen sich volkstümlich animistische Elemente mit den biblischen Konzepten von Teufeln und Dämonen. Aus beiden Reservoirs schöpft die Literatur, die z. T. die naive Teufelsgläubigkeit verspottet, die sich aufgeklärt gebenden Skeptiker aber auch gerne mit Teufelserscheinungen schreckt. Der Teufel ist ein zentrales Motiv der russischen Literatur, dessen Geschichte nachzuerzählen, einen ganz zentralen Strang der russischen Literatur nachzuerzählen heißt – sub specie diaboli.
Auch wenn er schon lange vor den Romantikern – allen voran Nikolaj Gogol’ – einen prominenten Platz in der russischen Literatur inne hatte, mischen sich seitdem volkstümliche Vorstellungen mit dem biblischen Erbe. Im Volk sind Teufelsvorstellungen bis heute populär, die gebildeten Schichten zeigen sich eher skeptisch, weshalb die realistische Literatur – mit der großen Ausnahme Fedor Dostoevskij – den Teufel eher mied, die Modernisten gestalteten ihn dafür umso lieber. Einen Höhepunkt erreicht er bei Michail Bulgakov. Zeitgenossen fehlt häufig der religiöse Subtext.
Die Publikation zu Sprachwandelprozessen im Russischen und Ukrainischen beschreibt eine ausschlaggebende Phase der neueren Sprachgeschichte Russlands und der Ukraine (1985–2008). Im Fokus steht die Anglisierung als eine der Haupttendenzen der aktuellen sprachlichen Destandardisierung europäischer Sprachen. Die Autorin zeigt am Beispiel der Anglisierung in der Werbesprache die Destandardisierung des Russischen und Ukrainischen nach 1985 auf. Diese korpusbasierte Untersuchung umfasst sowohl die quantitative (statistische) als auch die qualitative (systemlinguistische) Analyse des werbesprachlichen Korpus. Die quantitative chronologische Analyse belegt die deutlich stärkere Dynamik der Anglisierung im Ukrainischen nach 1998. Die qualitative Analyse illustriert die unterschiedlichen bzw. gemeinsamen innerlinguistischen Prozesse in beiden Sprachen, insbesondere Anglizismen-Integration und Standardisierungswege.
Stadt, Land, Mord
(2019)
Experimentierfeld Krimi
(2019)
Warschauer Topographie
(2019)