Volume 57, Issue 3 -

The anonymous Pushkin necrology published in June, 1837 by the Zagreb “Danica Ilirska” is traditionally ascribed to the Croatian poets Stanko Vraz or Dimitrije Demeter. The article proves that the text is only an abridged translation of the Pushkin obituary written by the German critic Heinrich Koenig for the journal “Europa. Chronik der gebildeten Welt” some months before. There is good reason to be doubtful of the translator’s knowledge of Russian and of his own information about Pushkin’s work.

The present paper is an endeavor to formulate the tertium comparationis between the “time of Aeschylus”, when the Greek tragedy came into being, and the time of Juliusz Słowacki, in whose poem we find the title comparison, or the identification of the two epochs. The tragic potential lies in the habitus where Słowacki and his contemporaries wrote and acted, i.e. in the way the people interacted in order to negotiate the answers to the events that had happened to them or that they had provoked. The best way to hem the inherent tragic of Słowacki’s habitus in is to recall the epoch’s pre-scenes (Urszenen) and to extract their intrinsic theory, i.e. the logics of praxis that defines the acts of the actors. The most promising seems to be the theory of tragedy: both the one explicitly expressed by the mentioned authors, heroes of the pre-scenes, and the implicit one. The Greek tragedy served our actors as an ideal fulfillment of the then theory’s assumptions: it spanned a realm in which a word actually was an action. The three heroes of our pre-scenes – their relations intertwine until they create a web with which to catch the tertium comparationis – also emphasized the destructive, rebellious nature of Greek tragedy and its theory. In it, a destructive potential of art is supposed to appear for the first time in history; the very potential will become later a vital part of modern art’s organon and will eventually influence the aesthetics of the new total politics in the 20th Century. The present paper comprises four major sections: in the first one, the author contemplates the concurrence of the theory and the praxis in the pre-scenes and eventually extracts the most characteristic elements of the scenes, so that he may articulate these extracted terms’ oppositions and identifications that shaped the late romantic theory of tragedy, and of action. In the second part, the author concentrates on a particular identification: that of creation with destruction. In the third part, the author turns to the privileged object of these destructive-creative actions of ancient and future tragedy – the law. In the last part, the planned totality of the new tragedy is demonstrated, as the new tragedy is supposed to create a new form of sociality, a new organic social system.

This study is dedicated to the peculiarities of the language spoken by Ukrainian immigrants to Brazil, by tracing their regional origin, when they immigrated, and where they settled, as well as describing organized public life of the Ukrainian community in that country. The paper systematizes the data about the Ukrainian immigrants (at the beginning of the 20 th century) and touches on the influence of the Brazilian environment on Ukrainian communities.The study, which is based on Ukrainian mass-media in Brazil, affords a detailed analysis of the language of these publications – its morphology, grammar and lexical base – and shows how the Ukrainian language spoken in Brazil at the time retained – trough its dialectal features – its complex and heterogeneous nature.

This paper is the first attempt to compare Czech and Ukrainian communication patterns by means of questionnaires, interviews, introspection and participant observation. The two Slavic nations’ linguistic etiquette is studied in conjunction with their underlying cultural patterns, related to the dimensions of collectivism, individualism, universalism, and particularism. In the focus of the research lie numerous cross-language commonalities, as well as ethnocultural peculiarities of verbal and non-verbal routine formulas.

In this article I investigate part of speech distinctions in Russian based on an in-depth analysis of an understudied group of words, namely bain’ki ‘sleep’, spaten’ki ‘sleep’, kušan’ki ‘eat’ and gulen’ki ‘walk’, which are mainly used in speech with or about children, but which regardless of their high frequency and productivity remain ignored in Russian linguistics. The main question is: what part of speech do these words belong to? Are they verbs or nouns? Based on careful investigation of these words’ morphological, syntactic and semantic properties, it is argued that they are both verbs and nouns. However, they are not prototypical members of either category in the sense of cognitive linguistics. Although this paper considers a small number of words, the proposed analysis has implications for word-class distinctions in Russian as a whole, and I suggest that parts of speech are radial categories organized around prototypes.

Zusammenfassung Trunte, Nikolaos, Slavia Latina. Eine Einführung in die Geschichte der slavischen Sprachen und Kulturen Ostmitteleuropas. (Slavistische Beiträge; 482). München-Berlin: Otto Sagner, 2012. 787 S. ISBN: 978-3-86688-207-2

Zusammenfassung Burkhart Dagmar, Hautgedächtnis, Hildesheim/Zürich/New York: Georg Olms Verlag, 2011. 234 S. ISBN 978-3-487-14631-7

Zusammenfassung Belkin, Dmitrij: „Gäste, die bleiben“. Vladimir Solov’ev, die Juden und die Deutschen. Hamburg: Philo/EVA Europäische Verlagsanstalt, 2008. 424 S. ISBN 978-3-86572-624-7