Aus unseren Neuerwerbungen – Slavistik 2019.7

Prepo­si­tions, case and ver­bal pre­fix­es: the case of Slav­ic
This mono­graph is con­cerned with prepo­si­tion­al ele­ments in Slav­ic lan­guages, prepo­si­tions, ver­bal pre­fix­es and func­tion­al ele­ments of prepo­si­tion­al nature. It argues that ver­bal pre­fix­es are incor­po­rat­ed prepo­si­tions pro­ject­ing their argu­ment struc­ture in the com­ple­ment of the ver­bal root and that their mean­ing is based on the two-argu­ment mean­ing of prepo­si­tions, enriched with the CAUSE oper­a­tor. The book inves­ti­gates idiomatic­i­ty in the realm of pre­fixed verbs and pro­pos­es a nov­el analy­sis of non-com­po­si­tion­al pre­fixed verbs based on the oper­a­tion of pred­i­cate trans­fer. It also offers a uni­form analy­sis of cas­es. Prepo­si­tion­al as well as non-prepo­si­tion­al cas­es are treat­ed as a reflec­tion of the agree­ment oper­a­tion, where­at the type of prepo­si­tion­al case is deter­mined by seman­tic prop­er­ties of the decom­posed prepo­si­tion. Fur­ther­more, it exam­ines prepo­si­tions from a diachron­ic per­spec­tive and argues that they can be gram­mat­i­calised as future mark­ers under cer­tain cir­cum­stances.
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The Pol­ish the­atre of the Holo­caust
Grze­gorz Niziolek’s The Pol­ish The­atre of the Holo­caust is a pio­neer­ing analy­sis of the impact and lega­cy of the Holo­caust on Pol­ish the­atre and soci­ety from 1945 to the present. It reveals the role of the­atre as a cru­cial medi­um of col­lec­tive mem­o­ry – and col­lec­tive for­get­ting – of the trau­ma of the Holo­caust car­ried out by the Nazis on Pol­ish soil. The peri­od gave rise to two of the most rad­i­cal and influ­en­tial the­atri­cal ideas dur­ing work on pro­duc­tions that addressed the sub­ject of the Holo­caust – Grotowski’s Poor The­atre and Kantor’s The­atre of Death – but the author exam­ines a deep­er impact in the role that the­atre played in the process­es of col­lec­tive dis­avow­al to being a wit­ness to oth­ers‘ suf­fer­ing.
In the first part, the author exam­ines six decades of Pol­ish the­atre shaped by the per­spec­tive of the Holo­caust in which its pres­ence is var­i­ous­ly vis­i­ble or dis­placed. Par­tic­u­lar atten­tion is paid to the var­i­ous types of dis­tor­tion and the effect of ‚wrong see­ing‘ enact­ed in the the­atre, as well as the traces of affec­tive recep­tion: shock, height­ened empa­thy, indif­fer­ence. Inpart two, Niziolek exam­ines a range the­atri­cal events, includ­ing pro­duc­tions by Leon Schiller, Jerzy Gro­tows­ki, Tadeusz Kan­tor, Andrzej Waj­da, Krzysztof War­likows­ki and Ondrej Spišák. He con­sid­ers how these pro­duc­tions con­front­ed the expe­ri­ence of bear­ing wit­ness and were pro­found­ly shaped by the lega­cy of the Holo­caust.
The Pol­ish The­atre of the Holo­caust reveals how – by tes­ti­fy­ing about society’s expe­ri­ence of the Holo­caust – the­atre has been the set­ting for fun­da­men­tal process­es tak­ing place with­in Pol­ish cul­ture as it con­fronts sup­pressed trau­mat­ic wartime expe­ri­ences and a col­lec­tive iden­ti­ty shaped by the past.
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