Aus unseren Neuerwerbungen – Slavistik 2019.6

Russ­ian func­tion words: mean­ings and use: con­junc­tions, inter­jec­tions, par­en­thet­i­cal words, par­ti­cles, and prepo­si­tions
Russ­ian Func­tion Words is a col­lec­tion of 463 prepo­si­tions, con­junc­tions, par­ti­cles, inter­jec­tions, and par­en­thet­i­cal words.
This book pro­vides a seman­tic, syn­tac­tic, and styl­is­tic analy­sis of each word, accom­pa­ny­ing the expla­na­tion with exam­ples of the word’s usage in dis­course in con­tem­po­rary, every­day Russ­ian and anal­o­gous trans­la­tions into Eng­lish. Con­se­quent­ly, it allows users to devel­op an under­stand­ing of con­tem­po­rary gram­mat­i­cal, lex­i­cal, and styl­is­tic norms, with the aim of mas­ter­ing these crit­i­cal words. This book also includes a mul­ti­tude of idioms and say­ings that users will learn to use in the appro­pri­ate con­text.
Inter­me­di­ate and advanced stu­dents, instruc­tors, and trans­la­tors will find this a use­ful sup­ple­ment to their exist­ing resources. It also serves as a help­ful ref­er­ence for inde­pen­dent learn­ers at all lev­els.
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Dos­to­evsky and the real­ists: Dick­ens, Flaubert, Tol­stoy
Dos­to­evsky and the Real­ists offers a rad­i­cal rede­f­i­n­i­tion of Real­ism as a his­tor­i­cal phe­nom­e­non, ground­ed in the lit­er­ary man­i­festoes of the 1840s in three nation­al lit­er­ary canons (Eng­lish, French and Russ­ian) which issue a call to writ­ers to record the man­ners and mores of their soci­eties for pos­ter­i­ty and thus to become „local his­to­ri­ans.“ The sketch of man­ners becomes the insti­tut­ing genre of Real­ism but is trans­formed in the major nov­els of the Real­ists into his­to­ry as geneal­o­gy and into a phe­nom­e­nol­o­gy of mod­ern sub­jec­tiv­i­ty. Dick­ens, Flaubert and Tol­stoy are brought into rela­tion with Dos­to­evsky via a shared poet­ics as well as through a decon­struc­tive and/or psy­cho­an­a­lyt­ic analy­sis of their respec­tive nov­els, which are inter­pret­ed in the con­text of var­i­ous doc­trines of Beau­ty, includ­ing Dostoevsky’s own artis­tic cre­do of 1860. In this broad con­text of Euro­pean aes­thet­ics and the Euro­pean lit­er­ary canon, Dostoevsky’s own view of his­to­ry is illu­mi­nat­ed in a new per­spec­tive, in which his con­cept of the „soil“ is stripped of its con­ser­v­a­tive mask behind which emerges a (post-exile) Dos­to­evsky with social­ist, pan-Euro­pean views. The por­trait of Dos­to­evsky which thus emerges from the present study is that of a Euro­pean writer with a rad­i­cal­ly mod­ern aes­thet­ics and with a pro­gres­sivist polit­i­cal ori­en­ta­tion which is in con­so­nance with his pre-exile affil­i­a­tion with utopi­an social­ism.
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