School of Languages and Linguistics - Research Publications
Permanent URI for this collection
Search Results
1 - 7 of 7
-
ItemNow you Sie me, now you don’t: the history and remnants of the 3pl V address pronoun calque in Slovak (onikanie) and in Czech (onikání)(John Benjamins Publishing Company, 2019-11-15)Among the neighbouring languages that calqued the third person plural (3pl) address pronoun Sie from German in the 18th century, the closely related languages Czech and Slovak offer contrasting diachronic and synchronic uses of their respective Sie-calques. In Czech, onikání (literally ‘addressing with the 3pl masculine pronoun oni’) was among the German linguistic influences hotly fought against by linguistic purists in the Czech National Revival of the 19th century, and, as a consequence, its use today is restricted to jocular or ironic use only. In Slovakia, the national revival came later, and purist proponents of Slovak as a national language did not just have German as a linguistic adversary, but also Hungarian, and to a certain degree, even Czech. Therefore, there was less pressure for onikanie, the Slovak version of onikání, to be ousted so clearly. As a result, the subsequent history and development of 3pl address differs somewhat in Slovak from Czech, something which is confirmed by the status we can still find today of remnants of Slovak onikanie. The diachronic development of Slovak onikanie shows some differences to that of Czech onikání, due, we argue, to the different social and political histories of both languages and of their respective national states. We conducted a pilot study (including data drawn from online discussions by native speakers) into the extent, varieties, and domains where Slovak onikanie is still used. Results show its present usage to be different from that of its Czech counterpart.
-
ItemFrom Post-Soviet to Post-National: Domestic Space as Non-Place in Andrei Zviagintsev’s 'Elena' and 'Leviathan'(Mustafa Yaşar, 2018)In this article two films directed by Andrei Zviagintsev, Elena (2011) and Leviathan (2014), are compared and contrasted from the point of view of Marc Augé’s concept of place and non-place. Although these two films differ in specific details, similarities exist at several levels which are frequently linked with the theme of domestic space. Both films utilise similar framing techniques which place the respective main domestic spaces at the structural and thematic forefront of each plot. Both films employ a binary locational symmetry: while Elena juxtaposes a Soviet-era apartment with a modern luxury apartment, Leviathan operates with a single domestic space which stands opposed to the world outside and is, ultimately, destroyed by it. In each film the main domestic space is usurped by nefarious and dishonest means, in Elena by the murder of Vladimir by the eponymous heroine who thereafter brings her family to live in the new apartment, and in Leviathan by the scheming mayor who, it is assumed, murders Nikolai’s wife and destroys his house for the purposes of building a new church. The ultimate casualty in both films is moral truth which finds its perfect setting in the modern world of non-place.
-
ItemThe Fragility of Domestic Space within Corruptive Non-Place in Andrei Zviagintsev’s "Leviathan"'(Ural Federal University, 2018)In this article the authors analyse Andrei Zvyagintsev’s feature film Leviathan (2014) from the perspective of domestic space using Marc Augé’s theory of nonplaces. As in Zvyagintsev’s film Elena, the film uses a framing technique, placing the domestic space in question, in this case the site of Nikolai’s house, in the film’s central role. From the outset the house is depicted as somehow fragile and unprotected from the outside world, and, as the plot progresses, this vulnerability increasingly comes into play. The main instigation for the events which follow comes from the town’s corrupt mayor, who plans to purchase Nikolai’s house for a fraction of its true value and build a church on its site. This action brings Nikolai’s former army colleague Dmitry, now a successful Moscow lawyer, into the action, leading directly to infidelity on the part of Nikolai’s wife (Liliya), and, ultimately, her death, presumably at the hands of the corrupt mayor. The external corrupting force of non-place and non-language, seen clearly in scenes such as that at the city court, where the clerk reads the court’s decision at an improbably fast tempo, increasingly enters Nikolai’s home and family situation, and, ultimately, undermines, then destroys, the integrity of private domestic space and the lives and identities of those who inhabit it.
-
ItemAddress forms in language contact and language conflict: The curious history and remnants of Onikání in Czech(University of Melbourne, 2013)
-
ItemTowards a linguistic typology of address pronouns in Europe - past and present(Australian Linguistics Society, 2013)
-
ItemForms and Patterns of Address in Russian: Recent Research and Future Directions(University of Queensland, 2014-12-22)
-
ItemNo Preview AvailableAspirations of Home in Post-Soviet Russia: Domestic Spaces and National Resonances in Andrey Zvyagintsev’s Elena(Ural Federal University, 2016)