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THE POLISH LANGUAGE IN SOVIET RUSSIA IN THE INTERWAR PERIOD AND THE POLISH LANGUAGE IN SOVIET BELARUS (BASED ON SELECTED FEATURES OF NOUN INFLEXION) (Polish title below)

100%
Graczykowska T.
Acta Baltico-Slavica
|
2011
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vol. 35
EN
(Polish title: Jezyk polski w Rosji Radzieckiej w okresie miedzywojennym a polszczyzna na Bialorusi Radzieckiej (na materiale wybranych zagadnien fleksji rzeczownika)). In this present paper the author makes an attempt to compare several specific features of noun inflexion excerpted from 'Trybuna Radziecka' with the adequate material from the Belarussian press published in the interwar period too. 'Trybuna Radziecka' was the Polish newspaper published in Moscow from 1927 to 1938 and edited by Polish Communists, living as political émigrés in the post-revolution Soviet Russia. The Polish language (including the language of the Polish press) in Soviet Russia was subject to two powerful mechanisms: communist propaganda and totalita­rianism. The language of the Polish press is characteristic of numerous divergences in relation to general Polish especially in vocabulary (the lexical level is dominated by the Russicisms and Sovietic elements). Comaparative analysis shows that the deviations from the general Polish occurred in both sources, but the specific inflexion features are not numerous. The flexion level is arisen under the influence of foreign language system (Belarussian and Russian). All the regional features still function in the postwar Northern Borderland Polish.
2

VDNKH EXHIBITION: STALINIST MAIN PROPAGANDA VENUE AND ITS TRANSFORMATIONS OF TODAY

88%
Lobodanov A., Zinovieva O.
Mesto a dejiny
|
2016
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vol. 5
|
issue 2
38 – 49
EN
The Moscow All-Union Exhibition of Agriculture (VSKHV) since 1939 or, as it has been known since 1959, the All-Union Exhibition of Economic Achievements, (VDNKH), has just reclaimed its second original name and is ready for another series of urban transformations. The current trend of the growing interest in Soviet cultural heritage, awareness among professionals and common people, together with the need to maintain and use the dilapidating propagandistic Stalinist “temples” and “palaces”, as well as its misused public space have convinced the City Administration to look for investors and balance between preservation and remodelling. This paper explores both professional and public attitudes toward this place, how bloggers and web-pages reflect on what is going on there, and asks whether the Exhibition is seen as a glorious history of the fallen regime or is it still a vision of a bright future, as once declared by the designers of the Exhibition.
3
Content available remote

REŽISÉR JURIJ ĽUBIMOV, LEGENDA RUSKEJ KULTÚRY

75%
Lindovská N.
Slovenské divadlo (Slovak Theatre)
|
2014
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vol. 62
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issue 4
372 - 381
EN
The theatre director Yuri Ljubimov (1917–2014) entered the annals of Russian and world theatre as a founder of the legendary Taganka Theatre in Moscow. In 1964–1984 the Taganka Theatre was the most famous theatre of the end of the Soviet era. Yuri Ljubimov took inspiration from Stanislavski, Meyerhold and Vakhtangov and enriched the Russian theatrical tradition with impulses from Bertolt Brecht. He created a modern theatre with a distinct civic attitude, untraditional repertoire and excellent acting company at Taganka Square. The Taganka Theatre was considered “an island of freedom” in the sea of Soviet bans and restrictions. The history of the theatre mirrors the history of the Soviet Union from the political thaw to perestroika. The present article describes the life and work of the director Yuri Ljubimov, the fate of the Taganka Theatre and the director’s conflict with it. It points out the role of Ljubimov’s long-term partner, the famous Russian film star Lyudmila Tselikovskaya, in the existence and formation of the Taganka Theatre’s repertoire.
4

SLAVONIC IDEAS AND POLITICAL VARIATIONS IN THE RELATIONSHIP OF THE SLOVAKS TO MOSCOW (1934 – 1949)

75%
Čierna-Lantayová D.
Historický časopis (Historical Journal)
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2009
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vol. 57
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issue suppl. issue
41 – 74
EN
In the period 1934 – 1949, not only the real international situation, but to a large extent also political illusions were reflected in the relationship of the Slovaks to Russia. The alliance between Czechoslovakia and the Soviet Union had also the support of Slovak members of the ruling circles in Prague in 1935. The orientation to Nazi Germany determined the foreign policy of the Slovak state from March 1939. The pact between Berlin and Moscow briefly opened the possibility of diplomatic relations between Slovakia and Russia. The entry of Slovakia to the anti-Soviet war on the side of Nazi Germany changed the political priorities. The anti-fascist elements in the illegal resistance took over the initiative in relations with Moscow. From the anti-fascist uprising in Slovakia, through the political developments in the first post-war years, the Slovak communists replaced spontaneous sympathy for Slavonic Russia with organized “love for the Soviet Union”.
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