DOCSLIB.ORG

Information to Users

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Information to Users INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. ProQuest Information and Learning 300 North Zeeb Road. Ann Arbor, Ml 48106-1346 USA 800-521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. PLAYING WITH CIRCLES: A MUSICO-POETIC STUDY OF GYORGY KURT AG’S SCENES FROM A NOVEL, OP. 19(1979-1982) DISSERTATION Presented in Partial Fulfillment of the Requirements for The Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Diana Lentsner ***** The Ohio State University 2002 Dissertation Committee: Approved by Dr. Lora Gingerich Dobos, Adviser Dr. Arved Ashby Adviser Dr. Irene Masing-Delic School of Music Graduate Program Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number: 3039496 Copyright 2002 by Lentsner, Diana All rights reserved. ___ __® UMI UMI Microform 3039496 Copyright 2002 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Ml 48106-1346 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Copyright by Diana Lentsner 2002 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ABSTRACT The dissertation examines text and music in Scenes from a Novel, op. 19 (1979- 1982) by the distinguished Hungarian composer Gyorgy Kurtag (b. 1926). Scenes from a Novel (for soprano, cimbalom, violin, and double bass) is set to poems by Rimma Dalos, a Russian poet living in Hungary. The first objective of the study is to show that Kurtag achieves a musico-poetic symbiosis by creating a multiplicity of structural/semantic connections between each of Dalos’s fourteen poems and their fifteen musical counterparts, as well as between the poetic cycle as a whole and its musical realization. My analysis, in this respect, is a demonstration or a sample of Kurtag’s unique, scrupulous work with his texts, resulting in a musico-poetic organism, where the two constituents not just complement each other, but are inexplicably interwoven. The second objective is to test what I believe is the optimal analytical approach to Kurtag’s vocal music, and possibly, on a larger scale, to vocal music in general -- an approach where poetry and music are treated as two equal structural constituents of one musico-poetic whole. My analytical ideas are inspired by the writings of the preeminent Russian semiotician Iurii Lotman (1922-1994). In Chapter I, following Lotman’s principles of structuralist poetic analysis, I examine the lexical (word content), phonological (sound ii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. content), prosodic (metric organization), graphic (visual presentation), and grammatical levels of poetic structure in each of the fourteen Dalos poems. I discuss the means of Kurtag’s poetic cyclic organization in Chapter 2. In Chapter 3 I examine the musical structure of Scenes, consciously minimizing references to the poetic text and using a variety of contemporary analytical techniques. Chapter 4 reveals the structural/semantic implications of the relationship between text and music in this composition. The structural/semantic (as opposed to structural and semantic) indivisibility of text and music becomes apparent only when both text and music are examined together and compared with each other. The main feature of Scenes is the interconnectedness of all the elements within and between its fifteen fragments, which I arrange in conceptual, concentric circles. I propose that the connectedness of the constituent elements is Kurtag’s compositional goal, whereas structural circularity is Kurtag’s aesthetic accomplishment. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. To my parents. Misha, and Barklay iv Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ACKNOWLEDGMENTS In early 1998 I had a conversation about my research plans with Dr. Jan Radzynski, Professor of Composition at The Ohio State University. He asked if I was familiar with Kurtag’s music, and since I was not, advised me to check if our library owned copies of any Kurtag scores and recordings. Scenes from a Novel happened to be one of a few. I thank Dr. Radzynski for his suggestion: this dissertation is a result of the trip to the library I took right after our conversation. In the spring of 1999, while debating with myself which approach I should take in my analysis of Scenes from a Novel, I asked Dr. Irene Masing-Delic, Professor of Russian Literature at The Ohio State University, to teach me how to perform poetic analysis. After hearing my ideas about the role of music and poetic analyses in the interpretation of Kurtag's music, she called me “a structuralist,” and advised me to read lurii Lotman’s book Analysis o f the Poetic Text. I am especially indebted to her for this recommendation. I would like to thank the members of my committee: my adviser Dr. Lora Gingerich Dobos, Dr. Arved Ashby, and Dr. Irene Masing-Delic for their intellectual stimulation, valuable suggestions, and criticism they have given, as well as their enthusiasm. My gratitude also goes to Dr. Irene Masing-Delic, Dr. Graeme Boone, and Alejandro L. Madrid for their help with translations from German and French. I thank Dr. v Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Margarita Mazo for her continuous support and for her advice “to draw pictures when words do not come to mind” that I took very seriously. I am grateful to Editio Musica Budapest for their gracious permission to reproduce the score of Scenes from a Novel ; I would like especially to thank the Artistic Director of Editio Musica Budapest, Janos Demeny, for providing me with all necessary information, scores and recordings. I thank The Ohio State University for supporting my work with research and travel grants. And last, but not least, 1 am grateful to Gyorgy Kurtag and Rimma Dalos for their interest and encouragement. vi Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. VITA June 1, 1966.............................................. Bom - St. Petersburg, Russia 1981-1985 ................................................. Pskov, Russia School of Music (undergraduate studies in music theory) 1986-1990...................................................St. Petersburg Conservatory (graduate studies in composition) 1991-1998................................................. Private instructor in music theory, aural training, and composition (Columbus, Ohio) 1995-200 2................................................. Ph.D. student, The Ohio State University 1996-200 1................................................. Graduate Teaching Associate, The Ohio State University 2000-2001................................................. Lecturer in music theory and composition, Otterbein College (Westerville, Ohio) FIELDS OF STUDY Major Field: Music vii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TABLE OF CONTENTS Page Abstract......................................................................................................................................ii Dedication ................................................................................................................................. iv Acknowledgments .....................................................................................................................v Vita............................................................................................................................................ vii List of Figures ...........................................................................................................................xii List of Musical Examples .......................................................................................................xvi
Load more

Recommended publications
  • +1. Introduction 2. Cyrillic Letter Rumanian Yn
    MAIN.HTM 10/13/2006 06:42 PM +1. INTRODUCTION These are comments to "Additional Cyrillic Characters In Unicode: A Preliminary Proposal". I'm examining each section of that document, as well as adding some extra notes (marked "+" in titles). Below I use standard Russian Cyrillic characters; please be sure that you have appropriate fonts installed. If everything is OK, the following two lines must look similarly (encoding CP-1251): (sample Cyrillic letters) АабВЕеЗКкМНОопРрСсТуХхЧЬ (Latin letters and digits) Aa6BEe3KkMHOonPpCcTyXx4b 2. CYRILLIC LETTER RUMANIAN YN In the late Cyrillic semi-uncial Rumanian/Moldavian editions, the shape of YN was very similar to inverted PSI, see the following sample from the Ноул Тестамент (New Testament) of 1818, Neamt/Нямец, folio 542 v.: file:///Users/everson/Documents/Eudora%20Folder/Attachments%20Folder/Addons/MAIN.HTM Page 1 of 28 MAIN.HTM 10/13/2006 06:42 PM Here you can see YN and PSI in both upper- and lowercase forms. Note that the upper part of YN is not a sharp arrowhead, but something horizontally cut even with kind of serif (in the uppercase form). Thus, the shape of the letter in modern-style fonts (like Times or Arial) may look somewhat similar to Cyrillic "Л"/"л" with the central vertical stem looking like in lowercase "ф" drawn from the middle of upper horizontal line downwards, with regular serif at the bottom (horizontal, not slanted): Compare also with the proposed shape of PSI (Section 36). 3. CYRILLIC LETTER IOTIFIED A file:///Users/everson/Documents/Eudora%20Folder/Attachments%20Folder/Addons/MAIN.HTM Page 2 of 28 MAIN.HTM 10/13/2006 06:42 PM I support the idea that "IA" must be separated from "Я".
    [Show full text]
  • Old Cyrillic in Unicode*
    Old Cyrillic in Unicode* Ivan A Derzhanski Institute for Mathematics and Computer Science, Bulgarian Academy of Sciences [email protected] The current version of the Unicode Standard acknowledges the existence of a pre- modern version of the Cyrillic script, but its support thereof is limited to assigning code points to several obsolete letters. Meanwhile mediæval Cyrillic manuscripts and some early printed books feature a plethora of letter shapes, ligatures, diacritic and punctuation marks that want proper representation. (In addition, contemporary editions of mediæval texts employ a variety of annotation signs.) As generally with scripts that predate printing, an obvious problem is the abundance of functional, chronological, regional and decorative variant shapes, the precise details of whose distribution are often unknown. The present contents of the block will need to be interpreted with Old Cyrillic in mind, and decisions to be made as to which remaining characters should be implemented via Unicode’s mechanism of variation selection, as ligatures in the typeface, or as code points in the Private space or the standard Cyrillic block. I discuss the initial stage of this work. The Unicode Standard (Unicode 4.0.1) makes a controversial statement: The historical form of the Cyrillic alphabet is treated as a font style variation of modern Cyrillic because the historical forms are relatively close to the modern appearance, and because some of them are still in modern use in languages other than Russian (for example, U+0406 “I” CYRILLIC CAPITAL LETTER I is used in modern Ukrainian and Byelorussian). Some of the letters in this range were used in modern typefaces in Russian and Bulgarian.
    [Show full text]
  • Universal Multiple-Octet Coded Character Set (UCS) —
    ISO/IEC JTC1 SC2/WG2 N2845 all Final Proposed Draft Amendment (FPDAM) 1 ISO/IEC 10646:2003/Amd.1:2004 (E) Information technology — Universal Multiple-Octet Coded Character Set (UCS) — AMENDMENT 1: Glagolitic, Coptic, Georgian and other characters In the definition of Graphic character (formerly sub- Page 1, Clause 1 Scope clause 4.20, now 4.22), insert “or a format character” In the note, update the Unicode Standard version after “control function”. from 4.0 to 4.1. Page 2, Clause 3 Normative references Page 14, Clause 19 Characters in bidirectional context Update the reference to the Unicode Bidirectional Algorithm and the Unicode Normalization Forms as Add ‘Mirrored’ before ‘Character’ in clause title and follows: replace the text of the clause by the following: Unicode Standard Annex, UAX#9, The Unicode Bidi- A class of character has special significance in the rectional Algorithm, Version 4.1.0, [date TBD]. context of bidirectional text. The interpretation and rendering of any of these characters depend on the Unicode Standard Annex, UAX#15, Unicode Nor- state related to the symmetric swapping characters malization Forms, Version 4.1.0, [date TBD]. (see clause F.2.2) and on the direction of the char- acter being rendered that are in effect at the point in the CC-data-element where the coded representa- Page 2, Clause Terms and definitions tion of the character appears. The list of these char- Insert the following text as sub-clause 4.1 and Note; acters is provided in Annex E.1. update all following sub-clause numbers accord- NOTE – That list also represents all characters which have ingly.
    [Show full text]
  • Beyond the Victim: the Trauma Tic Effects of Violent Crime -An Educational Psychological Perspective
    BEYOND THE VICTIM: THE TRAUMA TIC EFFECTS OF VIOLENT CRIME -AN EDUCATIONAL PSYCHOLOGICAL PERSPECTIVE By FIONA DORIS STANSFELD Submitted in part fulfilment of the requirements for the degree of MASTER OF EDUCATION - WITH SPECIALISATION IN GUIDANCE AND COUNSELLING at the UNIVERSITY OF SOUTH AFRICA SUPERVISOR: PROF E WIECHERS NOVEMBER 2002 I I 0001950328 DECLARATION I declare that "Beyond the victim: the traumatic e:trects of violent crime" is my own work and that all sources that I have used or quoted have been indicated and acknowledged by means of complete references. November 2002 SUMMARY Violent cnme is among the most prominent distinguishing characteristics of South African society, it has a severely traumatising effect on the populations concerned. Based on research :findings and existing literature, this study explores traumatic effects of violent crime on the most intimate associate of the victim (the partner). Accordingly, this study deals with the much-neglected topic of secondary trauma, by focusing on the following aspects of or conditions associated with violent crime and the secondary victim: cognitive, emotional and relational effects the experience of trauma, loss, vulnerability, depression and acute stress. It reveals that, depending on the severity of the incident, its consequences for the partner of the victim may range from post-traumatic stress to acute stress or secondary traumatic stress. From the similar results returned for primary and secondary victims, it is apparent that in the future, both victim and supporter should have their needs addressed with equal emphasis. TITLE OF THE DISSERTATION: Beyond the victim: the traumatic effects of violent crime - an educational-psychological perspective.
    [Show full text]
  • We Were Invincible
    WE WERE INVINCIBLE Translation : Jennifer Makarewicz © Les éditions JCL Inc., 2011 Les éditions JCL Inc. 930, Jacques-Cartier Street East, Chicoutimi, Quebec G7H 7K9 Phone : (418) 696-0536 – Fax : (418) 696-3132 – www.jcl.qc.ca ISBN 978-2-89431-799-0 WARNING This is a true story. The events in this book have been reconstructed from the memo- ries of a soldier who was a member of the Canadian Forces Elite Special Operations Unit : Joint Task Force 2, from 1993 to 2001. For obvious reasons, most names have been changed in order to preserve the ano- nymity of those involved. To all soldiers who returned wounded, psychologically bruised and battered from missions… and virtually abandoned! NOTE A list of the abbreviations and acronyms used in this book is found on page 281. All words in this list are highlighted in grey in the text. CHAPTER 1 Recruit School Québec, 2005 Him too! I put down the phone. My throat was dry; I could feel the trickle of ice cold water running down my back. Unable to think, I felt myself slip into a deep and dark abyss. “Denis?” I was unable to answer. “Denis Morisset?” I still didn’t react. When my wife, Julie, found me sit- ting in the living room in the dark, she knew that some- thing had happened. “Denis, what’s the matter?” “A sixth one, Julie.” “No! Oh, no! Not another one!” Her voice trembled. She knew exactly what I was 7 talking about. That was the sixth of my old teammates from the Canadian Army counter-terrorism unit who had found no other solution to ending profound internal suffering than that of taking his own life.
    [Show full text]
  • The Staicu Lexicon in Relation to Lexicons Belonging to the Berynda Family: Orthography and Structure†
    article doi:10.17684/i13A181en DIACRONIA ISSN: 2393-1140 Impavidi progrediamur! www.diacronia.ro The Staicu lexicon in relation to lexicons belonging to the Berynda family: orthography and structure† Ion-Mihai Felea‹ Faculty of Letters, “Alexandru Ioan Cuza” University, Bd. Carol I 11, 700506 Iași, Romania Article info Abstract History: The first manuscripts with Slavonic-Romanian dictionaries date from the 17th Received May 12, 2021 century and six of these have been preserved to the present day almost intact. Accepted July 5, 2021 They are all based on Pamvo Berynda’s lexicon (1627), to which several word Published August 18, 2021 lists were added in some of the manuscripts. These manuscripts have mostly been studied from a lexical point of view. Key words: Our study aims at describing the way in which the lexicons were elaborated, historical lexicology at observing the significant orthographic variations and also at becoming an ad- comparative analysis ditional tool for establishing the network of filiations from which the Romanian lexicons resulted. Our observations focus on the entries for the first three letters in the above-mentioned lexicons. As all these lexicons were available in elec- tronic format, we identified the propagation of several errors in the Romanian antigraphs, emphasized various aspects related to spelling and compared the additional lists. The data indicates that Romanian manuscripts preserve the orthography of Berynda’s Lexicon and the additional lists to a different degree. These vari- ations suggest the existence of at least one protograph between the source and the Romanian lexicons. Applied to the entire content of the manuscripts, the investigation of these variations could contribute to the identification of the manuscript that is the closest to the initial version.
    [Show full text]
  • Proposal to Encode Combining Glagolitic Letters in Unicode
    Ponomar Project Slavonic Computing Initiative Proposal to Encode Combining Glagolitic Letters in Unicode Aleksandr Andreev*, Heinz Miklas, Yuri S$ardt Section 1. Introduction Glagolitic, also kno%n as “Glagolitsa', is an alp$abetic writing s(stem used to record C$urc$ Slavonic and other Slavic languages) Originating in t$e 9t$ centur(, it is t$e earliest kno%n Slavonic alp$abet. ,$e creation o- the alp$abet is attributed to t$e younger o- the teac$ers o- the Slavs, St. C(ril) Glagolitic writing may be found in medi.val manuscripts and in printed liturgical books, mostl( o- a Croatian origin. In Bulgaria, Glagolitic was graduall( replaced b( t$e C(rillic alp$abet, and this C(rillic alp$abet was subse0uentl( used also b( other Slavs) For its part, the Glagolitic script has been preserved b( some communities in Croatia even up to t$e present) E2tant Glagolitic te2ts are o- enormous value to linguists, pal.ograp$ers, and sc$olars o- liturg() Support for Glagolitic in the Unicode standard is re0uired -or t%o purposes) 1irst, contemporar( specialists need to be able to typograp$icall( represent medi.val te2ts written in the Glagolitic script, both in printed matter 3suc$ as academic publications4 and in an electronic format (-or use %it$ computer anal(sis, suc$ as string comparison, %ordlist generation and searc$ing4) ,o this end, computer fonts that contain the repertoire o- Glagolitic c$aracters must be created) Second, o%ing to t$e close relations$ip bet%een the C(rillic and Glagolitic writing s(stems, sc$olars have traditionall( represented Glagolitic te2ts also in C(rillic transcription.
    [Show full text]
  • ISO/IEC JTC1/SC2/WG2 N4608 Date: 2014-08-20 Ponomar Project Slavonic Computing Initiative Proposal to Encode Combining Glagolitic Letters in Unicode
    ISO/IEC JTC1/SC2/WG2 N4608 Date: 2014-08-20 Ponomar Project Slavonic Computing Initiative Proposal to Encode Combining Glagolitic Letters in Unicode Aleksandr Andreev* Heinz Miklas Yuri S%ardt Section 1. Introduction Glagolitic also kno&n as “Glagolitsa” is an alp%abetic writing s)stem used to record C%urc% Slavonic *IS+ 6-./0 code cu1 and other Slavic languages2 Originating in the 9t% centur) it is t%e earliest kno&n Slavonic alp%abet. The creation o4 t%e alp%abet is attributed to t%e younger o4 the teac%ers o4 the Slavs St. C)ril2 Glagolitic writing may be found in medi5val manuscripts and in printed liturgical books mostl) o4 a Croatian origin. In Bulgaria, Glagolitic was graduall) replaced b) t%e C)rillic alp%abet and t%is C)rillic alp%abet was subse7uentl) used also b) other Slavs2 For its part, t%e Glagolitic script has been preserved b) some communities in Croatia even up to the present. Extant Glagolitic te9ts are o4 enormous value to linguists pal5ograp%ers and sc%olars o4 liturgy2 Support for Glagolitic in t%e Unicode standard is re7uired for t&o purposes2 First, contemporar) specialists need to be able to typograp%icall) represent medi5val te9ts written in t%e Glagolitic script, both in printed matter (suc% as academic publications1 and in an electronic format (4or use &ith computer anal)sis suc% as string comparison wordlist generation and searc%ing12 To this end computer fonts t%at contain t%e repertoire o4 Glagolitic c%aracters must be created2 Second o&ing to the close relations%ip between the C)rillic and Glagolitic writing s)stems sc%olars have traditionall) represented Glagolitic te9ts also in C)rillic transcription.
    [Show full text]
  • Casual and Contributing Factors to Firesetting Amongst Individuals With
    V olum e 1 Causal and Contributing Factors to Firesetting Amongst Individuals with Learning Disabilities NATALIE HISER D. Clin. Psych. 2001 University College London ProQuest Number: 10010084 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest 10010084 Published by ProQuest LLC(2016). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 CONTENTS: VOL. 1 Page Abstract 1-2 Introduction 3 - 32 Method 32- 46 Results: i. Quantitative Results 47- 54 ii. Grounded Theoty 55- 78 Discussion 79- 119 References 110- 123 Appendices: Ethics Approval Confirmation Appendix 1 Information for Participants and Consent Appendix 2 Questionnaires and Inteii/Iew Schedule Appendix 3 Criteria for File Check List Categories Appendix 4 A Transcript of One Interview With an Arson Offender Appendix 5 ABSTRACT Fires that are set deliberately are at great cost to the United Kingdom. Research suggests that, within the general population, individuals who commit arson tend to have histories of psychosocial disadvantage, poor social skills, low assertiveness, external loci of control, increased interest in fire. Feelings of anger, abuse, a wish for revenge or change in life circumstances appear to precede the actual fire setting.
    [Show full text]
  • Church Slavonic Typography in the Unicode Standard
    Chur Slavonic Typography in Unicode Unicode Technical Note #41 Aleksandr Andreev¹ Yuri Shardt Nikita Simmons Table of Contents 1 Introduction 1 1.1 What is Church Slavonic? ..................................... 1 1.2 e Unicode Standard ....................................... 7 1.3 Guidelines of is Technical Note ................................ 9 2 Repertoire Identification 10 2.1 Church Slavonic Leers ...................................... 10 2.2 Numerical Symbols ........................................ 19 2.3 Punctuation ............................................ 20 2.4 Diacritical Marks ......................................... 21 2.5 Combining Leers ......................................... 23 2.6 Miscellaneous Symbols and Pictographs ............................. 25 2.7 Ecphonetic Notation ........................................ 28 3 Implementation 29 3.1 Combining Diacritical and Enclosing Marks .......................... 29 3.2 Combining Marks in Isolation .................................. 29 3.3 Multiple Combining Marks .................................... 30 3.4 Combining Marks over Multiple Base Characters ........................ 33 3.5 Palatalization ............................................ 34 3.6 Spacing and Hyphenation ..................................... 35 3.7 Glyph Variants ........................................... 38 3.8 Ligatures .............................................. 41 4 Font Design and Development 43 4.1 Font Design and Distribution ................................... 43 4.2 Character Repertoire
    [Show full text]
  • Kwartalnik Historyczny 2019 Eng.-Lang.Ed. 3
    Kwartalnik Historyczny Vol. CXXVI, 2019 Eng.-Language Edition no. 3 PL ISSN 0023-5903 Jakub Morawiec, Między poezją a polityką: Rozgrywki polityczne w Skan- dynawii XI wieku w świetle poezji ówczesnych skaldów [Between Poetry and Politics: Political Games in Scandinavia in the Eleventh Century in the Light of Contemporary Skaldic Poetry of the Period], Katowice: Wydawnictwo Uniwersytetu Śląskiego, 2016, 669 pp., Prace Naukowe Uniwersytetu Śląskiego w Katowicach, no. 3430, series Historia Jakub Morawiec, a lecturer at the Silesian University in Katowice, is an author of many studies devoted to the history of medieval Scandinavia. His research interests focus on topics like the biography of Canute the Great, Slavic–Scandi- navian contacts and, above all, skaldic poetry. The book under review is the author’s post-doctoral dissertation (to obtain the degree of habilitated doctor) and the summary of his research into skaldic poetry (as the author lists his studies in the bibliography, I feel no obligation to quote them here — p. 646 f.). It is an attempt to provide a broader view of the political history of Scandi- navia in the eleventh century through skaldic poems. Morawiec’s book is over- whelming only in its length and, above all, the huge erudition of its author. This is why, and because I am not able to comment of all of its range, that the following remarks are quite selective. First of all, we need to appreciate the fact that the study fills an unques- tionable gap in Polish literature on the subject of skaldic poetry. With the ex- ception of the author’s earlier contributions, Polish readers have so far had to be satisfied with brief comments in the margins of a few popular works devot- ed to Icelandic sagas.
    [Show full text]
  • Russian Orthographic Reform Martha A
    Mānoa Horizons Volume 2 | Issue 1 Article 4 9-22-2017 Russian Orthographic Reform Martha A. Holland University of Hawaiʻi at Mānoa Follow this and additional works at: https://kahualike.manoa.hawaii.edu/horizons Part of the Linguistics Commons Recommended Citation Holland, Martha A. (2017) "Russian Orthographic Reform," Mānoa Horizons: Vol. 2 : Iss. 1 , Article 4. Available at: https://kahualike.manoa.hawaii.edu/horizons/vol2/iss1/4 This Article is brought to you for free and open access by Kahualike. It has been accepted for inclusion in Mānoa Horizons by an authorized editor of Kahualike. For more information, please contact [email protected]. Russian Orthographic Reform Martha A. Holland Linguistics 102 (Introduction to the Study of Language) Mentor: Dr. Anastasia Kostetskaya To truly understand a society’s culture, study their language. The history of how the Rus- sian language developed mirrors how Russian society evolved and changed. The written record of how the orthography changed and what influenced it sheds light on milestones within the language and, thus, its cultural as well. This paper takes a historical analysis of the Russian language from the early beginnings of the Glagolitic alphabet to modern Russian Cyrillic. This paper shows that Russian leadership in the past not only knew that language was key to a unified society, but manipulated it in such a way that would prevent any diversion from their attempts to control orthographic development and thus control an increasingly literate society. The paper will conclude with the most recent official changes to the modern Russian alphabet, but with a greater understanding and appreciation for how it was forged in Russian society.
    [Show full text]