Search

Public interest in the legacy of Russian religious philosophy, and above all in the legacy of V. S. Solovyov, reached its peak at the turn of the 1990s, after which it declined. As indirect evidence of this, we can note the remaining unrealized idea of installing a monument to the philosopher, slowing down the pace of work on the release of a complete collection of his works, and reducing the number of works dedicated to him. The year of the centenary since the death of Solovyov (2000) was symptomatic, when the authoritative representatives of the Russian philosophical community, S.S. Khoruzhiy and P.P. Gaidenko made an ambiguous assessment of Solovyov's ideological heritage and its significance for the subsequent development of Russian socio-philosophical and religious-theological thought. In the article the statement that the genealogy of the critical interpretation of Solovyov's legacy goes back to the works of the philosopher and theologian G.V. Florovsky is substantiated. Florovsky influence in Russian studies, as well as in post-Soviet Russia in general is difficult to overestimate. In this regard, the author draws attention to the ideological evolution of Florovsky, which gives the key to his interpretation of Solovyov's philosophy. The analysis showed that Florovsky's critical reinterpretation of Solovyov's legacy had both a theoretical, theological, and doctrinal character, and was caused by certain socio-psychological factors related to the generational conflict between representatives and heirs of the Russian religious and philosophical Renaissance of the early XX century. It is demonstrated that the reception of Solovyov by Florovsky was very significant, influential and archetypal for Russian religious and philosophical thought, both in Russia and abroad.

В статье представлен искусствоведческий анализ ряда работ отечественных режиссеров, в фокусе творческого интереса которых находится «Пиковая дама» Пушкина-Чайковского. Опираясь на методы интерпретации и реинтерпретации, автор останавливается на таких художественных образцах, как фильм-балет «Три карты», созданный по мотивам повести А.С. Пушкина «Пиковая дама» на музыку К. Молчанова (1983), опера «Пиковая дама» в постановке Ш. Херхайма и М. Янсонса (Амстердам, 2016) и Х. Нойен-фельса и М. Янсонса (Зальцбург, 2018), а также игровое кино С. Подгаевского («Пиковая дама. Черный обряд»), П. Лунгина («Дама пик»), А. Домогарова-младшего («Пиковая дама. Зазеркалье»), выпущенное в прокат в период с 2015 по 2018 гг. Выявляя в каждом из указанных произведений наличие таких визуальных символов, как вода и зеркало, автор ставит перед собой задачу разобраться в том, насколько их очевидное присутствие в обозначенных художественных образцах дает возможность квалифицировать их либо с позиции интерпретации, либо - реинтерпретации первоисточника.

Introduction to the annual supplement “Volti del tradurre” by Helena Aguilà Ruzola and Donatella Siviero, containing a selection of articles based on some of the research presented at the VI Giornata internazionale sulla traduzione (Università di Palermo, 5-6 December 2019, in partnership with Universitat Autònoma de Barcelona and Università di Messina., Introduzione al supplemento annuale “Volti del tradurre” a cura di Helena Aguilà Ruzola e Donatella Siviero, che contiene un’antologia di articoli sviluppati a partire da alcune ricerche presentate in occasione della VI Giornata internazionale sulla traduzione (Università di Palermo, 5-6 dicembre 2019, in collaborazione con l’Universitat Autònoma de Barcelona e l’Università di Messina).

Este trabajo toma como punto de partida el hecho de que la corrección política se extendió por los países occidentales en la misma década (1960-1970) en que el eslogan «Il est interdit d’interdire» se puso de moda también. Y, puesto que las prohibiciones explícitas parecen ser políticamente incorrectas, el lenguaje políticamente correcto recurrió a la ambigüedad y a la indeterminación del significado para prohibir indirectamente así como a otros métodos tales como la reescritura y/o la reinterpretación de algunos textos del pasado.

Gegenstand der Dissertation sind kausal interpretierte Präpositionalphrasen mit "von" in Modifikatorfunktion, z.B. in Sätzen wie (1) "Paul ist müde von der Reise" oder (2) "Der Platz ist rot von Blättern". Kausale "von"-Phrasen treten im Deutschen in zwei Lesarten auf: Eventiv-kausal, wobei die Kausalrelation zwischen zwei Ereignissen besteht, vgl. (1), und stativ-kausal, wobei die Kausalrelation zwischen zwei Eigenschaften bzw. Tropen besteht, vgl. (2). Auf Basis mehrerer umfangreicher Korpusstudien untersucht die Arbeit den Bedeutungsbeitrag der Präposition "von" im Spannungsfeld zwischen Semantik und Pragmatik.

The particles schon and noch in German add an aspectual reading to events in different assertions. While schon tends to a perfective reading of an event, an imperfective reading appears with noch, hence both particles have a similar function on the event modification. Overtly, they are located unrestricted in the middle field of a German clause and can freely change their position towards temporal adverbs such as heute, jetzt, bald etc. It seems that syntax does not have an impact to order schon heute or heute schon. This variation is of main interest of the paper: Is there a linear restriction of adverbs and schon/noch, and does a change in the output cause a reinterpretation? The paper presents main assumptions on the word order of aspectual particles and temporal adverbs from the semantic and the syntactic perspective. An experimental study on prosodic factors will complete the overview and its preferences for the linearization of the sequences in question. The result is that common categorical grammar is not able to account for all possible outcomes with respect to contextual preferences. Therefore, a more flexible grammar concept is needed to build a usage-based concept on word order variation for these functional elements.

In "Pierre Loves Horranges ", a little noticed essay on Sartre's existential psychoanalysis, emerging French philosopher Catherine Malabou offers a new reading of "Doing and Having", in Sartre's Being and Nothingness for her philosophy of the fantastic. We compare Sartre and Malabou on the fantastic, focusing on their analyses of quality, viscosity and ontological difference. We argue that Malabou's reinterpretation of Sartre's symbolic schema, which serves to make visible the change and exchange in the ontological difference, is valuable for a psychoanalysis of the future, one that comes after metaphysics and deconstruction.Â

The paper examines closer the notion expressed by the word amēkhaniē in DK 6. 5. In his analysis of problematic of knowledge Parmenides alerts about amekhaniē of mortals, a word generally translated with `lack of resources` or ‘perplexity’, a kind of problem that drives the thinking astray. Scholars point out in many passages of the poem the opposition between imperfect mortals and the eidota phōta of DK 1. 3, the wise man. However, as much as I know, nobody noticed that, if mortals have a lack of resources, the goddess is teaching exactly how to fix it with a kind of method given through her precepts, which are an authentic mēchane. The paper shows that this is the genuine didactic aim of Parmenides, as he says in 1.28-30, i.e., to point out where is the error of mortals and how the wise man fixes it. Starting from a reinterpretation of 1.29 and following with the analysis of fr. 6, the paper shows that the method of fr. 2 is indeed the mēchane that can do that. Although the word is not present in the poem, it is one of its main topics. It seems (by the extant fragments) Parmenides had no clear word to call his mēchane, a psychological cognitive tool we call today principle of non-contradiction.

In the period of creation of the Yugoslav state (November December 1918), and also in the following months, Banat and Тimisoara were one of the central places in the politics of Serbia, later the Kingdom of Serbs, Croats and Slovenes. About dynamic development of the events testify many sources, of which a significant number is wellknown in scientific circles. A large contribution to this was given by Bogumil Hrabak who published the record of Тimisoara National Council from November 1918. However, this unknown record from December 1918 testifies that many archival sources remain unknown to scientists who have studied the processes in the Banat region at the time of creation of the Kingdom of Serbs, Croats and Slovenes. This fact opens up the possibility of new research and reinterpretation of the achieved results.

The article considers four scenarios along the way human language developed, the neolithic transition from nomadic to agricultural societies, the upper paleolithic revolution when a sudden proliferation of art, tools and complex social organization took place, the emergence ofhomosapiens possibly supported by the rise of the vocalization ability, and the emergence ofhomo ergaster/erectusaccompanied with a rapid growth of the brain, and discusses in what respect these different scenarios contribute to the linguistic capacity of modern man. In particular, the thesis offered within the Minimalist Program that the language faculty in the narrow sense is a product of the upper paleolithic revolution is questioned. It is argued, instead, for a different view, namely that early morphology evolved as a reinterpretation of phonological alternations just in time when phonological features were developed, whereas a considerable amount of syntax proper evolved only when the neolithic transition had changed the circumstances of communication. However, the faculty of combining meaningful elements, as well as the faculty of recursion, may well have developed quite earlier at the time ofhomo erectus.

Morphematic reorientation of German orthography takes place in conformity with a general law in the history of writing. Alphabetic writing systems, being necessarily phonographic, tend to develop towards the encoding of non-phonetic units. The emergence of morphematic elements in German is preceeded by the evolution of word-separation by regular spaces which had been adopted throughout Europe by the end of the 13th century. Based on a corpus containing 157 High German texts (late 15th to late 18th centuries), this paper will demonstrate that morphematic reorientation of German orthography can be explained neither as an invisible-hand-process nor as the outcome of prescriptive grammar, but as the result of interaction between orthograpic norm and usage. Three cases will be considered in detail:(1) Graphic assimilation of allomorphic plosive variation emerges as early as the 12th century, reflecting regional final devoicing. By the early 17th century, the rule governing orthographic reprensentation of final devoicing in present-day German is fully adopted in usage. Its morphematic reinterpretation does not follow before the end of the 17th century.(2) Morphematic graphic representation of [a]-Umlaut emerges during the 14th century in Upper Germany as a phonetic reflex of open [e]. It is recommended by Middle German grammarians since the 1560s, with explicit mention of morphological factors. Around 1700 the writing rule imposes itself in usage.(3) The use of double consonant letters occuring in final positions of 'graphic' syllables ( according to ) rests inhibited until the 18th century, in particular to prevent tri- or tessaragraphs (, ). It is the influence of Adelung's grammar which leads to the final adaption of the present-day rule.

It has often been observed that German bleiben 'remain' has a so-called BECOME-reading in the context of an infinitive of a positional verb, i. e. a reading that is regularly associated with its dual werden 'become'. At first glance it looks as if a bleiben + infinitive construction can either refer to a stative situation or to a situation involving a change of state. Up to now two ways of resolving the problem of the bleiben ambiguity have been proposed: the first captures the ambiguity in terms of a reinterpretation process (Steinitz 2000), the second assumes a homonymy of the copula bleiben (Schlucker 2003). I will argue that neither a mechanism of reinterpretation nor the assumption of two copula verbs bleiben with different situational arguments capture the facts as they are. I assume that German bleiben is not ambiguous at all but always involves the operator REMAIN in its semantic representation. The associated change of state is an inference that is drawn only if the following condition is met: There must be a preceding situation which differs from the situation bleiben refers to only in the presence of movement. This condition must be fulfilled in order to meet the presuppositional requirements of bleiben. The proposed analysis allows us to keep the semantics simple, and furthermore gives an explanation of why the so-called BECOME-reading shows up only in the context of certain infinitives of positional verbs - a fact for which no explanation has been offered so far.

By expropriating ecclesiastical goods, royal treasures, the property of emigrants and of the dissolved academies, the French Revolution set in motion a process of rethinking historical heritage. This handing over of monuments and works of art - artefacts of the past - to the state made them available for a new discourse: the complete history of the French nation. They became "historical monuments", material sources or testimonies of a past they now had to reproduce in its totality, chronologically and across classes. The monuments were consequently subjected to a semantic reinterpretation: they forfeited their monarchic and religious meanings, acquiring instead historical and national overtones. This process of rethinking and revaluation was by no means linear, nor was it consistent. The first museum exhibition of the national past was opened to the public only after Robespierre's downfall. The historic exhibits were not housed in the Louvre, which restricted itself to universal masterpieces, but in the Musée des monuments français (1795-1816). This and not the Louvre was the place where the uniqueness, the autochthonous, the specific of the nation was harboured and arranged according to centuries, an entire national history on display. The vibrant staging of the past, the reproduction of the "colour" of past centuries on show in this museum prompted several representatives of the "nouvelle école historique" to declare that it had paved the way for the return of historical studies.

The paper addresses the longstanding question of whether the copular verb "werden" ('become') is a transitional, i.e. telic, or a nontransitional, i.e. atelic, verb, or verb that is unspecified with regard to telicity. By means of standard tests and historical considerations, it is argued that the verb is telic and refers to accomplishment situations. Nevertheless, there are two types of copular "werden"-clauses with regard to which this view may seem questionable at first sight. First, some "werden"-clauses appear to refer to achievements. This, however, is not a matter concerning the semantics of werden. Rather, the crucial cases are accidentally instantaneous because their predicative complements are absolute predicates. Hence, they do not allow for extended transitions from one state to another. Second, some other "werden"-clauses, expecially those with comparative complements, sometimes appear to refer to processes. However "werden" combined with a comparatival adjective can be shown to be able to refer to clear accomplishment situations. The process-effect is due to a common phenomenon of reinterpretation that leads to iterative transitions between degrees., ZAS Papers in Linguistics, Bd. 14 (1999): Kopula-Prädikativ-Konstruktionen als Syntax/Semantik-Schnittstellen

The article "The Meaning of Mimesis in the Poetics of Gustav Mahler" puts forward one possible approach to his (symphonic) pieces. It is conceived on an analytical vertical which reaches behind the markedly mimetic contents of Mahler's music to its poetic level as represented by the very conception and procedure of creating, as well as to the level of its meaning in the sphere of the composer's life. The article goes on to explain Mahler's extending the notion of imitation through music so as to include in it not only acoustic natural phenomena but – indirectly – also visual ones, as well as phenomena from the realm of music itself (either Mahler's or someone else's) and other features of music at the level of style and type. All of them are imitated by the composer in a more or less equal manner: by means of analogy they are made to form the integrity of form, promoted by the composer's use of mimetic information as a unit of musical energy which provokes the growth of the musical piece. Turning to nature and music with equal freeness of action, Mahler showed a romantic tendency to seek projections of his own inner world, and on finding them in both, he would turn them back on to himself by constructing his very own sound essence on the basis of the use of both. The inner world the projection of which Mahler kept pursuing was essentialy romantic, but what he actually kept discovering was not a romantistic's mental stratum but his own expressionistic reinterpretation to which Mahler testified as a composer. For this reason this reinterpretation is argued here by certain proceedings at the level of compositional technique. However, this expressionistic potential is subjected to the romantic architectonics perceived in the sense of its self-negation. All the stated characteristics testify to the fact that Mahler's music is profoundly expressive: that by musical allusion to the extra-musical subject-matter he purposes to „involve“ the listener in the „story“ of his life. But again, this "story" reveals a relatively autonomous essence of Mahler's music which at the same time represents his inner quintessence.