Greek Latin Slavic

The volume is intended for classical philologists and a broad range of scholars working in the fields of theoretical, historical, and comparative linguistics with Ancient Greek, Latin, or Slavic languages as the primary evidence in their research. The contributions address topics ranging from issues of grammatography in a diachronic perspective to historical and comparative linguistics. They encompass both monothematic case studies and comprehensive analyses that capture a linguistic phenomenon in its entirety as well as within a broader context.

The impact of the ecclesiastical languages Greek, Latin and Church Slavonic on the Slavic standard languages still lacks a systematic analysis in the theoretical framework of contact linguistics. Based on corpus data, this volume offers an account in the light of “literacy language contact”, i.e. contact between varieties that are used only in a written variant and only in formal registers. Latin was used as literary language in medieval Slavia Romana; Greek was the source language for Church Slavonic, which, in turn, was the literary language for many Slavonic speaking communities and thus had an enormous impact on the development of the modern Slavonic standard languages. The book offers in-depth analyses of the impact of Latin on pre-Standard Slavonic varieties, the influence of Greek on (Old) Church Slavonic and the role of Church Slavonic as a source language for Old and Modern Russian. The contributions discuss (morpho)syntactic phenomena such as non-finite clauses, relative clauses, word order, the use and function of case and tense forms. The volume addresses Slavists, General linguists and scholars of Classical Philology interested in language contact and syntactic issues.

The book investigates multiple preverbs (PVs) in some ancient IE languages (Vedic, Homeric Greek, Old Church Slavic, and Old Irish). After an introduction, it opens with the theoretical framework and a typologically-oriented overview of PVs. It then gives quantitative data about multiple PV composites and carries out philological, formal, semantic, and syntactic analyses on them. The comparison among these languages suggests that a process of accumulation lies behind multiple PV composites. Also, PV ordering is explained by different factors: semantic solidarity between PVs and verbs PVs tendency to be specified by event participants, PVs etymologies, influence from other languages. The book also contributes to casting light on the reasons for PVs grammaticalization and lexicalization. These are two distinct reanalyses triggered by the same factor, i.e. the mentioned semantic solidarity, which makes PVs be felt as redundant. They are thus reassigned salient pieces of information as actional markers (grammaticalization) or reinterpreted as part of the verb (lexicalization).

Modern sources write that Solomon (Shelomo, Suleiman) is the third and greatest king of the Kingdom of Israel and Judah. The tenth son of David and the second son of David by Bathsheba (Virsaviya). The name of Solomon was given to him by his parents, the prophet Nathan gave him another name - Edidya ("God's favorite, Bohumil" - Shmuel I 12, 25). Some believe that this was his real name, and "Shlomo" - a nickname ("peacemaker"). The personality of King Solomon and stories from his life became the favorite subject of Midrash. The names Agur, Bin, Yake, Lemuel, Itiel, Ukal (Mishley 30, 1; 31, 1) are explained as the names of Solomon (Shir ha-shirim Rabba, 1, 1). The names Simeon and Salomon can be interchangeable. Strabo. “Geography. Book 8. Crete. In the east is Mount Dikta, famous for its worship of Zeus; it ends to the north with Cape Samonius or Salmonius." Samonion or Salmonion sound the same, that is, in the Greek language "Smn" and "Slmn" were synonyms.

This study resurrects the genre of Wortstudien contributions or lexilogus treatments, the core of historical lexical semantics. Such studies used to be quite popular, and interest in lexical matters is again rising. The word family around the Indo-European root "*ag?-" drive is placed against its Germanic replacement "drive" as a typological parallel. Many long-standing problems can now be solved, and new hypotheses emerge. Starting with the still important sports and games aspect of social life, new morphology is resurrected ("ag??n" games as an original plural; 2), and a strongly social meaning for good ("agathos"; 3). "Aganos" finds its solution that combines the mild and plant readings in a natural way ( 4). Hunting-and-gathering considerations establish new possibilities or certainties for some wealth words ( 6), and all around religion is involved ( 7). Comparable Baltic Finnic evidence is drawn in ( 8), and such evidence is used to discuss cases on both sides. This way explanations for the Indo-European material are strengthened, or even made possible in the first place, and scores of Baltic Finnic words find attractive (driving) loan hypotheses as their etymologies.

This volume builds upon the new worldwide interest in the global Middle Ages. It investigates the prismatic heritage and eclectic artistic production of Eastern Europe between the fourteenth and seventeenth centuries, while challenging the temporal and geographical parameters of the study of medieval, Byzantine, post-Byzantine, and early-modern art. Contact and interchange between primarily the Latin, Greek, and Slavic cultural spheres resulted in local assimilations of select elements that reshaped the artistic landscapes of regions of the Balkan Peninsula, the Carpathian Mountains, and further north. The specificities of each region, and, in modern times, politics and nationalistic approaches, have reinforced the tendency to treat them separately, preventing scholars from questioning whether the visual output could be considered as an expression of a shared history. The comparative and interdisciplinary framework of this volume provides a holistic view of the visual culture of these regions by addressing issues of transmission and appropriation, as well as notions of cross-cultural contact, while putting on the global map of art history the eclectic artistic production of Eastern Europe.