Rusistika

Russian Cinema provides a lively and informative exploration of the film genres that developed during Russia's tumultuous history, with discussion of the work of Eisenstein, Pudovkin, Mikhalkov, Paradzhanov, Sokurov and others. The background section assesses the contribution of visual art and music, especially the work of the composers Shostakovich and Prokofev, to Russian cinema. Subsequent chapters explore a variety of topics: The literary space - the cinematic rendering of the literary text, from 'Sovietized' versions to bolder and more innovative interpretations, as well as adaptations of foreign classics The Russian film comedy looks at this perennially popular genre over the decades, from the 'domestication' of laughter under Stalin to the emergence of satire The historical film - how history has been used in film to affirm prevailing ideological norms, from October to Taurus Women and Russian film discusses some of the female stars of the Soviet screen (Liubov Orlova, Vera Alentova, Liudmila Gurchenko), as well as films made by male and female directors, such as Askoldov and Kira Muratova Film and ideology shows why ideology was an essential component of Soviet films such as The Maxim Trilogy, and how it was later definitively rejected The Russian war film looks at Civil War and Second World War films, and the post-Soviet treatment of recent conflicts in Afghanistan and Chechnya Private life and public morality explores the evolution of melodramas about youth angst, town and village life, personal relationships, and the emergence of the dominant sub-genre of the 1990s, the gangster thriller Autobiography, memory and identity offers a close reading of the work of Andrei Tarkovskii, Russia's greatest post-war director, whose films, including Andrei Rublev and Mirror, place him among the foremost European auteur film-makers Russian Cinema offers a close analysis of over 300 films illustrated with representative stills throughout. As with other titles in the Inside Film series it includes comprehensive filmographies, a thorough bibliography and an annotated further reading list. The book is a jargon-free, accessible study that will be of interest to undergraduates of film studies, modern languages, Russian language and literature, as well as cineastes, film teachers and researchers.

A Companion to Russian Cinema provides an exhaustive and carefully organised guide to the cinema of pre-Revolutionary Russia, of the Soviet era, as well as post-Soviet Russian cinema, edited by one of the most established and knowledgeable scholars in Russian cinema studies. The most up-to-date and thorough coverage of Russian, Soviet and post-Soviet cinema, which also effectively fills gaps in the existing scholarship in the field This is the first volume on Russian cinema to explore specifically the history of movie theatres, studios, and educational institutions The editor is one of the most established and knowledgeable scholars in Russian cinema studies, and contributions come from leading experts in the field of Russian Studies, Film Studies and Visual Culture Chapters consider the arts of scriptwriting, sound, production design, costumes and cinematography Provides five portraits of key figures in Soviet and Russia film history, whose works have been somewhat neglected

Using Russian is a guide to Russian usage for those who have already acquired the basics of the language and wish to extend their knowledge. Unlike conventional grammars, it gives special attention to those areas of vocabulary and grammar which cause most difficulty to English speakers, and focuses on questions of style and register which are all too often ignored. Clear, readable and easy to consult, it will prove invaluable to students seeking to improve their fluency and confidence in Russian. This second edition has been substantially revised and expanded to incorporate fresh material and up-to-date information. Many of the original chapters have been rewritten and one brand new chapter has been added, providing a clear picture of Russian usage in the 21st century.

This book is the first comprehensive survey of Ukrainian historical writing in North America during the Cold War. The author describes the development of Ukrainian historical studies in Canada and the United States as an open, sometimes difficult dialogue between the Ukrainian ethnic and academic communities on the one hand and between Ukrainian scholars and Western academic mainstream on the other. He focuses on the institutional and the intellectual issues including various interpretations of major topics related to the Ukrainian national grand narrative, considering them in the evolving academic and political contexts of Slavic, East European, and Soviet studies.

This is Volume I of a monumental two-volume work, a historical record and guide to bibliographic efforts on all the languages of the world, which is designed to serve the professional as well as non-professional reader as a first point of entry for information about any language. By consulting the Bibliography, the reader will quickly be able to identify specific bibliographic sources for particular topics of interest, and thus rapidly begin to narrow the search for information. Although bibliographies of bibliographies have appeared for a few language families, this set provides for the first time a comprehensive compilation of bibliographies for all of the languages or language families of the world, from the earliest period through 1985. Volume I, with nearly 2500 entries in 400 pages, covers the Indo-European languages of Europe, plus Etruscan and Basque, as well as general and multi-language references, including sections on dictionaries, dissertations, and specialized topics. Volume II, with approximately the same number of entries, will cover all other languages. In the Bibliography, most entries are annotated to indicate the number of items in each bibliography and how they are arranged; some information on the scope and coverage of the work (where not obvious from the title); whether items are annotated; and what indexes are included. The Bibliography will long stand as an indispensable reference tool, and should be in every library serving readers interested in any aspect of language.

The Russian Language Today provides the most up-to-date analysis of the Russian language. The Russian language has changed dramatically in recent years, becoming inundated by new words, mainly from American English. The authors focus on the resulting radical changes in Russian vocabulary and grammar. Supported throughout by extracts from contemporary press and literary sources, this is a comprehensive overview of present-day Russian and an essential text for all students of the Russian language.

Unlike most previous studies of literature and film, which tend to privilege particular authors, texts, or literary periods, David Gillespie and Marina Korneeva consider the multiple functions of filmed Russian literature as a cinematic subject in its own right-one reflecting the specific political and aesthetic priorities of different national and historical cinemas. In this first and only comprehensive study of cinema's various engagements of Russian literature focusing on the large period 1895-2015, The History of Russian Literature on Film highlights the ways these adaptations emerged from and continue to shape the social, artistic, and commercial aspects of film history.

The present second volume completes the handbook Die slavischen Sprachen "The Slavic languages. Ein internationales Handbuch zu ihrer Struktur, ihrer Geschichte und ihrer Erforschung. An International Handbook of their History, their Structure and their Investigation". While the general conception is continued, the present volume now contains articles concerning inner and outer language history as well as problems of sociolinguistics, contact linguistics, standardology and language typology.