https://journals.phil.muni.cz/opera-slavica Masarykova univerzita en-US Opera Slavica 1211-7676 https://journals.phil.muni.cz/opera-slavica/article/view/40479 Anna Agapova Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs 2025-02-20 2025-02-20 34 2 7 8 10.5817/OS2024-2-1 https://journals.phil.muni.cz/opera-slavica/article/view/40480 Anna Agapova Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs 2025-02-20 2025-02-20 34 2 9 10 10.5817/OS2024-2-2 https://journals.phil.muni.cz/opera-slavica/article/view/40500 Journal Opera slavica Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs 2025-02-20 2025-02-20 34 2 11 12 10.5817/OS2024-2-3 https://journals.phil.muni.cz/opera-slavica/article/view/40501 Journal Opera slavica Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs 2025-02-20 2025-02-20 34 2 13 14 10.5817/OS2024-2-4 https://journals.phil.muni.cz/opera-slavica/article/view/40481 The article examines the way of presenting Franz Kafkas work to the reader, chosen by Soviet literary criticism and literary studies of the 1960s–1970s. The key element of the Soviet discourse about Kafka is the writers diary. The peculiarities of Kafkas literary method, the problems related to the history of his texts, on the one hand, and the contemporary polemical context, on the other hand, made it possible to assign Kafka the role not so much of a literary classic as the creator of a historical source that illuminates his personal history, the peculiarities of his epoch and denounces modernism. The author shows how the concept of the private diary was used in late Soviet official culture, and how the this set of ideas was applied to Kafkas diary and to his work in general. Georgij Šerstnev Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs 2025-02-20 2025-02-20 34 2 15 36 10.5817/OS2024-2-5 https://journals.phil.muni.cz/opera-slavica/article/view/40482 The paper deals with Venedikt Erofeev as a reader of Franz Kafka. Erofeev became acquainted with Kafka's work in 1967, when he read Kafka's one-volume collection of works published two years earlier. Everything we know about Erofeev's reading preferences suggests that Kafka should have interested him, but this apparently did not happen: Kafka left Erofeev indifferent. Perhaps this was due to the fact that Erofeev, for all his interest in modernist literature, was prejudiced against authors fashionable among the Soviet intelligentsia — as an example, we can mention Erofeev's extremely negative attitude to The Master and Margarita. If we talk about possible influence, for example, on the finale of Moscow—Petushki, then it was probably limited to a single borrowing from the short story "The Hunter Gracchus". Nevertheless, the case of Erofeev's (un)reading of Kafka serves as an interesting example of the reception of Kafka and European modernist literature in general in the Soviet Union in the 1960s. Aleksandr Agapov Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs 2025-02-20 2025-02-20 34 2 37 46 10.5817/OS2024-2-6 https://journals.phil.muni.cz/opera-slavica/article/view/40483 The article is the first of its kind to analyze the substantial body of Kafka's texts translated into Russian; it also describes the history of Kafka's reception through early translation in Russia and the dynamics of the changing literary scene regarding Kafka's work throughout 20th and early 21st century. The translation analysis covers Kafka's main novels (The Castle, The Trial, Amerika) and stories. The diaries, letters and aphorisms were selectively studied in the original and in translation, but were not included in the illustrative examples in this article due to its limited size. The translations done by R. Rite-Kovaleva, M. Rudnitskiy, G. Notkin, E. Katseva, S. Apt and others are analyzed alongside the newest much talked-of texts, such as the translation into Russian from the English translation done by L. Bershidskiy, which allowed us to address the underexplored topic of trilingualism in the literary translation. The author follows the views of Walter Benjamin on the reasons for multiplicity and quality of translations, as well as the opinions of A. Filippov-Chekhov about the technique "nouveau chamanique" as the expression of B. Brecht's epic system in translation. Irina Aleksejeva Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs 2025-02-20 2025-02-20 34 2 47 83 10.5817/OS2024-2-7 https://journals.phil.muni.cz/opera-slavica/article/view/40484 In this paper, on the material extracted from orthoepic dictionaries of different generations, we observe the development of the pronunciation of doubled consonants at the border of prefixes or prefixe and root. A large number of examples (about 44.5 %) have no changes in pronunciation: the long voice was pronounced in all generations of orthoepic dictionaries. Changes exist in about 55.5 % of the examples and are reflected in the fact that in the younger generation of dictionaries, a variant pronunciation is possible in the case when only a long consonant was recorded in the middle and older generation (about 16.5 %), that in the examples in which had pronunciation variants in the middle and older generations of the dictionary, in the younger ones there are multimember orthoepemes (about 16.5 %), that in all generations the long voice is pronounced, with the fact that in the middle and older generations it is a long soft voice, while in to the younger generation, it is the voice with a hard beginning, a soft ending (11.1 %), the long voice in the older and middle generation of the dictionaries was replaced by a simple voice in the younger generation (8.3 %), and finally, a simple voice in the younger and middle generation, while in the older generation the pronunciation of the simple voice was only permitted, in addition to the more normative pronunciation of the long voice (3.6 %). We also came to the following conclusions: hard voices carry a greater potential for long pronunciation than soft voices; dictionaries give hard explosive consonants a greater potential for the realization of a doubled voice when dealing with an intervocalic position than hard fricative voice; the distance between the place of the doubled voice and the place of the accent increases the potential for the appearance of a variant pronunciation (the pronunciation of the simple voice is also recorded). In the younger generation of dictionaries, long sounds with different softness (beginning hard, ending soft) are realized, which were not found in earlier generations of dictionaries. Jelena Ginić Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs 2025-02-20 2025-02-20 34 2 85 108 10.5817/OS2024-2-8 https://journals.phil.muni.cz/opera-slavica/article/view/40485 Against the background of cognitive linguistics theory which includes the analysis of conceptual metaphors in discourse, in this paper we analyze two metaphorical scenarios—the WAR scenario and the NATURAL DISASTER scenario which frame the conceptualization of the coronavirus and concepts closely related to the coronavirus pandemic in English and Russian media discourse. Based on the corpora of metaphorical expressions excerpted from various media sources, the aim of this paper is to illustrate the cross-cultural universality of the conceptual mappings and shed light on the potential reasons for the emergence of the given metaphorical scenarios in conceptualisation. Mirjana Adamović Maja Stevanović Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs 2025-02-20 2025-02-20 34 2 109 122 10.5817/OS2024-2-9 https://journals.phil.muni.cz/opera-slavica/article/view/40486 Adamovich's The Last Pastoral belongs to his late works, characterised by a parable form of narration, a universal type of characters, and an abstract chronotope, revealing deep moral and philosophical questions. In this kind of fiction allegory is widely used, and realistic episodes often have a symbolic meaning. The article analyses the role of erotic motifs in the novel. The author seeks to prove that the erotic in Last Pastoral is connected with violence and is opposed to the Christian salvific ideal of love. The researcher also considers the erotic in the novel in the political and gender context. Hanna Paulouskaya Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs 2025-02-20 2025-02-20 34 2 123 135 10.5817/OS2024-2-10 https://journals.phil.muni.cz/opera-slavica/article/view/40487 This article presents the work of contemporary Ukrainian poet Myroslav Laiuk (1990). In the texts of his collection Метрофобія (2015) we focus on one aspect — we analyse how the lyrical subject is formed and transformed here, what its role is and what makes it specific. On the material of four selected Laiuk's poems we observe him from a number of angles. On their basis, we can trace the specific character of Laiuk's lyrical subject, which lies in his active creative role, in looking at reality without preconceptions and trying to show it in all its rawness, but also in using a certain degree of playful provocation. Helena Frantová Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs 2025-02-20 2025-02-20 34 2 137 145 10.5817/OS2024-2-11 https://journals.phil.muni.cz/opera-slavica/article/view/40488 This article analyses the ballads "Svetlana" by V. A. Zhukovsky and "Wedding Shirts" by K. J. Erben, the plot of which is derived from a famous poem by the German pre-Romantic poet Gottfried August Bürger. In analysing both works, we focus on the problem of spaciousness. Drawing on the conclusions of the Czech literary scholar Vojtěch Jirát, who considered Erben's ballads as an example of Czech Biedermeier, we try to show that the ideological plan of The Wedding Shirts is reflected in the way in which spaciousness is arranged in the ballad. Comparing it with the ballad "Svetlana", traditionally considered part of Russian Romanticism, we draw attention to the similarities in the ideological and spatial arrangement of both works. Kryštof Peršín Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs 2025-02-20 2025-02-20 34 2 147 157 10.5817/OS2024-2-12 https://journals.phil.muni.cz/opera-slavica/article/view/40489 Jevhenìja Vološčuk Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs 2025-02-20 2025-02-20 34 2 159 178 10.5817/OS2024-2-13 https://journals.phil.muni.cz/opera-slavica/article/view/40490 Tereza Bojanovská Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs 2025-02-20 2025-02-20 34 2 179 198 10.5817/OS2024-2-14 https://journals.phil.muni.cz/opera-slavica/article/view/40491 Inna Kalita Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs 2025-02-20 2025-02-20 34 2 199 208 10.5817/OS2024-2-15 https://journals.phil.muni.cz/opera-slavica/article/view/40492 Volodymyr Janovyč Zvynjac'kovs'kyj Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs 2025-02-20 2025-02-20 34 2 208 212 10.5817/OS2024-2-16 https://journals.phil.muni.cz/opera-slavica/article/view/40493 Anna Agapova Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs 2025-02-20 2025-02-20 34 2 213 215 10.5817/OS2024-2-17 https://journals.phil.muni.cz/opera-slavica/article/view/40494 Grzegorz Lisek Martin Henzelmann Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs 2025-02-20 2025-02-20 34 2 216 217 10.5817/OS2024-2-18 https://journals.phil.muni.cz/opera-slavica/article/view/40495 Tereza Bojanovská Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs 2025-02-20 2025-02-20 34 2 219 223 10.5817/OS2024-2-19 https://journals.phil.muni.cz/opera-slavica/article/view/40496 Inna Kalita Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs 2025-02-20 2025-02-20 34 2 223 229 10.5817/OS2024-2-20 https://journals.phil.muni.cz/opera-slavica/article/view/40497 Elena Krejčová Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs 2025-02-20 2025-02-20 34 2 229 231 10.5817/OS2024-2-21 https://journals.phil.muni.cz/opera-slavica/article/view/40498 Šťastná Natália Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs 2025-02-20 2025-02-20 34 2 232 236 10.5817/OS2024-2-22