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Boris Kozhevnikov was a preeminent composer for the wind orchestras of the Soviet military. His Third Symphony is well known in the United States, but the rest of his compositions, and most of the Soviet wind band repertoire, remain unstudied and unperformed outside Russia. This document will explain how Soviet composers carried out their musical obligations as dictated by Communist Party mandates. Further, the functionality and prevalence of Soviet military bands will be explored. Finally, Boris Kozhevnikov will be investigated as a composer who wrote for military ensembles while adhering to Party ideals. American editions of two pieces--the Fourth Symphony and March for Ceremonial Passing--have been created as representative examples of Kozhevnikov's contribution to the genre.Socialist Realism is the term used to describe the Soviet government's mandate for "appropriate" music. Composers were expected to write music that was accessible to the masses, contained programmatic inferences, and aroused sentiments of patriotism and nationalistic pride. Rejected were any pieces displaying formalistic tendencies, including non-programmatic, overly chromatic, or atonal works.Three thousand military wind orchestras were performing in the Soviet Union at the end of the Cold War. These ensembles played original Russian and Soviet music, the vast majority of which is unknown outside Russia. Composers such as Dmitri Shostakovich, Nikolai Miaskovsky, and Sergei Prokofiev wrote for the military ensembles, providing marches and programmatic works.Boris Kozhevnikov taught at the Moscow Conservatory and Institute of Military Conductors for over forty years. He was a highly respected professor, composer, and conductor, and received praise from both Miaskovsky and Shostakovich. One of the first composers to write multiple symphonies for band, Kozhevnikov composed over forty pieces for winds, all exhibiting fundamentals of Socialist Realism. Among his techniques were the incorporation of folk, worker, and revolutionary songs; compositions specifically written and titled for commemorative events; and the composition of works for functional purposes, such as marches and ceremonial music. For his efforts, Kozhevnikov was awarded as a Distinguished Artist of the Russian Soviet Federative Socialist Republic, the Red Star, the Red Banner, the Alexandrov Award, and the Order of the Badge of Honor.

In spite of the growing interest of Russian and Western scholars in Sergei Dovlatov and his art, his place in Russian literature has not yet been clearly defined. His position as a writer in Russia in the 1960s and early 70s was ambiguous due to his opposition to the traditional Soviet canon and rejection by the current literary establishment. However, he later gained recognition and popularity as an emigre writer in the United States. The concept of 'marginality' colours his biography and art, for his life itself was a succession of marginal experiences and marginality is the key topic of his writings. / Marginality unifies Dovlatov's art. This is evident in his marginal status as a writer in and outside the Soviet Union, and in his writing which uses the underappreciated short form of narration (the novella and short story), develops a non-traditional conversational style, pursues the themes of non-conventional behaviour and introduces eccentric characters. / However, it is not possible to discuss Dovlatov's status as a marginal writer without contextualizing his life and art in the ambience of the entire generation of Leningrad writers of the sixties. Writers and poets such as Brodskii, Goliavkin, Gubin, Vakhtin and Ufliand do not only represent the culture of Leningrad's artistic non-conformists, they are also Dovlatov's prototypes and protagonists. Apart from their marginal status, all these writers shared the determination to make independent choices in life and in art. They refused to be viewed as marginal authors by the dominant canon, which disregarded their works as insignificant. Here as well marginality emerges as a literary concept and a behavioural model, shaped by societal norms (the positive type of citizen or official Soviet writer) and traditional canons (the Russian didactic tradition or Soviet ideological writing). This literary concept includes an orientation towards American literature, the creation of marginal characters and themes as well as an exploration of different styles. / The works of writers of the Leningrad circle laid the foundation for the emergence of a literary phenomenon such as Dovlatov. It is in delineating this context that this dissertation demonstrates Dovlatov's original approach to marginality, as well as the way he turned his life experience into literature and became a spokesman for neglected fellow writers and citizens.

In this work the analysis of one of today actual problems - change or reception of new qualification is given. Change or reception of new qualification is now actual for the several reasons: demographic changes, reorganization of an education system and a changing maintenance of training. A changing maintenance of training change or reception of new qualification russian philology are analyzed, as now it is very actual problem. The purpose of research-establish motives change or reception of new qualification is given. During research it has been interrogated 72 Russian philology of the chosen respondents. Russian philology the chosen respondents answering it asked questions have helped to draw conclusions on that that the situation of teachers teaching Russian does not improvethey should get new specialities.

Die vorliegende Arbeit befasst sich mit den Bezeichnungen für Singvögel im Russischen und Deutschen. Die Arbeit zeigt, wie diese Bezeichnungen entstanden sind und heute verwendet werden. Sie beschäftigt sich mit der Übersetzbarkeit von Vogelnamen als Nomenklaturzeichen in Fachtexten und in schöngeistiger Literatur sowie in Redewendungen und Sprichwörtern, in denen ihr Gebrauch eher symbolischer Art ist. Nach einer Einführung in die Terminologie, als deren Bereich Nomenklaturzeichen angesehen werden, gibt die Arbeit einen Überblick über die Entstehung und Bedeutung der deutschen und russischen Vogelnamen. Viele Vogelnamen in diesen beiden Sprachen sind ähnlich entstanden, ihre einzelnen Komponenten können teilweise sogar wörtlich übersetzt werden. Eine korrekte Übersetzung von Vogelnamen in Fachtexten ist jedoch nur mit Hilfe der internationalen wissenschaftlichen Bezeichnungen möglich, die für alle Vogelarten existieren und für die Fachkommunikation unerlässlich sind. Die Taxonomie der Vögel und die Nomenklatur der wissenschaftlichen Vogelnamen werden deshalb ebenfalls erläutert. Ziel der Arbeit ist es, einen Überblick über die verschiedenen Bereiche des Übersetzens von Vogelnamen, im weiteren Sinne also zoologischen Namen, zu geben, bei denen die wissenschaftlichen Bezeichnungen nicht immer als „Brücke“ weiterhelfen können. Ornithologische Fachliteratur wird ohnehin fast ausschließlich von Fachleuten übersetzt. Dennoch können Vogelnamen natürlich auch in anderen zu übersetzenden Fachtexten auftreten. Ihre Übersetzung mit Hilfe der wissenschaftlichen Namen ist nicht ganz unproblematisch. Es gibt wissenschaftliche Literatur über die Vogelarten aller Regionen der Erde, sodass Probleme selten daher rühren, dass eine Art in einer bestimmten Region endemisch ist, also nur dort auftritt. Im Russischen und Deutschen existieren gemeinsprachliche Namen für so gut wie alle rezenten, also derzeit lebenden Vogelarten der Erde. Trotzdem kann es vorkommen, dass die gesuchte Art in dieser Literatur nicht gefunden wird und ein zielsprachliches Äquivalent fehlt. Der Grund dafür ist, dass auch die wissenschaftlichen Namen international nicht einheitlich verwendet werden, was die Recherche beim Übersetzen stark erschwert. Diese Probleme sowie Lösungsvorschläge werden erläutert. Vogelnamen können jedoch selbstverständlich auch in nicht allgemeinsprachlichen Texten auftreten. Gerade in der schöngeistigen Literatur werden sie jedoch oft uneinheitlich verwendet. Art-, Gattungs- und in manchen Fällen sogar Familienbezeichnungen werden nicht immer so deutlich von einander getrennt, dass dies für Laien, die auch Übersetzer auf diesem Gebiet meist sind, erkennbar wäre. Dabei treten in den beiden betrachteten Sprachen teilweise Unterschiede auf, was zu Übersetzungsproblemen und -fehlern führen kann. Auch auf diese Schwierigkeiten und Lösungsansätze wird in der vorliegenden Arbeit eingegangen. Vogelnamen in Redewendungen und Sprichwörtern stellen ein besonderes Problem bei der Übersetzung dar. Die Bedeutungen, die verschiedene Vögel im Volksglauben und der Mythologie eines Volkes haben, sind von Land zu Land unterschiedlich. Mit diesem Exkurs endet der übersetzungswissenschaftliche Teil der Arbeit. Ein umfangreiches Glossar, das neben den Bezeichnungen für alle Singvögel, die auf dem Gebiet der ehemaligen UdSSR vorkommen, auch eine kleinere Auflistung deutscher volkstümlicher Vogelnamen enthält, die einen Beitrag zur Übersetzung zoologischer Namen leisten soll, schließt die Arbeit ab. Es dient als Ausgangspunkt für die übersetzungswissenschaftlichen Untersuchungen und soll gleichzeitig einen Beitrag zum Ausbau des am Institut für angewandte Linguistik und Translatologie der Universität Leipzig in Erarbeitung befindlichen allgemeinsprachlichen elektronischen russisch-deutschen Wörterbuchs leisten.

In this sociolinguistic study, qualitative interviews were used in examining discursive identity construction among Russian Germans. The interview group was composed of Russian German university students attending different universities in Germany. Based on the sociocultural perspective on language and identity, content analysis, turn-internal pragmatic and semantic as well as interactional approaches are used in the thesis. This thesis covers two major questions: What attitudes toward food Russian Germans construct during conversational interaction and what are the major linguistic resources and discursive strategies that these participants use to construct their cultural identities and how the attitudes towards the linguistic and social practices reflect German Russian identity and a particular Russian German space in German cities. The special situation of Russian Germans, that being the initial alienation in Russia due to their ethnic origin, followed by the attitude of local Germans towards Russian Germans after they relocated back to Germany, led to the situation where many of them feel to be in the position of ‘in-between’ (Kaiser 2006: 34). Due to the complexity of this special cultural position of Russian Germans, observations of how individuals negotiate Russian and German cultural spaces and construct their own space in everyday life provide insight to the research of cultural identity. At the same time, the creation of the Russian-German space by means of positioning also reveals the constructed identity of Russian Germans, which they create in discourse. The focus of the thesis lies on one particular practice, namely eating habits as a cultural practice. The analysis of food attitudes with the help of linguistic methods will contribute to the culture identity and the construction of a particular cultural space of Russian Germans. The interviews show how the attitudes towards food preferences and cooking habits serve as a basis for identity construction. By positioning themselves with the help of their attitudes towards eating habits, the participants create certain cultural spaces in German cities. Several domains of life such as private and public spheres, where the participants positioned themselves slightly differently from one another by drawing on different indexical meanings are covered in the interview. The work begins with the history of the Russian German migratory and studies made in relation to Russian Germans and their identity. It is followed by theoretical and methodological approaches. Content analysis, turn-internal pragmatic and semantic as well as interactional approaches are used in the thesis. The main body is devoted to the analysis of the qualitative interview data with the help of the theory and methodology described in the preceding section. In the end of the thesis the summary of the findings and the suggestions for the further research are presented.

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During the 70 years of the Soviet regime the officially approved Soviet literature consistently reflected an exclusively materialistic world view. As a result, there were very few critical works, published in the West, dealing with the Christian theme in Russian literature of the Soviet period. / Surprisingly, literature with the Christian theme did exist in the years of militant state atheism. Such literary works raised questions about the purpose of life, about truth, moral courage and the person of Christ. These books were published during the 60-s, the time of the "thaw", and became a focal point of public discussions. Two of them--Bulgakov's "Master i Margarita" and Pasternak's "Doktor Zhivago" were internationally acknowledged as major literary works. / This study will examine in detail and compare five literary works with christian content, published in the Soviet years of Russia. Two of them were mentioned above. The other three are "Plakha" by Aytmatov, "Dzhvari" by Alfeeva and "Fakul'tet nenizhnikh veshchei" by Dombrovsky. / The existence of such literature proves that all the efforts to suppress the human spirit and its longing for the Absolute have failed.