Verges: Germanic & Slavic Studies in Review <p><em>Verges: Germanic &amp; Slavic Studies in Review </em>is a peer-reviewed, interdisciplinary graduate student journal affiliated with the Department of Germanic &amp; Slavic Studies at the University of Victoria.</p> University of Victoria en-US Verges: Germanic & Slavic Studies in Review 1927-6206 <p>Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a <a href=""><span style="color: #006666;">Creative Commons Attribution License</span></a> that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal</p> Front Matter Journal Manager ##submission.copyrightStatement## 2 2 Whither Alltag?: How the Wende Museum revises East German history (and why it matters) This paper argues for the significance of the <em>Alltagsgeschichte</em> (everyday history) as both a source of information about the past and as a site of resistance against a master narrative that has excluded East Germans from self-determination. More than just a question of <em>East </em>German culture, I will illustrate that this challenge to history threatens West and united German self-identifications, which maintain the East as subordinate. I will focus my analysis on the Wende Museum, a private non-profit archive and museum of Cold War culture located in Culver City, California. Considering the significance that location has had on the narrating of the East German past, I seek to demonstrate how as neither <em>mileux de mémoire</em> (environment of memory) nor <em>lieux de mémoire</em> (site of memory), the Wende Museum avoids the prospect of representing the past in a unifying “authentic” East German narrative. Facing the future for and through the past, the Wende Museum represents a Cold War <em>tabula rasa</em> with space for infinite pasts. Sara Blaylock ##submission.copyrightStatement## 2013-11-23 2013-11-23 2 2 Hidden Socialist subtext in Aleksandrov’s Happy Guys <p><em>Happy Guys</em> (1934), directed by Grigorii Aleksandrov, is not a typical Soviet Realist film. Lacking a clear-cut ideological backbone and the archetypal New Soviet Man male lead, the film appears to be a unique type of Stalinist musical romantic comedy – one that is not yet saturated with Soviet ideology. Compared to Aleksandrov’s later body of work, whose grand High Stalinist style focused on the education of the masses about the greatness of the State and its leader (Salys, <em>Laughing Matters</em> 151), the main themes distinguishable through the plot and lyrics of this early film are more generalized human values, such as the beauty of life and love, achieving one’s goals through honest means and the unifying power of music. The protagonist, Kostia Potekhin, stands out in comparison to the standard for male leads in Stalinist films through his potential for being inherently good, yet inability to function in a classically masculine way (Haynes 77). Similarly, the character of Aniuta - a maid who is good and gets rewarded in the end – is a “recurrent character in Soviet cinema of the time” (Taylor 103).  It is through Potekhin’s attempts at integration into two very different social groups, the bourgeoisie and Soviet society, that Aleksandrov is able to show, in a subtle and optimistic way, his disapproval of the character’s unstable morality and ideology. Although restrained, the director’s socialist subtext is still prominently visible through his portrayal of the bourgeoisie as false and superficial, the incorporation of animals in metaphorical ways, and his depiction of the process of the protagonist’s eventual return to the collective.</p> Yulia Ekeltchik ##submission.copyrightStatement## 2013-11-23 2013-11-23 2 2 Grammatical Transformations in Ukrainian-English Translation of Official Texts <span style="font-family: Times New Roman; font-size: small;"> </span><p style="margin: 0cm 36pt 0pt 0cm; text-align: justify; line-height: 200%;" class="MsoNormal"><span style="font-size: small;"><span style="font-family: Times New Roman;"><span lang="UK" style="mso-ansi-language: UK;">In </span><span lang="RU">our</span><span lang="UK" style="mso-ansi-language: UK;"> globaliz</span><span lang="RU">ed</span></span></span><a name="_GoBack"></a><span style="font-size: small;"><span style="font-family: Times New Roman;"><span lang="UK" style="mso-ansi-language: UK;">world</span><span lang="RU">, both business and political decisions </span><span lang="UK" style="mso-ansi-language: UK;">increasingly depend on translations of official documents.</span><span lang="RU">In this paper</span><span lang="EN-US" style="mso-ansi-language: EN-US;">,</span><span lang="RU">the reader will be introduced to the stylistic peculiarities of official documents and the concept of grammatical translational transformations. The text of the Constitution of Ukraine and its official translation into English will be analyzed from the veiwpoint of grammatical transformations; the grounds for using the grammatical transfor</span><span lang="EN-US" style="mso-ansi-language: EN-US;">ma</span><span lang="RU">tions will be analyzed and explained.</span></span></span></p><span style="font-family: Times New Roman; font-size: small;"> </span> Sergii Gorbachov ##submission.copyrightStatement## 2013-11-23 2013-11-23 2 2 Surveying Metaphors in Pussy Riot's Defense Statements Following one of the year's most talked-about performances, three members of Russia's Pussy Riot were charged with hooliganism. At trial, band members read defense statements which employed an extensive use of spatial and container metaphors, allowing readers to organize concepts into a new system with respect to one another. The women, for example, use the terms 'up' and 'down' to speak of positivity and negativity, respectively. They also organize their society along a grid to showcase how the average Russian (horizontal axis) interacts with the country's political system (vertical axis). This essay examines how society employs conceptual metaphors and the use of metaphors to represent the band’s complex relationship with Russian president Vladimir Putin. Cara Muise ##submission.copyrightStatement## 2013-11-23 2013-11-23 2 2 Jakobson and Sound Symbolism Roman Jakobson's work with sound symbolism remains authoritative in the study of iconicity within language.  This article applies Jakobsonian criticism to the works of five Russian poets, whose poems have been identified by other scholars as containing some level of linguistic iconicity.  Phoneme- and word-level iconicity is explored by employing Jakobsonian analysis with the following works, resulting in an expanded examination of and discussion on the poetic texture evident in these poems. Amanda Weaver ##submission.copyrightStatement## 2013-11-23 2013-11-23 2 2