George Mitrevski | Auburn University (original) (raw)
Papers by George Mitrevski
Routledge eBooks, Jul 16, 2019
Slavic and East European Journal, 1994
Slavic and East European Journal, 1993
Slavic and East European Journal, Dec 1, 2005
Journal of Computing in Higher Education, Mar 1, 1995
THIS PAPER describes a multimedia project developed at Auburn University for the interactive teac... more THIS PAPER describes a multimedia project developed at Auburn University for the interactive teaching of Russian grammar. TheRussian HyperTutor was developed using Apple’s HyperCard™ and is designed to accompany the textbookRussian for Everybody. There are 35 lesson stacks inRussian HyperTutor and each lesson integrates graphics, sound, and animation. In addition to the lesson stacks, the program includes a dictionary and extensive vocabulary exercises. Tutorials provide simple, but concise grammar explanations which can be edited and augmented by an instructor. A hypertext approach was used in writing the tutorials. Student can jump from any point in a tutorial to any other point simply by clicking buttons.
2. When an image on the film is obliterated with a round black mark, it is an indication o f eith... more 2. When an image on the film is obliterated with a round black mark, it is an indication o f either blurred copy because o f movement during exposure, duplicate copy, or copyrighted materials that should no t have been filmed. For blurred pages, a good image o f the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame.
World Literature Today, 1992
2. When an image on the film is obliterated with a round black mark, it is an indication o f eith... more 2. When an image on the film is obliterated with a round black mark, it is an indication o f either blurred copy because o f movement during exposure, duplicate copy, or copyrighted materials that should no t have been filmed. For blurred pages, a good image o f the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame.
The Slavic and East European Journal, 2005
Http Dx Doi Org 10 1300 J167v01n02_06, Oct 20, 2008
In an article titled "The Origin of parody," the Soviet critic Ol'ga Freidenberg defines parody a... more In an article titled "The Origin of parody," the Soviet critic Ol'ga Freidenberg defines parody as "imitation in which a sublime form is filled with a paltry content, ... an imitation of the lofty by means of the pitiful, disparity of content and form, mimicry, a translation from the tragic to the comic." In tracing the origin of parody Freidenberg's examples illustrate parodic acts of religious rituals in the middle ages and identical phenomena in Greek and Roman antiquity, such as: mockery of religious feasts that coincided with Christmas, with feasts of the Virgin, and with Easter; mockery of the gods sacred hymns and ritual songs in the comedies of Aristophanes. In all these instances it was specifically the highest representatives of the church and secular authority that promoted this activity and participated in it eagerly. And then Freidenberg poses the following question: How is one to explain the presence in ritual of the parodic principle ... if its essence is comic mimicry of the lofty? This paper addresses the question of the coexistence of these two opposing cultural facts; it identifies the fundamental features of the functioning of the mechanism of parody, and it suggests that various concepts of the Moscow-Tartu group as expressed in their works pertaining to semiotics of culture, may be fruitfully applied to the study of parody. The paper addresses some of the most important questions that I believe are relevant to the understanding of parody, such as: what are the requirements (cultural and textual) for the existence of parody? What limitations are expected, from or what limits are imposed upon the receiver's familiarity with the text parodied and its activation in the perceiving process. From the semiotic point of view, according to the Soviet critics, "culture may be regarded as a hierarchy of particular semiotic systems, as the sum of the texts and the set of functions correlated with them, or as a certain mechanism which generates these texts". Culture, then, consists of both static and dynamic elements. The static elements are comprised of the information that culture stores for transmission. The dynamic elements are those elements which comprise the mechanism which governs the semiotic structure of culture. There are two mutually opposed mechanisms at work in culture: The tendency toward diversity, and the tendency toward uniformity. At any one time one of these forces is the dominant one. Therefore, there are no eternal cultural codes or texts. The dominant force constantly accepts and rejects texts into culture. There is constant interplay between restrictions and transgressions. The shift of cultural boundaries leads to a condition where texts are either erased or destroyed, displaced into the areas of non-culture, or brought back into the system as information. As with myths, it is human history that rules the life and death of cultural language. Culture can only have an historical foundation; it is a type of speech chosen by history. (Barthes, Mythologies, p. 110).
Stefanovski isperhaps the most significant and prolific writer in the short history of Macedonian... more Stefanovski isperhaps the most significant and prolific writer in the short history of Macedonian theater.
Денес, корпусот служи како појдовна точка на секое лингвистичко истражување. Факт е дека македонс... more Денес, корпусот служи како појдовна точка на секое лингвистичко истражување. Факт е дека македонскиот јазик нема ваков корпус во кој би биле вградени репрезентативни текстови на историски и на современ план во електронска форма. Нивното вградување во еден јазичен корпус ќе значи можност за повеќенаменски истражувања.
Perception of the theatrical message relies to a great extent on memorizing information. In order... more Perception of the theatrical message relies to a great extent on memorizing information. In order for the message to be comprehended, the perceiver must first identify as being theatrical, and not an extension of reality, and then be able to identify the various referents of the theatrical signs.
Journal of Computing in Higher Education, 1995
Slavic & East European Information Resources, 2001
Journal of Computing in Higher Education, 1995
The Slavic and East European Journal, 1993
The Slavic and East European Journal, 1995
Routledge eBooks, Jul 16, 2019
Slavic and East European Journal, 1994
Slavic and East European Journal, 1993
Slavic and East European Journal, Dec 1, 2005
Journal of Computing in Higher Education, Mar 1, 1995
THIS PAPER describes a multimedia project developed at Auburn University for the interactive teac... more THIS PAPER describes a multimedia project developed at Auburn University for the interactive teaching of Russian grammar. TheRussian HyperTutor was developed using Apple’s HyperCard™ and is designed to accompany the textbookRussian for Everybody. There are 35 lesson stacks inRussian HyperTutor and each lesson integrates graphics, sound, and animation. In addition to the lesson stacks, the program includes a dictionary and extensive vocabulary exercises. Tutorials provide simple, but concise grammar explanations which can be edited and augmented by an instructor. A hypertext approach was used in writing the tutorials. Student can jump from any point in a tutorial to any other point simply by clicking buttons.
2. When an image on the film is obliterated with a round black mark, it is an indication o f eith... more 2. When an image on the film is obliterated with a round black mark, it is an indication o f either blurred copy because o f movement during exposure, duplicate copy, or copyrighted materials that should no t have been filmed. For blurred pages, a good image o f the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame.
World Literature Today, 1992
2. When an image on the film is obliterated with a round black mark, it is an indication o f eith... more 2. When an image on the film is obliterated with a round black mark, it is an indication o f either blurred copy because o f movement during exposure, duplicate copy, or copyrighted materials that should no t have been filmed. For blurred pages, a good image o f the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame.
The Slavic and East European Journal, 2005
Http Dx Doi Org 10 1300 J167v01n02_06, Oct 20, 2008
In an article titled "The Origin of parody," the Soviet critic Ol'ga Freidenberg defines parody a... more In an article titled "The Origin of parody," the Soviet critic Ol'ga Freidenberg defines parody as "imitation in which a sublime form is filled with a paltry content, ... an imitation of the lofty by means of the pitiful, disparity of content and form, mimicry, a translation from the tragic to the comic." In tracing the origin of parody Freidenberg's examples illustrate parodic acts of religious rituals in the middle ages and identical phenomena in Greek and Roman antiquity, such as: mockery of religious feasts that coincided with Christmas, with feasts of the Virgin, and with Easter; mockery of the gods sacred hymns and ritual songs in the comedies of Aristophanes. In all these instances it was specifically the highest representatives of the church and secular authority that promoted this activity and participated in it eagerly. And then Freidenberg poses the following question: How is one to explain the presence in ritual of the parodic principle ... if its essence is comic mimicry of the lofty? This paper addresses the question of the coexistence of these two opposing cultural facts; it identifies the fundamental features of the functioning of the mechanism of parody, and it suggests that various concepts of the Moscow-Tartu group as expressed in their works pertaining to semiotics of culture, may be fruitfully applied to the study of parody. The paper addresses some of the most important questions that I believe are relevant to the understanding of parody, such as: what are the requirements (cultural and textual) for the existence of parody? What limitations are expected, from or what limits are imposed upon the receiver's familiarity with the text parodied and its activation in the perceiving process. From the semiotic point of view, according to the Soviet critics, "culture may be regarded as a hierarchy of particular semiotic systems, as the sum of the texts and the set of functions correlated with them, or as a certain mechanism which generates these texts". Culture, then, consists of both static and dynamic elements. The static elements are comprised of the information that culture stores for transmission. The dynamic elements are those elements which comprise the mechanism which governs the semiotic structure of culture. There are two mutually opposed mechanisms at work in culture: The tendency toward diversity, and the tendency toward uniformity. At any one time one of these forces is the dominant one. Therefore, there are no eternal cultural codes or texts. The dominant force constantly accepts and rejects texts into culture. There is constant interplay between restrictions and transgressions. The shift of cultural boundaries leads to a condition where texts are either erased or destroyed, displaced into the areas of non-culture, or brought back into the system as information. As with myths, it is human history that rules the life and death of cultural language. Culture can only have an historical foundation; it is a type of speech chosen by history. (Barthes, Mythologies, p. 110).
Stefanovski isperhaps the most significant and prolific writer in the short history of Macedonian... more Stefanovski isperhaps the most significant and prolific writer in the short history of Macedonian theater.
Денес, корпусот служи како појдовна точка на секое лингвистичко истражување. Факт е дека македонс... more Денес, корпусот служи како појдовна точка на секое лингвистичко истражување. Факт е дека македонскиот јазик нема ваков корпус во кој би биле вградени репрезентативни текстови на историски и на современ план во електронска форма. Нивното вградување во еден јазичен корпус ќе значи можност за повеќенаменски истражувања.
Perception of the theatrical message relies to a great extent on memorizing information. In order... more Perception of the theatrical message relies to a great extent on memorizing information. In order for the message to be comprehended, the perceiver must first identify as being theatrical, and not an extension of reality, and then be able to identify the various referents of the theatrical signs.
Journal of Computing in Higher Education, 1995
Slavic & East European Information Resources, 2001
Journal of Computing in Higher Education, 1995
The Slavic and East European Journal, 1993
The Slavic and East European Journal, 1995
The package is based on a course taught by the author at the University of Illinois at Chicago. A... more The package is based on a course taught by the author at the University of Illinois at Chicago. A set of five DVDs contain around 1,000 images organized into 38 lectures that are grouped into five major topics: Moscow, Petersburg, Soviet Russia, Russian art, and Russia in Transition. Each narrated lecture consists of approximately 30 images that cover both “high” and “low” culture. Lectures are presented in the form of a self-running slid show, and each lecture lasts between twelve and fifteen minutes.
As the title of the textbook indicates, this is a textbook for beginners and intermediate student... more As the title of the textbook indicates, this is a textbook for beginners and intermediate students. Considering that the textbook covers the entire grammar of Macedonian, it is unlikely that students other than heritage learners and graduate students with strong background in another Slavic language would be able to complete all of the lessons in one academic year.
Македонскиот електронски корпус за кој ќе се дискутира во оваа статија е дизaјниран, конструиран,... more Македонскиот електронски корпус за кој ќе се дискутира во оваа статија е дизaјниран, конструиран, е сличен на, и е споредлив со други јазични корпуси. Корпусот е изработен и базиран врз искуствата на други светски корпуси, како и на меѓународни стандарди за кодирање на корпуси. Корпусот се состои од балансиран собир на текстови кои ја карактеризираат состојбата на современиот македонски пишуван и говорен јазик. Имајки предвид дека корпусот се состои исклучително од текстови кои се најдени на Интернет, нивниот квалитет и тематска карактеристика е сепак зaвисна од квалитетот на изворот на текстовите.
Како дел од овај проект, конкордансот на книгата За македонцките работи ќе се употреби за градење... more Како дел од овај проект, конкордансот на книгата За македонцките работи ќе се употреби за градење на целосен и детален речник на сите зборови во книгата, како и за изработување на неколку вида фокусирани списоци на зборови за детални граматички и стилистички изучувања на текстот. Конкордансот може да биде комплетен, т.е составен од сите зборови во текстот, или делумен, составен само од пократок избор на зборови. Комплетниот конкорданс ќе биде издаден заедно со речникот, а посебно ќе се издаде и електронски конкорданс на вебот.
This presentation describes two saint’s day festivals that took place on August 7th and 8th in 20... more This presentation describes two saint’s day festivals that took place on August 7th and 8th in 2006 on St. Paraskeva day at two monasteries in the Prespa region of Macedonia, one near the village of Lavci, and the other near the village of Podmochani.
This course is an introduction to the fundamentals of the Russian language and exposure to Russia... more This course is an introduction to the fundamentals of the Russian language and exposure to Russian culture and civilization. The course stresses basic language skills -speaking, listening, reading and writing, with progressive emphasis on conversation. The objective of this course is to provide Russian language instruction to learners who often don’t have easy physical access to the classroom Russian course, or who may need extra time to complete the course. Students in both the on campus section and in the distance education counterpart use Blackboard to access course resources and to communicate with the professor and with each other.