Rusyn
русиньскый язык, русиньска бесїда rusyn'skyj yazyk, rusyn'ska besida
Spoken in	Ukraine  Slovakia  Poland  Hungary  Romania  Serbia  Croatia  Czech Republic
Native speakers	Estimated: At least 600,000.[1] Census population: 70,374. These are numbers from national official bureaus for statistics: Slovakia - 33,482[2] Serbia - 15,626[3] Ukraine - 6,725[4] Poland - 10,000[5] Croatia - 2,337[6] Hungary - 1,113[7] Czech Republic - 1,106[8]  (date missing)
Language family	Indo-European Balto-Slavic Slavic East Slavic Rusyn
Official status
Official language in	Vojvodina [9] Minority language:  Croatia  Romania  Serbia  Slovenia
Language codes
ISO 639-3	rue
Linguasphere	53-AAA-ec < 53-AAA-e (varieties: 53-AAA-eca to 53-AAA-ecc)
This page contains IPA phonetic symbols in Unicode. Without proper rendering support, you may see question marks, boxes, or other symbols instead of Unicode characters.

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Ethnographic map of the Slavic peoples prepared by Czech ethnographer Lubor Niederle showing territorial boundaries of Slavic languages in Eastern Europe in the mid 1920's

Official usage of Pannonian Rusyn language in Vojvodina, Serbia

Rusyn (Rusyn: русиньска бесїда or русиньскый язык^[10]), also known in English as Ruthene (sometimes Ruthenian), is an East Slavic language variety spoken by the Rusyns of Central Europe. Some linguists treat it as a distinct language^[11] and it has its own ISO 639-3 code; others treat it as a dialect of Ukrainian.^[12] Each categorisation has controversial political implications.

Geographical distribution[link]

Rusyn (and more specifically Carpatho-Rusyn) is the vernacular spoken in the Transcarpathian Region of Ukraine, in northeastern Slovakia, southeastern Poland (where it is often described as łemkowski 'Lemko', from their characteristic word лем / lem 'only', or Lyshak) and Hungary (where the people and language are called Ruthene).

Classification[link]

The first scholars to recognize the existence of Rusyn as a separate language falls to the former Institute of Slavic and Balkan Studies in Moscow in 1992 (now the Institute of Slavonic Studies of the Russian Academy of Sciences) which also prepared the first scholars to study this phenomenon.^[13] These studies were financially supported by the Russian Academy of Sciences.

Ukrainian scholars and politicians do not recognise Rusyns as a separate ethnicity, despite the fact that some Rusyn speakers prefer to consider themselves as ethnically distinct from Ukrainians. Ukrainian linguists consider Rusyn a dialect of Ukrainian, related to the Hutsul dialect in the neighbouring Carpathian region of Ukraine.

Attempts to standardise the various variants of Rusyn have been unsuccessful. Rusyns live in four countries, and efforts are hampered because Rusyns living outside the traditional home region often do not speak the language fluently. Different orthographies have been developed (in most cases using variants of the Cyrillic script) and a number of different grammatical standards^[14] exist, based on regional dialects.

It is not possible to make an accurate estimate of the number of fluent speakers of Rusyn, however their number is estimated at almost a million, primarily living in Ukraine and Slovakia.

Serbia has recognized Rusyn, more precisely Pannonian Rusyn in Vojvodina, as an official minority language.^[15] Since 1995, Rusyn has been recognized as a minority language in Slovakia, enjoying the status of official language in municipalities where more than 20 percent of the inhabitants speak Rusyn.^[16]

Rusyn is listed as a protected language by European Charter for Regional or Minority Languages in Slovakia, Serbia, Croatia and Romania.

Grammars and codification[link]

Early grammars include Dmytrij Vyslockij's (Дмитрий Вислоцкий) Карпаторусский букварь (Karpatorusskij bukvar') Vanja Hunjanky (1931)^[17] and Metodyj Trochanovskij's Буквар. Перша книжечка для народных школ. (Bukvar. Perša knyžečka dlja narodnŷch škol.) (1935).^[18][19]

The Rusyn language is one of the newest Slavic literary languages,^[20] and was codified in Slovakia in 1995.

Newspapers[link]

• Karpatska Rus'
• Русинська бесіда
• Нанродны новинкы
• Podkarpatská Rus - Подкарпатська Русь
• Amerikansky Russky Viestnik †
• Lemko †
• Руснаци у Швеце - Rusnaci u Svece ^[21]

Dialects[link]

The Carpatho Rusyn language can be divided as follows:

Boiko, Hutsul, Lemko and Dolinian are identified (and for the same speakers) as Ukrainian dialects since most of their speakers identify themselves as Ukrainians.

Alphabet[link]

See also[link]

Rusyn language edition of Wikipedia, the free encyclopedia

• Besida
• Alexander Duchnovič's Theatre
• Old Ruthenian
• Pannonian Rusyns
• Rusyns
• Metodyj Trochanovskij, Lemko Grammarian
• Petro Trochanowski, contemporary Rusyn poet.
• Zatkovich, Gregory. The Rusin Question in a Nutshell. OCLC 22065508. 

References[link]

Further reading[link]

• A new Slavic language is born. The Rusyn literary language in Slovakia. Ed. Paul Robert Magocsi. New York 1996.
• Magocsi, Paul Robert. Let's speak Rusyn. Бісідуйме по-руськы. Englewood 1976.
• Aleksandr Dmitrievich Dulichenko. Jugoslavo-Ruthenica. Роботи з рускей филолоґиї. Нови Сад 1995.
• Taras Kuzio, "The Rusyn question in Ukraine: sorting out fact from fiction", Canadian Review of Studies in Nationalism, XXXII (2005)
• Elaine Rusinko, "Rusinski/Ruski pisni" selected by Nataliia Dudash; "Muza spid Karpat (Zbornik poezii Rusiniv na Sloven'sku)" assembled by Anna Plishkova. Books review. "The Slavic and East European Journal, Vol. 42, No. 2. (Summer, 1998), pp. 348-350. JSTOR archive
• Плішкова, Анна [Anna Plishkova] (ed.): Муза спід Карпат (Зборник поезії Русинів на Словеньску). [Muza spid Karpat (Zbornik poezii Rusiniv na Sloven'sku)] Пряшів: Русиньска оброда, 1996. on-line
• Marta Harasowska. "Morphophonemic Variability, Productivity, and Change: The Case of Rusyn", Berlin ; New York : Mouton de Gruyter, 1999, ISBN 3-11-015761-6.
  • Book review by Edward J. Vajda, Language, Vol. 76, No. 3. (Sep., 2000), pp. 728–729
• I. I. Pop, Paul Robert Magocsi, Encyclopedia of Rusyn History and Culture, University of Toronto Press, 2002, ISBN 0-8020-3566-3
• Plišková, Anna: Rusínsky jazyk na Slovensku: náčrt vývoja a súčasné problémy. Prešov : Metodicko-pedagogické centrum, 2007, 116 s. Slovak Rusyn

External links[link]

Rusyn language edition of Wikipedia, the free encyclopedia

Rusyn test of Wikipedia at Wikimedia Incubator

Wikimedia Commons has media related to: Rusyn language

• Rusyn language at the World Academy of Rusyn Culture
• Lewis, M. Paul (ed.) (2009). "Rusyn: A language of Ukraine". Ethnoloɠue: Languages of the World. SIL International. http://www.ethnologue.com/show_language.asp?code=rue. Retrieved 11 Apr 2012. 

• Rusyn Greco Catholic Church in Novi Sad (Vojvodina-Serbia)
• Rusyn-Ukrainian On-Line Dictionary

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (April 2012)

"The Man" is a slang phrase that may refer to the government or to some other authority in a position of power. In addition to this derogatory connotation, it may also serve as a term of respect and praise.

The phrase "the Man is keeping me down" is commonly used to describe oppression. The phrase "stick it to the Man" encourages resistance to authority, and essentially means "fight back" or "resist", either openly or via sabotage.^[1]

History[link]

The earliest recorded use^{[citation needed]} of the term "the Man" in the American sense dates back to a letter written by a young Alexander Hamilton in September 1772, when he was 15. In a letter to his father James Hamilton, published in the Royal Dutch-American Gazette, he described the response of the Dutch governor of St. Croix to a hurricane that raked that island on August 31, 1772. "Our General has issued several very salutary and humane regulations and both in his publick and private measures, has shewn himself the Man." ^{[2][dubious – discuss]} In the Southern U.S. states, the phrase came to be applied to any man or any group in a position of authority, or to authority in the abstract. From about the 1950s the phrase was also an underworld code word for police, the warden of a prison or other law enforcement or penal authorities.

It was also used as a term for a drug dealer in the 1950s and 1960s and can be seen in such media as Curtis Mayfield's "No Thing On Me", William Burroughs's novel Naked Lunch, and in the Velvet Underground song "I'm Waiting for the Man", in which Lou Reed sings about going to Uptown Manhattan, specifically Lexington Avenue and 125th Street, to buy heroin.

The use of this term was expanded to counterculture groups and their battles against authority, such as the Yippies, which, according to a May 19, 1969 article in U.S. News and World Report, had the "avowed aim ... to destroy 'The Man', their term for the present system of government". The term eventually found its way into humorous usage, such as in a December 1979 motorcycle ad from the magazine Easyriders which featured the tagline, "California residents: Add 6% sales tax for The Man."

In present day, the phrase has been popularized in commercials and cinema, featuring particularly prominently as a recurring motif in the 2003 film School of Rock.^[3][4][5][6]

Use as praise[link]

The term has also been used as an approbation or form of praise. This may refer to the recipient's status as the leader or authority within a particular context, or it might be assumed to be a shortened form of a phrase like "He is the man (who is in charge)." One example of this usage dates to 1879 when Otto von Bismarck commented, referring to Benjamin Disraeli's pre-eminent position at the Congress of Berlin, "The old Jew, he is the man."^{[7][dubious – discuss]}

In more modern usage, it can be a superlative compliment ("you da man!") indicating that the subject is currently standing out amongst his peers even though they have no special designation or rank, such as a basketball player who is performing better than the other players on the court. It can also be used as a genuine compliment with an implied, slightly exaggerated or sarcastic tone, usually indicating that the person has indeed impressed the speaker but by doing something relatively trivial.

See also[link]

• Absentee landlord
• Big Brother (Nineteen Eighty-Four)
• New World Order (conspiracy theory)
• Ruling class
• The Establishment
• Power elite
• Corrections officer
• YTMND

Notes[link]

References[link]

• Lighter, J.E. (Ed.). (1997). Random House Dictionary of American Slang. New York: Random House.

This article is an orphan, as few or no other articles link to it. Please introduce links to this page from related articles; suggestions may be available. (November 2006)

This article includes a list of references, related reading or external links, but its sources remain unclear because it lacks inline citations. Please improve this article by introducing more precise citations. (February 2008)

Roman Hurko is a New York based composer who specializes in Byzantine Rite Music.

Biography[link]

Early life[link]

Roman Hurko is a Canadian of Ukrainian descent, born in Toronto, Canada (1962). A graduate of The Yale Institute of Sacred Music (Master of Arts and Religion) and The University of Toronto (B.A. Music History and Theory), he has also studied composition privately with composer Father Ivan Moody in Portugal.

He has been a member of the Composers' Union of Ukraine since 2004.

Hurko began composing music while still in high school. His first composition "Ave Maria" for SATB choir was premiered by the Toronto Mendelssohn Youth Choir, at the Guelph Spring Festival in 1983, with the composer conducting.

In the summers of 1983 and 1985 he attended choral conducting seminars led by Wolodymyr Kolesnyk, former director of the National Opera of Ukraine. In the fall of 1985, he co-founded the St. Evtymyj Youth Choir at St. Nicholas Ukrainian Catholic Church in Toronto. Hurko soon began setting sections of the liturgy for the choir, and in 1999 completed and recorded the entire Divine Liturgy of St. John Chrysostom in commemoration of the second millennium of Christianity (Liturgy 2000).

Career[link]

Along with composition, Hurko has a career in Opera Stage Direction. A former member of the Canadian Opera Company (COC) ensemble, he worked as staff assistant director at the COC from 1988-93. After freelancing as an assistant director in Europe and the US (Royal Opera House in Covent Garden, Salzburg Festival, De Nederlandse Opera, Opéra de Monte-Carlo, Teatro de la Zarzuela, The Washington Opera) he made his stage directing debut in 1996 at the Spoleto Festival (Italy) with Handel's Semele. In Spoleto, he co-directed Prokofiev's War and Peace together with festival founder and composer, Gian Carlo Menotti. Most recently, he directed Mozart's Don Giovanni and Wagner's The Flying Dutchman at the Vancouver Opera.

During this period he composed incidental music for two plays with the Yara Arts Group at La Mama Experimental Theater Club in New York City: A Light From the East (1991) and Explosions (1993).

Hurko has composed and recorded 5 major pieces of sacred music: Liturgy 2000, Panachyda/Requiem for the Victims of Chernobyl (2001), Liturgy No.2 (2003), and Vespers (2005). His latest recording, Liturgy No.3, an English language setting of the Divine Liturgy of St. John Chrysostom, was recorded in Chicago with the Schola Cantorum of St. Peter the Apostle (J. Michael Thompson, conductor), and will be released in the fall of 2011. Liturgy 2000 was premiered in Chicago by the Schola Cantorum of St. Peter the Apostle, conducted by J. Michael Thompson, at Sts. Volodymyr and Olha's Ukrainian Catholic Church on July 14, 2000. Requiem/Panachyda, "Chornobyl Requiem" dedicated to the memory of the victims of the nuclear disaster, received its premiere at St. Michael's Golden-Domed Monastery in Kiev, on April 26, 2001 (the 15th anniversary of the disaster), with the composer conducting the Frescoes of Kiev Chamber Choir. A subsequent recording of the Requiem received its broadcast debut in April 2003 on the Canadian Broadcasting Corporation (CBC) Radio 2 programme "Choral Concert".

Selections from Liturgy No. 2 were given their North American premiere by the Elmer Iseler Singers at concerts in Ottawa and Toronto, conducted by Lydia Adams. In September 2005, Vespers was premiered in Kiev's Pecherska Lavra (Monastery of the Caves) by the Vydubychi Church Choir (Volodymyr Viniar, conductor), as the opening concert to the 16th KyivFest International Music Festival.

On April 9, 2006, the Requiem was performed in concert at Toronto's Roy Thomson Hall by the combined: Elmer Iseler Singers, Orpheus Choir, Amadeus Choir, the Vesnivka Women's Choir, and the Ukrainian Male Chamber Choir in a concert to solemnly mark the 20th anniversary of the Chernobyl nuclear disaster. This concert was subsequently broadcast on April 26 (the 20th anniversary of the disaster) on the CBC Radio 2 programme: "In Performance", and again on Sunday, May 14 on "Choral Concert".

Many of Hurko's recordings have received their US broadcast premiere on Princeton Radio's "Classical Discoveries" program (103.3 FM), hosted by Marvin Rosen. Most recently, Roman has become involved in a series of recordings entitled "The Ukrainian Art Song Project" as producer. The goal of the project is to record the complete art songs of Ukraine's major composers. Volume 1 of the series, The Complete Art Songs of Kyrylo Stetsenko (1882–1922) was recorded during the summer of 2006 by Pavlo Hunka, Bass and Albert Krywolt, piano. Also featured on the recording are Russell Braun, Baritone and Benjamin Butterfield, tenor. The recording was launched on September 14, 2006 at the new Four Season's Opera House in Toronto. Volume 2, The Complete Art Songs of Mykola Lysenko (1842–1912) was launched on December 5, 2010 at Toronto's Koerner Hall. Volume 3, The Complete Art Songs of Yakiv Stepovyi (1883–1921) was released on February 6, 2011 at Edmonton's Winspear Center.

External links[link]

• Roman Hurko

References[link]