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The article deals with the word koreš ‘close friend’ used in Russian cant. It comes from the Russian verb koreševat’sja ‘to greet each other friendly, to establish friendship and close relations’ that, in turn, has its origin in the Turkic verb körüš- ‘to see each other, to have an audience’. The diplomatic ceremony of koreševan’e ‘a kind of very close embrace’ was common in the Golden Horde and its successor states — the Khanates of the Crimea, Kazan and Astrakhan, the Noghay Horde and Muscovy, at least up to the end of the 16th century. Soon the word koreš (literally:’ a man participating in the ceremony of koreševan’e’) with the meaning ‘true and close friend’ was ejected to the sphere of Russian slang and acquired a secondary, alleged link with the Russian word koren’ ‘root’ as if it were its pseudo-diminutive form.
The article deals on the Greek loan words in the Bulgarian standard language. The main target of the article is to show in which fields of life the use of the Greek loan words is dominating and in which not. We excepted the loan words in the Bulgarian dialects, because the situation is too different from that in the standard language, and also the loan words, which came by Greek mediation into the Bulgarian language. So we found out, that only ten percent of the Greek loan words are common for all Bulgarian dialects. The existence of the Greek loan words is only to compare with the Turkish loan words. The comparison of both groups shows, that the influence of the greek group is quite different from that of the Turkish. The Greek language took the longest influence on the Bulgarian, however there are lots of Greek words, which are not genuine Greek.
Serbia was an Ottoman province for almost four centuries; after some rebellions, the First and Second Uprising, she received the status of autonomous principality in 1830, and became independent in 1878. Due to the historical and cultural circumstances, the first stage music form was komad s pevanjem (theater play with music numbers), following with the first operas only at the beginning of the twentieth century. Contrary to the usual practice to depict “golden age” of medieval national past, like in many other traditions of national opera, the earliest Serbian operas were dedicated to the recent past and coexistence with Ottomans. Thus the operas Na uranku (At dawn, 1904) by Stanislav Binički (1872–1942), Knez Ivo od Semberije (Prince Ivo of Semberia, 1911) by Isidor Bajić (1878–1915), both based on the libretti by the leading Serbian playwright Branislav Nušić, and also Zulumćar (The Hooligan, librettists: Svetozar Ćorović and Aleksa Šantić, 1927) by Petar Krstić (1877–1957), presented Serbia from the first decades of the nineteenth century. Later Serbian operas, among which is the most significant Koštana (1931, revised in 1940 and 1948) by Petar Konjović (1883–1970), composed after the theatre play under the same name by the author Borisav Stanković, shifts the focus of exoticism, presenting a life of a south-Serbian town in 1880. Local milieu of Vranje is depicted through tragic destiny of an enchanting beauty, a Roma singer Koštana, whose exoticism is coming from her belonging to the undesirable minority. These operas show how the national identity was constructed – by libretto, music and iconography – through Oriental Self. The language (marked by numerous Turkish loan words), musical (self)presentation and visual image of the main characters of the operas are identity signifiers, which show continuity as well as perception of the Ottoman cultural imperial legacy.
