Svetlana Petrova

“It’s official. That thing that classic art has been missing is a chubby reclining kitty.” —The Huffington Post Internet meme meets classical art in Svetlana Petrova’s brilliant Fat Cat Art. Featuring her twenty-two-pound, ginger-colored cat Zarathustra superimposed onto some of the greatest artworks of all time, Petrova’s paintings are an Internet sensation. Now fans will have the ultimate full-color collection of her work, including several never-before-seen pieces, to savor for themselves or to give as a gift to fellow cat lovers. From competing with Venus’s sexy reclining pose (and almost knocking her off her chaise lounge in the process) in Titian’s Venus of Urbino, to exhibiting complete disdain as he skirts away from God’s pointing finger in Michelangelo’s Creation of Adam, Zarathustra single-handedly rewrites art history in the way that only an adorable fat cat can.

Famous Masterpieces Improved by a Ginger Cat with Attitude

Fat Cat Art

Roland Hinterhölzl

The book addresses one of the most prominent and widely discussed topics in diachronic syntax, namely, word order variation and change in older Germanic. It presents a novel approach that explains these issues not in terms of parameters and parameter change or in terms of competition between two grammars, but in terms of competition between information-structurally marked and unmarked forms within one grammar.

New Approaches to Word Order Variation in Germanic

Information Structure and Language Change

The volume presents new approaches to explaining word order variation and change in the Germanic languages and thus relates to one of the most prominent and widely discussed topics in the theory of language change and diachronic syntax. The novelty of our approach consists in three main points. First of all, we aim at describing functional variety in the field of word order and verb placement in the early Germanic languages not as a result of language contact, but rather as a language-internal phenomenon related to stylistic and grammatical conditions in information packaging. Second, given that information structure is not directly accessible in texts from historical corpora that are available only in written form and bear no or little information on prosody and intonation, it presents various methods of retrieving information-structural categories in such texts. Third, it presents empirical studies on the relation between word order and information structure of the four main texts of the Old High German period and embeds these results in the wider picture of word order change in Germanic. The volume will be of interest to students of German, English, and general linguistics as well as to researchers interested in diachronic syntax, philology of Older German, language change, information structure, discourse semantics, language typology, computational linguistics, and corpus studies.

Svetlana Petrova

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