Studi Slavistici 2021-09-16T11:28:10+00:00 Editorial Board Open Journal Systems <div><em>Studi Slavistici</em> is the <strong>Open Access</strong> journal of the Italian Association of Slavists (A.I.S.). It publishes academic articles, research and book reviews and informative essays. Its main aim is to foster specialized Slavic research and to make quality information available to a broader public of readers and Internet users. The journal also acts as a bridge between the academic tradition of Italian and European Slavic studies and the latest cultural trends in various Slavic subjects. Special attention is devoted to the literature, languages, culture and various art forms of all Slavic countries, but also to interdisciplinary approaches in methodology, inter-Slavic and Slavic-European literary, linguistic and cultural relationships.<em><br></em> <div class="grammarly-disable-indicator">&nbsp;</div> </div> The Birthday of Boris Godunov 2021-09-16T11:26:20+00:00 Fyodor Borisovich Uspenskij Anna Felikovna Litvina <p class="p1"><span lang="EN-US">The life story of Tsar Boris Godunov, one of the most intriguing characters of Late Medieval Rus’, is still surrounded by unsolved enigmas, obscure gaps, and omissions. The date of his birth is to yet be verified and introduced into scholarly discourse. This paper presents evidence that, if interpreted appropriately, we argue it enables us to estimate Godunov’s&nbsp; birthday. Accurate dating is important for many reasons, for instance it helps us to contextualize and broaden our understanding of everyday life at the ruling house, the cult of personal patron saints, and aristocratic naming conventions in Rus’ between the 14<sup>th&nbsp;</sup>and the 17<sup>th</sup>centuries.</span></p> 2021-07-20T00:00:00+00:00 Copyright (c) 2021 Fjodor Uspenskij, Anna Litvina ‘Verbal Pictures’ in Seventeenth-Century Orthodox Sermons: Predmova svjašenničeskaja pri šljube malžen’skom in Trebniks, L’viv 1644 and 1645 2021-09-16T11:27:55+00:00 Margarita Anatol'evna Korzo <p>This paper puts forward some hypotheses on the sources of a ‘verbal picture’, that is to say allegorical love poetry, in a <em>prosta mova </em>marriage sample sermon addressed to laity and found in two Orthodox <em>Ritual </em>(<em>Trebnik</em>) editions: the first is by the publisher Michail Slezka (L’viv 1644) and the second by the bishop Arsenij Želiborskij (L’viv 1645). I shall argue that that the very combination of vernacular homiletic material and traditional ecclesiastical rites therein found goes back to sixteenth-century Polish Catholic <em>Rituals</em>; in the Orthodox Church of the Polish-Lithuanian Commonwealth, this model was introduced for the first time in the <em>Ritual</em> of the Orthodox Brotherhood of Vilnius (1621). The verbal picture analysed in this paper draws on <em>Pictura amoris sive amicitiae</em>, a short moralistic text written by the English Dominican Robert Holсot (ca. 1290-1349) which appears in his exegetical voluminous work <em>In Librum Sapientiae Regis Salomonis Praelectiones ccxiii </em>(ca. 1333-1342). Popular among late thirteenth-early fourteenth century English Dominicans, verbal pictures did not rely on earlier samples and were a literary product, a sort of <em>exemplum</em> or mnemonic tool for preachers to memorize abstract concepts. Since the sixteenth century, works of different genre reproduced Holcot’s verbal picture, without any attribution to its author, as emblem to create the so-called <em>emblemata nuda </em>(‘naked emblems’), which describe images but lack illustrations. The article suggests that the author(-s) of the Orthodox marriage sample sermon used a textbook on rhetoric <em>Orator extemporaneus, seu artis oratoriae breviarium bipartitum </em>by Michael Radau (1617-1687) as his main source, of which several manuscripts had started circulating by 1644. The article also presents some concluding remarks about the authorship of the marriage sample sermon.</p> 2021-07-20T00:00:00+00:00 Copyright (c) 2021 Margarita Korzo Nikolaj Leskov as a Literary Critic. The Case of the Russian Clerical Novel 2021-07-20T13:17:18+00:00 Marta Łukaszewicz <p>The Russian writer Nikolaj Leskov is widely renowned as a portrayer of the everyday life of the Orthodox clergy; his literary works depict God’s righteous servants as well as the greedy, selfish priests. Notwithstanding being a significant part of his work and effective way to express his views, Leskov’s activity as a book reviewer is not as well-known. Leskov wrote numerous book reviews, mostly on novels featuring clergymen and the ordinary aspects of clerical life, where he analyses the artistic merit and ideological perspective expressed in a work; literary-aesthetic values were, however, at the centre of his critical evaluation and interest. This paper examines Leskov’s book reviews by focusing on their content, structure linguistic style, and the evaluation framework employed by the author for book critical assessment. The aim of the present investigation is to shed some light on Leskov’s critical strategies and compare his critical arguments as a reviewer with the way he describes clergymen in his own works.</p> 2021-07-20T00:00:00+00:00 Copyright (c) 2021 Marta Łukaszewicz Kazimierz Przerwa-Tetmajer’s Danae Tycjana Within the Framework of Schopenhauer’s Philosophy: Reading Ekphrasis Through the Prism of Aesthetic Experience 2021-09-16T11:27:37+00:00 Bartosz Swoboda <p>This article aims to discuss the relationship between word and image in literary works devoted to the so-called ekphrasis. The present research is organised as follows: I first discuss the concept of contemplative aesthetic experience as elucidated in Schopenhauer’s philosophy, and then provide some theoretical reflections on its current interpretations; in the second part, I try to examine the poem <em>Danae Tycjana </em>from <em>III Seria Poezji </em>(1898), by the Polish modernist poet Kazimierz<span class="Apple-converted-space">&nbsp; </span>Przerwa-Tetmajer, through the lens of the concept of contemplative aesthetic experience. The analysis here carried out within the theoretical framework presented contends that the rhetorical device of <em>ekphrasis</em> should be understood as verbalisation of aesthetic aspects and experience. The last part of this paper investigates Titian’s painting <em>Danaë </em>(1545-1546, Museo di Capodimonte, Naples), one of several examples of the genre of erotic mythologies in Western art popularized by Titian, as the foundation for Tetmajer’s aesthetic experience and source of <em>ekphrasis</em>.</p> 2021-07-20T00:00:00+00:00 Copyright (c) 2021 Bartosz Swoboda How to Overcome the Crisis of Symbolism with the Help of ‘Populist Ideas’? V.F. Chodasevič’s Critical Essays of the Early 1910s and the Article Nadson 2021-09-16T11:28:10+00:00 Daria Alekseevna Lugovskaia <p>This paper analyses V.F. Chodasevič’s early 1910s critical essays and his article <em>Nadson</em>, read in 1912 in the Literary and Artistic Club. Although the article did not play an important role in the critic’s work, because it was only during the exile period that Chodasevič criticized Nadson’s poetry, yet it represents the first example of Chodasevič’s appeal to the aesthetic model proposed by the utilitarian critics and the ideas of patriotism and civic virtues (<em>graždanstvennost’</em>), which were important in his poetry and later critic works. Chodasevič delivered a speech at the Club’s anniversary meeting which conveys his views on how to possibly overcome the crisis of symbolism. According to the poet, literature should restore and fully embody the ideals of the early Aesthetic Movement. The aim of the present research is to analyse the concepts, aesthetic ideas, and quotations used by Chodasevič in <em>Nadson</em>, and ascertain which sources influenced the author and how they relate to the literary context of the time (early 1910s). I argue that Chodasevič’s text echoes, to some extent, symbolist aesthetics while also reflecting elements of radical critique of early Aestheticism. Chodasevič only reproduces politically radical intentions that were present in the texts written by symbolists after 1907. Chodasevič’s article and his social views correspond to the evolution of Blok’s thought during the so-called ‘synthesis’ period; he, in fact, employs Blok’s ideas and introduces indirect quotations from his essays. Chodasevič’s speech at the Literary and Artistic Club was received as advancing principles which were seen too eclectic and old-fashioned, and which, most importantly, did not fit into the established literary context. Notwithstanding Chodasevič’s strategy of turning to Belinskij’s and Pisarev’s literary views was unsuccessful, since his intentions were misunderstood by the audience, he followed a similar pattern in several essays from the early 1910s. Chodasevič used symbolist aesthetic ideas in a number of texts written at the end of the exile period, where it can be seen that his approach and social and political views changed.</p> 2021-07-20T00:00:00+00:00 Copyright (c) 2021 Daria Lugovskaia Soviet Time-Traveller into the Past: Poetics of Goluboj Čеlovek (The Blue Man) by Lazar’ Lagin 2021-07-20T13:17:16+00:00 Dmitry Vladimirovich Novokhatskiy <p>In Soviet science fiction, neither time travel nor alternate history proved to be particularly popular; one of the reasons is likely related to their obvious rejection of Marx’s materialist conception of history. Among the few exceptions is the novel <em>Goluboj Čеlovek </em>(<em>‘The Blue Man’</em>) by Lazar’ Lagin (1964), a backwards time travel story which uses chronotravel as main motif and whose protagonist is not a typical alternate history progressor but a conductor of Communist ideas. In Lagin’s novel, the natural unfolding of history, an evolutionary process which create the conditions for a Communist society to emerge, replaces the theme of righting the wrongs of history. Although <em>Goluboj Čеlovek </em>resembles a historical novel in some respects, it differs in that the narrative revolves around time splitting, and more specifically history splitting into two extrapolating timelines, which is a common feature of alternate history. The constant contrast between pre-revolutionary Russia (the author situates the action in the year 1894) and the ussr (1959) provides the background context for Lagin to demonstrate the supremacy of socialism. Following the early tradition of alternate history, this novel combines aspects of some genres of pulp fiction (for instance, adventure novel, love story, and secret history) and fantasy/fairytale. Written during the Thaw period, this work satirises both the tsarist Russia and the ussr.</p> 2021-07-20T00:00:00+00:00 Copyright (c) 2021 Dmitry Novokhatskiy Suren M. Vetsigian’s Lost Armenian Homeland and the Quest for New Forms of Belonging in His Autobiography: His Guiding Hand to Serve my People 2021-07-20T13:17:27+00:00 Giustina Selvelli <p>This paper analyses the Bulgarian-Armenian writer Suren Vetsigian’s autobiographical writing, published posthumously in 2001. The story in the book reflects the author’s memory of the Armenian genocide and his life in exile abroad in different countries. I shall argue that while on the one side Vetsigian’s life choices are an emblematic example of the diasporic writers’ commitment to their language and culture as a way to reaffirm national identity, on the other hand they typify an act of self-sacrifice: the author renounces career opportunities in a Western country to sacrifice himself to an inward vision and the work of a mission for his own people, which he intended to fulfil in Bulgaria, an Eastern country.</p> 2021-07-20T00:00:00+00:00 Copyright (c) 2021 Giustina Selvelli Self-Exile as a Writing Strategy in the Novels by W.G. Sebald and A.A. Makušinskij 2021-07-20T13:17:30+00:00 Ekaterina Olegovna Khromova <p>In modern literary criticism, the concept and so-called genre ‘migration literature’ is commonly associated with the experience of exile, often for political reasons; by contrast, writers who have left their country for reasons other than political are labelled as ‘migrant-writers’, ‘writers abroad’, or ‘diaspora writers’. The use of such a different terminology to categorise authors and their writings highlight the fact that there are some distinctive characteristics distinguishing them.</p> <p>While I do share this perspective to a certain degree, I also would like to draw attention to a major literary trend of the last two decades: the appearance of writers who expatriate voluntarily without being persecuting politically but yet are in a situation which I define as ‘self-exile’ or ‘voluntary exile’. Despite their different languages and countries of origin and residence, an analysis of their texts demonstrates that these authors are united by two common features: 1) a reflection on the tragic past of their compatriots, who have experienced forced mass emigration, and an attempt to find echoes of this experience in<span class="Apple-converted-space">&nbsp; </span>everyday life; and 2) an awareness of their own position (that is, the situation of self-exile) as a productive process and creative basis for their writing work.<span class="Apple-converted-space">&nbsp;</span></p> <p>The hypothesis I suggest in this paper is that the texts written by ‘writers who are in self-exile’ are characterised by certain writing strategies and themes typical of migrant writers yet they also have some unique features, which are related to the voluntary experience of leaving their home country. Home is to be understood broadly, not in terms of a certain geopolitical location, but as belonging to one single culture, community, and language. The aim of this article is to examine these very features.</p> <p>This article focuses on the novels by two famous contemporary authors: Aleksej Makušinskij (Russia/Germany) and Winfried Sebald (Germany/United Kingdom). In their works, the representation of the condition of self-exile<span class="Apple-converted-space">&nbsp; </span>has led the authors to develop a multilingual discourse and recreate the new transitory literary world.</p> 2021-07-20T00:00:00+00:00 Copyright (c) 2021 Ekaterina Khromova Dante Canonized and Discarded. Some Remarks on the Reception of the Divina Commedia in the Stalin Era 2021-07-20T13:17:25+00:00 Kristina Landa <p>During the late nineteenth and early twentieth centuries, in the academic and literary circles of tsarist Russia Dante’s <em>Divina Commedia </em>was considered as a religious poem. The theological background underlying the work incurred ecclesiastical censorship, which made it challenging to publish its translations during Nicolay i’s and Alexander ii’s reigns. The mystic motifs and religious imagery found therein became later particularly popular with Silver Age authors. The reception of the <em>Divina Commedia </em>as a Christian text remained unchallenged in the early post-revolutionary Russian intellectual milieu; notably, the publishing house “Vsemirnaja Literatura” (“<em>World Literature</em>”) was not able to justify the preparation of a new translation on ideological grounds. Until the early 1930s, in Soviet literature Dante Alighieri was a controversial figure within the subfield of literary translation; yet in 1946, Michail Lozinskij’s translation of the <em>Divina Commedia </em>was awarded the Stalin Prize 1<sup>st</sup> class, which for the very first time was granted to a work of translation. The aim of this article is threefold: first it attempts to demonstrate the ways by which, beginning in the 1930s, Dante gradually came to occupy an important place in some printed media in the Soviet Union; second it investigates the circumstances under which a translation of the <em>Divina Commedia </em>was published, and lastly it emphasises that the religious content of Dante’s poem – once appealing to pre-revolutionary writers – was eventually disregarded. The present research, which relies on documents from public and private archives, also traces the history of the preparation of the commentaries that in the 1930s and 1950s accompanied the Russian translations of the <em>Divina Commedia</em>; I shall argue that the editors Dmitrij Min and Michail Lozinskij adopted an approach that was to a certain extent similar to ecclesiastical censorship in tsarist Russia.<span class="Apple-converted-space">&nbsp;</span></p> 2021-07-20T00:00:00+00:00 Copyright (c) 2021 Kristina Landa The Theme of Exile in the Twentieth-Century Russian Translations of Michelangelo’s Poems on Dante 2021-07-20T13:17:23+00:00 Giuseppina Giuliano <p>The most famous Renaissance artist Michelangelo Buonarroti, widely known for his achievements in the visual arts, was also a prolific writer; he wrote a large number of sonnets, madrigals, and poems (more than three hundred), which were published posthumously under the title <em>Rime</em> (‘<em>Rimes</em>’). During the last two centuries, were translated into Russian several times (by Kuzmin, Efros, Voznesenskij, Solonovič, Markov, and Kulle. This paper examines and compares the translations of two Michelangelo’ sonnets which are addressed to Dante and treat the topic of exile and were prepared by the art historian and translator Abram Efros in the 1930s and the poet Andrej Voznesenskij in 1974. In the 1970s, Dmitrij Šostakovič composed a suite for bass and orchestra (No. 13) by using Efros’ translation of Michelangelo’s sonnets, and he also asked Voznesenskij to make a new translation. It is accepted that the composer’s wider intention was to speak about Solženicyn; unlike poetic works, in the Soviet Union of the time, poetic translation was, in fact, a means to express something that could not be said otherwise. Russian translators modified Michelangelo’s poetic works by intervening in the text and introducing words or removing passages, thereby approaching the Italian original in a selective way and hiding their personal feelings behind Michelangelo’s and Dante’s. Exile was a productive literary topic. Neither Efros nor Šostakovič nor Voznesenskij experienced forced exile; the same is true for Michelangelo who, in his poems, expresses his admiration for Dante and says that he himself went into voluntary exile in Rome, and worked under the patronage of several pontiffs. Notably, all these authors reconstructed the discourse on exile in an idealised form; as it was for Dante, no one is a prophet in his own land – talents and accomplishments are highly regarded by everyone except those at home.<span class="Apple-converted-space">&nbsp;</span></p> 2021-07-20T00:00:00+00:00 Copyright (c) 2021 Giuseppina Giuliano The Prison Experience and Gulag Poems in the Work (1937-1943) by Anastasija Cvetaeva: Overcoming the ‘Zone’ 2021-07-20T13:17:33+00:00 Aleksandr Aleksandrovič Medvedev <p>This research paper focuses on the prison experience and gulag poems (1937-1943) in the work by Anastasija Cvetaeva which was published in 1995. I present an analysis of Cvetaeva’s poems and argue that her work can be considered as psychological poetry describing mental experiences and engaging with witnessing and memory. Her lyrics provide a type of poetic expression addressing the multiple psychological aspects of the human existence and which is personal testimony of the experience of the so-called ‘zone’ (prison, lager, and transference). The modernist poetics of Cvetaeva’s (primacy of consciousness and the spiritual realm, the concept of ‘great time’, cultural openness, mythopoetic universality, intertextuality, intermediality, complex symbolic language, and humour) is examined as a form of coping mechanism having a cathartic effect. Poetry becomes the therapeutic and symbolic act for the author to survive the suppressive and agonizing experience of the ‘zone’; the innermost reflection on simple aspects of human life, such as nature, freedom, individuality, ethics, art, creativity, joy, and communication, is a meaning-making process. The following modernist strategies of resistance are identified: 1) poetic creativity as internal liberation, metaphysical protest, and aesthetic form of escape into an infinite macrocosm; 2) poetic perception of the experience of the ‘zone’ in the ‘great time’ of culture, history, and myth; 3) intermedial integration; 4) poetic imagination (food aesthetization) and food as a compensatory way to overcome prison hunger and celebrate life (joy, belonging, and life as a feast); 5) mythologization of Polish identity (love of freedom, pride, and dignity); 6) escape into the space of memory, myth and history; the contemplation of nature; 7) humour to restore a potential loss of dignity, challenge the established order and endure the brutal and incomprehensible; 8) Christian mysticism, kenotic prayer, prayers from the Bible, esoteric-astrology, Rosicrucianism, Dante’s transcendent symbolism, and tragic catharsis.</p> <p>&nbsp;</p> 2021-07-20T00:00:00+00:00 Copyright (c) 2021 Aleksandr Medvedev Gasparo (Della) Vecchia, Architecture, and Russia 2021-09-16T11:23:59+00:00 Maria Di Salvo <p>In the manuscript <em>Architektura cyvilnaja </em>(written in Venice in 1699), “Gasparo Vecchia” is mentioned by the Russian prince G.F. Dolgorukov as the author of a selection of Palladio’s and other famous architects’ texts, which were the sources Dolgorukov drew upon when writing his work. To my knowledge, Gasparo (Della) Vecchia has neither so far been properly identified nor his role studied in detail; in this paper, I try to shed some light on his relationship with Dolgorukov’s text by analysing a manuscript penned by the Italian artist and entitled <em>Breve trattato d’architettura civile</em>, here investigated for the first time. I shall argue that in Venice Della Vecchia continued to be involved with Russians for some time: a letter dated 1715 and addressed to Peter the Great contains his proposal for a garden with didactic ends, thereby demonstrating that Della Vecchia was fully aware of the tsar’s interests and goals.</p> 2021-07-20T00:00:00+00:00 Copyright (c) 2021 Maria Di Salvo The Story of a Literary Forgery: Lev Tolstoj in Florence and the Ecumenical Conference that Never Took Place 2021-07-20T13:17:21+00:00 Cinzia Cadamagnani <p>Everything has already been written and said about Lev Nikolaevič Tolstoj. His memoirs open up us for us a window into his personal and private world. Together with his autobiographical works, Tolstoj’s diaries and letters represent almost half of the complete works in 90 volumes. It may, therefore, seem surprising that a trip to Italy around 1891, which in his book <em>Firenze Sacra </em>(1990) Maurilio Adriani refers to for the first time, is mentioned by Tolstoj neither in his diaries nor in his correspondence. In <em>Firenze Sacra</em>, Adriani describes an “extraordinary event” as it unfolded in the context of late nineteenth-century Florence: the inter-confessional meeting <em>Conference of all Christian Churches</em>, held in the autumn of 1891. According to Adriani’s account, among others also Count Lev Tolstoy attended the meeting. Adriani drew this information from the booklet <em>I tre papi, ossia la pace tra le Chiese cristiane</em>, written by Giovanni Guidotti and published in Palermo in 1893. Some later Italian scholars, assuming historical accuracy, reproduced the author’s visit to Italy in their studies on Tolstoj and in the introductory section in the Italian editions of Tolstoj’s works. In this paper, I emphasise that Tolstoj never left the Russian Empire after 1861 and, by analysing archival data, I demonstrate that the 1891 Florence Ecumenical Conference was but the figment of a mathematician’s lively imagination.</p> 2021-07-20T00:00:00+00:00 Copyright (c) 2021 Cinzia Cadamagnani The Protocols of the Sages of Zion: The Discovery of the Protograph 2021-09-16T11:23:48+00:00 Cesare G. De Michelis <p>In the Illarion Ivanovič Voroncov-Daškov’s Collection, preserved in the manuscript section of the Central Library in Moskow, the Russian historian Ljubov’ Ul’janova came across a typewritten version of the <em>Protocols of the Sages of Zion</em>; the copy shows shows handwritten corrections and additions of terms recurring in the printed tradition. Such a discovery demonstrates that this very copy is the earliest, the original version which can be attributed to the environment of Georgij Butmi, whose handwriting appears to be the same as that used in the corrections found in the typewritten version in Moscow. This typewritten copy confirms definitely that <em>The Protocols of the Sages of Zion </em>were elaborated in Russia and not in Paris.</p> 2021-07-20T00:00:00+00:00 Copyright (c) 2021 Cesare G. De Michelis “Most of Them are Honourable”. Luigi Villari and the Armenians during the 1905-1906 Armenian-Tatar War 2021-09-16T11:27:05+00:00 Aldo Ferrari <p>Luigi Villari’s book <em>Fire and Sword in the Caucasus</em>, published in London in 1906, is widely quoted by scholars working on the history of Transcaucasia, in particular in respect to the Armenian-Tatar war. Yet neither this text nor its author have been so far studied in detail. The Italian Luigi Villari (1876-1959) is a figure of considerable interest; he was a diplomat, traveler, and journalist. His father, Pasquale Villari (1827-1917), was an accomplished historian and politician who played an important role in nineteenth-century Italy; Villari’s mother was the British writer Linda White (1836-1915). It is remarkable that the author wrote a book an English at a time when this was not a popular language in Italy. He wrote extensively both in English and Italian about different topics, mainly related to history and international politics. It has been shown that, after the First World War, Villari joined Fascism and contributed actively to the regime’s propaganda in Great Britain. The present paper examines Luigi Villari’s book on the Caucasus, especially the author’s attitude towards the Armenians. I shall demonstrate that in his work, he handles negative stereotypes of the Armenians (“one of the most unpopular races of the East”), which were common in the Russian empire at the beginning of the twentieth century, in a rather interesting way.</p> 2021-07-20T00:00:00+00:00 Copyright (c) 2021 Aldo Ferrari J. Kochanowski, Treny. Treni. Lamenti, trad. di U. Norsa ed E. Damiani, a cura di G.O. Fasoli, introduz. di L. Marinelli, Agorà & Co., Lugano 2020, pp. 186. 2021-09-16T11:26:50+00:00 Francesco Cabras <p>Book review</p> 2021-07-20T00:00:00+00:00 Copyright (c) 2021 Francesco Cabras T. Tasso, Osvoboždennyj Ierusalim: poėma, perevod s ital. i primeč. R. Dubrovkina, Izdatel’stvo Ivana Limbacha, Sankt-Peterburg 2020, pp. 607. 2021-09-16T11:24:11+00:00 Stefano Fumagalli <p>Book Review</p> 2021-07-20T00:00:00+00:00 Copyright (c) 2021 Stefano Fumagalli P. Lazarević Di Giacomo, M.R. Leto (a cura di), L’Adriatico tra sogno e realtà, Edizioni dell’Orso, Alessandria 2019 (= Studi interadriatici, 1), pp. 470. 2021-09-16T11:25:44+00:00 Natka Badurina <p>Book Review</p> 2021-07-20T00:00:00+00:00 Copyright (c) 2021 Natka Badurina M. Fin, H. Steenwijk (a cura di), Gerasim Zelić e il suo tempo, Firenze University Press, Firenze 2019, pp. 125. 2021-09-16T11:26:07+00:00 Marija Mitrović <p>Book Review</p> 2021-07-20T00:00:00+00:00 Copyright (c) 2021 Marija Mitrović S. Šeatović, U zaleđu Sredozemlja. Mediteran u modernoj srpskoj književnosti, Institut za književnost i umetnost, Beograd 2019, pp. 352. 2021-09-16T11:23:42+00:00 Ljiljana Banjanin <p>Book Review</p> 2021-07-20T00:00:00+00:00 Copyright (c) 2021 Ljiljana Banjanin V.K. Kantor, Russkaja mysl’, ili “Samostojan’e čeloveka”. Filosofičeskie ėsse, Centr gumanitarnych iniciativ, Moskva–Sankt-Peterburg 2020, pp. 416. 2021-09-16T11:24:18+00:00 Daniela Steila <p>Book Review</p> 2021-07-20T00:00:00+00:00 Copyright (c) 2021 Daniela Steila N. Gogol’, Storie di Pietroburgo, a cura di C.G. De Michelis e N. Marcialis, Voland, Roma 2020 (= e.klassica, 12), pp. 113. 2021-09-16T11:25:55+00:00 Giacoma Strano <p>Book Review</p> 2021-07-20T00:00:00+00:00 Copyright (c) 2021 Giacoma Strano S. Toscano, Ju. Nikolaeva, P. Buoncristiano (a cura di), Roma e il mondo/Rim i mir. Scritti in onore di Rita Giuliani, Lithos, Roma 2019, pp. 646. 2021-09-16T11:25:32+00:00 Marialuisa Ferrazzi <p>Book Review</p> 2021-07-20T00:00:00+00:00 Copyright (c) 2021 Marialuisa Ferrazzi Z. Kovačević, Andai in Italia per cambiarmi l’anima e il corpo. L’immagine del Belpaese nella letteratura di viaggio serba tra Ottocento e Novecento, Edizioni dell’Orso, Alessandria 2020, pp. 166. 2021-09-16T11:25:20+00:00 Ljiljana Banjanin <p>Book Review</p> 2021-07-20T00:00:00+00:00 Copyright (c) 2021 Ljiljana Banjanin G. Giuliano, C. Criveller, M. Spivak, A. Frison (a cura di), Simvolizm i poetika prostranstva v tvorčestve Andreja Belogo, Nestor-Istorija, Sankt-Peterburg 2020, pp. 324. 2021-09-16T11:24:59+00:00 Martina Morabito <p>Book Review</p> 2021-07-20T00:00:00+00:00 Copyright (c) 2021 Martina Morabito M. Cvetaeva, V lučach rabočej lampy. Sobranie poėtičeskich perevodov, sost. E.B. Korkina, Boslen-Institut perevoda, Moskva 2019, pp. 559. 2021-09-16T11:24:46+00:00 Pina Napolitano <p>Book Review</p> 2021-07-20T00:00:00+00:00 Copyright (c) 2021 pina napolitano E. Mari, O. Trukhanova, M. Valeri (a cura di), Un radioso avvenire? L’impatto della Rivoluzione d’Ottobre sulle scienze umane/Svetloe buduščee? Itogi i perspektivy 100 let spustja, Edizioni Nuova Cultura, Roma 2019, pp. 527. 2021-09-16T11:25:10+00:00 Nadia Caprioglio <p>Book Review</p> 2021-07-20T00:00:00+00:00 Copyright (c) 2021 Nadia Caprioglio G. Ranzi (a cura di), Dmitrij Šostakovič. Il grande compositore sovietico, Fondazione Mudima, Milano 2019, pp. 611. 2021-09-16T11:26:34+00:00 Anna Giust <p>Book Review</p> 2021-07-20T00:00:00+00:00 Copyright (c) 2021 ANNA GIUST A. D’Orsi, L’intellettuale antifascista. Ritratto di Leone Ginzburg, Neri Pozza Editore, Vicenza 2019, pp. 448. 2021-09-16T11:24:33+00:00 Alessandro Cifariello <p>Book Review</p> 2021-07-20T00:00:00+00:00 Copyright (c) 2021 Alessandro Cifariello M. Maurizio, V.S. Tomelleri (a cura di), Rivoluzione visiva attraverso visioni rivoluzionarie: alfabeti, cinema e letteratura in urss, Dipartimento di Lingue e Culture Straniere Moderne, Torino 2018 (= “QuadRi. Quaderno di Ricognizioni”, VIII), pp. 146. 2021-09-16T11:24:05+00:00 Maria Di Salvo <p>Book Review</p> 2021-07-20T00:00:00+00:00 Copyright (c) 2021 Maria Di Salvo I.N. Petrov, The Development of the Bulgarian Literary Language. From Incunabula to First Grammars. Late Fifteenth-Early Seventeenth Century, Lexington Books, Lanham 2021, pp. 190. 2021-09-16T11:23:54+00:00 Marcello Garzaniti <p>Book Review</p> 2021-07-20T00:00:00+00:00 Copyright (c) 2021 Marcello Garzaniti V.S. Tomelleri, Linguistica e filologia in Unione Sovietica. Trilogia fra sapere e potere, Mimesis, Milano-Udine 2020 (= Eterotopie, 667), pp. 170. 2021-09-16T11:24:26+00:00 Marco Biasio <p>Book Review</p> 2021-07-20T00:00:00+00:00 Copyright (c) 2021 Marco Biasio S. Del Gaudio (ed.), Italijs’ko-Ukrajins’ki Kontrastyvni Studiji: Movoznavstvo, Literaturoznavstvo, Pereklad/Studi Contrastivi Italo-Ucraini: Linguistica, Letteratura, Traduzione/Italian-Ukrainian Contrastive Studies: Linguistics, Literature, Translation, 2021-09-16T11:27:21+00:00 Ettore Gherbezza <p>Book Review</p> 2021-07-20T00:00:00+00:00 Copyright (c) 2021 Ettore Gherbezza