Studi Slavistici <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> en-US <p>Authors retain the copyright and grant the journal right of first publication with the work simultaneously licensed under a <strong>Creative Commons Attribution 4.0 International Public License (<a href="">CC-BY-4.0</a>)</strong>&nbsp;that allows others to share the work with an acknowledgment of the work's authorship and initial publication.</p> <p><a href="" rel="license"><img src="" alt="Creative Commons License"></a><br>This work is licensed under a <a href="" rel="license">Creative Commons Attribution 4.0 International License</a></p> (Editorial Board) (Alessandro Pierno) Fri, 03 Jul 2020 08:05:35 +0000 OJS 60 The Etymology of the Polabian Theonym Pripegala <p>This article deals with the etymological analysis of the god name <em>Pripegala</em> mentioned only in the epistle against the Pagan Slavs, written by the archbishop of Magdeburg Adelgot (1108) which characterizes the cult of this deity of the Veleti-Lutici as very cruel. The authenticity of this record is considered to be doubtful. A great number of etymologies have been proposed for this theonym; all of them, however, are based on a mere phonetic similarity (mostly rather approximate) and are not reliable. Only M. Žunkovič’s briefly presented hypothesis (*<em>Priběgala </em>connected with Sl. <em>pribеg </em>‘defense, asylum’, in the supposed meaning ‘sanctuary’) can be accepted both because of the fact that this lexeme is really attested in the Bulgarian anthroponymy and from the phonetic side (cfr. the analogical change <em>b</em> &gt; <em>p</em> in some medieval German place names), but it is unsatisfactory from the word-formative point of view.</p> <p>The author explains this theonym as a <em>nomen agentis</em> derived from the verb *<em>priběgati </em>‘come running’ by means of the suffix <em>-lo</em> or <em>-lа </em>and compares it with the Belarusian mythonym <em>tsar Pabjagaj</em> (– <em>dzed Sivavaj</em>), a fairy tale character whose image would be interpreted as a transformation of the image of the god Velesŭ/Volosŭ – the Thunderer’s rival in the principal Balto-Slavic myth. Consequently, the name of <em>Pabjagaj</em> is explained as a taboo denomination referring to the plot of the same myth, according to which, Velesŭ had to run off Perun who pursued him. The same motivation is very probable for <em>Pripegala</em> as well: the information narrated by Adelgot closely corresponds to what is known about the cult of Velesŭ/Volosŭ among the East Slavs and of his Baltic counterpart. It is remarkable that the name of the Veleti itself is cognate with the theonym Velesŭ.</p> Maxim Yuyukin Copyright (c) 2020 Maxim Yuyukin Wed, 20 May 2020 00:00:00 +0000 The Conjunction ‘Makar’ in Bulgarian Monuments Dated Between the 15th and 17th Centuries <p>The article discusses the semantics and structure of the sentences introduced by the conjunction <em>макар</em> (although) drawing upon data excerpted from Bulgarian monuments dated between the 15<sup>th</sup> and 17<sup>th</sup> centuries. In this early period, <em>макар</em> was a newly introduced conjunction which later extended its use to become a widely used concessive conjunction in present-day Bulgarian. The study is based on data from a sample of texts that are part of the database of the Historical Corpus of the Bulgarian Language which can be consulted online (&lt;;). In the database, the conjunction <em>макар</em> is found in the Vlach-Bulgarian Charters and in two Early Modern Bulgarian damaskins (Trojanski and Loveški) as an independent conjunction and in the compound subordinating conjunctions <em>макар (и) да</em>, <em>макар че</em>, <em>макар (и) ако</em>, <em>макар и като </em>introducing predicative and non-predicative segments.</p> <p>The most frequent variant of the compound conjunction formed with the particle <em>да</em> had the same syntactic and grammatical properties as the conjunction <em>макар (и) да </em>in present-day Bulgarian, especially with regards to the contact position of <em>да </em>and the verb. By the time this conjunction was established, the formation of <em>да</em>-constructions was already clear: the verb immediately followed <em>да </em>(the two were separated mostly by pronominal clitics and negation as in present-day Bulgarian), while other clausal constituents were placed between <em>макар (и) </em>and <em>да </em>(in earlier texts, <em>да </em>and the verb could be separated by other clausal constituents as well).</p> <p>The study also deals with the semantics of the concessive <em>макар</em>-conjunctions. The data shows that in the period considered, the expression of concession was still at its beginning. Therefore, clauses introduced by <em>макар </em>could express not only the prototypical ‘causal concession’ as in the present-day language, but could also have other interpretations within the semantics of concession. We also observe that <em>макар</em> clauses had additional paratactic semantics within the hypotaxis.</p> Elena Ivanova, Tsvetana Dimitrova Copyright (c) 2020 Elena Ivanova, Tsvetana Dimitrova Wed, 20 May 2020 00:00:00 +0000 Cicero in the Ukrainian Rhetoric Manuductio (1736). Texts and Contexts <p>The article explores Cicero’s reception in the Ukrainian handwritten manual of eloquence&nbsp;<em>Manuductio&nbsp;</em>(1736). Presumably, this school rhetoric manual was created by Tymofiy Aleksandrovyč, a graduate and later teacher of the Kyiv-Mohyla Academy. In tune with the spirit of the times, the author of the course highly appreciated Cicero and advised his listeners to imitate the Roman speaker.</p> <p>In the rhetoric manual, 185 quotations from 52 works of Cicero and 15 letters are highlighted. This is more than a third of all cases of quoting in the manual. The most widely represented are political speeches (75 quotations from 26 speeches), with a significant amount from judicial speeches as well (65 quotations from 16 speeches). Tymofiy Aleksandrovyč refers to Cicero’s 42 speeches out of 88 recorded and 58 surviving in full or in significant fragments. It testifies to the interest in Cicero the politician and Cicero the lawyer. As a theorist of eloquence, a philosopher and a private individual, the Roman orator is less represented. We believe that such a selection of illustrative material is not accidental – students of the course were aimed at a political career.</p> <p>Quotations from Cicero are found mainly in the first book of <em>Manuductio</em>&nbsp;(1736); two thirds of which are in the section on style. Tymofiy Aleksandrovyč highlights the stylistic skill of the Roman orator first of all: many examples illustrate tropes, figures of speeches and thoughts. The texts of Cicero in the Ukrainian textbook are often interrupted by comments. Explaining the nuances of rhetoric with classic examples, the teacher taught the subject and formed the personality&nbsp;at the same time. The article argues that Tymofiy Aleksandrovyč attempted to make “worthy men” out of his students by using examples from Cicero.&nbsp;</p> Olha Tsyhanok Copyright (c) 2020 Olha Tsyhanok Wed, 20 May 2020 00:00:00 +0000 On the History of Italian-Russian Academic and Intercultural Relations: Giacomo Lignana’s Connections with the Russian Academy of Sciences and Russian Linguists of the Second Half of the Nineteenth Century <p>The historical case study of G. Lignana represents a new direction in the developing historical study of relations and cooperation in the fields of culture and academic research between Italian and Russian scholars in the second half of the nineteenth century. The Italian linguist G. Lignana can be considered the forefather of Slavic studies at a university level in post-unification Italy. This article attempts to examine Lignana’s close relationship with representatives of the Imperial Academy of Science and two of the most important scholars of the nineteenth century: F.I. Buslaev and Ja.K. Grot.</p> Alessandro Cifariello Copyright (c) 2020 Alessandro Cifariello Wed, 20 May 2020 00:00:00 +0000 Dacia Maraini in Poland. On the Translation of the Novel La lunga vita di Marianna Ucrìa <p>The article is a study on the presence of Dacia Maraini’s works in Poland and an in-depth analysis of particular translation aspects in the Polish version of the novel <em>La lunga vita di Marianna Ucrìa</em> (1990, cfr. <em>Długie Życie Marianny Ucria</em>, 1996). The first part focuses on the history of the Polish translations of Maraini’s works from 1977, when a fragment of the novel <em>Donna in guerra</em> appeared in Polish, until the publication of the novel <em>Dolce per sé</em> in 2003, examining the reception of Maraini’s work by literary critics. In the second part of the article, through an analysis of Halina Kralowa’s translation, the author focuses on the problem of translation of <em>realia</em> and dialect in light of the theories formulated by leading translation studies scholars (Vlahov and Florin, Slobodník, Venuti, Newmark, Hejwowski and others). In the dialectic between foreignization and domestication, which always accompanies the rendering of a literary text in another language, the main objective of the article is to outline the strategies adopted by the translator in order to transfer to the metatext the local color, polyphony and other dominants of the novel.</p> Dario Prola Copyright (c) 2020 Dario Prola Wed, 20 May 2020 00:00:00 +0000 Orfeusz. Sztuka w trzech aktach by Anna Świrszczyńska: Rereading the Myth <p>Anna Świrszczyńska, in her original drama <em>Orfeusz. Sztuka w trzech aktach </em>(<em>Orpheus. Play in Three Acts</em>), a powerful and innovative post-war rewrite of the myth, first performed in 1946, transforms the myth and its essential features. Love, death and poetry are no longer the triad par excellence of the narrative, and Orpheus and Eurydice become fully aware of the own actions and choices. This update of the story involves a recent past which, after the war, required elaboration of mourning and grief, tending towards an ethics of awareness that frees the individual from guilt, and at the same time, opens up a path of hope with new prospects and new goals, notwithstanding fate, and overcoming fear.</p> Marina Ciccarini Copyright (c) 2020 Marina Ciccarini Wed, 20 May 2020 00:00:00 +0000 The Reinterpretation of Slavic Paganism by Polish Women Writers of Fantasy <p>The article aims at investigating the gynocentric reinvention of Slavic paganism in Polish fantasy fiction by women authors. Such a phenomenon derives from the intersection of two trends that have taken place in Poland during the last decades: the femininization of fantasy fiction and the revival of Slavic myths as a source of literary inspiration. The historical fantasy subgenre, in which fictitious versions of the Middle Ages are combined with folkloric elements, is particularly productive. Writers such as Małgorzata Saramonowicz, Joanna Żamejć and Elżbieta Cherezińska describe the clash between the advent of Christianity and an imagined Slavic paganism, in which women are able to control nature and magic. The analysis of their works shows how women authors rewrite national history to incorporate new visions of femininity into commercial and genre fiction.</p> Alessandro Amenta Copyright (c) 2020 Alessandro Amenta Wed, 20 May 2020 00:00:00 +0000 Penelope and Other Weavers in Contemporary Polish Poetry <p>The paper deals with the deconstruction of classical mythology in Polish contemporary poetry by women. The author focuses on how Arachne’s and Penelope’s myths are used by poets belonging to different generations, taking into account the theoretical approach of gender studies and in particular Nancy Miller’s arachnology and its reception in Poland both by scholars and writers. Poems by Wisława Szymborska, Bogusława Latawiec, Anna Piwkowska and Izabela Filipiak are analysed from this point of view as well.</p> Krystyna Jaworska Copyright (c) 2020 Krystyna Jaworska Mon, 25 May 2020 00:00:00 +0000 Vasilenko’s Novel The Little Fool. Between Myth and Hagiography <p>In this article Vasilenko’s novel <em>The Little Fool</em> is analysed in order to highlight the ways the author created the hybrid genre of the “novel-hagiography” by re-visioning a series of classical, biblical and folk myths. The novel has a frame-like structure and the main character of the novel has two hypostases in two different timelines: Nad’ka in the early Sixties and Ganna in the early Thirties, both in the Soviet Union. The core of the novel re-visions and recreates the figure of the ‘Fool in Christ’ by assigning this role to a female protagonist, the thirteen-year-old girl Ganna. Her double, Nad’ka, merges the figures of the archetypal Great Mother and the Mother of Christ. At the end of the novel Nad’ka gives birth to a new Sun thereby saving her people from the menace of a nuclear war. This novel is a fine example of the neo-mythological conscience which, in the late twentieth century, found expression in the works of many Russian women writers who reworked classical and folk myths, giving agency to female characters and astutely altering the traditional plots of myth.</p> Gabriella Imposti Copyright (c) 2020 Gabriella Imposti Sat, 23 May 2020 00:00:00 +0000 Myth and ‘New Russian Realism’. Alisa Ganieva’s Rewriting of the Caucasian Tradition in Prazdničnaja Gora <p>According to Lejderman and Lipoveckij, the creation of a new mythology and, in general, the use of myth is a pivotal feature of contemporary Russian literature, with specific reference to the post-Soviet era (2003: 537-538). E.I. Kulakovskaja also retraces its presence in a new artistic project, the so-called ‘new Russian Realism’. In her prose works, Alisa Ganieva (1985-), one of the ‘new Russian realists’, makes creative use of Greek, Slavic, and Avar myths. Notably, her first novel <em>Prazdničnaja gora </em>(2012, translated into English as <em>The Mountain and the Wall</em>, 2015) is imbued with mythology. The present essay is focused on Ganieva’s rewriting of the myth of Cob (<em>Цоб</em>), the Avar Lord of the sky, and his twin children, Bachargan and Modu in <em>The Mountain and the Wall</em>. Ultimately, this analysis demonstrates that through the deconstruction and rewriting of Cob’s myth, Ganieva reaffirms the central role women play as a vital principle in society and, most importantly, in the field of art. Read against the background of the present-day Dagestani society, Ganieva’s aesthetic choice proves to be revolutionary.</p> Irina Marchesini Copyright (c) 2020 Irina Marchesini Sat, 23 May 2020 00:00:00 +0000 A New Edition of the Orthographia Bohemica <p>The spelling reform proposed at the beginnings of the 15<sup>th</sup> century in the so-called <em>Orthographia Bohemica</em>, a treatise generally attributed to the religious reformer Jan Hus, has had an extraordinarily great impact on the history of Czech orthography as well as of many other (not only) Slavic languages. The introduction of diacritical signs to mark palatal or palatalized consonants, on the one hand, and long vowels, on the other, was aimed to solve all the difficulties posed by the primitive and digraph graphic systems. The text of this treatise, written in Latin, is now available in a new edition, prepared by Kateřina Voleková <em>et al.</em> (<em>Orthographia Bohemica</em>, latinský text edičně připravila Kateřina Voleková, český překlad Ondřej Koupil, anglický překlad Marcela Koupilová a David Livingstone, Akropolis, Praha 2019).</p> <p>Along with a detailed introduction, bibliographical references and different indexes, the edition features a colored facsimile of the original manuscript, which is quite difficult to read and whose orthography often contradicts the rules exposed in the text, its semidiplomatical transcription and, finally, a carefully annotated critical edition, accompanied by a translation into Czech and English.</p> Vittorio Springfield Tomelleri Copyright (c) 2020 Vittorio Springfield Tomelleri Wed, 20 May 2020 00:00:00 +0000 An Unpublished Tolstoj Manuscript: The First Draft of Lev Tolstoj’s Tale King Asarhaddon (1903) and the Commentary of Boris Ėjchenbaum <p>The essay deals with the original version, largely unpublished, of the comment that Boris Ėjchenbaum (1886-1959) wrote for Tolstoj’s <em>Three Tales </em>(<em>Tri skazki</em>) for the <em>Complete Collected Works</em> (PSS, XXXIV, Moscow 1952). The document includes an extended and more detailed version of the comment that later appeared in the PSS. All the critical apparatus of PSS was cut by at least 30 percent at the time of the change in editorial policy, in 1939. This fate also affected the meticulous work of Ėjchenbaum, presently preserved in his personal collection in Moscow (RGALI: fond 1527, opis 2, edinica chranenija 23, 66l.).</p> <p>This essay focuses on the textual history of of <em>King Assarhadon </em>(<em>Assirijskij car’ Asarchadon</em>, 1903), the first of the <em>Three Tales</em>. The comment by Ėjchenbaum under consideration was written directly on the Tolstoian manuscript (L.N. Tolstoj, <em>Tri skazki</em>, Otdel rukopisej – Gosudarstvennyj Muzej L.N. Tolstogo, fond 1, ruk. 1). Hence, it included the unpublished first draft of the tale (A), which constitutes the initial stage of Tolstoj’s quest to depict (and condemn) evil, revived in a remote history with exotic contours.</p> Roberta De Giorgi Copyright (c) 2020 Roberta De Giorgi Sun, 31 May 2020 00:00:00 +0000 Book Reviews <p>E. Mari, <em>Fra il rurale e l’urbano. Paesaggio e cultura popolare a Pietroburgo. 1830-1917</em>, Universitalia, Roma 2018 (M. Caratozzolo)</p> <p>V. Chodasevič, <em>Non è tempo di essere</em>, a cura di C. Graziadei, Bompiani, Milano 2019 (A. Niero)</p> <p>A. d’Amelija, D. Ricci (sost. i nauč. red.), <em>Russkoe prisutstvie v Italii v pervoj polovine XX&nbsp;</em><em>veka. Ėnciklopedija</em>, Političeskaja ėnciklopedija, Moskva 2019 (G. Mazzitelli)</p> <p>M. Caratozzolo, <em>Tommaso Fiore e la Russia. Il riscatto degli oppressi tra meridionalismo e socialismo</em>, Stilo Editrice, Bari 2019 (A.E. Visinoni)</p> <p>G. Lami, <em>Storia dell’Europa orientale. Da Napoleone alla fine della prima guerra mondiale</em>, Le Monnier, Firenze 2019 (F. Guida)</p> <p>L. Jurgenson, C. Pieralli (a cura di), <em>Lo specchio del Gulag in Francia e in Italia. La ricezione delle repressioni politiche sovietiche tra testimonianze, narrazioni, rappresentazioni culturali (1917-1987)</em>, Pisa university press, Pisa 2019 (G. Ghini)</p> <p>N. Caprioglio, <em>Miniature senza cornice. Letture russe da S. Aksakov a L. Ulickaja, Nuova Trauben</em>, Torino 2019 (G. Mazzitelli)</p> <p>I. Krapova, S. Nistratova, L. Ruvoletto (a cura di), <em>Studi di linguistica slava. Nuove prospettive e metodologie di ricerca</em>, Edizioni Ca’ Foscari-Digital Publishing, Venezia 2019 (F. Fici)</p> <p>E. Gherbezza, <em>Dizionario di italianismi in russo</em>, Centro Ambrosiano, Milano 2019 (G. Moracci)</p> Copyright (c) 2020 Studi Slavistici Sun, 28 Jun 2020 00:00:00 +0000