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The themes of spiritual ascension and mystical ecstasy in V. Ivanov, which occupy a pivotal place in his literary production, have been recently examined by M. Tsimborska-Leboda in the context of Augustine's theology and by V. Mahlin in the context of Bakhtin's analysis of Dostoevsky's works. The theme of ecstasy has also been considered by Pamela Davidson in her 1989 monograph. The present paper proposes to analyse this very theme, but this time in the context of the theological poetics of Dante's Paradiso. The relevance of this study lies in the fact that, despite a number of immediately discernible parallels, the differences between Dante's and Ivanov's conceptions of ecstasy have not been fully identified yet, notwithstanding the significant influence exerted by Dante’s texts on the conception of ecstasy in Ivanov’s writings on Symbolism. Comparing Ivanov's and Dante's models of ascent, P. Davidson sees a fundamental difference between Ivanov's and Dante's conceptions of ecstasy in Ivanov's rejection of the moral-ethical dimension as a sine qua non of the mystical quest. This article reveals another important difference between Dante's and Ivanov's descriptions of ecstasy, one that concerns the category of “penetration”. Focusing on Ivanov’s articles and Dante’s Paradiso, the article analyses them in relation to the category of “penetration”, to be understood as the ultimate realization of transcendence in Ivanov as well as in Dante’s poem. It highlights the similarity between Ivanov’s and Dante’s thinking as far as the category of “sobornost” is concerned, whereby a vertical relationship with the Supreme Being implies a horizontal relationship with the Other, to the extent of spiritual penetration into the Other. However, it is argued that, while in Ivanov's description of ecstasy the ascent of man and artist begins with erotic rapture and, at its highest stage, implies detachment from all earthly things and separation from them, for Dante the ascent, as described in the Paradiso, is accompanied by spiritual interpenetration which occurs in interpersonal communion even at the height of the mystical vision. The conclusion is that, although Ivanov's other works treat the theme of transcendence in a similar way to how it is treated in Dante, Ivanov’s treatment of ecstasy in his articles on Symbolism differs significantly from its description in the Commedia.

Le immagini del balbettio nelle poesie di Mandel'štam, in particolare quelle che appaiono nel nono «Vos'mistiščie» e nella redazione “A” della poesia “O, kak že ja hoču…”, si sono prestate a diverse interpretazioni, a partire dai lavori di Kirill Taranovskij. Il presente contributo prende in considerazione la semantica del balbettio in rapporto al tema mandel'štamiano dell'infanzia. Lo studio intende dimostrare che la parola «balbettio» può essere interpretata come un termine funzionale alla descrizione del linguaggio poetico di Mandel'štam dell'ultimo periodo, focalizzato sui concetti di cielo, luce ed eterno. Il mio obiettivo non è proporre qui un'interpretazione esaustiva di questa complessa immagine, bensì mettere in rilievo una nuova prospettiva nella quale l'immagine può essere letta, soprattutto nella redazione А della poesia «O, kak žе ja hoču...», se contestualizzata nel quadro di altre opere poetiche e di prosa mandel’štamiane.

Drawing on original archival research, the present article examines a number of problematic issues that arose during the preparation of a Russian translation of "Principj di una Scienza Nuova Intorno alla Natura delle Nazioni" (Principles of the New Science Concerning the Common Nature of Nations) by the Neapolitan Enlightenment philosopher Giambattista Vico. On the one hand, the decision to translate and publish "Scienza nuova" in Stalin’s USSR fits well with the mission of the elite publishing house Academia, which was bold enough to include in its publishing programme Francis of Assisi’s "Fioretti" (Little Flowers) and Machivaelli’s "Prince"; on the other hand, this decision has to be carefully justified to appease the anti-religious censorship. It is not the translation itself but its metatexts that are called upon to fulfil this task. The article shows how, while adopting and maintaining throughout an atheistic tone, which stands in contrast to Italian scholarship that offered idealistic and Catholic interpretations of Vico, during the 1937–1938 purges the metatexts begin to use ever more cautious formulations, and the importance of Vico’s theory for Soviet linguistics is no longer written about after the arrest of the book’s first editor.

«La Divina Commedia» di Dante viene spesso recepita dai lettori e dagli studiosi come un macabro testo gotico dove non c'è spazio per la letizia né per la luce; il suo autore viene generalmente considerato come una figura profondamente tragica. La presente monografia si pone l'obiettivo di contestare quest'idea mostrando il ruolo rilevante del concetto di letizia per l'intera economia del poema dantesco. L'analisi del lessico della letizia presente nelle tre cantiche della "Commedia" condotta alla luce delle fonti classiche, bibliche e teologiche nonché della letteratura in volgare contemporanea e precedente a Dante, permette di affermare che il motivo della letizia penetra il poema a ogni livello testuale e si arricchisce di nuovi significati rispetto alla tradizione precedente. Lo studio del lessico della letizia permette di considerare, inoltre, molte altre strutture del linguaggio poetico di Dante nonché le potenzialità che esso offre per le traduzioni del poema in lingua russa. Il libro introduce per la prima volta nella critica russa i commenti a Dante di diverse epoche, inclusi quelli più aggiornati, nonché gli studi dei dantisti occidentali contemporanei di valore scientifico internazionale. Nella seconda parte del libro, alla luce delle teorie di "Jazykovaja kartina mira", su cui viene impostata l'analisi del testo integrata con alcuni elementi del metodo lotmaniano, viene considerato il linguaggio della letizia nella traduzione canonica di Michail Lozinskij. Nelle appendici vengono riportati alcuni canti del "Purgatorio" e del "Paradiso" e una lauda di Jacopone da Todi tradotti in russo dall'autrice.

Recensione al libro di Olga Sedakova "Perevesti Dante" [Tradurre Dante], Sankt-Peterburg, izdatel'stvo Ivana Limbacha, 2020, 128 pp.

During the late nineteenth and early twentieth centuries, in the academic and literary circles of tsarist Russia Dante’s Divina Commedia 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 Divina Commedia as a Christian text remained unchallenged in the early post-revolutionary Russian intellectual milieu; notably, the publishing house “Vsemirnaja Literatura” (“World Literature”) 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 Divina Commedia was awarded the Stalin Prize 1st 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 Divina Commedia 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 Divina Commedia; 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.

Most of the critical works on Mandelstam’s "Conversation about Dante" written in the last thirty years analyse its autobiographical dimension and the tenets of Mandelstam’s innovative poetics. G.A. Levinton’s and L.G. Stepanova’s commentary that accompanies the 2010 edition of the "Conversation" is an original contribution to Mandelstam scholarship inasmuch as it is the first scholarly work to consider some of Mandelstam’s key arguments in the light of certain strands of Dante criticism in Italy. In particular, in their commentary Levinton and Stepanova look at the theme of desire, one of the narrative structures mentioned in the "Conversation", which occupies an important place in Dante’s "Commedia". The present article complements Levinton’s and Stepanova’s commentary. Its aim is to show that by developing his own ideas about Dante, Mandelstam, for the first time in the history of the reception of Dante’s poem in Russia, began to intuitively develop an understanding of the actual structural elements of the "Commedia", thus foreshadowing the work of contemporary Dante scholars in the Western world.

Osip Mandelstam’s 1933 "Conversation about Dante" was rejected by Soviet editors and the literary experts of the USSR’s main publishing house Goslitizdat, who, however, enthusiastically accepted the new translation of the "Commedia" by Michail Lozinsky (1939-1945). At the same time the "Conversation" was criticized by writers such as Boris Zaytsev who had emigrated from the USSR after the October revolution of 1917. Indeed, Mandelstam’s essay deconstructs the traditional Romantic image of Dante and his poetry that was popular in the Russian Silver Age and whose aesthetic aspect was borrowed from the Symbolists by Soviet literary criticism with some ideological modification and then cultivated in Lozinsky’s translation. However, the "Conversation about Dante" – a unique attempt to go against the Dantean canon in the Russian tradition – exerted an important influence on the two recent translators of the "Commedia", namely A.A. Ilyushin (1971-1995) and O. A. Sedakova (2017-2020), helping them to challenge the hegemony of Lozinky’s text in the second half of the twentieth and the first decades of the twenty-first century. The purpose of this paper is to show how the "Conversation", which constitutes a kind of auctoritas for contemporary translators, provides them with a repertoire of images and ideas for a new interpretation of the poem. Rather than carrying out a comprative analysis of the source text and the target text in order to assess the degree of ‘fidelity’ of the translations to the ‘original’, the present paper will consider a selection of specific passages from Mandelstam’s essay and Ilyushin’s and Sedakova’s translations as well as their metatexts (i.e. commentaries and articles) that reflect the translators’ vision of the Commedia. In this way, I shall show how the traditional understanding of Dante evolved in the late Soviet and post-Soviet reception and how important Mandelstam and his ideas were in this evolution.

Nel presente libro viene analizzata la storia delle traduzioni della "Divina Commedia" di Dante in Russia dal XIX al XXI secolo. Nella prospettiva delle teorie traduttologiche occidentali moderne la traduzione risulta interessante non solo in quanto “copia approssimativa” dell'originale ma anche come fattore e prodotto dei processi nazionali storici e letterari. Metaforicamente la traduzione può essere paragonata alle colombe abbeveranti raffigurate sul mosaico di Galla Placidia a Ravenna, di cui la prima attinge alla fonte (la traduzione inzia dalla conoscenza del testo di partenza), e la seconda guarda dall'altra parte (la traduzione è orientata verso lo spazio culturale del paese di arrivo). Le traduzioni della "Commedia" di Dante non fanno eccezione; eppure, sebbene alcune fossero già state studiate dal punto di vista storico e letterario, perlopiù sono state sempre analizzate soltanto dal punto di vista linguistico e stilistico, oppure menzionate come versioni “meno adeguate” all’originale rispetto alla versione canonica di Michail Lozinskij. In questa monografia le traduzioni della Commedia vengono considerate come testi letterari autonomi, inseriti nell’opera artistica dei loro autori e nel sistema generale della cultura di arrivo. Oggetto del libro sono sia le traduzioni del poema dantesco più note che quelle dimenticate o prima ignote: viene descritta la loro interazione e i loro rapporti con i testi della letteratura nazionale; infine, viene mostrato il loro ruolo nella formazione del discorso dantesco nella tradizione russa.

The “Conversation about Dante” is generally considered as Mandelstam’s poetry manifesto and its hero as his autobiographical projection. Despite the large number of scholarly works devoted to this essay, the extent to which the themes of the “Commedia” — when considered beyond the context of Dante scholarship in Mandelstam’s Russia — could have influenced Mandelstam’s image of Dante remains to be examined in a comprehensive manner. One of the main characteristics of this image is its childlikeness/infantilism. The aim of the present article is to determine to what extent the protagonist of the “Commedia” possesses this trait, what significance this has in Mandelstam and in Dante and what function this serves in the “Conversation”. To this end, I shall undertake a comparative analysis of the theme of childhood in Mandelstam’s essay and in Dante’s poem, drawing on both Mandelstam and Dante scholarship.

The focus of the present study is the 1887 translation of Dante’s "Inferno" by Sergey I. Zarudnyj, a statesman of the so-called era of the Great Reforms, and the version of the first canto of "Purgatorio" by the contemporary Russian poet Olga Sedakova (2017). My methodological approach is based on the theory in Translation Studies. Within the framework of this theory, literary translations are not analyzed from the point of the degree of linguistic and stylistic relevance to the original but rather in the light of the peculiarities of the recipient culture. The translator is seen here as manipulating the text to decide how to put it in his or her work. Among other, this approach demands the analysis of metatexts in which the translator’s ideological views and theoretical principles are documented. In my paper I argue that both Zarudnyj and Sedakova, unlike other Russian translators of Dante, and notwithstanding the difference of historical and literary contexts of their work, consider their results presumably as an ethical task that determines their general literary strategies as well as the shared traits of them. For both translators the core act of translation becomes an instrument to explicate the ethical problems of the "Comedy", to draw reader’s attention to the metaphysical content and eventually to transform the mood in which the Russian audience use to perceive Dante. At the same time, their accent on the ethical message in the "Comedy" corresponds to what Dante himself intended to do, as he formulated in the "Epistola" a Can Grande. In this sense, the translators bring out, with different means, the general original intention of the text.

Aim. To analyze socio-political and religious aspects of transformation of the conflict in Dagestan after 1999 and the reaction of the Dagestani population to it.Methodology. In order to examine the peculiarities of the conflict transformation the author uses historical comparative method, sociological approach, and subject analysis of local mass media materials.Results demonstrate the necessity of wider consolidation of the Dagestani society for resolving the conflict, the consequences of which are still seen nowadays in a form of the clash of numerous interests and the extremism threat.Research implications It is concluded that in order to overcome the current conflict situation in the republic, a commensurate response is needed, coming from the very depths of public consciousness and the historical memory of the Dagestan peoples, which the bureaucratic apparatus is not capable of generating. The results of the study show that only the Dagestani society itself should and is capable of preparing such a response to the challenges emanating from the radical camp.

Osip Mandelstam’s “Conversation about Dante” (1933) is a unique text in Russian Dante Studies of the early 20th century. Indeed, not only does the essai challenge the image of Alighieri created by the pre-revolutionary Symbolist culture but it also falls short of the criteria of Soviet literary criticism. The most typical traits of the gure of Dante as conceived by the Symbolists, together with some elements of the successive elaboration it underwent in the Soviet period, form in Mandelstam’s essay two negative models used by the author as a starting point to o er what Mandestam considered to be the ‘real’ portrait of Dante. The purpose of this paper is to show some analogies between the two models rejected by the author of the essay, considering them in the light of Mandelstam’s ideas about the art of poetry. While for the Symbolists Dante is a mystic and visionary, the prototype of the ideal artist who blends religion and art, for the Soviet scholars of the thirties he is one of the international classics, whose poetry should be studied from the perspective of the Marxist literary theory. However, in both cases the personality and the works of the Florentine poet are analyzed through an interpretative code that suggests a set of clichés and deprives the reader of the possibility to re ect on the poetic structures of the Comedy and the true nature of Dante the artist.

The present article explores the translation of Dante’s “Commedia” prepared by Dmitry Min between 1855 and 1885 and published as a whole in 1902–1904. My investigation is based on the theoretical principles of Translation Studies that consider a literary translation (including its metatexts such as commentaries, prefaces etc.), as a cultural phenomenon that is valuable in itself and that constitutes an indipendent object of culturological, historical and literary analysis regardless of the level of conformity to the original. Min’s translation is interesting, especially considering that it is the first complete Russian translation of the “Commedia” to be supplied with a rich commentary that still remains unsurpassed in terms of its philosophical and theological content. The purpose of this paper is to show the scholarly value of Min’s commentary for his epoch and to highlight the influences of Russian spiritual poetry on the translation’s text by locating it in its historical context.

В настоящей статье рассматривается перевод Божественной Комедии , выполненный Д. Е. Мином в18551885 гг. ивпервые опубликованный целиком в19021904 гг. Внашей работе мы придерживаемся теоретических установок западной школы Translation Studies, врамках которой художественный перевод (включая его метатексты: комментарии, предисловия ит. д.) определяется как самоценный культурный феномен иявляется самостоятельным объектом историко-литературного икультурологического исследования, вне зависимости отстепени его соответствия оригиналу. Перевод Мина интересен, вчастности, тем, что это первый вистории русской рецепции полный перевод Комедии , который сопровождался подробным комментарием, досих пор неимеющим равных всвоей философско-богословской части. Задача данной статьи заключается втом, чтобы показать научную ценность комментария Мина для своего времени ивыявить влияния отечественной духовной поэзии насам текст перевода, рассматривая его висторическом контексте, The present article explores the translation of Dantes Commedia prepared by Dmitry Min between 1855 and 1885 and published as a whole in 19021904. My investigation is based on the theoretical principles of Translation Studies that consider a literary translation including its metatexts such as commentaries, prefaces etc.), as a cultural phenomenon that is valuable in itself and that constitutes an indipendent object of culturological, historical and literary analysis regardless of the level of conformity to the original. Mins translation is interesting, especially considering that it is the first complete Russian translation of the Commedia to be supplied with a rich commentary that still remains unsurpassed in terms of its philosophical and theological content. The purpose of this paper is to show the scholarly value of Mins commentary for his epoch and to highlight the influences of Russian spiritual poetry on the translations text by locating it in its historical context., №20(3) (2020)

Postfazione alla traduzione del primo canto del Paradiso dantesco eseguita dallo stesso autore. Nella postfazione vengono descritte le idee e la trama del primo canto in originale, viene spiegata la differenza tra Dante-poeta, Dante-narratore e Dante-protagonista del poema; viene rilevato il topos dell'ineffabile; vengono individuati gli intertesti classici del primo canto; viene descritta l'identità profetica del suo autore; viene rilevato uno dei principi stilistici essenziali della Commedia, quello del dialogo con il lettore; infine, viene affrontato il problema del linguaggio poetico della Commedia nella prospettiva della sua traduzione in lingua russa. Nell'ultima parte vengono specificati i problemi, i metodi e gli approcci alla nuova traduzione del poema di cui un brano (canto I del Paradiso) è pubblicato sopra, nello stesso volume. Tutti i contenuti della postfazione sono basati sui materiali degli studi danteschi moderni e sui commenti antichi e moderni alla Commedia.

The idea of this article is to describe the poetics of «riso» of Dante’s Divine Comedy.The lexical units like «laughter» and «smile» do repeat several times, more often in the Paradiso. We tend to emphasise the laughter being one of the key points of the poem inside which the most important topics like friendship, love, prayer, finding and endowment of the celestial grace do develop. On another side the forms of laughter in the Comedy do never have the negative connotations, the laughter very seldom would mean the ridicule but the expression of the happiness. The analysis of the explanatory dictionaries shows the evidence of Dante’s vision of laughter in the italian language culture as the positive one. In our work we tend to reserch the roots of this tradition describing the concept of the laughter developed in the major italian literary work.

Произведения Л.Н. Толстого – это не только шедевры мировой литературы, но и зеркала своего времени, социальных и культурных перемен, происходивших в царской России. Именно в этой перспективе и рассматривается творчество великого писателя в настоящей монографии. На материале «Семейного счастия», «Анны Карениной» и «Крейцеровой сонаты» автор подвергает анализу эволюцию института брака в России второй половины XIX в. В то время как в «Семейном счастии» предвосхищается кризис брака по расчету, его окончательный крах блестяще изображается в «Анне Карениной». Анна обрекает этот институт на гибель, когда, бросая вызов обществу своего времени, не скрывает своего адюльтера, но, напротив, выставляет его напоказ и пытается узаконить. Наконец, в «Крейцеровой сонате» показана уже произошедшая смена «дворянской» модели брака на «буржуазную» модель. Мария Заламбани – профессор русской литературы Болонского университета. Ее предыдущие исследования посвящены русскому авангарду и советской литературе. В частности, ей принадлежат монографии: «L’arte nella produzione. Avanguardia e rivoluzione nella Russia Sovietica degli anni ‘20». Ravenna: Longo, 1998 (на русском языке: Искусство в производстве. Авангард и революция в Советской России 20-х годов. М.: ИМЛИ РАН, Наследие, 2003); «La morte del romanzo». Roma: Carocci, 2003 (На русском языке: «Литература факта. От авангарда к соцреализму». СПб.: Академический проект, 2006); «Censura, istituzioni e politica letteraria in URSS (1964 – 1985)». Firenze: FUP, 2009.

Nel saggio viene considerata la presenza di san Paolo nella "Commedia" dantesca: l'autore mostra come i modelli biblici diventano strumenti narrativi che Dante usa in maniera creativa, integrandoli e sviluppandoli ai fini poetici. "L’evocazione del modello di Paolo apre e chiude l’esperienza oltre-mondana di Dante, dai dubbi espressi a Virgilio prima che il viaggio abbia iniziosino al suo termine con l’approdo alla luce divina dell’Empireo, e insieme fonda l’autorappresentazione del poeta come autore di un poema sacro investito di una missione pallina, quella di riconfortare negli uomini la speranza della«gloria futura»" (Ledda). Il saggio viene pubblicato in russo per la prima volta, ed è il primo lavoro eseguito nell'ambito degli studi danteschi italiani contemporanei che viene introdotto nella tradizione scientifica russa. La traduzione rappresenta un primo tentativo di far conoscere alla comunità scientifica, agli studenti e ai lettori russi i metodi di lavoro usati negli studi danteschi contemporanei italiani e anglosassoni. Il saggio s'inserisce bene nel volume dove si affrontano argomenti come Dante e Mandel'štam, la simbologia delle pietre preziose nel Paradiso, il primo canto del Paradiso, il primo canto del Purgatorio: temi generalmente insoliti per gli studi danteschi in Russia.

Nella nota vengono esposti dettagliatamente i contenuti delle lezioni inedite su Dante del poeta russo Vjačeslav Ivanov, pubblicate per la prima volta nello stesso numero. Viene inoltre descritto brevemente lo specifico rapporto di Viačeslav Ivanov con le opere dantesche.

Il manoscritto pubblicato rappresenta gli appunti decifrati di Lidija Ivanova, figlia del poeta Vjačeslav Ivanov, stesi da lei durante le lezioni su Dante tenute da Ivanov all'Università di Baku nel 1921. Le lezioni contengono un'analisi dettagliata dell'opera giovanile di Dante "Vita Nova", dei trattati "Convivio" e "De Monarchia" e della "Commedia"; nella lezione introduttiva viene descritta brevemente la biografia di Dante. Il commento ivanoviano alle opere dantesche è contraddistinto da un forte misticismo e dallo spirito di appassionata ricerca filosofica e religiosa; le lezioni, insieme alle traduzioni ivanoviane dei testi danteschi, testimoniano il fatto che l'ispirazione poetica è sempre affiancata, nella sua opera, da una speculazione scientifica.

The purpose of this article is to study the imagery and the theme of the mirror in Dante’s Divine Comedy, and to explore the role of the mirror topos in the system of the poem as well as in the author’s worldview. We start our research with one of the central canticas, Cantica XV of the Purgatory, which is in a certain way «intermediary» and does not often become an object of scholars’ interest. We examine then how the mirror image is used in describing the impression made by the angel on the Dante character, and find out possible reasons why mirror metaphors are used in this episode. The focus of the research then shifts to the description of the Universe through the processes of light reflection which in Dante’s poetic system symbolize the Intellection of God and the Love. This lexical and semantic analysis shows how Dante uses the mirror imagery as the main way of describing interaction both between creatures and their Creator and between the poet and his readers.

Nel presente articolo vengono analizzate le poesie della prima fase artistica di Vjačeslav Ivanov (1904 – 1919), in particolare il ciclo Regno della Trasparenza e l’Epilogo alla melopea Čelovek, messi a confronto con alcuni passi della Commedia di Dante in originale e nella traduzione dello stesso Ivanov (I canto del Purgatorio). A Ivanov, uno dei più esperti conoscitori dell’opera dantesca nella Russia dell’epoca, furono cari le metafore visive del Purgatorio e del Paradiso e il tema della luce, cruciale nella poesia della terza cantica. Nel mio contributo prendo in esame alcune strutture poetiche ivanoviane che probabilmente furono ispirate alle immagini dantesche (come la simbologia delle pietre preziose, la metafora del bere la luce con gli occhi, il motivo dei cari nel concilio universale dell’umanità), immagini, spesso ignote agli altri poeti della cerchia di Ivanov e pertanto raramente confrontate dagli studiosi del simbolismo russo con l’apparato metaforico e simbolico dell’opera ivanoviana.

На заре ХХ века психоаналитический дискурс вторгается в Россию и через литературу проникает во все круги русской интеллигенции, получив значительно более широкое распространение, нежели во многих европейских странах. Русские психоаналитики иллюстрируют основные положения новой дисциплины посредством образов и суждений таких отечественных классиков, как Толстой и Достоевский. Таким образом, литературный и психоаналитический дискурсы переплетаются и умножаются в постоянном обмене, который в России приобретает своеобразную окраску. Это хорошо иллюстрирует сопоставление исследования Татьяны Розенталь «Страдание и творчество Достоевского» и статьи Зигмунда Фрейда «Достоевский и отцеубийство». Если первое представляет собой чисто психоаналитический очерк, развивающийся в рамках филологического подхода, то второе использует литературу для изложения исключительно психоаналитической тематики. Для Розенталь психоанализ выступает критическим инструментом для анализа литературного текста, для Фрейда же литература — неисчерпаемый источник, к которому он обращается для подтверждения своих теорий.

The article is dedicated to the philosophy of Dante’s poetic language in his Comedy. The study is based on the 52 – 54 verses of the XXIV Canto of Purgatorio. Its objective is to analyze the terzina comparing it to the treatise “De vulgari eloquentia” and to eventual scriptural and theological sources of the Poet. In the terzina as well as in the threatise the pneumatological doctrine of human’s creation by the Holy Spirit - which is closely connected, for Dante, with the topic of creation of language – plays a very important role. However, while the treatise talks about a human language, and the communication between Adam and God is mediated by the air, in the poem God-Love speaks to the poet secretly, at heart. Thus, Dante’s poem is to become an answer to this love. The language of his poetry holds in itself a sign of Creator and leads a reader to the contemplation of Divine Love.

The purpose of this article is to study the evolution of Boccaccio's attitude to Dante in the context of the topic "Poet and Poetry" in Boccaccio's various works. All his life, Boccaccio felt reverence for Dante as his master and tried to make Dante accessible to the "vulgo" (common people), writing his biography as well as commentary on the Comedy. At the same time, he was devoted to Petrarch, who created the model of "elitist" poetry, and Petrarch had some reservations about Bokkaččo's desire to "vulgarize" Dante. The dramatic nature of Boccaccio's works vacillates between two poles – "the vulgar poetry of Dante" and the "elitist poetry" of Petrarch – because Boccaccio tried to follow his predecessors' stylistic features in both these regards. Through the analysis of Boccaccio's attitude to Dante, we can explore some important aspects of his attitude to poetry and also gain insight as to the nature of his gift of mediating between genius and people.

It is widely known that none of Dante’s autograph originals exist and that few details are known about his life and personality since all the biographical notes have not been documented. Nonetheless, the specialists in Dante''s works often seem to be even more tempted by the unknown mysteries of Dante’s life, and they thus try to reconstruct various features and details of Dante''s life based on the interpretation of his creative autobiography that appears, to some extent, in all his works. In the present article we offer a closer look at Dante''s quest for knowledge in his connection with other subjects of his works, such as sight, love and aspiration. The purpose of this work is to move towards an answer as to what is Dante''s spirit through the study of his texts. The subject of our research is 2 treatises - ‘Vita Nuova’ and ‘Convivio’ - and also the ‘Divine Comedy’. While in ‘Vita Nuova’ the subject of knowledge is only alluded to and the main theme is love, already in ‘Convivio’ knowledge becomes the central motive. Yet both treatises are united by the theme of aspiration. In ‘Vita Nuova’ there is an aspiration to contemplate the beloved one and by means of it to join the divine grace whereas in ‘Convivio’ there is an aspiration to philosophy with the attempt to join oneself and others to the mysteries available to human beings on earth. However, if in ‘Vita Nuova’ Dante does not apply any limits to the aspirations of humanity, in ‘Convivio’ he affirms that the happiness of a person on earth is possible due to the modesty of his/her desires in this world. Such an affirmation is in conflict with the official theological doctrine of that time. ‘Convivio’ stays unfinished and the problem of the correlation between aspiration and knowledge - in close connection with the theme of contemplation is solved already in the ‘Divine Comedy’. The interpretation of this problem based on the lexical and semantic analysis of the text is the subject of this present article.

Творчество Осипова является прекрасным материалом для изучения зарождения русского психоанализа и выявления его связей с художественной литературой. Из его работ явствует, что с самого своего появления в России психоанализ использует литературу не только в качестве архива, из которого можно черпать клинические случаи для исследования, но и в качестве способа популяризации и распространения новой теории. В самом деле, Осипов иллюстрирует положения психотерапии при помощи литературных образов и текстов, позаимствованных у Толстого, Достоевского, Гоголя, Гончарова; тем самым, литературный и психоаналитический дискурсы тесно переплетаются между собой, постоянно взаимодействуя друг с другом: сначала психоанализ прибегает к литературе, чтобы проиллюстрировать свои гипотезы и приобрести больше авторитета, а затем и литература начинает пользоваться теорией психоанализа, на которой вырастут некоторые писатели следующего поколения

Nell'abstract vengono esposte le tesi principali dell'intervento letto al convegno nazionale "Dialogo e influenza reciproca delle letterature nazionali" presso l'Università Statale Herzen di San Pietroburgo. Nell'intervento, che s'intitola "L'ineffabilità e la trasparenza nella Commedia di Dante: un'esperienza di traduzione", alcuni aspetti del linguaggio poetico dantesco vengono esaminati alla luce dell'intenzione del poeta di "rendere" il linguaggio della realtà ineffabile celeste con il linguaggio umano. L'intervento rappresenta l'esposizione dei risultati di uno studio della poetica e metafisica della luce nella terza cantica della «Commedia» di Dantе, intrapreso nell'ambito della tesi di dottorato.

This article is dedicated to the mystery of Bernard of Clairvaux, a hero of Dante’s «Divine Comedy»; many theorists of Dante’s work around the world, except perhaps, Russian theorists, have been trying to find a clue to this mystery. This mystery is that this hero appears in the last songs of the poem which describe the culmination of Dante-hero path. His importance is determined by such factors as disappearance of Dante’s main companion Beatrice, she makes way for Bernard; Bernard’s presence at the hero’s side in the highest sphere of Dante’s universe – Empyrean; his guidance at the last stage of Dante’s path and finally the mission entrusted to him by the author – to lead the hero to the contemplation of Virgin Mary and through her – the Trinity itself. The purpose of the author of this article is to suggest her variant of interpreting the importance of this protagonist for the «Comedy» in order to fully understand the poetic structure and philosophy of the poem. For this purpose the author of this work analyses «Comedy»’s’ episodes with Bernard, contemplates the versions of interpreting Bernard’s role in the poem suggested by the most distinguished theorists of Dante’s work, covers the abstracts from the treatise by the hero’s historical prototype – Bernard of Clairvaux; these abstracts according to historic-literary evidence could have been the source for philosophical and theological ideas of Dante-author. This article also deals with the most important aspects of real Bernard’s activities and tries to determine Bernard’s role in «Comedy». This literary study shows that Bernard’s presence is closely linked to the meditative-mariological element of personality and creative work of Bernard of Clairvaux and in its turn it is his presence in the last songs of the third canticle that proves the importance of contemplation and spiritual maturity as metaphors of spiritual path in Dante’s poem. The article proves the idea that Bernard’s image plays one of the key roles in creating poetic essence of the poem; it is like a «center» that unites numerous images of visual phenomena that help the hero to reach the promised goal and the text to gain a harmonic completion in describing the contemplation of the highest good.

Poetics of light in Dante’s «Divine Comedy» is one of the most important topics for understanding the poem and one of the least investigated in the Russian literary studies. In this paper the light motive (one of the main in this poem) is envisaged in an unusual aspect: darkness as the reverse side of excess light, as an image dominating at all levels of Dante’s text and underlying the narrative evolution of the poem. The analysis of all the poem’s metaphors with light semantics shows that the description of light phenomena intensification is a precondition for «interior enlightenment» of the hero, continuation of his way and consequently the existence of the poem itself. However, at all the investigated levels the intensification of light leads to the hero’s blinding: the light becomes an obstacle for him perceiving the highest reality. The light may even have the function of a cover that hides the genuine image of the world perceived by the hero. Besides, as the hero moves closer to the aim of his way and the narrator towards the end of the poem, we constantly see the motive of «infirmity» of the human language, which is unable to describe the more and more unusual experience of the hero which deserves a better portrayal. It becomes evident that silence and blindness are the permanent companions of the prime of poetic eloquence and light images of the third canticle. The author of this paper following the author of «Lux inaccessibilis» M.Ariani suggests explaining this apparent paradox in the context of mysticism of Dionysius the Areopagite, one of the most respected medieval theologians, a founder of apophatic, «dark» theology. Metaphors used by Dionysius in describing the Divine essence become one more clue to the role of light and darkness in Dante’s «Comedy».

Il contributo è dedicato alla categoria della memoria nella «Commedia» di Dante. Scopo del lavoro è descrivere il ruolo di questa categoria nel mondo del poema. Vengono analizzati diversi contesti della memoria a tutti i livelli del poema come di un unico sistema narrativo. L'autore vi introduce il motivo della memoria come uno degli strumenti essenziali della propria narrazione (cfr. «Inf.», II, 9). Tutto il poema, come scopriremo, è strutturato intorno ai 5 principi mnemonici della retorica antica. Il poeta presenta al lettore la propria fizione come un flusso strutturato delle immagini impresse nella memoria del protagonista, e la «qualità» di questa memoria cambia di cantica in cantica: mentre nell'«Inferno» e nel «Purgatorio» la memoria era più storica, nella terza cantica, dove il mondo è puramente spirituale, la memoria si trasforma in quella mistica. L'immagine della memoria si riempie dunque di contenuti filosofici e teologici. Quando l'oggetto contemplato supera i limiti dell'immaginazione e della memoria umana, il poema si conclude. La descrizione dell'esperienza universale attraverso un'esperienza individuale umana è una grande scoperta poetica di Dante, e proprio lo strumento del «ricordo» permette di realizzarla.

Il presente contributo consiste in stesura e curatela dei commenti, (in particolare, l'indice biografico con ampie note dettagliate), al volume antologico dedicato alla ricezione di Dante nella cultura russa. Il volume è suddiviso in 5 parti: 1) Poeti e letterati su Dante (D.S. Merežkovskij, Vjač. Ivanov, Ellis, V. Ja. Bryusov, P.P. Muratov, B.K. Zajcev, O.D. Forš, O.E. Mandel'štam, M.L. Lozinskij, A.A. Akhmatova); 2) Storici e filosofi su Dante (F.F. Zelinskij, I.M. Grevs, G.V. Florovskij, P.A. Florenskij, N.A. Berdjaev, G.P. Fedotov, M.M. Bakhtin); 3) Dante e la Russia (D.D. Blagoj, I.N. Goleniščev-Kutuzov, A.A. Asojan, S.I. Bélza, R.I. Chlodovskij, E.A. Taho-Godi, A.B. Šiškin, L.D. Bugaeva); 4) Studi su Dante (A.N. Veselovskij, M.V. Alpatov, Ju.M. Lotman, I.F. Bélza, A.A. Iljušin, A.L. Dobrohotov, V.L. Rabinovič, M.L. Andreev); 5) Traduzioni della Commedia (V.Ja. Bryusov; Vjač. Ivanov; B.N. Zajcev). Il volume rappresenta il primo tentativo di riunire sotto l'unica copertina le riflessioni su Dante dei massimi esponenti della cultura russa del primo Novecento e degli studiosi contemporanei; alcune delle opere vengono pubblicati per la prima volta oppure vengono riprodotte dalle edizioni antiche e/o rare.