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Although the selection and publication of foreign literature in the USSR was subject to state control, many foreign works were able to reach the Soviet reader, thanks to the clever strategies employed by editors, literary advisers, critics, and translators. This was particularly true in the case of foreign literature written by Western authors, which underwent more rigorous control and often required incisive cultural and ideological domestication in order to comply with the aesthetics of the Soviet literary canon. Through the analysis of a corpus of published and unpublished Soviet critical texts, this article sheds new light on the Soviet system of cultural production by taking into account the strategies implemented, at different levels, by cultural operators, and in particular by critics. This article focuses on the Soviet reception of Western anti-mimetic novels by Italo Calvino and Kurt Vonnegut, illustrating the strategies of critical domestication to which they were subjected.

Janusz Głowacki’s internationally acclaimed tragicomedy inspired by Sophocles’ Antigone has been the subject of intense debate and misinterpretations. The article aims to demonstrate that the play was primarily written in Polish, and that the English version is an adaptation/rewriting made by the author in collaboration with the American screenwriter Joan Torres. Furthermore, it shows that the English version was created while the writing of the Polish text was still in progress, so that the former influenced and left clear traces in the latter, questioning the traditional hierarchy between the original and the translated or adapted text.

This paper discusses the ambiguity of the Bulgarian quantity word mnogo and argues that it is not an intensifier stricto sensu, although it can also have such a usage. Comparing mnogo with its Italian counterparts troppo, tanto, and molto, we show that it corresponds more precisely to Italian tanto (English much), which can be modified by overt intensifiers like così (così tanto) or silent ones like molto/troppo (tanto), etc. (cf. English so/very/too much). However, mnogo can also function as an intensifier, much like Italian molto and English much: toj njama mnogo pari; non ha molti soldi; he doesn’t have much money. As to its interpretation as troppo, we argue that mnogo is modified by the silent degree modifier tvărde, as in: tvărde mnogo., Studi Slavistici, Studi Slavistici XVII (2020) 2

The article is devoted to Jacob von Stahlin, an important figure of the eighteenth-century Russian Culture. The contribution is an attempt to reconstruct his intellectual biography based on...

The article analyzes the correspondence held in the Getty Research Institute between Swiss curator Harald Szeemann (1933–2005) and Russian artist Lev Nusberg (b. 1937), the founder and main promote...

Sentiment analysis: главные теоретические аспекты и некоторые прикладные подходы В статье рассматриваются основные теоретические предпосылки развития класса методов Sentiment Analysis, или анализа тональности, и практика расширения их эмпирического применения на такие области коммуникации, как маркетинг, услуги, социальные медиа и блоги. Анализируется состояние научного внедрения этого лингвистического вычислительного подхода к текстам, основанного на рассмотрении человеческих эмоций, в отдельных странах.

Post-Hegelian philosophy and French utopian socialism find a point of convergence in the so-called ‘philosophy of action’ that was devised in Poland. Its implications were both original and fruitful, and represent the underlying doctrinal theory of the poetics of several writers of Polish literary romanticism. This article analyzes the presence of some instances of the philosophical system of August von Cieszkowski in the poetics of C.K. Norwid and J. Słowacki. Special emphasis is placed on some affinities between these two writers, concerning the figure of Christ-Truth-Love, eternal Logos, that resolves the contradiction between the immanent and the transcendent, and the asymmetric relationship with God, an absolute mystery. Christ is the truth revealed and the reason for salvation ‘here and now’, either when man should follow him with his cross, as Norwid would contend, or when he should imitate him through martyrdom, as put forth by Słowacki, for example in The Constant Prince., Studi Slavistici, Studi Slavistici XV, 2018, 2

This article discusses the relation of Prigov's cultural project to a concept of the Gesamtkunstwerk, the total work of art. It is not only notable that Prigov was simultaneously a poet, a painter, a sculptor, a performance artist, and a theoretician (and it is hard to say which of these roles he identified most strongly with), but that he also experimented with all possible materials, forms, genres, and types of art. Also remarkable is that openness and intersections are manifest in all his work: text in painting, a visual quality and theatricality in text, text as a score for performance (of the alphabet), philosophizing as an artistic text (premonitions), and so forth. The author traces the transformation of Wagner's concept from its reception in the Silver Age, to its appropriation by Socialist Realism, and finally to Prigov's ultimate vision of it. The article analyzes two main directions of transformations of the Gesamtkunstwerk in Prigov's oeuvre. Firstly, although Gesamtkunstwerk as an idea of shaped formlessness became irrelevant with the loss of traditional conventions and the crisis of modernist strategies of subversion, its practices, since it was itself the product of a modernist breakthrough, proved themselves to be extraordinarily fruitful. One can easily find those very same structural elements in Prigov's texts and visual works, where functionally they are completely reinvented and form part of a completely different–“de-totalizing”–aesthetic strategy. Secondly, the transformations of Wagnerian mythology became the only possible realization of the totalitarian romantic utopia in contemporary mass society. Prigov took up the idea of the total work of art after the collapse of the utopia, completing the ruins and reconstructing them into an almost “intact” state. But the main thing is that he constructed his total work of art, not from different arts, but from a single subject–Dmitrii Aleksandrovich Prigov. He did not create a synthesis of the arts, but rather a personality synthesis, by carrying out an experiment in the creation of a total work of art after the experience of modernism. Accordingly, we should regard Prigov's texts not only as an new ideological construct that both defamiliarizes and makes explicit (thereby exposing the totalitarian aspirations of language and ideology), but also as the product of a unique experiment on himself, laying the headstone for not only the totalitarian utopia but also for its creator, the artist-visionary.

The article is devoted to the role of antiquity in Pumpjanskij’s works with special attention to those contributions written between 1919 and 1922. Pumpjanskij is one of the prime examples of writers who link the world of literary study (in part, a world of genres and texts) with the, Studi Slavistici, Studi Slavistici XV, 2018, 1

Rewriting mythological characters, tales and motifs is a popular strategy used in feminist literature from the late 20th century. Deconstructing sexist cultural canons, challenging gender normative narratives, subverting patriarchal values and offering new female perspectives are the main purposes. Within such a framework, the article analyzes the reinterpretation of the Sumerian myth of the goddess Inanna by one of Poland's most prominent writers. Olga Tokarczuk’s Anna In in the Tombs of the World employs such strategies as the modernization of the story, now set in a dystopian, high-tech and futuristic world; the introduction of a few, but significant, changes in the narrative structure, like the modification of the plot and the insertion of the figure of the Mother Goddess; the syncretic fusion of themes and topics belonging to different eras and cultures (Sumerian, Assyro-Babylonian, Classical Antiquity); and the redefinition of the psychological meanings underlying the descent of the goddess into the underworld. Ultimately, the writer carries out a deep resemantization and refunctionalization of the original Sumerian myth based on a feminist and Jungian approach. Published in the mid-2000s, the novel should be read as a critical voice in the context of the antifeminist backlash that took shape at that time in Polish politics and jeopardized feminist conquests gained to date., Studi Slavistici, Studi Slavistici XV, 2018, 1

The Spread of Neilos Kabasilas’s Anti-Latin Treaties in Russian Manuscripts in the 17th Century In the 17th century, Neilos Kabasilas’s anti-Latin works, along with Gregory Palamas’s Contro Becco , were considerably widespread in Russia. The first copy was made for Arseniĭ Sukhanov in the 1630s, another copy – supplemented with several polemical texts – was then prepared for the Patriarchal Library. Four manuscripts are associated with the activity of the monks Simon Azar’in, Efrem Kvasnin and Sergij Selonin, who were in Moscow in the 1640s, and are perhaps related to the question of the religious confession of Prince Valdemar, who was designated to marry the Tsar’s daughter. In mid-seventeenth century another manuscript appeared in Ukraine, marked at that time by the controversies which followed the Union of Brest. In the 1660s, two copies were made in the Solovetskiĭ Monastery. At the end of the century, Archbishop Atanasiĭ Kholmogorskij, involved in the controversy over Christ’s presence in the Eucharist, made further three copies of these works. Four manuscripts from the first half of the eighteenth century testify in their turn to the interest of particular individuals in this collection of texts on the Procession of the Holy Spirit. Rozpowszechnienie antylacinskich traktatow Nila Kabazylasa w rekopisach ruskich w XVII wieku W XVII wieku antylacinskie traktaty Nila Kabazylasa, obok Contro Becco Grzegorza Palamasa, byly dośc dobrze rozpowszechnione na Rusi. Pierwszy odpis zostal przygotowany przez Arsenija Suchanowa w latach trzydziestych XVII wieku. Drugi wzbogacony o kilka tekstow polemicznych powstal dla biblioteki patriarchalnej. Cztery kolejne rekopisy wiązą sie z dzialalnością przebywających w latach czterdziestych w Moskwie mnichow Simona Azarina, Efrema Kwasznina i Sergija Szelonina i odsylają prawdopodobnie do sprawy wyznania ksiecia Waldemara, kandydata na meza dla carskiej corki. W polowie XVII wieku tekst pojawia sie na naznaczonych polemikami wyznaniowymi po unii brzeskiej ziemiach ukrainskich. W latach sześcdziesiątych dwa odpisy powstają w Monastyrze Solowieckim. Pod koniec stulecia, zaangazowany w polemiki wokol obecności Chrystusa w Eucharystii, arcybiskup Atanasy Cholmogorski dokonuje kolejnych trzech odpisow. Cztery odpisy z pierwszej polowy XVIII wieku świadczą natomiast o zainteresowaniu indywidualnych osob zbiorem tekstow o pochodzeniu Ducha Świetego.

Si presenta di seguito la prima traduzione italiana del saggio di Richard Peace Dostoevsky and the Syllogism, pubblicato in lingua originale nel volume IX (2005) della collana Dostoevsky Studies, New Series. Il saggio è dedicato alla rielaborazione del sillogismo aristotelico da parte dei personaggi dostoevskiani nell’ambito del dibattito fra le due principali correnti filosofiche della Russia ottocentesca: l’ «occidentalismo» e lo «slavofilismo». Peace evidenzia come Dostoevskij miri a dimostrare che il ragionamento sillogistico sia estraneo alla forma mentis russa attraverso i fallimenti argomentativi dei suoi «ideofori», This is the first Italian translation of Richard Peace’s essay Dostoevsky and the Syllogism, originally published in the 2005 volume of Dostoevsky Studies, New Series. The essay outlines the peculiar reworking of the Aristotelian syllogism by characters in Dostoevsky’s novels in the light of the debate between the two major Russian philosophical schools of the 19th century: Occidentalism and Slavophilism. Peace underlines how Dostoevsky aims at showing how syllogistic reasoning is alien to the Russian way of thinking through the argumentative failures of its proponents.

The Author analyzes the linguo-culturological idea of “brotherhood” in both Ukrainian language and Russian language works by Ševčenko. This word and its related metaphorical meanings are a central poetic instrument of Ševčenko’s literary works and connect them with the ancient traditions of Ukrainian folklore and religious beliefs. Together with the opposite idea of “discordance”, the idea of “brotherhood” is an important tool for the mythological reconstruction of Ukrainian history and of the poet’s philosophical and ideological message. A lexical analysis of the concept of “brotherhood” indicates that the term was very frequent and had numerous nuances in Ukrainian poems, while it was rather rare and semantically limited in the Russian works. The Author offers a lexicographic definition of the key-words, then describes their linguistic function, and syntagmatic, paradygmatic and associative relationships with semantic analysis procedures. Among the associated ideas, national and social liberty are dominant. Here too the differentiation of Ukrainian and Russian works is evident: the conceptualization of the associated terms is similar when it invests the Christian semantic field, but is significantly different when it concerns historical and social issues., Studi Slavistici, Studi Slavistici XII • 2015

In this article, we trace the diachronic phases of so-called genitive-dative syncretism in Old Bulgarian, a phenomenon which marks the beginning of the process of disintegration of the Case system in the history of Bulgarian. We base our research on a corpus study (comprising the texts of Codex Marianus, Codex Zographensis and Codex Suprasliensis) and we show, after a careful examination of the available syntactic positions for the Genitive and the Dative, that the main reason for the Dative shift in Old Bulgarian was the so-called External Possessive construction (also known as dativus sympatheticus) which allowed the dative to be interpreted outside the noun phrase but with reference to an inalienable possessive element inside the noun phrase. We discuss each stage of the functional reanalysis leading to the establishment of noun phrase internal dative possessives, and in particular the role of the emerging clitic pronouns and their second position syntactic behaviour as a main trigger of genitive-dative syncretism., Studi Slavistici, Studi Slavistici XII • 2015

Abstract Based on previously unpublished archive material, the text details the troubled organization of the Russian Hall commissioned by Sergei Diaghilev for the Venice Biennale of Fine Arts in 1907. Its focus is on the correspondence between the “Esposizione”’s Secretary General, Antonio Fradeletto, and Diaghilev, a discourse saturated by national stereotypes and mutual ignorance, which, because of mistrust and deep incompatibilities, ends up relying on a wide network of mediators, among which figure international diplomats and socialites.

The paper offers an analysis of Bulgarian relative clauses introduced by the invariant complementizer deto ‘that’, whose distribution also extends to factive contexts. Using reconstruction as primary evidence for movement, I review the basic facts for its presence (amount readings, idiom interpretation, binding and scope) and absence (Principle C) and argue that both a raising and a matching analysis must be available for the derivation of deto -relatives. I also discuss the distribution and structural properties of resumptive clitics which are shown to block reconstruction in all types of contexts and hence to be compatible with a matching derivation only. Given the structural ambiguity in the derivation of Bulgarian complementizer relatives and in search of a unified treatment of their potentially ambivalent behavior, the paper applies Cinque's (2003, 2008) analysis of relative clauses, which postulates two identical copies of the relativized Head (internal and external) and exploits different movement options to account for the raising and the matching derivations. It is then argued that such a proposal, which also exploits distinct CP positions, can successfully accommodate all of the observed reconstruction effects (or lack thereof), including the option of resumption. The paper also offers a discussion of factive clauses introduced by the same complementizer and proposes that they are best treated as hidden relatives embedded under a more complex structure involving a PP projection and a silent D head.