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This article analyzes comments on the social network VKontakte during the COVID-19 pandemic with the aim of uncovering public opinion and sentiments. A discursive model of comments on official materials related to the pandemic was constructed using the qualitative data analysis software tool Nvivo12. The Natural Language Toolkit (NLTK) was employed for this purpose. As a result of a comprehensive analysis of the evolution of "hot spots" of discussion, it was found that during the pandemic, comments in the VKontakte group "StopCoronavirus.rf" addressed several thematic directions: "political measures for pandemic prevention," "protection of the civilian population from the pandemic," "medical prevention of virus spread," "the pandemic and people's livelihoods," "credibility of epidemiological data," "pandemic trends," and "spiritual support and encouragement." Among these, users expressed the greatest concern regarding subtopics related to people's behavior in preventing the virus's spread, the veracity of government-released data, the scale of testing, as well as the reliability of vaccines, online education, and stress caused by the pandemic. As the pandemic progressed, the frequency of discussions on specific topics fluctuated. Negative sentiments within society exhibited a tendency to rise, then decrease, and subsequently rise again, mirroring the overall trends of increasing and decreasing morbidity rates across Russia.

The study examines the cultural norms of Russian and Chinese cultures as represented in proverbs with the key component “mouse”. Thirty-three Russian and nine Chinese proverbs extracted from dictionaries are analyzed. The author describes the cultural stereotypes of Russians and Chinese regarding individuals, aspects of their lives, social roles, and life experiences embodied in proverbs featuring the component “mouse”. It is noted that only two socio-cultural representations of both nations in the studied expressions intersect: five Russian and one Chinese proverb metaphorically speak of a person’s cowardice when facing a strong opponent (usually symbolized by a cat) and the impossibility of resisting them. Russian proverbs are characterized as declarative, drawing on the life experience of socially insignificant individuals who find it difficult to resist the powerful. In contrast, Chinese proverbs reflect on life’s difficulties, also featuring an opposition between the “strong” and the “weak”. To compare cultural norms in Russian and Chinese proverbs with modern stereotypical beliefs of language speakers, an associative experiment was conducted. The author concludes that the associative series of modern language speakers is more pragmatic than the cultural norms reflected in proverbs.

The shared worldview of the so-called “village” writers often obscures the questions regarding their differing evaluations of social reality, interpretations of historical changes, and understandings of humanity’s place in the world. In this context, the task of comparative analysis of their similar artistic solutions appears both relevant and novel. This article examines the case of different scales of a seemingly analogous plot situation. The stories analyzed are Vasily Shukshin’s “The Boots” and Boris Yekimov’s “A Pair of Autumn Shoes”. It is demonstrated that the protagonists of Shukshin and Yekimov manifest themselves within narratives of varying existential intensity, addressing distinct challenges. Despite the apparent similarity in plots, their narrative differences are evident. Shukshin’s characters understand how life should be, yet often deviate from their ideals, fearing kindness; thus, in the writer’s world, the existential is frequently devalued. Vasily Shukshin, who captures the disintegration of the existential within the hero’s inner world, illustrates in “The Boots” that overcoming the mundane is an act of heroism and a personal triumph. Conversely, Boris Yekimov places fundamentally different emphases: within a superficially similar situation, he addresses a transpersonal challenge. The essence of the plot realized in “A Pair of Autumn Shoes” serves to remind readers of spiritual and communal values that may be lost amid everyday concerns.

This article discusses a lesser-known participant in the secret society and conspiracy of the Decembrists in St. Petersburg, merchant Alexander Petrovich Sapozhnikov (1788–1827). The relevance of this research lies in its engagement with a significant historiographical question regarding the maturation of opposition ideas to autocracy within the merchant class. The novelty of this work is defined by the unexplored relationships that connected A. P. Sapozhnikov with the Decembrists. The author has gathered scarce references from sources that illuminate the circumstances surrounding the entry of a merchant family member into the Decembrist union, his involvement in the conspiracy of 1825, and the “demarche” of his relative, Ya. I. Rostovtsev, related to the intentions of moderately inclined Decembrists to achieve limitations on autocracy through non-violent means. The evidence from the sources is compared, and the degree of their authority and reliability is assessed. An interpretation of the documentary data is conducted based on a critical analysis of their comprehensive content. The reasons for A. P. Sapozhnikov’s avoidance of punishment are reconstructed. Unique information is presented regarding the “freethinking” of the Sapozhnikov family, which influenced this representative’s alignment with the Decembrist movement. The findings suggest the emergence of like-minded individuals among the “elite layer” of merchants, while simultaneously revealing the efforts of Decembrist union members to extend their influence into the merchant class.

This article analyzes the political and economic motivations behind the coordinated decision of the European Union and its member states to withdraw from the Energy Charter Treaty (ECT) in March 2024. Special emphasis is placed on the role of the EU’s climate policy in this process. A comprehensive review of the thirty years since the treaty’s inception is presented, aiming to uncover its influence on the domestic political dynamics within EU member states. Through an examination of investment arbitration practices and official EU documents, it is concluded that, despite declarative statements, the climate agenda was merely an external and secondary factor, while the primary driver was a shift in the EU’s investment policy. The article illustrates that the treaty did not obstruct the achievement of the EU’s climate objectives; however, the investment protection mechanism in international arbitration proved incompatible with the principles of autonomy and primacy of EU law. Furthermore, the treaty indeed provided investors with avenues to seek compensation from EU member state governments for assets “blocked” as a result of climate policies. The abandonment of a proven international investments protection tool may negatively impact the foreign investment attractiveness of the EU’s green energy sector.

This article examines the volunteer partisan movement in the Rostov region during the Great Patriotic War. It analyzes its content, as well as the general and specific regional characteristics. The sources for this study include both published and newly identified archival materials, some of which are introduced into scholarly discourse for the first time. The author substantiates the conclusion that the local steppe landscape and the lack of natural shelters had a profoundly negative impact on the scale and nature of the partisans’ military operations. It is established that partisan units, under local conditions, were small in number and could only conduct localized military operations. Many operated solely as reconnaissance and sabotage groups. The analysis conducted by the author leads to the conclusion that the primary tactical forms of combat employed by local partisans were swift and brief military raids and strikes, sabotage actions, as well as military incursions. The author identifies that one of the significant features of the partisan movement in the Rostov region was the Cossack factor. It is argued that the majority of Don Cossacks did not embark on a path of collaboration and actively participated in the partisan movement.

This study examines proper names functioning as titles of iconographic works (such as ‘Pokrov Bogomateri’ (the Protection of the Mother of God), ‘Voskreseniye Khristovo’ (the Resurrection of Christ), ‘Soshestviye vo ad’ (the Descent into Hell) etc.) in the context of exploring their translation into English, French, and Tatar. A comparative analysis of artionyms (icononyms) is conducted. The sources for this research include catalogs of ancient Russian painting, particularly those from the collection of the State Museum of Fine Arts of the Republic of Tatarstan (Kazan). The paper discusses the challenges involved in translating terms such as ‘umileniye’ (compassion), ‘pokrov’ (protection), and ‘успение’ (dormition) etc. On one hand, doctrinal discrepancies are noted in the target languages, which are attributed to extralinguistic factors (differences in approaches to key Christian doctrines among Orthodoxy, Protestantism, and Catholicism, as well as the absence of cultural elements from the source language in the target language). On the other hand, semantic inconsistencies are identified, which can be explained by attempts at generalization or, conversely, specification of the content of terms aimed at facilitating recipient comprehension. One of the most frequent translational transformations observed is calquing, with identified differences in word formation patterns explained by the distinct typological models of the languages being compared (synthetic, analytic, agglutinative).

This article explores the role of tourism in the preservation and support of minority languages in Russia, focusing on the Karelian, Tatar, and Buryat languages. The study is framed within the methodological scope of language commodification research, language landscape, and language economy. Fieldwork data from Tatarstan, Karelia, and Buryatia in 2021, 2022, and 2024, as well as findings from other researchers, form the basis of this investigation. The article highlights the uneven use of minority languages as a tool for ethnographic branding from region to region. The authors conclude that minority languages exist in the language landscape through the naming of various realities, from toponyms to gastronomic terms, serving ethnographic branding and symbolic functions by providing specific words and morphemes. Contrary to expectations, tourism does not contribute to an increase in the number of speakers of minority languages or their use in discourse, both in Russia and globally. However, the increased presence of these languages in public spaces, including for marketing purposes, indirectly enhances their prestige and aids in their normalization.

In his multi-volume Historiarum Britanniae libri xi (1597–1607), the English Catholic scholar Richard White of Basingstoke promotes an anachronistic vision of the founding and history of Britain that challenges the analytical and source critical Anglicae historiae libri xxvi (1534ff.) of Polydore Vergil (1534ff.). White, seeking support for his historiographical enterprise, adopts two brief accounts of the life and achievements of King Arthur by the notorious abbot Trithemius (d. 1516), then makes editorial interventions, including repositioning and textual glosses. Veritas is White’s leading historiographical principle, as expressed, for example, when he claims to be able to distinguish between truth and the fabulous in these Arthurian texts by Trithemius. The difficulty—and the irony—are that White, as editor, imposes an unverifiable ethos of veracity upon Trithemius’ Arthuriana. White and Trithemius do concur, in general, on the historicity of King Arthur and the credibility of both the Historia regum Britanniae (circa 1136) of Geoffrey of Monmouth and the Trojan foundational myth promoted therein.

Ultimately unsuccessful attempts to organize a public dispute with the Jesuits from Poznań in 1574–1575 forced Jakub Niemojewski (d. 1586), a vigorous reformer and talented orator, to write and publish “diatribe or friendly discussion” (“diatribe albo kolacyja przyjacielska”) in 1577. Due to a Jesuit intervention, to whom the first pages of the printed text were given, the publication was immediately suspended. They had the printer’s workshop destroyed, he was sentenced to whipping in the pillory, and the books were finally burnt. Despite the fact that only over a dozen pages of the text have survived, it may be interesting for historians of rhetoric for at least two reasons. Firstly, it is associated with the beginnings of anti-Jesuit literature in the Polish-Lithuanian Commonwealth, written to confine increasing influences of this expansive religious order. Secondly, it may be treated as an intriguing case of debate on the art of debate or negotiating the initial conditions for public dispute, which reveal significant differences in the understanding of its nature, form, and purpose. Taking into account this meta-rhetorical dimension of Niemojewski’s polemic, the paper aims at specifying the meaning of the title term “discussion” (“kolacyja”) as a semantic equivalent of “diatribe” in three interrelated contexts: art of argumentation (collatio argumentorum), Erasmian model of polemic on theological questions (collatio Erasmiana), and a topos of “friendly” discourse (collatio amica).

The aim of this study is to characterise Pieśni nabożne by Remigiusz Suszycki and to reflect on the vision of the hereafter presented in this poetic cycle. Pieśni nabożne were first printed in 1697 by the print house of Franciszek Cezary the Younger in Kraków. They were subsequently reprinted and supplemented in 1700 and 1702. The collection is internally diverse. The third part, collectively titled Świat górny, contains two genres of works: songs and echoes. On close reading, it is possible to recognise Remigiusz Suszycki’s literary strategy, which consisted in juxtaposing songs and echoes, creating a form of dialogue between two subjects in two corresponding works. The dialogue that takes place between the two pieces is intended to highlight two different perspectives – the earthly one (representing the human viewpoint) and the heavenly one (showing the vision of the heavenly intelligences). The whole is tied together by an idea related to the tradition of negative theology: throughout Świat górny, unscientific faith is valued positively, while the attitude of man possessing uncertain knowledge is valued negatively, against the background of man’s intellectual achievements in the field of natural science presented in the work. These observations also allow us to present the profile of a little-known author, namely Remigiusz Suszycki. A fuller characterisation of Pieśni nabożne also fills a gap in research on late Baroque religious poetry.

The aim of the text is to describe the varieties and transformations of the literary genre inspired by Ovid’s Heroides, which occurred in Jesuit works in the early modern period (sixteenth and seventeenth centuries) within a specific geographical area, i.e. especially in Germany and the Netherlands. These considerations are preceded by a short reflection on Christian heroides created by humanist authors in the sixteenth century. The paper discusses mainly volumes covering entire collections containing numerous sacrae heroides and also presents some illustrative examples. The most important authors for the implementation of the genre are presented: Jakob Bidermann, Jean Vincart and Jakob Balde, as well as (more briefly) Balduin Cabillavius. The concepts of each collection and their ideological dominants are discussed. The analyses are complemented by fragments of some elegies quoted in the original along with the Polish translation made by the author.

Morphosyntactic marking connected with the Middle contexts, broadly speaking expressing the involvement and affectedness of the subject (Cotticelli Kurras and Rizza 2013, Inglese 2020), tends to give rise to characteristic Voice syncretism, i.e., the appearance of different readings, e.g., inherently reflexive, anticausatives, antipassive, etc., which are argued to occur via allosemy at LF (Arad 2003, 2005; Marantz 2013a, 2013b; Wood 2015, 2016; Wood and Marantz 2017; Oikonomou and Alexiadou 2022).1 Looking at reflexiva tantum (RT), i.e., predicates with reflexive clitic się (SE) without any non-się marked counterparts, this paper claims that in a language like Polish, where the Middle readings are not expressed by non-active/mediopassive synthetic morphology, this class of contexts does not have to be related to one specification of the Voice, but since it depends on the reflexive SE-clitic, the syntax of the Middle encompasses all the contexts that license the insertion of this element. Only a subset of the syncretic readings in Polish arises as post-syntactic allosemy, and unergative and unaccusative SE-reflexives differ with regards to the base-generation of the nominative-marked subject. Importantly, agentive readings involve the agentive Voice with the NP argument merged in its specifier. Polish reflexiva tantum are discussed in cross-linguistic contexts of other non-alternating predicates, i.e., media tantum and deponents, and it is shown that they cover the same semantic spectrum, but differ in the syntax, especially in their active and agentive readings. It is shown that the idiosyncratic and omplex nature of reflexive tantum is reflected in its potential to create idiomatic extensions, which arise due to both overt syntax and post-spellout allosemy.

Museum of Literature and Performing Arts of Bosnia and Herzegovina – the Difficult Heritage of a Nationally Heterogeneous Country The paper is an attempt to organize information about the Museum of Literature and Performing Arts of Bosnia and Herzegovina in Sarajevo. It presents this institution as an example of a difficult heritage and answers the question of the potential impact of its activities on strengthening the common cultural identity of the inhabitants of a nationally heterogeneous country. The analysis focuses on one decade (2013–2023), but the description also includes necessary references to the institution’s past. The troubled legacy considered in the article is the same as the term difficult heritage, perpetuated by Sharon Macdonald. In interpreting the described phenomena, tools taken from research on memory and cultural heritage (Macdonald, Stobiecka, Smith) are used. In the case of this Sarajevo museum, how heritage is practiced in the circumstances of a dysfunctional state is problematic. The rescue strategies presented in the text are a response to the indifference of political elites to the elementary needs of high culture. Muzeum Literatury i Sztuk Teatralnych Bośni i Hercegowiny – kłopotliwe dziedzictwo niejednorodnego narodowo kraju Artykuł jest próbą uporządkowania informacji na temat Muzeum Literatury i Sztuk Teatralnych Bośni i Hercegowiny w Sarajewie. Przedstawia instytucję jako przykład kłopotliwego dziedzictwa, odpowiada na pytanie o potencjalny wpływ jej działań na umacnianie wspólnej tożsamości kulturowej mieszkańców niejednorodnego narodowo kraju. Analiza dotyczy przede wszystkim jednej dekady (2013–2023), ale w opisie pojawiają się też niezbędne odwołania do przeszłości placówki. Rozpatrywane w artykule "kłopotliwe dziedzictwo" jest tożsame z terminem difficult heritage utrwalonym przez Sharon Mcdonald. W interpretacji opisywanych zjawisk posłużono się narzędziami zaczerpniętymi z badań nad pamięcią i dziedzictwem kulturowym (Mcdonald, Stobiecka, Smith). W przypadku sarajewskiego muzeum problematyczny jest sposób praktykowania dziedzictwa w okolicznościach dysfunkcyjnego państwa. Przedstawione w tekście strategie ratownicze są odpowiedzią na zobojętnienie elit politycznych na elementarne potrzeby kultury wysokiej.

Cultural Resources: Immobility – Transfer, Milling – Revival Editorial of the volume. Zasoby kulturowe. Bezruch – transfer, przemiał – rewitalizacja Artykuł wstępny do tomu.

Phantom Pains: The Image of Bulgarian Transition in Elena Aleksieva’s Dramas The article analyzes Elena Aleksieva’s dramas in the books Ангелски огън [Angel fire, 2014] and Жертви на любовта [Victims of love, 2015] in the context of the social changes in Bulgaria after 1989. Although this Bulgarian author does not write about the transition itself, the picture of the time created by her plays is very clear and representative. In the article, I focus on elements that serve to create this picture, such as freedom, women and their role in the new society, social stratification and art (particularly theatre). Bóle fantomowe. Obraz bułgarskiej tranzycji w dramatach Eleny Aleksijewej Artykuł zawiera analizę dramatów Eleny Aleksijewej opublikowanych w zbiorach Ангелски огън [Anielski ogień, 2014] oraz Жертви на любовта [Ofiary miłości, 2015] w świetle zmian ustrojowych w Bułgarii po 1989 roku. Mimo że autorka nie pisze o tranzycji wprost, to obraz tego okresu, jaki wyłania się z jej tekstów dramatycznych, jest klarowny i reprezentatywny. W artykule omawiam wybrane elementy składające się na ów obraz, spośród których najważniejsze to: wolność, miejsce kobiet w nowym społeczeństwie, rozwarstwienie społeczne oraz sztuka (teatr w szczególności).

History and Histories: Shared and Unshared Sites of Memory The paper is devoted to the issues of modern history/historiography as a transdisciplinary system of mythical, historical, and metahistorical knowledge and consciousness. The question is how can a balance be established among the ethnocentric, supremacist, megalomaniac, and, often, arbitrary narratives; how can the over-interpretation of history within regional frames be avoided? This paper focuses on three interpretative strategies: narcissistic (national, exclusive), consensual (idealistic), and transnational (pluralist, inclusive). The co-existence of shared and unshared sites of Balkan memory can be a pretext not only for diverse ethnocentric narratives but also for a post-national or transnational narrative based on an empathetic historical consciousness. ‘Macedonia’ was in the past and still is an extraordinary example of an over-interpreted site of shared and unshared Balkan history. The more ‘Macedonia’ becomes a factor in integrating Balkan memories and histories, the more it becomes a subject of incoherent interpretations. Historia i historie: Wspólne i niewspólne miejsca pamięci Artykuł poświęcony jest kwestii nowoczesnej historii/historiografii jako transdyscyplinarnemu systemowi wiedzy i świadomości mitycznej, historycznej i metahistorycznej. Pytanie dotyczy tego, w jaki sposób można ustanowić równowagę między etnocentrycznymi, supremacjonistycznymi, megalomańskimi i często arbitralnymi narracjami; jak można uniknąć nadinterpretacji historii w ramach regionów? Niniejszy artykuł koncentruje się na trzech strategiach interpretacyjnych: narcystycznej (narodowej, wyłącznej), konsensualnej (idealistycznej) i ponadnarodowej (pluralistycznej, inkluzywnej). Współistnienie wspólnych i niewspólnych miejsc bałkańskiej pamięci może być pretekstem nie tylko dla różnych narracji etnocentrycznych, ale także dla narracji postnarodowej lub ponadnarodowej opartej na empatycznej świadomości historycznej. „Macedonia” była w przeszłości i nadal jest niezwykłym przykładem nadinterpretowanego miejsca wspólnej i niewspólnej bałkańskiej historii. Im bardziej „Macedonia” staje się czynnikiem integrującym bałkańskie wspomnienia i historie, tym bardziej staje się przedmiotem niespójnych interpretacji.

China and Europe as Geo(bio)graphical/Auto(geo)biographical Spaces: Croatian Experiences of the Interwar Period The subject of this article is two Croatian travel accounts created in the interwar period, featuring an encounter between Europe and China. In the text Izlet u Rusiju: U Drezdenu (Mister Vu–San–Pej zanima se za srpsko–hrvatsko pitanje) (1924), Miroslav Krleža creates a narrator who tries to explain to a Chinese the intricacies of European (especially South Slavic) identification and territorial issues. As a result, an opportunity availed itself to chal­lenge the Eurocentric view of the world and to present first-class self-criticism. In his accounts entitled Na Dalekom Istoku – uspomene našega dobrovoljca iz Sibirije, Mandžurije, Mongolije i Kine (1931), Hrvoje Grgurić introduces the reader to the mysteries of the Chinese cultural landscape. In both texts, the auto-geo-biographical experience of space is (and remains) a clash with mystery and incomprehensible otherness. Chiny i Europa jako przestrzenie geo(bio)graficzne/auto(geo)biograficzne. Chorwackie międzywojenne doświadczenia Przedmiotem zainteresowania autorki są dwie chorwackie relacje z podróży powstałe w okresie międzywojennym, w których dochodzi do spotkania europejsko-chińskiego. W tekście Izlet u Rusiju: U Drezdenu (Mister Vu-San-Pej zanima se za srpsko-hrvatsko pitanje) (1924) Miroslav Krleža kreuje narratora usiłującego Chińczykowi rozsupłać sieć europejskich (zwłaszcza południowosłowiańskich) identyfikacyjno-terytorialnych zawiłości, co staje się okazją do podważenia europocentrycznego spojrzenia na świat i zaprezentowania mistrzowskiego autokrytycyzmu. Hrvoje Grgurić w relacji Na Dalekom Istoku – uspomene našega dobrovoljca iz Sibirije, Mandžurije, Mongolije i Kine (1931) wprowadza w tajniki kulturowego krajobrazu Chin. W obu tekstach autogeobiograficzne doświadczenie przestrzeni jest (i pozostaje) zde­rzeniem z tajemnicą i niepojętą odmiennością.

The Topos of an Immured Woman and Failed Attempts at Emancipation: The Case of Emiliya Dvoryanova’s Novel Земните градини на Богородица [The Virgin Mary’s Earthly Gardens] This article is devoted to reflection on the novel Земните градини на Богородица (2006) by the contemporary Bulgarian writer Emiliya Dvoryanova, who attempts a feminist reckoning with the avaton principle that applies on Mount Athos – a holy place of the Orthodox Church – and, in the wake of that, with androcentric Christian theology. The interpretation of the writer’s strategies of dialogue with the Religious Tradition and folklore (represented by the topos of the walled-up woman) is in correlation with Rosi Braidotti’s philosophical thought, which confirms the message inherent in the semantics of the novel that women’s emancipation is doomed to failure when it is linked with the hope of repairing the ‘man’s’ world. Topos wmurowanej kobiety i nieudane próby emancypacji. Przypadek powieści Emilii Dvoryanovej Земните градини на Богородица Artykuł poświęcony jest refleksji na temat powieści współczesnej bułgarskiej pisarki Emilii Dvoryanovej Земните градини на Богородица (2006). Autorka powieści podejmuje próbę feministycznego rozrachunku z obowiązującą na Górze Athos – świętym miejscu prawosławia – zasadą avatonu, a ślad za tym z androcentryczną teologią chrześcijańską. Interpretacja stosowanych przez pisarkę strategii dialogu z Tradycją religijną oraz folklorem (reprezentowanym przez topos wmurowanej kobiety) pozostaje w korelacji z myślą filozoficzną Rossi Braidotti, która potwierdza wpisane w semantykę powieści przesłanie, iż kobieca emancypacja skazana jest na porażkę, gdy wiązana jest z nadzieją na naprawę „męskiego” świata.

Ludovik Paskvalić in the Light of Literary History in the 19th and Early 20th Century The paper raises the question of the influence and reception of the work of Ludovic Paskvalić (1500–1551), a Renaissance poet who lived in the Bay of Kotor region. The aim is to provide a chronological account of the ways in which his work was disseminated, as well as to point out inaccuracies appearing in the literature on him. Particular attention is given to the poet’s significance for Croatian culture, especially in light of the fact that he wrote poems in Italian and Latin. Ludovik Paskvalić w świetle historii literatury od XIX do początków XX wieku W artykule została podjęta kwestia oddziaływania i recepcji dzieła Ludovika Paskvalicia (1500–1551), renesansowego poety żyjącego w regionie Zatoki Kotorskiej. Celem jest chronolo­giczne przedstawienie procesu rozpowszechniania jego twórczości, jak również wskazanie na pojawiające się na jego temat nieścisłości w literaturze przedmiotu. Szczególna uwaga poświę­cona została znaczeniu poety dla kultury chorwackiej, zwłaszcza w świetle faktu pisania przez niego wierszy w językach włoskim i łacińskim.

Homeless in Their Own Home: Bulgarian Muslims After 1878 This article is a review of the study entitled Muzułmanie w Bułgarii 1878–1912 [Muslims in Bulgaria 1878–1912], authored by Krzysztof Popek (Kraków, 2022, pp. 562). This book outlines not only the history of the Muslim migrations and the legal status of Muslims in the newly established state, but also their participation in basic social areas such as administration, media, education, culture, etc. Bezdomni we własnym domu. Bułgarscy muzułmanie po 1878 Recenzja monografii naukowej Muzułmanie w Bułgarii. 1878–1912 autorstwa Krzysztofa Popka (Kraków, 2022, 562 ss.). Książka stanowi skrupulatne opracowanie przedstawiające nie tylko historię migracji muzułmańskich i status prawny muzułmanów w nowo powstałym państwie, ale także ich udział w podstawowych obszarach społecznych, takich jak administracja, media, oświata, kultura itp.

Vikentiy Veresaev’s novel V tupike (In a Dead-End) was the first major Soviet literary work set in the civil war of 1918-21. It continued Veresaev’s already established literary focus on the evolution of the political and spiritual outlooks among Russia’s socialist intelligentsia, those educated members of society whose life was guided by a commitment to improving the life of the toiling classes. This article focuses on the novel’s depiction of attitudes among the intelligentsia to a central question of the novel: the contradiction between the revolutionary regime’s professed humanistic, socialist goals and the often violent and arbitrary means which it adopted. The article ends with a brief discussion of the novel’s reception, before its ultimate banning in the early 1930s.

Tradução do texto “No palácio de inverno” (V zímnem dvortsié), de Larissa Mikháilovna Reisner (1895–1926), antecedido por uma breve contextualização sobre a autora.

A escrita memorialista auxiliou a intelligentsia russa a forjar a sua identidade enquanto grupo. Muitas mulheres desse grupo se aventuraram pelo gênero memorialístico/autobiográfico e narraram suas vidas, sendo que várias dessas histórias transcorreram nas situações mais difíceis e desafiadoras. O presente artigo analisa um diário da autoria de Elena Skriábina intitulado Cerco e Sobrevivência – A Odisseia de uma Leningradense, que é sobre a experiência de ter sobrevivido ao cerco de Leningrado. A cidade (atual São Petersburgo) ficou cercada na Segunda Guerra Mundial durante 872 dias pelas tropas de Hitler, e seus moradores enfrentaram terríveis privações e dificuldades. O texto de Skriábina ao mesmo tempo em que fala sobre a impossibilidade de viver uma experiência que não esteja condicionada a um evento histórico, abre os olhos do leitor para a importância da narração e do registro das vidas transcorridas em meio ao turbilhão da História.

O artigo apresenta, em linhas gerais, a revista Ouriço (Ioj), considerada uma das melhores publicações soviéticas voltadas para crianças Pioneiras. Algumas seções serão destacadas e analisadas, do ponto de vista literário e gráfico, em particular das edições de 1928 e 1929, antes de o realismo socialista tornar-se estética oficial do país. Idealizada pelo editor e poeta Samuil Marchak (1887–1964), a revista reuniu relevantes escritores e pintores de variadas tendências artísticas que proliferavam no início do século XX, incorporando experiências poéticas, gráficas e educacionais inovadoras.

O Arquipélago Gulag, de Aleksandr Soljenítsyn, publicado originalmente em 1973, denuncia o sistema repressivo soviético por meio de uma narrativa polifônica, construída a partir de mais de duzentas cartas de ex-zeks e da própria experiência do autor nos Gulags. A obra dá voz àqueles que viveram nos campos, estabelecendo um diálogo constante com a versão oficial da história soviética à época e construindo a verdade histórica a partir do relato das testemunhas. Este artigo analisa como Soljenítsyn emprega a polifonia, conforme o conceito de Mikhail Bakhtin, na construção de um romance épico resultante de um experimento de investigação artística, que se apoia em um narrador híbrido, ora monofônico ora polifônico. Adicionalmente, explora o papel da narração polifônica na representação de eventos traumáticos, à luz das reflexões de Walter Benjamin sobre o declínio da narrativa.

Baile de máscaras é uma peça de teatro escrita por Mikhail Lermontov (1814-1841), um dos principais escritores do romantismo russo. Tomando como base a estrutura de Othello, de Shakespeare, Lermontov traz o protagonista Arbiênin como uma versão contemporânea e russa do herói mouro, que age de modo frio, calculado e covarde diante da suposta traição de sua esposa, em oposição à paixão sanguinolenta do outro. Neste artigo, tomaremos a metáfora das máscaras como fio condutor para discutir aspectos filosóficos, sociais e estéticos trazidos pela peça, que questiona a possibilidade de uma existência humana racional e moral e mostra a hipocrisia de uma sociedade supostamente regida por valores iluministas. As máscaras e os jogos de cartas como simulações de batalhas aparecem na obra como metáforas para trabalhar a diferença entre aparências e realidade, que Lermontov relaciona, de modo metalinguístico, com a própria arte, em especial, com o teatro.

Apresentação e tradução ao português do texto “Regras para autores iniciantes”, de Anton Tchékhov

The paper examines the questions of poetics on the example of the autobiographical texts of Boris Pasternak (1890-1960).

Levinas ne cite que de très rares écrivains soviétiques (Grossman, Zinoviev), alors que les références à la littérature russe antérieure abondent dans ses œuvres. Nous pensons que les références à ces derniers, qui critiquent le régime ou la société soviétique, en insistant sur l’antisémitisme soviétique et le mauvais usage du langage, complètent la critique lévinassienne de la philosophique moderne européenne et ne sauraient en être une alternative légitime.

En el artículo se analizan algunos textos de autores centrales del cosmismo ruso extraídos de la antología realizada por el compilador Boris Groys en su versión española publicada por Caja Negra Editora con traducción de Fulvio Franchi. A partir del análisis se exponen los conceptos centrales del movimiento intelectual denominado cosmismo ruso, cuyo desarrollo comienza en el siglo XIX con la obra de Fiódorov y se extiende hasta aproximadamente mediados del siglo XX. Se plantean relaciones ideológicas con el proyecto soviético y el devenir de la ciencia, la política y la cultura globlales durante el siglo XX y hasta la actualidad.

O artigo "Sobre a pequena burguesia" (O meschanstve), publicado em 1929 por Maksim Górki, é um dos textos mais representativos do autor, por tratar deste conceito tão relevante e quase intraduzível da língua russa. O conceito, nada lisonjeiro, aqui traduzido por "pequena burguesia" refere-se não apenas a uma classe social, mas a uma postura ideológica e comportamental adotada por determinado grupo de pessoas, a qual envolve atitudes medíocres, autocentradas, mecanizadas, mesquinhas e vulgares. Este artigo, portanto, para além de apresentar o ponto de vista de Górki sobre o tema, inserido no contexto histórico revolucionário na Rússia, constitui importantíssima referência teórica sobre a compreensão daquela porção da sociedade também retratada pelo autor na célebre peça Pequeno-burgueses. As questões discutidas permanecem relevantes e refletem aspectos da sociedade ainda hoje pertinentes.

O presente artigo tem como objetivo analisar as representações da figura da “Mãe” em A Mãe (1907), de Maksim Górki, e Meninos de Zinco (1989), de Svetlana Aleksiévitch. Vemos nas duas obras uma construção política da maternidade. Na primeira, ela está ligada à antecâmara do realismo socialista e à anunciação teleológica do futuro. Na segunda, ao testemunho como um “relato-prece” dessas mulheres que perderam os filhos no “conflito colonial” da Guerra do Afeganistão (1979-1989). Elas erguem suas vozes para criticar a burocracia impassível. O futuro é substituído pelo presente contínuo: a marca perene, por isso traumática, da morte do filho. Nas figurações, as mães aparecem no espaço público. A emoção não é um sentimento de recolhimento, mas de encontro do outro. A emoção não diz “eu”. Para realizar essas discussões também passamos, como reverberações, pelas figurações históricas e iconográficas da maternidade na União Soviética.

O principal objetivo deste artigo é analisar as complexas relações entre História, determinação e liberdade desenvolvidas em Guerra e Paz (1863-1869). Primeiro, analiso as principais características da História para Liev Tolstói. Segundo, investigo as relações entre determinação e liberdade em Guerra e Paz. Por último, apresento os meios, descobertos pelos personagens do romance, para agir na História. Afasto-me da hipótese, defendida por Isaiah Berlin, de que Liev Tolstói tinha uma posição determinista de História. Creio que o escritor russo, através de Guerra e Paz, defendeu um equilíbrio entre o passado, o presente e o futuro para criar possibilidades de ações profícuas sobre o mundo. Assim, valoriza-se as tradições camponesas russas com o intuito de desenvolver ações no presente, criar

O presente trabalho pretende apresentar a tradução de duas das mais conhecidas obras do polímata setecentista russo Mikhail Lomonóssov: A Meditação Matinal sobre a Grandeza Divina e a Meditação Noturna sobre a Grandeza Divina, ambos produzidos no auge de sua carreira poética. Para tanto, apresento um breve relato do significado dentro da história literária russa de tais obras, dois breves poemas que representam a mais fina flor do caráter de Lomonóssov enquanto poeta, bem como um vislumbre de sua atividade científica mediante sua poesia, bem como sua complexa relação com o divino. Para estas duas produções basilares da poesia russa, ofereço tradução analógica em decassílabos heroicos.

O artigo propõe uma leitura da novela A morte de Ivan Ilitch, de Tolstói, com destaque para questões éticas prementes na narrativa, em especial o problema da inautenticidade existencial, recortado sob o pano de fundo sartreano. Busca-se refletir sobre a experiência de tomada de consciência da própria finitude levada a cabo pelo protagonista, Ivan Ilitch, um sujeito a quem a inautenticidade em que viveu apela como elemento propulsor à uma epifania do que seria o “bom viver” em oposição a uma vida marcada pelo cálculo e vaidade, eticamente condenada na narrativa. Para pensar o conceito de inautenticidade, o texto dialoga com o existencialismo sartreano, em especial com seu conceito de inautenticidade.

O presente artigo tem como objetivo investigar a relação entre o niilismo e a construção do personagem-narrador de Memórias do subsolo, de Fiódor Dostoiévski. Para isso, realiza-se uma análise da estética niilista presente na obra, destacando como o autor, ao se posicionar como sujeito de sua própria criação, emprega o niilismo tanto como recurso estético quanto como alvo de crítica, buscando ao mesmo tempo superá-lo. Nesse sentido, o autor russo compreende o niilismo não apenas como uma representação da condição humana, conforme descrito por Nietzche, ou como um fenômeno histórico que afetou a Rússia no século XIX, mas também como uma força criativa e uma potência política que molda sua produção literária.

In this paper, we deal with the status of dependent clauses introduced by a complex conjunction, as in the administrative-legal style of the fifth decade of the 19th century. We used legislative-legal substyle texts as a corpus. We performed the analysis using syntactic-semantic, functional and historical-linguistic methods. Sentences introduced by a compound conjunction as are more commonly used than in modern legal language. Modal and comparative-modal sentences of this type appear in several models, of which the function of a text connector is particularly pronounced.

The aim of this article is to describe the reception of publications of Polish translations of Yugoslav books for children and young people published in 1944–1989, to establish a publishing chronology and to estimate the size and nature of translation production from three languages: Serbo-Croatian, Slovenian and Macedonian. I will show how the changes taking place on the publishing market in the Polish People’s Republic and Polish-Yugoslav cultural relations influenced the selection of works by Yugoslav authors that were offered to young readers. When analysing the strategy and motivation of publishers choosing items to be translated into Polish, I will use Itamar Even-Zohar’s theory of the cultural repertoire. Tools created by an Israeli translation expert make it possible to examine whether books translated into Polish have contributed to the modification of the Polish cultural repertoire.

Članek preučuje spreminjajočo se vlogo umetne inteligence na področju književnega prevajanja. Najprej obravnava binarno naravo književnega prevoda, ki v sebi združuje značilnosti reproduktivne in ustvarjalne umetnosti, ter pojasnjuje, zakaj je ta okvir najustreznejši za primerjavo človeških in strojnih umetniških poskusov. V tem kontekstu članek nato z vidika jezikovne razplastenosti in kulturnozgodovinskega védenja analizira prevod kratke zgodbe Ivana Bunina Antonovska jabolka, ki ga je ustvaril veliki jezikovni model GPT. Preveri, kako dobro GPT pozna pravopis in kolikšen izziv mu predstavlja poezija. Slovenski prevod primerja z angleškim in odpre vprašanje o pomenu, ki ga imajo podatki za umetno inteligenco. Članek v grobem predstavi arhitekturo in prihodnost velikih jezikovnih modelov. S tem demistificira umetno inteligenco in omogoči poglobljeno razumevanje njenih zmogljivosti ter pomanjkljivosti znotraj književnega prevajanja in širše.

Prispevek preučuje verz(je) pesnice, esejistke, prevajalke in aktivistke Nataše Velikonja. Teoretični del je namenjen prevpraševanju različnih metodoloških pristopov k obravnavi prostega verza. V analizo so vključene pesmi iz zbirk Abonma (1994), Žeja (1999), Plevel (2004), Poljub ogledala (2007), Ostani (2014), Preveč vljudna (2017) in Prostor sred križišč (2021). Krajše poglavje je osredotočeno tudi na pesem v prozi – hibridno formo, ki predstavlja drugo temeljno izrazno sredstvo sodobne poezije.

The Russian invasion of Ukraine led to major changes in the Slavic academic world, both in terms of international scientific cooperation and in teaching. This article is a survey-based analysis of the curricular changes within Russian-studies courses offered by Polish universities following the Russian invasion of Ukraine on 24 February 2022. It will examine how teaching-process coordinators have managed to introduce necessary changes to ensure the continuity of Russian philology as a major, both undergraduate and postgraduate courses, what amendments are still expected, and what direction of Russian studies can be anticipated in the foreseeable future.

In a previous study we showed that in some peripheral dialects of Common Slavic, the aorist/infinitive suffix of Class II verbs was *-nu-. In the present study, we focus on the diachronic explanation of the variation *-nǫ- ~ *-ny- ~ *-nu- in this suffix. We propose that its rise was facilitated by CSl phonological developments in final syllables, at the juncture of stem markers and the PIE endings: 2sg *-neh2-s# > CSl *-ny; 1sg *-new-m# > CSl *-nǫ; 3sg and word-internally *-new(-t#) > CSl *-nu(-). The resulting allomorphy could be leveled in different directions, whereby the causes traditionally invoked to explain *-nǫ- and *-ny- (perseverative nasalization, analogy to other verbal stems) played a role too.

From Petersburg to Shipka via Mount Athos: Slavic Saints on the Shipka Iconostasis The article explores the images of Slavic saints on the iconostasis of the Russian Memorial Church in the town of Shipka in Bulgaria, which were completed in 1899–1901 at the Russian Saint Panteleimon Monastery on Mount Athos. Its main objective is to analyze the iconostasis’s conceptual framework, the meanings behind the selection of the saints, as well as the main iconographical models utilized. The Committee for the Construction of the Memorial Church and its chairperson Count Nikolay Ignatyev conceived of one tier of images of saints depicting the heroes of the Russo-Turkish War of 1877–1878, while a number small icons would feature local Bulgarian and Slavic saints that were to be selected by the monks themselves. The icon painting monks mainly relied on Archbishop Philaret of Chernigov’s book The Saints of the Southern Slavs with engravings by academician Fedor Solntsev as the main source and model for their depictions of saints. Z Petersburga do Szipki przez Górę Athos. Słowiańscy święci na ikonostasie w Szipce Przedmiotem uwagi są wizerunki słowiańskich świętych na ikonostasie w Cerkwi pw. Narodzenia Pańskiego w Szipce w Bułgarii, które powstały w latach 1899–1901 w rosyjskim klasztorze św. Pantelejmona na Górze Athos. Celem artykułu jest analiza ram koncepcyjnych ikonostasu, znaczeń stojących za wyborem świętych, a także głównych wykorzystanych modeli ikonograficznych. Członkowie Komitetu ds. budowy świątyni upamiętniającej wydarzenia na przełęczy Szipka, wraz z przewodniczącym, hrabią Nikołajem Ignatjewem na czele, wymyślili rząd wizerunków świętych przedstawiających bohaterów wojny rosyjsko-tureckiej z lat 1877–1878. Kilka mniejszych ikon miało przedstawiać lokalnych bułgarskich i słowiańskich świętych, wybranych przez mnichów. Głównym źródłem i wzorcem dla tych przedstawień było dzieło arcybiskupa Filareta (Gumilewskiego) Święci południowosłowiańscy, zawierające ryciny Fiodora Sołncewa.