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The article was submitted on 28.03.2020. Представлен анализ религиозных тем и мотивов в травелогах итальянских писателей, посещавших СССР в 1920–1930-х гг. Религиозная тематика в данных текстах предстает в двух основных формах: во‑первых, обращение авторов к религиозной образности (аллюзиям на Библию и другие тексты христианской традиции) как общему культурному коду, используемому при осмыслении незнакомых советских реалий; во‑вторых, исследование форм присутствия религии в советском обществе, внешне сугубо атеистическом, внутренне же (в восприятии итальянских авторов) проникнутом религиозным духом. Изучение этих аспектов позволяет выделить ряд важных особенностей рецепции Советского Союза в итальянском обществе, в том числе рассмотреть влияние фашистской пропаганды и европейского «мифа о России» на формирование образа СССР в Италии, и внести вклад в осмысление механизмов формирования образа «другого» в межкультурном взаимодействии России и Запада. Материалом исследования послужили травелоги итальянских литераторов Курцио Малапарте, Винченцо Кардарелли и Коррадо Альваро, посетивших СССР в 1920–1930-е гг., в период расширения экономических и культурных контактов между Россией и зарубежными странами после завершения Гражданской войны. В ряду свидетельств, оставленных итальянскими гостями СССР, травелоги, созданные прозаиками и поэтами, представляют особый интерес как пример того, каким образом материал действительности преломляется в авторском воображении. В России эти тексты малоизвестны и практически не привлекают внимания исследователей. За рубежом же они активно изучаются начиная с 1980-х гг. в статьях и монографиях, посвященных образу СССР в западном сознании, в последние годы выходит ряд специальных работ о путешествиях итальянских авторов в Советский Союз. Однако зарубежные исследователи рассматривают данные тексты исключительно как исторические источники и практически не затрагивают проблему структуры травелога как художественного целого. Между тем, «филологический» подход необходим для адекватного понимания такого сложного художественно-документального образования, как травелог. Результаты данного исследования в конечном счете могут иметь практическое значение для более эффективного выстраивания межкультурных коммуникаций в современном мире. This article analyses religious themes and motifs in travelogues by Italian authors who visited the USSR between the 1920s and 1930s. Their writings deal with religion from two different points of view: first, the authors use religious images and allusions to the Bible and other Christian texts as a common cultural code, which helps them comprehend various phenomena of Soviet reality; second, they explore different ways in which religion is present in Soviet society, which was (as the Italian authors saw it) simultaneously strictly atheistic and permeated with religious spirit. The analysis of these two aspects allows the author to point out some important features of the Italian reception of the Soviet Union and to study the influence of fascist propaganda and the European “Russian myth” on the image of the USSR in Italy. This can help us understand the mechanisms underlying the formation of the image of the “other” in intercultural contacts between Russia and the West. The research is based on studying the travelogues by the Italian writers Curzio Malaparte, Vincenzo Cardarelli, and Corrado Alvaro, who visited the Soviet Union between the 1920s and 1930s when political, economic, and cultural contacts between the USSR and other countries were expanding rapidly after the Civil War. Among other testimonies of the Italian “guests” in the Soviet Union, travelogues created by prose writers and poets are of particular interest as an example of how reality is transformed by literary imagination. These sources are mostly unknown in Russia and have not attracted the attention of researchers. However, they have been studied abroad from the 1980s in several articles and monographs dealing with the image of the USSR in Western culture; recent years have witnessed the publication of several works especially dedicated to Italian writers travelling to the Soviet Union. However, non-Russian researchers mostly regard these texts as historical sources without considering their literary structure: a “philological” approach is crucial for an adequate understanding of such a complex of both fictional and documentary sources. In the long run, the results of this research may contribute to the development of new efficient strategies for intercultural communication in the modern world. Статья написана при поддержке гранта Российского научного фонда 20–78–00042 «Советский Союз и «русский миф» в травелогах итальянских писателей» в ИМЛИ РАН.

������������ ������ ������������������������ ���������������� �������� �� �������������������� ������ ������������������������ ������ ���� �������� ������ ���������������� ������������ ��Gente in Aspromonte��, ������ �������������������� Coronata ������ ������ ������������������ ������ ������������������ ����������������. ������������ ���� �������������� �������������������� ������ ������ �������������� ������������ �������� ����������������. ������������������ ������������������������ ������ ������������������������ ���� ���������������� �������� ������������������ ������ ���������������������������� �������� ���� ������������������������ ��������������������. ������ ���������������� ���������������������� �������������������� ������ ���������������������� ���������������� ������ ������������������. ���������������� ���������� �������������������� ���������������������� ������ ������������������ ������ �������������������� ���������������� ������ ������������������ ���������� ������, ������ ������������������ ������ ������ ������������ ������, The aim of this master���s thesis was the presentation of two extracts by Corrado Alvaro��� s ��Gente in Aspromonte��, that is of his short story Coronata and the introduction of the titular novella. Initially the texts were transferred from the Italian language to Greek. Afterwards, they were listed and commented the choices made during translation process. Then they were cited the writer���s biography and his works. Furthermore, it was made an attempt to approach the historical and social frame of the writer���s birthplace, Calabria and his era

This paper analyses, from a geo-critical viewpoint, the representations of Italian land reclamation space and landscape, as reflected in some literary works. In particular, three phases of the literary gaze on land reclamation landscape are considered, as well as some themes running through them. From a classical phase, centred on the indirect eulogy of land reclamation as a mean to overcome the swamp, we get to the phase of fascist modernization, which reads in land reclamation the construction of an efficient landscape guided by order, geometry and mechanic. The third phase, the contemporary one, sees a reconsideration of land reclamation landscape, marked by humanization, lived experience and a renewed sense of place., L'article analyse, dans une clé géocritique, les représentations de l'espace et du paysage des bonifications en Italie, telles qu'elles émergent de quelques oeuvres littéraires. On observera en particulier trois phases du regard littéraire sur le paysage des bonifications et certains thèmes qui les traversent. D'une phase classique, centrée sur l'éloge indirect des bonifications en tant que dépassement des marais, on arrive à une phase de modernisation fasciste, qui voit dans les bonifications la construction d'un paysage à l'image du régime (ordre, géométrie, machinisme). La troisième phase, contemporaine, reconsidère les paysages de la bonification dans le sens d'une humanisation, d'un vécu et d'un sens du lieu retrouvé., Cavallo Federica Letizia. Visions littéraires des paysages de la bonification en Italie. In: Le Globe. Revue genevoise de géographie, tome 156, 2016. Italie. Paysage et identité, sous la direction de Gianni Hochkofler et Renato Scariati. pp. 111-134.

The city founded by the Emperor Constantine has been full of signs of Latin presence over past centuries until today. These signs are reflected not only in the historical, but also in the artistic and cultural fields in the city situated on seven hills. One could start by naming the Galata tower that even today dominates the lower city beyond the Golden Horn, conserving many cultural memories and associations, which bring Italy to mind. If one is to go back to the time of the conquest of Constantinople - Istanbul by Fatih Mehmet, it is a must to remember the district of Pera where not only the Venetian bailo, but also many Venetian families used to live. Pera was in fact the place where a school of translators was founded in the seventeenth and eighteenth centuries so we witness quite a modern and different conception of culture. Towards the end of the eighteenth and throughout the nineteenth and twentieth century Constantinople - Istanbul became the destination of various categories of travelers; missionaries, businessmen, tourists and writers, such as Gustave Flaubert, Pierre Loti, Edmondo de Amicis, Corrado Alvaro and Giuseppe Antonio Borgese, who in their works gave an account of the city as it used to be. Moreover, the Italians have rendered themselves immortal in the City thanks to the works of architects such as Raimondo d’Aronco and painters such as Fausto Zonaro, admired in the Ottoman ex-capital and highly esteemed in a nowadays Turkey. In fact, it is possible to find traces of Italian presence in the City dating back to the Middle Ages still present with a hospital, churches, schools, associations and newspapers. The most actual and significant representative of Italy in Turkey is, without doubt, a film director and writer Ferzan Özpetek. He was born and raised in Istanbul and defines himself as an Italian thus forming a trait d’union between the two cultures with his original and multicultural films.

Questo lavoro guarda al contributo che la letteratura italiana ha dato relativamente alla costruzione e alla sedimentazione, nell'immaginario comune e nella percezione pubblica, dell'identità geografica e culturale del Mezzogiorno, ovvero di quella «consapevolezza geopolitica» di cui parlava Edward Said a proposito di altre aree del globo. Per fare ciò, sono stati identificati e presi in esame due diversi momenti che nella storia d'Italia si sono contraddistinti per una forte ridiscussione dell'immagine delle regioni meridionali del paese. I decenni immediatamente successivi all'Unità, infatti, sono stati caratterizzati da ampi dibattiti in merito al ruolo che il Sud doveva avere all'interno della nuova nazione, e in tale quadro il campo letterario appare aver avuto una funzione tutt'altro che marginale, contribuendo insieme ai campi editoriale, artistico, culturale e politico, a sviluppare le diverse rappresentazioni del Mezzogiorno. Il ventennio fascista, poi, ha dovuto fare i conti con strategie descrittive che del Sud avevano fatto una problematica regione dell'immaginario, di cui si erano messi in risalto in prevalenza gli aspetti di alterità rispetto al resto d'Italia, e le ha riformulate in maniera complessa e disorganica, calandole poi (spesso a fini propagandistici) all'interno di dialettiche che ruotavano intorno alle opposizioni città/campagna, centro/periferia e tradizione/innovazione.

La tesi propone un'analisi della Medea di Euripide e del suo rapporto con la realizzazione cinematografica pasoliniana, sottolineando analogie e divergenze. Lo studio dell'adattamento del testo tragico di Pasolini, evidenzia come il debito del regista nei confronti di Euripide sia notevolmente inferiore rispetto a quello verso altre fonti, quali la Lunga notte di Medea di Corrado Alvaro e le letture antropologiche di Pasolini, contemporanee alla realizzazione del film. Se Corrado Alvaro risulta fondamentale per la comprensione della psicologia dei personaggi, in particolare di quelli femminili, e di alcuni elementi simbolici ricorrenti nel film, Mircea Eliade con il suo Trattato di storia delle religioni e James Frazer con Il ramo d'oro risultano fondamentali per una corretta interpretazione dell'opera di Pasolini e del suo rapporto con il mito. This paper is about the analysis of Euripides' Medea and its relationship with Pasolini's cinematic version. Pasolini's Medea is based not only on the classical tragedy but also on the drama Lunga notte di Medea by Corrado Alvaro, and some anthropological essays of the '60s. Corrado Alvaro's drama is fundamental for understanding the characters' psychology, especially the female ones; while some recurring symbols in the film and its relationship with the myth are derived from Mircea Eliade's History of religions and from James Frazer's The Golden Bough. Tesi di laurea di 1. livello in Lingue e letterature straniere moderne. Corso di laurea in Lettere moderne indirizzo stampa ed editoria. A. a. 2005/2006. Relatore Dott.ssa Grazia Sommariva Correlatore Prof. Luigi Martellini

Quando la narrazione 'racconta' la storia, il dettaglio viene promosso ad indizio facente parte della trama romanzesca, che non è 'finzione' rispetto alla realtà evenemenziale, ma suo allargamento semantico.

International audience; Le compartiment de train, ce petit salon où l’on causait, est aujourd’hui en voie de disparition. Quelques nouvelles italiennes du XXe siècle (Pirandello, Alvaro, Landolfi, Campanile, Calvino, Primo Levi, Dacia Maraini) montrent à quel point cet espace clos, lieu de rencontres, lieu de convivialité par excellence, du moins en Italie, peut aussi être propice à l’aventure, incitation au mensonge ou révélation de vérité, métaphore de la vie ou chambre mortuaire.; Lo scompartimento del treno, quel piccolo salotto in cui un tempo si conversava, è oggi prossimo a scomparire. Alcune novelle italiane del Novecento (Pirandello, Alvaro, Landolfi, Campanile, Calvino, Primo Levi, Dacia Maraini) mostrano a che punto questo spazio chiuso, luogo d’incontri, luogo conviviale per eccellenza, per lo meno in Italia, possa anche rivelarsi propizio all’avventura, incitare alla menzogna o alla scoperta della verità, diventare metafora della vita o stanza mortuaria.