1,262 research outputs found
Russian Cultural Studies e Kul’turologija in Italia: una proposta di ricognizione bibliografica (1990-2020)
Full text linkRussian Cultural Studies and Kul'turologija in Italy: A proposal for bibliographical research (1990-2020) Giulia Baselica Università degli studi di Torino Over the last thirty years, Italian Russistics has been enriched by numerous publications on cultural topics, thus better defining the blurred boundaries and vast areas of a transversal research strand that identifies its disciplinary models with American Cultural Studies and Russian-Soviet Kul'turologija. Whereas Lotman's boundless scientific production has, at least in part, been the subject of translation and analysis, as well as some important studies by Lichačëv and Averincev, various scientific works were dedicated to the study of specific aspects and expressions of Russian, Soviet and post-Soviet culture – relating to literature, folklore, visual and performing arts, media, byt, national cultural symbols, mass culture and other topics – in various research areas: Cross-cultural studies, Comparative cultural studies, Cultural history, Cultural geography, Gender studies, Cultural heritage studies, Popular culture studies, Cultural semiotics, and many more. In Italian Russistics, the expression 'Russian culture' appears, presumably for the first time, in 1923 in the volume Saggi sulla cultura russa (Essays on Russian culture) by Ettore Lo Gatto and replicated by the author himself in the still unpublished typescript, Storia della cultura russa (History of Russian Culture) dating back to the very early 1980s. The Lo Gatto’s project – a literary profile of Russia within a broadly cultural framework – was followed by a two-decade-long silence. Towards the end of the 1990s, Gian Piero Piretto would start a debate on Cultural studies methodological approaches and fields of investigation applied to the Russian world. This paper aims to outline an overview of the main orientations and research themes of Russian Cultural Studies in Italy. Key words: Annotated Bibliography; Italian Russian Studies; Russian Cultural Studies; Russian Cultural Studies; Kul’turologija; Russian Culture. Russian Cultural Studies e Kul’turologija in Italia: una proposta di ricognizione bibliografica (1990-2020) Abstract Negli ultimi trent'anni la russistica italiana si è arricchita di numerose pubblicazioni di argomento culturale, precisando i confini labili e le vaste aree di un filone di ricerca trasversale che identifica i suoi modelli disciplinari con i Cultural Studies anglo-americani e la Kul'turologija russo-sovietica. Mentre la sterminata produzione scientifica di Jurij Lotman è stata, almeno in parte, oggetto di traduzione e analisi, così come alcuni importanti studi di Lichačëv e Averincev, numerosi lavori scientifici sono stati dedicati allo studio di specifici aspetti ed espressioni della cultura russa, sovietica e post-sovietica ‒ relativi alla letteratura, al folklore, alle arti visive e performative, ai media, al byt, ai simboli culturali nazionali, alla cultura di massa e ad altri temi ‒ in varie aree di ricerca: studi interculturali, studi culturali comparati, storia culturale, geografia culturale, studi di genere, studi sul patrimonio culturale, studi sulla cultura popolare, semiotica culturale e molti altri. Nella russistica italiana, l'espressione “cultura russa” compare, presumibilmente per la prima volta, nel 1923 nel volume Saggi sulla cultura russa di Ettore Lo Gatto e replicata dallo stesso autore nel dattiloscritto, ancora inedito, Storia della cultura russa, risalente ai primissimi anni Ottanta. Al progetto di Lo Gatto ‒ un profilo letterario della Russia all'interno di un quadro ampiamente culturale ‒ seguì un silenzio lungo due decenni. Verso la fine degli anni Novanta Gian Piero Piretto avrebbe avviato un dibattito sugli approcci metodologici e i campi di indagine degli studi culturali applicati al mondo russo. Il presente contributo si propone di tracciare una panoramica dei principali orientamenti e temi di ricerca degli studi culturali russi in Italia. Parole chiave: Bibliografia ragionata; Russistica italiana; Russian Cultural Studies; Kul’turologija; Cultura russa; Bionote: Giulia Baselica is Associate Professor of Russian Language and Literature at the Department of Foreign Languages, Literatures and Modern Cultures of the University of Turin, where she teaches Russian Language and Literature. She specialises in Russian literature, especially from the late 19th and early 20th centuries, Russian culture, odes, comparative literature, and the history and criticism of translation. She has published numerous articles and contributions in these fields of research in anthologies and journals such as Studi Slavistici, Filolog, Studi comparatistici, Diacritica, Il Nome del testo, Kniževna istorija, Nasledje, Kwartalnik Neofilologiczny and others. Recapito autore: [email protected]
Giulia Veronica Varisco
No full textThe headword explains the biography and the contribution of the author Giulia Varisco to the children's literatur
Красота, которая не спасёт мир: западный классический образ женственности и молчание Достоевского
Full text link:Противопоставлениям чувственной и соблазнительной женственности, причиняющей разорения, и чистой и целительной женственности, выражающей евангельские ценности и религиозную веру русского народа, выявленные,
например, в литературных персонажах, таких как Настасья Филипповна в
"Идиоте" и Соня Мармеладова в "Преступлении и наказании", в произведениях Достоевского встречается еще одно выражение женской красоты, которое
само по себе проблематично. Оно имеет отношение к эстетическому идеалу,
задуманному греческой культурой, и смоделированному в статуях Скопаса и
Праксителя.
В моральном и эстетичном мировоззрении великого писателя обе статуи
Венеры Милосской и Венеры Медичи представляются в публицистике и литературных публикациях 1960-х годов повторяющейся ссылкой. Они вводят
моральный вопрос, который, по-видимому, не имеет решения: человек в присутствии гармоничной и чувственной красоты (следовательно не адской или
демонической, а языческой по своей природе) беззащитен, поскольку он ей не
может противопоставить те духовные, евангельские ценности, в которые он
верит и которые он понял в конце долгого и мучительного процесса внутреннего
очищения.
Красота Венеры Милосской и Венеры Медичи (последняя хорошо известна
как в западноевропейской, так и в русской культуре XVIII и XIX веков) напоминает и потому соблазняет естественность человека. В известной статье, написанной в 1861 году, в ответ на высказывание
Каткова, Достоевский утверждал, что только морально сильный человек может
смотреть на две Венеры без беспокойства.
В данной статье предлагается исследовать восприятие Достоевским идеальной женской красоты и ее места в творчестве писателя на основе его отношения к западной культуре
Il Raskol’nikov afghano di Atiq Rahimi. Una riscrittura dostoevskiana
Full text linkThis paper aims to identify Dostoevskian themes and references in the novel Maudit soit Dostoïevski by the Afghan writer Atiq Rahimi. The novel is set in Afghanistan, materially and culturally destroyed by the civil war broken out after the withdrawal of the Soviet army. The plot and plurality of voices embodied by the main character (and narrator) present interesting references and quotations from Crime and Punishment in Rahimi’s novel
FREEDOM, THE IDEA OF FATHERLAND AND NATIONAL INDEPENDENCE. THE IMAGE OF SOUTHERN SLAVIC PEOPLES IN THE WRITINGS OF GIUSEPPE MAZZINI
Full text linkBetween the end of the 1830s and the beginning of the 1860s, the condition of the Southern Slavs was thoroughly analysed by Giuseppe Mazzini, who strongly believed in a necessary and close connection between the aspiration for unity and independence of peoples subject to foreign domination and the founding principle of nationality. Mazzini's ideas, which originated from his general pro-European vision and, in particular, from his specific interest in the history and expression of the individual Southern Slavic cultures, focused, especially in the 1850s, on the role of the Russian Empire. This paper aims to compare, as far as the Southern Slavic question is concerned, Mazzini's political vision, with reference to his writings, in particular the "Slavic Letters" with the debate animated by Russian Panslavism through the writings by contemporary Russian historians, such as Aleksandr Pypin and Michail Pogodin
Spazi, tempi e armonie. L’identità russa nei suoni della sua poesia, con un esempio lermontoviano
Full text linkGli spazi, i tempi e le armonie rinviano non soltanto alla musica del verso russo, bensì anche alla sua peculiarità, data dalla commistione di tendenze artistiche, di elementi diversi e non di rado contraddittori, sorta nel succedersi delle epoche e negli immensi spazi dello Stato russo. La peculiare corrispondenza fra la parola poetica e l’armonia sonora si rivela in tutta la sua irriproducibile ricchezza che condanna ogni traduzione a un parziale fallimento. Il presente contributo si propone di tracciare, prendendo avvio dalle osservazioni di Roman Jakobson, un rapido excursus della storia della parola poetica russa, da un lato evidenziando il costante manifestarsi del conflitto armonioso fra canone e rivoluzione– che anima l’opera del poeta, talvolta addirittura una stessa poesia, generando trasformazioni intense e inattese che avvicinano epoche tra loro lontane: così la parola poetica di Aleksandr Puškin risuona nel verso di Anna Achmatova – dall’altro rilevando la riflessione sulla sostanza sonora del verso russo, sulla quale si soffermarono soprattutto i poeti russi del Novecento. Ma l’armoniosa corrispondenza fra il suono della parola poetica e la musica trova espressione nella romanza, solenne celebrazione dell’incontro fra l’opera dei grandi poeti e l’opera dei grandi compositori russi dell’Ottocento. Di questo fecondo incontro verrà ricordato, in particolare, l’esempio di Michail Lermontov
L’Italia, l’arte e la poesia nel Fra Beato Andželiko di Nikolaj Gumilëv
Full text linkThe lyric poem Fra Andželiko (1912) was inspired by the vivid impressions Nikolaj Gumilëv gained during his Italian tour in the very same year. The work should be seen in its context that acts as a background for the gumilevian perception of the artistic civilization of the Italian Renaissance. Leonardo da Vinci, Raffaello, Benvenuto Cellini, Michelangelo are here awakened, described and matched to the eponymous character. This article aims to reconstruct the image of Italy, of Poetry and to depict the poet through the verses of the poem
Павел Муратов и образ смерти в итальянском Возрождении
No full textPavel Muratov and the image of death in the Italian renaissanceThe article is an analytical path throughout some cultural phenomena — of a philosophical, literary and artistic nature — stemming from a classical and Renaissance reworking of the theme of death, as interpreted by Pavel Muratov, the author of the famous work Образы Италии Im­magini d’Italia, published in Moscow in the first decade of the twentieth century. The outstanding art historian many a time ponders over the concept and image of death, which inspired artists like Giovanni Bellini, Piero della Francesca, Michelangelo or Melozzo da Forlì; as far as death percep­tion is concerned. Death as an oblivion into which past glories fall in cities like Ferrara or Venice, and eventually as a distinctive feature of the fifteenth century, a complex and contradictory era in all its greatness.The deep and original Muratov’s remarks originate an eloquent and prolific dialogue between Russian culture at the beginning of the twentieth century, and Italian Renaissance culture.Pavel Muratov i slika smrti u italijanskoj renesansiCilj ovog rada je da se analitički istraže neki izrazi iz domena kulture, filozofije, književno­sti i umetnosti, koje je kao humanističku i renesansnu obradu teme smrti preuzeo i interpretirao Pavel Muratov, autor poznatog dela Slike Italije objavljenog u periodu od 1911. do 1913. Ugledni istoričar umetnosti se više puta bavi pojmom i slikom smrti, koja je bila inspiracija umetnika kao što su Đovani Belini Giovanni Bellini, Pjero dela Frančeska Piero della Francesca, Mikelanđelo Michelangelo ili Meloco iz Forlija Melozzo da Forlì, percepcijom smrti kao zaboravom koji briše tragove velikana iz prošlosti, u gradovima kao što su Ferara ili Venecija, najzad, nastoji da prati motiv smrti na kraju jedne kompleksne i kontradiktorne epohe u svoj njenoj veličini, kao što je XV vek.Duboka i originalna zapažanja Muratova, u osnovi su veoma plodnog dijaloga između ruske kulture s početka XX veka i italijanske renesansne kulture. Pavel Muratov and the image of death in the Italian renaissanceThe article is an analytical path throughout some cultural phenomena — of a philosophical, literary and artistic nature — stemming from a classical and Renaissance reworking of the theme of death, as interpreted by Pavel Muratov, the author of the famous work Образы Италии Im­magini d’Italia, published in Moscow in the first decade of the twentieth century. The outstanding art historian many a time ponders over the concept and image of death, which inspired artists like Giovanni Bellini, Piero della Francesca, Michelangelo or Melozzo da Forlì; as far as death percep­tion is concerned. Death as an oblivion into which past glories fall in cities like Ferrara or Venice, and eventually as a distinctive feature of the fifteenth century, a complex and contradictory era in all its greatness.The deep and original Muratov’s remarks originate an eloquent and prolific dialogue between Russian culture at the beginning of the twentieth century, and Italian Renaissance culture.Pavel Muratov i slika smrti u italijanskoj renesansiCilj ovog rada je da se analitički istraže neki izrazi iz domena kulture, filozofije, književno­sti i umetnosti, koje je kao humanističku i renesansnu obradu teme smrti preuzeo i interpretirao Pavel Muratov, autor poznatog dela Slike Italije objavljenog u periodu od 1911. do 1913. Ugledni istoričar umetnosti se više puta bavi pojmom i slikom smrti, koja je bila inspiracija umetnika kao što su Đovani Belini Giovanni Bellini, Pjero dela Frančeska Piero della Francesca, Mikelanđelo Michelangelo ili Meloco iz Forlija Melozzo da Forlì, percepcijom smrti kao zaboravom koji briše tragove velikana iz prošlosti, u gradovima kao što su Ferara ili Venecija, najzad, nastoji da prati motiv smrti na kraju jedne kompleksne i kontradiktorne epohe u svoj njenoj veličini, kao što je XV vek.Duboka i originalna zapažanja Muratova, u osnovi su veoma plodnog dijaloga između ruske kulture s početka XX veka i italijanske renesansne kulture
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