Pub Date : 2022-05-28DOI: 10.36253/studi_slavis-12303
G. Molkov
The Lazarevskij Paroemiarion (Parimejnik) is the earliest copy of this liturgical book in the Old Church Slavonic translation; according to the latest research, it dates back to the middle of the 12th century. This manuscript has East Slavic origins and contains important information on the history of Old Russian orthography. Three scribes contributed to the creation of the manuscript and their spelling varies in many respects. Innovative spelling associated with phonetic changes in the Old Russian language of the 12th century are concentrated in the first handwriting: the number of stems with jer omissions, positions with the change of strong jers into o or e, and examples of the so-called “new jat’ (ѣ)”. This handwriting determines the dating of the manuscript. The second scribe also took part in the writing of another Old Russian manuscript, the Miljatino Gospel. The analysis of his part of the Lazarevskij Paroemiarion makes it possible to assess the degree of variability of spelling preferences of the same scribe when working on copies of different texts. The third handwriting looks archaic in the writing of weak jers and the use of non-contracted variants of adjective inflections, although in other positions South Slavicisms can be completely eliminated from it (compare the absence of žd for the reflex of *dj when using žd in the first and second handwritings). Of the coincidences in the spelling of the scribes, the most interesting is the spelling specificity in the recording of specific word forms and letter combinations. These coincidences, indicative against the background of the general inconsistency and spelling differences of the three handwritings, can be attributed to the specifics of the spelling of the scriptorium at the Lazarev Monastery, in which the Parimejnik was rewritten. These characteristic features of the scriptorium include the isolation in the recording of the adverb-preposition posrědě, the dative and local case forms of the pronouns tebě, sebě, only in the form of tebe, sebe, the influence of the same graphic clichés on the choice of the affricate letter.
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Pub Date : 2022-05-28DOI: 10.36253/studi_slavis-12826
M. Leto
Book Review
书评
{"title":"A. Pitassio, La federazione perduta. Cronache e riflessioni sulla dissoluzione della Jugoslavia, prefazione di M. Uvalić, Morlacchi editore, Perugia 2021","authors":"M. Leto","doi":"10.36253/studi_slavis-12826","DOIUrl":"https://doi.org/10.36253/studi_slavis-12826","url":null,"abstract":"Book Review","PeriodicalId":41566,"journal":{"name":"Studi Slavistici","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-05-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78263399","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-28DOI: 10.36253/studi_slavis-13158
Alessandro Ajres
Book Review
书评
{"title":"K. Jaworska (a cura di), Herling – Etica e letteratura. Testimonianze, diario, racconti, con contributi di W. Bolecki, G. Fofi e M. Herling, Mondadori, Milano 2019","authors":"Alessandro Ajres","doi":"10.36253/studi_slavis-13158","DOIUrl":"https://doi.org/10.36253/studi_slavis-13158","url":null,"abstract":"Book Review","PeriodicalId":41566,"journal":{"name":"Studi Slavistici","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-05-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74623122","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-28DOI: 10.36253/studi_slavis-13117
Maria Di Salvo
Book Review
书评
{"title":"A. Cont, Le marquis de Cavalcabò. Un grande avventuriero nell’Europa del Settecento, con testi di E. Smilianskaia e J. Boutier, Ufficio Beni Archivistici, librari e Archivio provinciale, Trento 2021","authors":"Maria Di Salvo","doi":"10.36253/studi_slavis-13117","DOIUrl":"https://doi.org/10.36253/studi_slavis-13117","url":null,"abstract":"Book Review","PeriodicalId":41566,"journal":{"name":"Studi Slavistici","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-05-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74426214","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-28DOI: 10.36253/studi_slavis-12841
G. Mazzitelli
Book Review
书评
{"title":"E. Solonovič, Coincidenze, a cura di C. Scandura, Elliot, Roma 2021","authors":"G. Mazzitelli","doi":"10.36253/studi_slavis-12841","DOIUrl":"https://doi.org/10.36253/studi_slavis-12841","url":null,"abstract":"Book Review","PeriodicalId":41566,"journal":{"name":"Studi Slavistici","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-05-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87843725","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-28DOI: 10.36253/studi_slavis-12612
Ludmila Sproģe
Konstantin Somov is one of the characters in Victor Eglitis’s novel Inevitable Fates. The Latvian writer and artist was familiar with members of the “World of Art” and created an ekphrasis in his novel of the famous portrait of the poet Vjačeslav Ivanov, and also described his impressions of the famous Tower from meetings with A. Remizov, L. Zinov’eva-Annibal, N. Berdjaev, and Z. Serebrjakova. The gallery of portraits, landscapes and interiors creates visual effects in the novel; these are reflected in the description of the characters, who are contemporaries of Victor Eglitis. The characters of the novel are presented according to their images in photographs and artists’ portraits. The portrait, painted by Konstantin Somov, is a visual image of the novel’s hero, a philosopher, poet and scientist, and the owner of a modernist salon in St. Petersburg.
康斯坦丁·索莫夫是维克多·埃格利蒂斯的小说《不可避免的命运》中的人物之一。这位拉脱维亚作家和艺术家熟悉“艺术世界”的成员，并在他的小说中创造了著名诗人vjajaeslav Ivanov的肖像，并描述了他在与A. Remizov, L. Zinov 'eva-Annibal, N. Berdjaev和Z. Serebrjakova会面时对著名的塔的印象。肖像、风景和室内装饰的画廊在小说中创造了视觉效果;这些都反映在人物的描述中，他们是维克多·埃格利蒂斯的同时代人。小说的人物形象是根据照片和艺术家的肖像来呈现的。这幅肖像画由康斯坦丁·索莫夫(Konstantin Somov)绘制，是小说主人公的视觉形象，他是一位哲学家、诗人和科学家，也是圣彼得堡一家现代主义沙龙的老板。
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Pub Date : 2022-05-28DOI: 10.36253/studi_slavis-12301
D. Colombo
Vasilij Subbotin’s We Stormed the Reichstag is a typical specimen of the wave of non-fiction prose about World War II which sprang up in the wake of the 20th Congress. The search for the unjustly forgotten war hero, one of the major themes of this kind of literature, is represented here by the story of Pëtr Pjatnickij, a soldier who fell on the steps of the Reichstag entrance with a red flag in his hand and was then forgotten. If, hypothetically, this story was false, it would echo the (probably false) story of the 28 ‘panfilovcy’ who purportedly fell at Dubosekovo during the battle for Moscow. In that case, Subbotin’s text would embody a characteristically literary device: giving a name to an anonymous character, the anonymous figure, for example, carrying the flag in Vladimir Bogatkin’s well-known painting, as a way to give life and credibility to the image. The Dubosekovo story, as developed by journalist Aleksandr Krivickij, appears to employ the same mechanism for achieving credibility. In this case the operation was twofold: Krivickij gave his heroes first a number, and only later names. The second move was the most hazardous. A story that pretends to be true must be verifiable in real life; this is where Krivickij failed and where Subbotin may have succeeded. Stalinist culture fundamentally refused to separate fact from fiction. The non-fiction literature from the Thaw is exactly the opposite: an attempt at reinstating the separation.
{"title":"The Names of the Unknown Soldiers. Soviet War Literature and Journalism, or Verisimilitude and Truth: Two Case Studies","authors":"D. Colombo","doi":"10.36253/studi_slavis-12301","DOIUrl":"https://doi.org/10.36253/studi_slavis-12301","url":null,"abstract":"Vasilij Subbotin’s We Stormed the Reichstag is a typical specimen of the wave of non-fiction prose about World War II which sprang up in the wake of the 20th Congress. The search for the unjustly forgotten war hero, one of the major themes of this kind of literature, is represented here by the story of Pëtr Pjatnickij, a soldier who fell on the steps of the Reichstag entrance with a red flag in his hand and was then forgotten. \u0000If, hypothetically, this story was false, it would echo the (probably false) story of the 28 ‘panfilovcy’ who purportedly fell at Dubosekovo during the battle for Moscow. In that case, Subbotin’s text would embody a characteristically literary device: giving a name to an anonymous character, the anonymous figure, for example, carrying the flag in Vladimir Bogatkin’s well-known painting, as a way to give life and credibility to the image. The Dubosekovo story, as developed by journalist Aleksandr Krivickij, appears to employ the same mechanism for achieving credibility. In this case the operation was twofold: Krivickij gave his heroes first a number, and only later names. The second move was the most hazardous. A story that pretends to be true must be verifiable in real life; this is where Krivickij failed and where Subbotin may have succeeded. \u0000Stalinist culture fundamentally refused to separate fact from fiction. The non-fiction literature from the Thaw is exactly the opposite: an attempt at reinstating the separation.","PeriodicalId":41566,"journal":{"name":"Studi Slavistici","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-05-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72509569","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-28DOI: 10.36253/studi_slavis-10007
M. Ghilarducci
The article investigates the poetics of language in Vladimir Sorokin’s The Factory Committee Meeting from a new point of view. This tale, which dates to the author’s early short prose (1979-1984), has been unanimously regarded as one of the many examples of literary soc–art. Accordingly, the deformed words pronounced in the main event of the text – a collective ritual of violence – have been considered as a device to deconstruct official Soviet ideological discourse (novojaz). However, the neologisms pronounced by the characters (prorubono, vytjagono and others) are not linked to novojaz. Rather, they are arcane words with a strong performative character, which is, paradoxically, linked to the fact that they apparently do not mean anything. In my investigation, I consider these neologisms as a device to deconstruct language as such. Following Mladen Dolar’s philosophy of the voice and Giorgio Agamben’s consideration on the role voice and bare life play in human existence, I regard the deformed words in The Factory Committee Meeting as the literary representation of a point of transition from pure voice / sound (phonē) as the expression of bare life (zōḗ) to the articulated language (logos) which socio-political life (bíos) is based on. I call this liminal stage extimacy (Dolar) and ‘zone of indistinguishability’ (Agamben): a movement of exclusion and, at the same time, inclusion of pure voice and bare life in the logos of the socio-political community.
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Pub Date : 2022-05-28DOI: 10.36253/studi_slavis-13094
L. Béghin
Book Review
书评
{"title":"V. Bottone, G. Mazzitelli (a cura di, con la collaborazione di P. Avigliano), Sono contento di averti continuato. Lettere a Ettore Lo Gatto conservate alla Biblioteca nazionale centrale di Roma, BNCR, Roma 2020","authors":"L. Béghin","doi":"10.36253/studi_slavis-13094","DOIUrl":"https://doi.org/10.36253/studi_slavis-13094","url":null,"abstract":"Book Review","PeriodicalId":41566,"journal":{"name":"Studi Slavistici","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-05-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89049419","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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