Papers by Anastasia Golubtsova
Studia litterarum, 2022
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Studia Litterarum, 2020
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Quaestio Rossica, 2021
This article analyses religious themes and motifs in travelogues by Italian authors who visited t... more 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 researc...
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“Notes from Underground” by F.M. Dostoevsky in the Culture of Europe and America, 2021
The article studies theatrical interpretations of Notes from Underground in Italy. It analyzes pe... more The article studies theatrical interpretations of Notes from Underground in Italy. It analyzes performances inspired by Dostoevsky’s novel and draws a conclusion that the popularity of the novel has been constantly rising in the last decades. However, as the novel becomes more popular, its interpretations get simpler and narrower: the prevailing “psychoanalytical” approach significantly distorts the original text, limiting it to an analysis of an individual neurosis and thus causing it to lose its universal meaning.
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Rossica. Литературные связи и контакты, 2021
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M. GORKY IN ITALY In Honor of the Writer’s 150th Anniversary, 2021
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Vestnik Tomskogo gosudarstvennogo universiteta, 2021
The aim of the article is to study the functioning of the key components of the Western “myth of ... more The aim of the article is to study the functioning of the key components of the Western “myth of Russia” in travelogues by Italian writers, who visited the Soviet Union in the 1920s and 1930s, in the period of frequent cultural, political and economic contacts between the two countries. The study is based on the analysis of the travelogues by Vincenzo Cardarelli (The Journey of a Poet in Russia, 1928-1929, published in 1954) and by Corrado Alvaro (The Masters of Deluge: A Journey to Soviet Russia, 1935). Among journalists working in the USSR in those years, famous writers enjoyed a certain degree of intellectual autonomy, compared to common reporters, and were less dependent on editorial policies and censorship that is why their travelogues are among the most interesting Italian testimonies about the USSR of that period. The analysis of the texts shows that in spite of many differences in ideology, travel itinerary, and the tone of writing, the travelogues of both authors are based ...
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Social Sciences, 2021
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Studia Litterarum, 2017
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Voprosy literatury, 2018
The article examines the reception of M. Gorky in Italy in the late 19th – early 20th centuries, ... more The article examines the reception of M. Gorky in Italy in the late 19th – early 20th centuries, and the process of his becoming mythologized. Right from the beginning, Italians’ idea of Gorky gets woven into the European myth about Russia, with him epitomizing the Russian soul and blending with the stereotypical Russian landscape. Early Italian reception of Gorky’s autobiography never distinguishes between his life story and creative work: both critics and common readers draw their idea of the Russian author from biographical sketches as well as his own writings, seen as a proof compelling enough to influence critical reviews and biographies devoted to Gorky. On Gorky’s arrival in Italy, his image becomes more nuanced, more details about his life and work come to light, and the press starts printing personal accounts of meetings with him. But the key elements of the Gorky myth survive and keep shaping Italian perceptions of him. It wasn’t until much later that Italians stopped inte...
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Studia Litterarum, 2016
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Вестник Северо Восточного Федерального Университета Им М К Аммосова, 2014
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Бестиарий движений. Res et verba-6. Тула: Аквариус, 2018
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Разрыв и связь времен. Проблемы изучения литературы рубежа XIX-XX веков. М: ИМЛИ РАН, 2017
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РОМАНСКИЕ ЯЗЫКИ И КУЛЬТУРЫ: ОТ АНТИЧНОСТИ ДО СОВРЕМЕННОСТИ VII Международная научная конференция. Сборник материалов. 2015 Издательство: Московский государственный университет имени М.В. Ломоносова", 2015
статье анализируется одно из ключевых произведений итальянского неоавангарда - роман Э. Сангвине... more статье анализируется одно из ключевых произведений итальянского неоавангарда - роман Э. Сангвинети «Игра в ”гусек”». Данный текст представляет собой своеобразное поле для игры в «гусек», где главы - это клетки, по которым движутся фишки. Каждой «клетке» в романе соответствует своя эмблема-экфрасис (набор экфрасисов крайне разнообразен - от живописных полотен старых мастеров до современных комиксов). Игровой принцип является главным фактором, объединяющим разрозненные фрагменты текста в единое целое. Рассматривая данный текст через призму философии игры, автор статьи раскрывает символический смысл структуры романа и его связь с поэтикой неоавангарда и аналитической психологией. Лабиринт-спираль, которую представляет собой игровое поле «гуська», в романе выступает как модель развития личности, зримая репрезентация процесса юнгианской индивидуации, и одновременно как модель мира и метафора культуры - пространства, заполненного разрозненными осколками культурных кодов, которые обретают смысл только в результате сознательного усилия реципиента.
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ВЕСТНИК МОСКОВСКОГО ГОСУДАРСТВЕННОГО ЛИНГВИСТИЧЕСКОГО УНИВЕРСИТЕТА Издательство: Московский государственный лингвистический университет (Москва), 2014
В статье автор рассматривает ранние романы Л. Малербы в контексте ита-льянского неоавангарда, опр... more В статье автор рассматривает ранние романы Л. Малербы в контексте ита-льянского неоавангарда, определяет роль феномена безумия в анализируе-мых текстах и раскрывает его связь с идеологическими установками неоавангардистской литературы, уделяя особое внимание социально-критическому аспекту творчества автора.
The article considers the early novels by Luigi Malerba in the context of the Italian neo-avant-garde, examines the concept of insanity in the mentioned texts and determines its connection with the ideological principles of the neo-avant-garde literature and with the socio-critical aspect of Malerba's novels in particular.
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ВЕСТНИК СЕВЕРО-ВОСТОЧНОГО ФЕДЕРАЛЬНОГО УНИВЕРСИТЕТА ИМ. М.К. АММОСОВА Издательство: Северо-Восточный федеральный университет имени М.К. Аммосова (Якутск), 2014
Рассматриваются жанровые особенности неоавангардного романа «Итальянское каприччо» писателя и кри... more Рассматриваются жанровые особенности неоавангардного романа «Итальянское каприччо» писателя и критика Э. Сангвинети. Цель исследования - выявить основные структурные особенности романа и показать, что данный текст представляет собой экспериментальное «онейрическое» жанровое образование, позволяющее фикционалистски реконструировать «недостающее звено» в эволюции художественных форм от мифа и сказки к роману. Роман Э. Сангвинети состоит из относительно самостоятельных эпизодов, объединенных общей темой, и воспроизводит, с одной стороны, структуру сновидения, с другой-психоаналитическое исследование в юнгианском духе, отражающее так называемый «процесс индивидуации» (устранение внутреннего конфликта и восстановление психической целостности героя романа). «Итальянское каприччо» соотносится с общими для авангарда тенденциями: ориентацией на поэтику «изобретения», ценностным акцентированием «открытости» и многозначности текста, стремлением к деконструкции и переосмыслению жанровых моделей и культурных кодов, тоской по архаике и интересом к долитературным формам бытования художественного слова. «Онейрическая фабула»-особая жанровая форма, вбирающая в себя фрагменты различных языков культуры-позволяет автору и читателю заново открыть архаические истоки современной литературы.
Genre features of the neo-avant-garde novel "Capriccio Italiano" by writer and critic E. Sanguineti are observed. The main goal of the research is to analyze the main structural features of the novel and to demonstrate that the text represents an experimental "oneiric" genre structure, which allows reconstructing a "missing link" in the evolution of narrative forms from myth and fable to novel fictionally. The novel by E. Sanguineti consists of relatively individual chapters, united by general topic and reproduces, on the one hand, dream structure and, on the other hand, Jungian psychoanalytic study, which reflect so called "individuation process" (resolution of the inner conflict and restoration of the psychic wholeness of the character). "Capriccio Italiano" is associated with the common avant-garde's tendencies: pursuing the poetics of "invention", axiological accentuation on the "openness" and polysemy of the text, continuous attempts of reconsideration and deconstruction of the genre models and cultural codes, longing for the archaic and interest in preliterary narrative forms. "Oneiric discourse" is a special genre form which includes fragments of different languages of culture and allows the author and the reader to rediscover the archaic roots of modern literature.
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РОМАНСКИЕ ЯЗЫКИ И КУЛЬТУРЫ: ОТ АНТИЧНОСТИ ДО СОВРЕМЕННОСТИ Сборник материалов VIII Международной научной конференции. Ответственный редактор Л.И. Жолудева; филологический факультет МГУ имени М.В. Ломоносова. , 2016
Статья посвящена проблеме рецепции А.С. Пушкина в Италии XIX в. В первой половине столетия, в эпо... more Статья посвящена проблеме рецепции А.С. Пушкина в Италии XIX в. В первой половине столетия, в эпоху освободительной борьбы, итальянских интеллектуалов заботят вопросы формирования национальной идентичности и поиска общих культурных основ итальянской нации. В Италии, которая по ряду причин чувствует определенное родство с русской культурой, Пушкин воспринимается как символическая фигура национального поэта. При этом в образе Пушкина прослеживается отчетливая двойственность: он существует на культурной границе, на стыке Запада и Востока. Важной и устойчивой чертой пушкинского мифа становится сочетание образа романтического национального поэта с образом дикаря-африканца. В итальянской рецепции Пушкин фактически воплощает в себе самом ключевой компонент складывающегося за рубежом «русского мифа» – двойственный характер России как страны,
находящейся на границе Запада и Востока, цивилизации и варварства.
The article deals with the problem of the reception of Pushkin in the 19th century Italy. In the first half of the century, in the years of national liberation struggle, Italian intellectuals are concerned with the question of national identity and common cultural foundations of Italian nation. In Italy, which for a number of reasons feels a certain affinity with Russian culture, Pushkin is perceived as a symbolic figure of national poet. Still there is a distinct duality in the reception of the poet: it exists on a cultural border, between the East and the West. An important characteristic of Italian «myth of
Pushkin» is the combination of two images – the image of a romantic national poet and that of an African savage. Actually Pushkin embodies a key component of the European myth of Russia as a country between the East and the West, civilization and barbarity.
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Papers by Anastasia Golubtsova
The article considers the early novels by Luigi Malerba in the context of the Italian neo-avant-garde, examines the concept of insanity in the mentioned texts and determines its connection with the ideological principles of the neo-avant-garde literature and with the socio-critical aspect of Malerba's novels in particular.
Genre features of the neo-avant-garde novel "Capriccio Italiano" by writer and critic E. Sanguineti are observed. The main goal of the research is to analyze the main structural features of the novel and to demonstrate that the text represents an experimental "oneiric" genre structure, which allows reconstructing a "missing link" in the evolution of narrative forms from myth and fable to novel fictionally. The novel by E. Sanguineti consists of relatively individual chapters, united by general topic and reproduces, on the one hand, dream structure and, on the other hand, Jungian psychoanalytic study, which reflect so called "individuation process" (resolution of the inner conflict and restoration of the psychic wholeness of the character). "Capriccio Italiano" is associated with the common avant-garde's tendencies: pursuing the poetics of "invention", axiological accentuation on the "openness" and polysemy of the text, continuous attempts of reconsideration and deconstruction of the genre models and cultural codes, longing for the archaic and interest in preliterary narrative forms. "Oneiric discourse" is a special genre form which includes fragments of different languages of culture and allows the author and the reader to rediscover the archaic roots of modern literature.
находящейся на границе Запада и Востока, цивилизации и варварства.
The article deals with the problem of the reception of Pushkin in the 19th century Italy. In the first half of the century, in the years of national liberation struggle, Italian intellectuals are concerned with the question of national identity and common cultural foundations of Italian nation. In Italy, which for a number of reasons feels a certain affinity with Russian culture, Pushkin is perceived as a symbolic figure of national poet. Still there is a distinct duality in the reception of the poet: it exists on a cultural border, between the East and the West. An important characteristic of Italian «myth of
Pushkin» is the combination of two images – the image of a romantic national poet and that of an African savage. Actually Pushkin embodies a key component of the European myth of Russia as a country between the East and the West, civilization and barbarity.
The article considers the early novels by Luigi Malerba in the context of the Italian neo-avant-garde, examines the concept of insanity in the mentioned texts and determines its connection with the ideological principles of the neo-avant-garde literature and with the socio-critical aspect of Malerba's novels in particular.
Genre features of the neo-avant-garde novel "Capriccio Italiano" by writer and critic E. Sanguineti are observed. The main goal of the research is to analyze the main structural features of the novel and to demonstrate that the text represents an experimental "oneiric" genre structure, which allows reconstructing a "missing link" in the evolution of narrative forms from myth and fable to novel fictionally. The novel by E. Sanguineti consists of relatively individual chapters, united by general topic and reproduces, on the one hand, dream structure and, on the other hand, Jungian psychoanalytic study, which reflect so called "individuation process" (resolution of the inner conflict and restoration of the psychic wholeness of the character). "Capriccio Italiano" is associated with the common avant-garde's tendencies: pursuing the poetics of "invention", axiological accentuation on the "openness" and polysemy of the text, continuous attempts of reconsideration and deconstruction of the genre models and cultural codes, longing for the archaic and interest in preliterary narrative forms. "Oneiric discourse" is a special genre form which includes fragments of different languages of culture and allows the author and the reader to rediscover the archaic roots of modern literature.
находящейся на границе Запада и Востока, цивилизации и варварства.
The article deals with the problem of the reception of Pushkin in the 19th century Italy. In the first half of the century, in the years of national liberation struggle, Italian intellectuals are concerned with the question of national identity and common cultural foundations of Italian nation. In Italy, which for a number of reasons feels a certain affinity with Russian culture, Pushkin is perceived as a symbolic figure of national poet. Still there is a distinct duality in the reception of the poet: it exists on a cultural border, between the East and the West. An important characteristic of Italian «myth of
Pushkin» is the combination of two images – the image of a romantic national poet and that of an African savage. Actually Pushkin embodies a key component of the European myth of Russia as a country between the East and the West, civilization and barbarity.
After the hostilities of the Second World War, in 1950–1980s, cultural contacts between the two countries flourished again. Such prominent figures of post-war Italian culture as Italo Calvino, Carlo Levi, Alberto Moravia, Pier Paolo Pasolini, Mario Soldati and many others visited the Soviet Union during that period. In early 1950s, unlike the pre-war years, foreign writers, carefully chosen among the so called “friends” of the Soviet Union, mostly came to the USSR as members of official delegations, their publications becoming more complimentary and even panegyrical. In post-war Italy, where the popularity of leftist ideas connected with antifascist movement resulted in building the largest Communist party in Western Europe, the topoi of the “Russian myth” in travel prose were largely substituted by another mythological complex called the “Soviet myth”, which contributed to creating an entirely positive image of the USSR. Italian writers of the 1940s and early 1950s (Libero Bigiaretti, Renata Viganò, Italo Calvino, Sibilla Aleramo) saw the Soviet society as a symbol of progress, social justice and democracy and praised the Soviet government for its “internationalism” and peace initiatives. After the end of Stalinism the tone of Italian travel prose changed radically: the majority of the authors visiting the USSR during the Khrushchev “Thaw” (Anna Maria Ortese, Carlo Levi, Alberto Moravia, Goffredo Parise, Guido Piovene et al.) were considerably less ideologically motivated and more inclined to see and describe the Soviet reality as it was, without prejudices of any kind. They were interested not only in studying Soviet social, economic and political institutions, but also in connecting and socializing with people (both intellectuals, i.e. writers, artists and scholars, and common folk). Despite all this, Italian writers still could not avoid using mythological topoi. The main difference between Italian travelogues of Late Stalinism and of Khrushchev’s “Thaw” is that the latter were influenced not only by the Soviet myth, but also by the revived Russian myth. During the late 1950s and 1960s the two mythological complexes interacted in various ways, affecting and changing each other and generating a number of travelogues, which differed greatly from one another, depending on their authors’ political views and artistic approaches. Still all of them have something in common: during the period of Khrushchev Thaw and Brezhnev Stagnation, up to Gorbachev “perestroika”, the influence of the Soviet myth slowly but surely decreased, its inadequacy becoming more and more obvious as the Soviet system decayed. At the same time the topoi of the Russian myth remained almost unaltered, despite getting somehow less frequent (which is especially evident in Gina Lagorio’s two travelogues written in 1977 and 1988 respectively). While the Soviet myth in Italian travel prose seems to have almost entirely lost its influence by the 1980s (supposedly regaining some of it in post-Soviet period), the Russian myth proves to be much more persistent (which is clearly shown by the analysis of Italian travelogues in this book) and, evidently, is still affecting Italian (and Western) view of Russia.