La parola risorta nell\u2019editoria italiana. La prima antologia di riviste clandestine sovietiche (Jaca Book, 1966)

The article aims to investigate the contents and reception in Italy of Testi letterari e poesie da riviste clandestine dell\u2019URSS (Literary Texts and Poems from Clandestine Journals in the USSR), the first anthology of Soviet typewritten journals, published in Milan in 1966 by Jaca Book and edited by Jean Ibsen (pseudonym of Giovanni Bensi) and Nicola Sorin (pseudonym of Sergio Rapetti). The contribution focuses not only on the echoes produced by the book in Italy, but also highlights the literary peculiarities of the new generation of authors (already argued by the editors), especially, the attention to a word that can be defined as \u2018resurrected\u2019

La parola risorta nell’editoria italiana. La prima antologia di riviste clandestine sovietiche (Jaca Book, 1966)

The article aims to investigate the contents and reception in Italy of Testi letterari e poesie da riviste clandestine dell’URSS (Literary Texts and Poems from Clandestine Journals in the USSR), the first anthology of Soviet typewritten journals, published in Milan (1966) by Jaca Book and edited by Jean Ibsen (pseudonym of Giovanni Bensi) and Nicola Sorin (pseudonym of Sergio Rapetti). The contribution focuses not only on the echoes produced by the book in Italy, but also highlights the literary peculiarities of the new generation of authors (already argued by the editors), especially, the attention to a word that can be defined as 'resurrected'.Il contributo si propone di indagare i contenuti e la ricezione in Italia di Testi letterari e poesie da riviste clandestine dell’URSS, prima antologia di riviste dattiloscritte sovietiche, pubblicata nel 1966 dalla casa editrice Jaca Book e curata da Jean Ibsen (pseudonimo di Giovanni Bensi) e Nicola Sorin (pseudonimo di Sergio Rapetti). Il contributo mira a comprendere non soltanto gli echi prodotti dalla silloge, ma anche a riflettere sulle peculiarità letterarie della nuova generazione di autori già evidenziate dai curatori, nello specifico, l’attenzione verso una parola che potremmo definire ‘risorta’

Dossier Jurij Petrovič Ljubimov. Parte #1. Dove tutto ebbe inizio

Il presente Dossier Ljubimov – Parte prima vuole essere il primo di una serie dedicata ad uno dei più eminenti artisti della seconda metà del XX secolo. Il regista russo (1917-2014), fondatore del mitico teatro "Na Taganke", indimenticabile isola di libertà degli anni '70 in URSSS, ha al suo attivo più di cento regie, tra messe in scena di prosa, poesia e opere liriche che la critica italiana incomprensibilmente ha trascurato. Tanto più se si considera che prima e dopo l'esilio forzato nel 1983, egli lavorò a lungo nel nostro paese, mettendo in scena ben 4 opere al Teatro alla Scala e successivamente dirigendo il maggio fiorentino. Presentiamo qui il regista a partire da materiali raccolti durante conversazioni personali avute con lui negli ultimi 15 anni della sua lunga vita.This Dossier Ljubimov – Part One is intended to be the first in a series dedicated to one of the most eminent artists of the second half of the 20th century. The Russian director (1917-2014), founder of the legendary "Na Taganke" theatre, an unforgettable island of freedom in the USSR in the 1970s, has to his credit more than a hundred productions, including prose, poetry and opera that Italian critics have incomprehensibly overlooked. All the more so considering that before and after his forced exile in 1983, he worked in our country for a long time, staging no less than four operas at La Scala and later directing the Florentine May. Here we present the director from materials collected during personal conversations with him during the last 15 years of his long lif

Il grande dibattito sul realismo socialista nel 1956: una lettera di Vittorio Strada a Viktor Nekrasov

The early writings of Vittorio Strada and Viktor Nekrasov, together with their correspondance, allow us to consider from a different point of view the literary and ideological process in Soviet Russia during the 1950s and the inevitable effects on Italian culture, when literature and art were deeply involved in the debate over the Thaw and the de-Stalinization. The events that marked the turning point in 1956, such as the 20th Congress of the Communist Party of the Soviet Union, with Nikita Krushchev’s “Secret Speech”, and Alexander Fadeev’s suicide, were impressed by Strada on a long letter to Nekrasov, dated 18th of June 1956. In the full text of the letter, here published for the first time, Strada wanted to draw the attention of the Kievian author to the main Italian debate over post-Stalin literary ferment, Marxism and Realism. Putting in evidence the connection between dogmatism and bureaucratism, from an intertextual point of view, here is possible to detect the same danger highlighted by Nekrasov in his novel “In My Own Town”. The novel was translated by Strada only a few months earlier, for Einaudi

La ricezione di Italo Calvino in URSS (1948-1991): per una microstoria della diffusione della letteratura straniera in epoca sovietica.

My research focused on a study of the history of literature in its main functions ‒ namely the production, communication and consumption ‒ understood as a sociological discipline that investigates mainly the activities and the institutions in charge of cultural production, and, secondarily, the individuals involved in the process of cultural consumption (Barthes, 1992; Dobrenko,1997). The aim of my research was to investigate the dynamics of reception in the Soviet Russia of foreign literature works in order to understand to what extent the historical, political and social Soviet context has influenced and determined the spread of such texts. With this aim we have chosen as a case study the reception in the USSR of Italo Calvino's work. Partisan, anti-fascist and member of the ICP (until 1956), he was the prototype of the progressive foreign writer whose works could be published in the land of the Soviets. Calvino was a writer with a (almost) flawless political reputation: a fervent supporter of the communist ideals and a tireless bard of the Italian Resistance, since the end of the Forties his neo-realist tales began to be published on Soviet magazines and newspapers, building his literary fortune in the USSR. The analysis of the Russian translations of his works and of their critical reception was aimed at the comprehension of that process defined by Dobrenko “the formation of the reader” (formovka sovetskogo chitatelya) – namely, the cultural, social and ideological creation of the Soviet mass reader (1997). In order to give an overview of the mechanisms of Soviet cultural production − through the analysis of a corpus of paratexts and archival documents that allowed us to reconstruct the micro-history (Ginzburg, 2006) of Calvino's reception − were examined both the editorial processes that have affected the Soviet publication of his works and their critical interpretation. Starting from the study of editorial, critical and translation strategies employed for the diffusion of Calvino’s works, we focused our research on the general dynamics of cultural production with the final goal of illustrating how this complex system worked in the USSR. Thus, through the study of the role played by institutions charged with the production (state publishing houses, literary magazines, Union of Soviet Writers) and the control (Glavlit, Ideologicheskaya komissiya CK KPSS, Inostrannaya komissiya SSP SSSR) of foreign literary works, this analysis was intended to determine in which way these processes were aimed at the creation of the Soviet mass reader

Bulat Okudžava. Vita e destino di un poeta con la chitarra

Poeta, scrittore e autore di testi per il cinema e il teatro, Bulat Šalvovič Okudžava è conosciuto e amato in patria soprattutto come il padre della canzone d’autore russa, colui che per primo, in quella sterminata nazione di poeti, ha riportato la poesia alla sua originaria forma musicale, con esiti straordinariamente felici. Le sue liriche si snodano lungo trame sottili che, alla semplicità di temi universali come l’amore e la guerra, annodano una fitta rete di rimandi e allusioni, stemperando in una dolente e malinconica ironia una materia biografica altrimenti incandescente perché lacerata da ferite e disillusioni patite innanzi tutto sulla propria pelle. Storie minime, a volte persino banali, affidate a melodie altrettanto semplici ma irresistibili, conferiscono alle sue canzoni un’eccezionale forza espressiva, elevandole al rango di capolavori da collocare di diritto nel pantheon mondiale della canzone d’autore, accanto a quelle di autori come Brassens, Ferré o Atahualpa Yupanqui

Narrazioni ibride post-sovietiche

In light of the dramatic events which have been shocking Ukraine since November 2013, this work’s itinerary aims at functioning as a basis for the formulation of new contact points, for a dialogue between traditions and cultures which nowadays are again being shaken by the events of history. The author examines the self-identification paths of the literary phenomenon of Russian language in Ukraine. With the help of interviews with important representatives of the Ukrainian Russian-speaking literary scene, made on the eve of the so-called 'Ukrainian crisis', the author shall closely observe the origins of the marginal nature of these 'post-Soviet hybrid narratives'

La lirica di Vasyl' Stus

Vasyl’ Stus's (1938-1985) poetry is one of the richest and most complex chapters in the literary history of late Soviet Ukraine. His poems are not only born of the author’s talent, but also of his erudition and deep cultural awareness; Stus’s poetry eloquently shows the presence of a significant Modernist trend in the literature of the Ukrainian underground during the Age of Economic stagnation. Stus's Modernism is the ideal evolution of the Ukrainian poetic culture of the first decades of the century, and develops thanks to an intense intertextual dialogue with the European literature. Stus’s reception of Russian and German poetry, in addition to becoming the model for nineteenth-century and early-twentieth-century Ukrainian poetry, proves fundamental to fully understand his work’s literary palimpsest, which this volume offers a comprehensive reading of, from the early stages to the maturity’s collections