Riccardo Nicolosi – författare

Врезультате переворота в российской филологии, произошедшего 1980-е – 2000-е годы, в литературу вновь вошли не только сотни ранее запретных и несправедливо вычеркнутых имен, но и целые периоды творчества официозных советских писателей, представшие в новом свете. Настоящая монография «Алексей Толстой в урагане времени», основанная преимущественно на публикациях Толстого в периодике и на архивных материалах, в целом посвящена периоду Первой мировой войны в творчестве известного писателя: его военной корреспонденции, деятельности Союза городов, замолчанной поездке в Англию в 1916 году и др. Затрагиваются также смежные темы – отношения с Вяч. Ивановым, «еврейский вопрос» в творчестве и жизни А. Н. Толстого, изображение русских анархистов в произведениях писателя. Книга адресована не только исследователям литературы русского модернизма и раннесовет-ского периода, но и широкому читателю.

Der Band enthält 17 Beiträge zur slawistischen Lexikografie, die aus der Warschauer Tagung Vocabulum et Vocabularium 17: «Wspólczesne problemy leksykografii» im Mai 2021 hervorgegangen sind. Des Weiteren enthalten sind drei russische Beiträge zu Somatismen in der Phraseologie, zur poetischen Sprache Georgij Ivanovs und zur Dichtung Vladimir Makkavejskijs sowie ein Chronikbeitrag zur Münchner Tagung zu Ehren des Literaturwissenschaftlers Sergej Kormilov im Juni 2021. Der Band wird mit zwei Rezensionen zur europäischen Slawistik ergänzt.

Band 90 des Wiener Slawistischen Almanachs enthält zwei thematische Blöcke, der erste über den russischen Nihilismus des 19. Jhds («Russian ‹Nihilism› as a Literary Project», hrsg. von Aleksandr Korchinskij und Kirill Zubkov) und der zweite über die Nostalgie als kulturwissenschaftliche Schlüsselkategorie der Gegenwart in Osteuropa («Jenseits der Nostalgie? Neuaneignungen des Spätsozialismus in osteuropäischen Gegenwartskulturen», hrsg. von Riccardo Nicolosi und Matthias Schwartz). Die thematischen Blöcke werden mit Aufsätzen zum italienischen Tamizdat sowie der zeitgenössischen russischen Sprache im Kontext der sog. «militärischen Spezial-Operation» in der Ukraine ergänzt.

This collection of essays explores the continuities and disruptions in the perceptions of criminality, its causes and ways of fighting it in late imperial Russia and the early Soviet Union. It focuses on both the discourse on criminality and thus the conceptualisation of criminality in various disciplines (criminology, psychiatry, and literature), and penal practice, that is, different aspects of criminal law and anti-crime policy. Thus, the volume is markedly interdisciplinary, with authors representing a variety of approaches in history and literary studies, from social history to discourse analysis, from the history of sciences to text analysis.

In the early 1920s, Soviet writers and literary theorists were convinced that adventure fiction held the key to developing a new kind of narrative. The call for a "Russian Stevenson" (Lev Lunts) profoundly impacted the theory of prose and different notions of the literary hero. It also led theorists like Shklovsky to write dime novels and convinced writers of various backgrounds to explore Soviet topography in a new light, harnessing the synergies between imperialism and adventure. Despite the inherently anarchist nature of adventure and its bourgeois offspring, the magic of adventure found its way into socialist realism under different guises, demanding recognition and resisting neglect, especially in the case of socialist realist film.

This book offers a critical historical reconstruction of the early Soviet adventure craze and its lasting popularity in socialist realism. It also offers innovative theoretical propositions for a philological analysis of adventure fiction that arise from this unique historical context.

In the early 1920s, Soviet writers and literary theorists were convinced that adventure fiction held the key to developing a new kind of narrative. The call for a "Russian Stevenson" (Lev Lunts) profoundly impacted the theory of prose and different notions of the literary hero. It also led theorists like Shklovsky to write dime novels and convinced writers of various backgrounds to explore Soviet topography in a new light, harnessing the synergies between imperialism and adventure. Despite the inherently anarchist nature of adventure and its bourgeois offspring, the magic of adventure found its way into socialist realism under different guises, demanding recognition and resisting neglect, especially in the case of socialist realist film.

This book offers a critical historical reconstruction of the early Soviet adventure craze and its lasting popularity in socialist realism. It also offers innovative theoretical propositions for a philological analysis of adventure fiction that arise from this unique historical context.