Academic literature on the topic 'Volgare illustre'

Riassunto: Cominciando dall'intrigante, per il lettore, descrizione del locale del primo Discorso, il De vulgari eloquentia di Dante Alighieri (c. 1304–1305) conduce chi lo legge attraverso una serie di ambigui commenti sui luoghi e spazi (curia, aula) legati al vernacolo illustre. Questo crea nuovi spazi linguistici nell'immaginazione del lettore: cammini paralleli del pensiero, congetture, suspence. Il presente saggio intende sostenere che l'affermazione e susseguente negazione – o denarrazione – dei luoghi, più o meno concreti, trasferisce la discussione di Dante, e ugualmente la lingua discussa, in uno spazio più astratto, dove la formalizzazione del volgare, o vernacolo illustre, si realizza. L'ingegnosa funzione degli spazi alternativi che emerge risulta essere sotto stimata se essi devono essere ridotti puramente al risultato di singole metafore o alla riluttanza di Dante a prendere posizione in una controversia di carattere teologico sull'origine del linguaggio. Una simile variante di narrazione non affermativa rende possibile a Dante di assegnare all'illustre vernacolo un somigliante vuoto ontologico tra l'essere e il non essere come nel caso del riferimento biblico alle prime lingue umane. L'ambiguo spazio che di conseguenza risulta essere creato per il volgare illustre è il luogo dove il volgare può essere soggetto alla razionale investigazione dantesca.

La lingua italiana è nata circa un millennio fa dalla trasformazione della liturgia drammatica in dramma liturgico. Attori di questo processo sono stati i “comici” che hanno sviluppato il dramma per la comprensione liturgica e per intrattenere il pubblico su temi religiosi conosciuti. Si è innescato così un processo abbastanza rapido di delatinizzazione e “involgarimento” delle sacre rappresentazioni che, spostandosi dall’altare alle piazze, hanno preso la forma meno solenne di laudi e misteri buffi. Questo processo è stato però messo in ombra dal tentativo – che ha origini lontane, addirittura in Dante – di nobilitare e idealizzare la genesi dell’italiano distinguendo il volgare dal “dolce stil novo”. La dicotomia ha scatenato discussioni secolari sul dialetto, in particolare sul fiorentino, che per Dante rappresenta quell’idioma “illustre, regale, curiale, cardinale” che si differenzia dal volgare come lingua d’ élite, letteraria e burocratica. Questa interpretazione, contrastata da Petrarca e Machiavelli, finì per eclissare l’origine drammatica, teatrale, dell’italiano. Ciò ha comportato un’interpretazione puramente letteraria e “fiorentinocentrica” della nostra storia linguistica e la “miseria” del teatro italiano sempre considerato, secondo una linea che va da Dante a Croce, come uno strumento troppo “volgare” e rozzo per sublimarsi in letteratura.

Nel lontano 1802, a Trieste, dove ha raggiunto la comunit? serba che guidata dall?illustre scrittore Dositej Obradovic cercava di assorbire la cultura razionalistica europe per trapiantarla poi, almeno in parte, nell? tesssuto della cultura serba, Joakim Vujic studia le lingue straniere (italiano, francese, inghlese) e appena compiuto con successo i primi passi si mette a tradurre un romanzo italiano che gli ? venuto sotto mano: per esercitarsi nella lingua e per offrire al pubblico serbo un testo divertente e utile. Si tratta del romanzo di Antonio Piazza intitolato Il vero amore o sia la storia amorosa d?Irene ? Filandro, un testo linguisticamente complicato, non lontano, per stile, dalla tradizione del romanzo barocco italiano. Nella situazione culturale quando la lingua serba stava vivendo il periodo della sua lenta ed incerta maturazione, Joakim Vujic, nel tradurre, ha continuamente dovuto fare le scelte tra le soluzioni del serbo slavo, la lingua del ceto intellettuale, e del serbo volgare che in quel periodo si faceva strada per entrare nella letteratura. Il nostro lavoro cerca di descrivere e di analizzare il suo coraggioso tentativo.

Esponenti illustri della cultura politica europea del Novecento, Giovanni Sartori e Norberto Bobbio sono stati gli artefici principali della rinascita della scienza politica italiana negli anni Cinquanta e Sessanta del secolo scorso. Nata in Italia nel clima del positivismo di fine Ottocento, la scienza politica era stata presto soffocata al volgere del nuovo secolo da nuove correnti di pensiero (il formalismo giuridico e la filosofia idealista). Nel secondo dopoguerra era ancora negletta, nonostante l'idealismo stesse ormai perdendo terreno. Così Sartori, in particolare, influenzato dalla politologia statunitense, si adoperò sin dai primi anni Cinquanta per rilanciare la disciplina e assicurarle una piena legittimità accademica. Fondato sul carteggio inedito tra i due studiosi, questo articolo getta una nuova luce sul ruolo avuto da entrambi nella rifondazione in Italia della scienza politica contemporanea, evidenziando come Sartori e Bobbio, pur condividendo l'assunto che si trattasse in primo luogo di una scienza empirica, avessero in realtà visioni differenti riguardo alle sue finalità.

The paper introduces into scientific discourse the materials of the early Sarmatian burials from the Verkhniy Balykley I kurgan cemetery from the area of the Volgograd Trans-Volga region. This monument was studied in the course of the 1978–1979 expedition organized by the Volgograd State Pedagogical Institute under the leadership of A.S. Skripkin. Materials. The burial includes four mounds located compactly on the banks of the reservoir and one single mound setting far away in the steppe. Eighteen inlet burials of the early Sarmatian time were found in three Bronze Age kurgans. Some burials contained no burial inventory; others did include a variety of grave goods. The funeral rites present a wide range of grave structures: pits with side chambers, simple rectangular pits and catacombs. The southern body orientation of the buried individuals was dominating. In kurgans 5 and 6, a circular arrangement of graves is traced, which is typical for early Sarmatian mounds-cemeteries. Material analysis. An analysis of the grave goods indicates 3rd – 1st centuries BC is the time of construction of most burials in these kurgans, which does not contradict the funeral rite traditions and reveals a range of features characteristic of the nomads of that period. A military burial with a long sword and arrows is one of the most distinguished in its kind. Ceramic material is represented by various stucco forms of pots, an incense burner and a jug. Fragments of mirrors with rollers along the edge and beads were discovered in several burials. Several stone “miniature hammers”, typical for the South Ural grave materials of this period, is also an interesting find. Conclusions. In general, the studied monuments illustrate the burial traditions of the early Sarmatian population of the Ural-Volga steppes of the early Sarmatian time. The finds of pottery samples, previously unknown stone “miniature hammers” in the west of the Volga, allow us to conclude on the cultural proximity of the nomads who left the mounds near the village Verhniy Balykley with the South Ural nomads. Authors’ contribution. In this paper, Anatoly S. Skripkin prepared a descriptive part of the archaeological material; Vladimir I. Moiseev analyzed the funeral rite and the inventory. Mikhail V. Krivosheev drew and presented conclusions on the analysis of the material.

Regional groups of proletarian writers are often neglected, thus the data about its exact number and professional compound has not been shown yet. As for the Volga Region the data can illustrate the response to many questions, one of them is why the Saratov Association of Proletarian Writers was the largest in the region, and the second — when the turning point in its history took place. It has been proven that Proletkult, stopped functioning between January and June 1927, and that legally, this organization split up in June. Both processes mentioned in the article were related to the exile of L.G. Kalmanson (G. Lelevich) to Saratov. Since the slow speed of literary processes in regions affected the pace of literary confrontations there as well, it is crucially important to identify the date of birth of the Proletarian Writers Group in every region. There is a high possibility that the later the group was developed, the more it will differ from its Moscow counterpart; that is why we need to focus on the regional data.

Introduction. The article aims to study the regional differences in male stature during the 19-20th centuries in Russian Empire, USSR, Russia and some neighboring countries and to illustrate the observed changes in time using contemporary cartographic methods and the new source of information – the RLMS HSE dataset. We hypothesized that there are some areas with stable short and tall statures. Materials and methods. We used datasets with as large number of territorial units of the country as possible, published by D.N. Anuchin, V.V. Bunak, A.L. Purundzhan. To illustrate relevant datasets, the methodology of visualization was created. To make maps comparable with each other, especially, for the territory, like the European part of Russia, we made a surface interpolation. Results. We could suggest areas with more or less stable tall stature – near the Baltic Sea and Saint-Petersburg and between the contemporary cities of Kiev and Krasnodar. The area with stable short stature is situated in the middle part of Volga River – near Kazan city. Thus, the hypothesis was confirmed considering a new database. Moreover, according to the datasets, which illustrated the second part of the 20th century, the new area had appeared in Moscow and some neighboring territories. Secular changes in height for different regions and time periods were uneven, which may be connected with the different ethnic composition of the studied populations and various socioeconomic and demographic variables. Conclusion. Based on contemporary cartographic methods we illustrated the general pattern of changes in male stature, the idea of the consistency of the changes in male stature and the uneven changes in values across the territory. Some areas with stable short and tall statures first discovered by Anuchin are preserved till nowadays. Our research demonstrated the idea that areas could be formed under various circumstances. However, the overall trend has stayed the same over time despite the positive secular changes.

Goals. The work attempts an analysis of sources constituting the program of stay of Emperor Alexander II and Tsesarevich Alexander Alexandrovich, the future Emperor Alexander III, who visited Khosheutovsky Ulus of Kalmyk Steppe (Astrakhan Governorate) in the summer of 1871 during their trip to the Caucasus. It is the ceremonial part of such travels that has made it possible to preserve most precious artifacts illustrating the material heritage of Russia’s peoples nowadays investigated by researchers representing various fields of science. Materials and methods. The chronological method in synthesis with that of reconstruction prove instrumental in considering the summer 1871 visit paid by members of Russia’s imperial house to Khosheutovsky Ulus in a time sequence, while the ideographic method helps describe the event under study. The paper focuses on documentary materials housed at the State Archive of Astrakhan Oblast and the National Archive of Kalmykia. The examined evidence also includes photographic images of showpieces from the Russian Museum of Ethnography, as well as works by pre-revolutionary and contemporary authors. Results. The distinct culture of Kalmyk Buddhists was undoubtedly attracting the attention of the monarchs. Expressing feelings of loyalty and showing respect for the reigning family, Kalmyks would present the latter with best works of decorative and applied arts of theirs that vividly illustrate nomadic lifestyles of the ethnos. Each item is characterized not only by environmental friendliness and portability — as legacy and experience of previous generations — but also bears traces of acculturation processes to have taken place in the Volga’s multiconfessional space. At present, those artefacts serve as centerpieces to collections of many museums not only in Russia but also abroad.

Purpose. The article is devoted to the analysis of the relationship between the state, represented by the Council for the Affairs of the Russian Orthodox Church, as a conductor of state -church policy, and the Russian Orthodox Church in 1945 - 1953. Subject of the study: relations of the Authorized Council for the Affairs of the Russian Orthodox Church and the Russian Orthodox Church in the Saratov Volga region. The task of the work is to show how the activities of the Council for the Affairs of the Russian Orthodox Church and its commissioner influenced the inner life of the Saratov diocese. Method and methodology. On the basis of general scientific, special historical and some methods borrowed from other sciences (for example, statistics) a set of documents from central and regional archives of the Russian Federation covering the problem presented in the title of the article is analyzed. Results. The period from 1945 to 1953 in the relations of the ROC and the Soviet leadership was ambiguous and complex. On the one hand, there was a warming that began during the war years and some stabilization of these relations, on the other hand, the authorities had a desire to restrain the church revival. Moreover, since the beginning of 1948, the tightening of anti-religious policy began, which is a vivid example of the events that unfolded after the publication of the feuilleton "Saratov Font" in the newspaper Pravda. The active conductor of state –church policy was the Council for the Affairs of the Russian Orthodox Church, which controlled the activities of the Church through a staff of commissioners. The article is based on many archival documents that clearly illustrate the difficult relationship between the state and the Church of that time and the attempts of the Church in the current situation to do everything possible for preserving its activities and for spiritual and moral support of believers. The scope of applicability of results. The results of the study can contribute to a deeper understanding and assimilation of the religious policy of the Soviet state in the post-war period.

The paper discusses the correspondence of A. M. Gorky with a provincial forgotten writer Arkady Alexandrovich Vdovin (pseudonym Arkady Severny). Severny's letters to Gorky are not only the one of the few sources for Severny's biography, but also an important source of data for the yet-to-be-written history of the province's post-revolutionary literary life. They illustrate the mass literary movement of the 1920s and 1930s, and introduce new information about Gorky's informal interest in supporting the interest of aspiring authors in literary work. Gorky's correspondence with aspiring writers from the provinces enriches perceptions about the history of Soviet everyday life, characterizes the alignment of literary forces grouped around writers' unions, literary practices of local associations of proletarian writers, everyday behavior of their members. Severny is a writer who positioned himself as a member of the Moscow Association of Proletarian Writers. Little is known about his biography. The fact of his presumed residing in the Volga Region is retrieved according to some newspaper publications. They show that Severny repeatedly recited his poems in different corners of Saratov. His autobiographical poem “About Myself” published on 26th of the November, 1925 in “The Bolshevik Juveniles” demonstrates that he was taken into Komsomol and had a background of a factory worker. He accentuated his proletarian origin to get in touch with Gorky. In the early 1930s, Severny's letters to Gorky remained unanswered. The reason for this was Severny's attempt to sell Gorky's letters to him to the editors of the Leningrad magazine “Rezets”.

Lo studio analizza criticamente l’ambiziosa opera "Pisa. Ein Versuch", composta da Borchardt negli anni dell’esilio italiano e pubblicata nel 1938. La ricerca ha indagato la peculiare ricezione del Medioevo e della sua cultura nell’opera borchardtiana, restituendo importanza al vasto panorama di studi filologici e storici sottesi al testo e, attraverso una solida contestualizzazione, ha evidenziato al contempo l’isolamento intellettuale dell’autore. Colloqui con esperti e docenti delle università di Firenze, Bonn, Parigi e Pisa hanno permesso di definire lo spessore delle competenze linguistiche, filologiche, storiche, letterarie e di storia dell’arte che Borchardt dispiega nel testo e che non erano state debitamente considerate. Grazie alle indagini archivistiche è stato possibile enucleare il peso della lettura filologica delle liriche dei trovatori provenzali che l’autore affianca a una notevole riflessione sull'opera di Giovanni Pisano. La ricerca ha colto così il respiro europeo nel quale si inserisce l’opera borchardtiana. La dissertazione, suddivisa in sei capitoli, esordisce con l’analisi di un testo sulle città italiane in cui l’autore prende posizione a favore di un’immagine dell’Italia la cui intrinseca natura può essere colta soltanto ai margini del processo di modernizzazione. La ricerca ha inoltre sottolineato quanto rilevante sia stata l’ascendenza humboldtiana nella definizione del rapporto fra ambiente naturale e civiltà umana, così cruciale in Borchardt. Lo studio esamina quindi la connessione fra stile architettonico, stile di vita, arte figurativa e poesia mettendo in luce come l’autore comprenda questi aspetti quali diretta emanazione della civiltà imperiale romana. A questo assunto la ricerca collega l’imponente impresa traduttiva affrontata da Borchardt nel trasporre la Commedia dantesca in un tedesco arcaico che dovrebbe restituire l’alterità di Dante rispetto alla cultura moderna. Quindi la dissertazione ricostruisce la genesi di "Pisa, Ein Versuch" a partire dai saggi e dagli interventi pubblicistici della seconda metà degli anni Venti, che convergono nel progetto di fondazione di una nuova “Mittelalterliche Altertumswissenschaft”. Nel circoscrivere i lineamenti di questa nuova disciplina viene opportunamente esaminato il decisivo influsso esercitato da Stefan George sul pensiero e sulla sensibilità poetica di Borchardt. Nella sezione centrale della tesi prende forma la visione borchardtiana di Pisa città imperiale che l’autore oppone al campanilismo comunale inserendola così in una prospettiva sovranazionale tutta proiettata verso il futuro e l'Europa. Al centro di questa analisi troviamo le figure di Arnaut Daniel, Giovanni Pisano e Federico II imperatore del Sacro Romano Impero. Un suggestivo spunto di lettura ha permesso di contrapporre la visione della romanità imperiale, quale ereditata da Pisa, alla coeva visione fascista della romanità, alla quale mai si piegherà il filologo e lo studioso. Nell’ultima sezione viene ricostruita l’immagine del Medioevo proposta da Borchardt che se risente fortemente della lezione di Stefan George e delle sollecitazioni del George- Kreis, si riallaccia tuttavia alla lettura novalisiana dell’Europa medievale. Al contempo lo studio evidenzia in che modo l’analisi che Borchardt propone della Pisa medievale sospinta ai margini del percorso storico, assume tratti fortemente personali: Pisa e la sua “Causa victa” costituiscono di fatto una proiezione autobiografica dell’autore che mette in risalto la vicenda dell’uomo e dell’intellettuale Borchardt nella sua sempre più dolorosa solitudine, fino alla morte che lo coglierà durante la deportazione. This study investigates the ambitious work "Pisa. Ein Versuch" that Rudolf Borchardt composed during the years of the Italian exile and published in 1938. The research aims at returning the significance this writing deserves providing a critical analysis of the peculiar reception of the Middle age and its contemporary culture in Borchardt’s work, focusing on the large philological and historical background underlying the text. The study presents an unavoidable and solid contextualization highlighting the intellectual isolation of the author. Conversations with experts and Professors of the Universities of Florence, Paris Sorbonne, and Bonn enabled establishing the depth of the linguistic, philological, historical and literary knowledge the author deploys in this text, which had not been brought into focus so far. Thanks to a precise archival survey the study has shown the importance of the extraordinary reflection on the Provencal Troubadours that Borchardt carries out by linking their poems to the masterpiece by Giovanni Pisano, hosted in the Duomo of Pisa. The study has thus demonstrated the European profile of Borchardt’s work. The research is divided in six chapters, the first chapter provides both a textual and contextual analysis of a writing Borchardt dedicates to Italian towns, where he strongly identifies the possibility of discovering the true nature of the Italian landscape only at the edge of the incessant modernisation process. The inquiry has highlighted how crucial was for Borchardt the influence of Humboldt’s vision with relation to the definition of natural habitat and human civilization. Furthermore, the research examines all the references Borchardt develops in a network where he associates the Italian architectural style with the Italian life-style, figurative art with poetry and shows to what degree all these aspects of the Italian culture and life are derived from the Imperial Roman society. The connection with the Latin culture conducts the research to examine the impressive work of translating the “Divina Commedia” into a medieval archaic German, language that Borchardt himself created, in order to highlight the alterity of Dante in relation to modern culture. The study reconstructs the genesis of the text “Pisa. Ein Versuch” starting from the essays and the public speeches Borchardt held during the second half of the Twenties, all of which converge on the project of the constitution of a new “Mittelalterliche Altertumswissenschaft”. In specifying the features of this new discipline, the study provides an extensive examination of the influence exercised by Stefan George on the thought and on the poetic sensitivity of Borchardt. The central section of the research outlines and discusses Borchardt vision of Pisa as imperial town, opposing the communal parochialism to a multinational or extranational vision that projects Pisa into the future and towards Europe. At the centre of this idea are the characters of Arnaut Daniel, Giovanni Pisano and the Holy Roman Emperor Frederick II. A suggestive reading made possible a confrontation aimed at opposing the conceptual framework of the imperial Romanitas as inherited by Pisa, to the contemporary fascist vision of the Romanitas whose historical ideal the philologist and cultivated author would never accept. The last section of the study discusses the image of the Middle age that Borchardt proposes in his book, showing that if the influence of George and the George-Kreis is clearly evident, Borchardt’s ideal is much more connected to the notion of medieval Europe as evoked by Novalis. At the same time, however, he marks a break with the external influences, proposing a personal interpretation of the story of Pisa, a town that political events has driven to the margins of history and now takes on personal aspects of the author: Pisa and its “Causa victa” embody the biographical condition of the author, evidencing the human drama of Borchardt both as an intellectual and as a man in his more and more sorrowful loneliness, until death took him during the deportation towards Germany.

L’Accademia della Crusca, fin dalle origini impegnata nell’attività lessicografica, ha avviato, in collaborazione con l’OVI – Opera del Vocabolario Italiano (CNR), un nuovo Vocabolario dantesco che si pubblica dal 2018 al sito di rete www.vocabolariodantesco.it. L’intervento illustra, con l’aiuto di alcune immagini, gli intenti e le metodologie altamente innovative di questo Vocabolario che, pur proponendosi di analizzare tutte le opere volgari di Dante, ha preso avvio dalla Commedia, testo fondante della nostra tradizione letteraria e linguistica.