Periplo italiano : Paesaggi rinascimentali in Elena Croce

This article is a study of Russian-Italian cultural relations in the late nineteenth and early twentieth centuries, with a focus on the reception and translation of works by the Italian writer and journalist Matilde Serao in Russia. It examines how Serao, one of the most popular Italian authors of the time, was received in Russian literary circles and how this reflects the broader interest of the Russian intelligentsia in Italian culture. The historical context of Russian-Italian cultural relations presented in this study shows that Italy played a significant role in the cultural life of Russia of that period. Many Russian writers and artists viewed Italy as a source of the aesthetic ideal, cultural richness and spiritual inspiration. This was reflected in their own writings and in the growing interest in Italian literature and arts, which in turn contributed to the popularity of the works of such Italian authors as Serao. This study pays special attention to the role of Russian periodicals, which actively published materials on Italian culture and translations of Italian texts. These publications not only facilitated the popularisation of Italian literature in Russia, but also fulfilled an important role in shaping the reception of Italian authors among Russian readers. The study highlights that Serao was one of the most widely read Italian authors in Russia. Her works frequently appeared in prominent Russian periodicals, such as Russkaya Mmysl' and Russkie Vedomosti, indicating the strong interest in her writing among Russian readers and the influence it exerted on the Russian culture of the time. One of the key aspects of Serao's production that particularly captured the attention of Russian readers was her portrayal of the subject of the woman and the man-woman relationship in the Italian society of the time. In this context, the article specifically examines her short story "Salvazione" [Salvation of the Soul] and analyses the differences among three "different" Russian translations of this text. This short story, as well as many of other works by Serao, focuses on the theme of man-woman relationships, which is considered through the lens of romantic conflicts. Thus, Serao's writings occupied a significant place in the Russian literature of the late nineteenth and early twentieth centuries, reflecting an interest in Italian culture and prompting an active discussion of issues related to women's destinies and social justice. The author declares no conflicts of interests.

Research Article| May 01 2006 Translatio Galliae: Effects of Early Franco-Italian Literary Exchange Alison Cornish Alison Cornish University of Michigan Search for other works by this author on: This Site Google Romanic Review (2006) 97 (3-4): 309–330. https://doi.org/10.1215/26885220-97.3-4.309 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Alison Cornish; Translatio Galliae: Effects of Early Franco-Italian Literary Exchange. Romanic Review 1 May 2006; 97 (3-4): 309–330. doi: https://doi.org/10.1215/26885220-97.3-4.309 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search Books & JournalsAll JournalsRomanic Review Search Advanced Search The text of this article is only available as a PDF. Copyright © 2006 The Trustees of Columbia University2006 Article PDF first page preview Close Modal Issue Section: Articles You do not currently have access to this content.

In our modern era of hyperconnectivity, the intricacies of our interpersonal relationships wield a profound influence on our sense of self. Throughout history, Italian literature has served as a rich tapestry reflecting these dynamics, offering poignant glimpses into the interplay of identity, belonging, and the concept of the Other.Alterity and Identity in Italian Literature: Encountering the Other from Dante to the Presentembarks on a journey spanning from the Middle Ages to contemporary times, traversing the diverse landscapes of Italian literary tradition. Through a nuanced diachronic lens, this volume explores how Italian authors across centuries have grappled with encounters with the Other. Each essay provides a unique perspective on the dynamic interplay between the Self and the Other through close readings of pivotal texts, including but not limited to Boccaccio’sDecameron, Tasso’sJerusalem Delivered, Gadda’sAcquainted with Grief, and Ferrante’s Neapolitan Novels. From the grand epics of medieval Italy to the nuanced narratives of modern novels, this volume unveils the ways in which Italian literature serves as a mirror reflecting the complexities of human experience. It invites readers to immerse themselves in the timeless echoes of alterity that resonate throughout Italian literary history, offering profound insights into the enduring quest for understanding and identity.

In our modern era of hyperconnectivity, the intricacies of our interpersonal relationships wield a profound influence on our sense of self. Throughout history, Italian literature has served as a rich tapestry reflecting these dynamics, offering poignant glimpses into the interplay of identity, belonging, and the concept of the Other. Alterity and Identity in Italian Literature: Encountering the Other from Dante to the Present embarks on a journey spanning from the Middle Ages to contemporary times, traversing the diverse landscapes of Italian literary tradition. Through a nuanced diachronic lens, this volume explores how Italian authors across centuries have grappled with encounters with the Other. Each essay provides a unique perspective on the dynamic interplay between the Self and the Other through close readings of pivotal texts, including but not limited to Boccaccio’s Decameron, Tasso’s Jerusalem Delivered, Gadda’s Acquainted with Grief, and Ferrante’s Neapolitan Novels. From the grand epics of medieval Italy to the nuanced narratives of modern novels, this volume unveils the ways in which Italian literature serves as a mirror reflecting the complexities of human experience. It invites readers to immerse themselves in the timeless echoes of alterity that resonate throughout Italian literary history, offering profound insights into the enduring quest for understanding and identity.

The article draws on the author’s speech notes and comments prepared for the first reprint of M. Osorgin’s Essays on Modern Italy [Ocherki sovremennoy Italii]. Osorgin’s book discusses Italian literature by giving an overview of D’Annunzio’s and Pascoli’s poetry, Fogazzaro’s prose, Benelli’s plays, and Marinetti’s and Palazzeschi’s Futurist writings. Osorgin’s method included reliance on an authoritative source combined with a personal study of the works, which was meant to produce a well-founded judgement. Through Osorgin’s book, Russian readers discovered many Italian authors. However, he often succumbed to subjectivity caused by his belief in the social responsibilities of literature. Following remarks on illiteracy and the subjugation of schools and libraries by the Catholic Church elsewhere in the book, Osorgin proceeds to chastise authors for failing to adequately address the plight of ordinary people. Consequently, he finds writings in a dialect, e. g., Belli’s and Pascarella’s works, to be truly national literature. The treatment of Italian literature in Essays owes its angle to Osorgin’s adherence to Herzen’s and Bakunin’s ideals.

Based on the case of Alojz Gradnik (1882–1967), this article deals with previously unresearched Slovene-Friulian-Italian literary connections that occurred during the last years of the Austro-Hungarian Empire and the first years after WWI along the border of today’s Slovenia (Goriška Brda) and Italy (the region of Friuli-Venezia Giulia: the Provinces of Gorizia, Udine and Trieste). The article highlights the parallels in motifs, themes, ideas and form, as well as the connections between Alojz Gradnik and select Friulian and Italian authors from this region. These links are the consequence of living in a joint cultural space and Gradnik’s Friulian family ties, especially with his cousin Maria Samer. The research uncovers certain differences in motifs, themes and ideas stemming from different national identities. Gradnik’s poetry is closest to Friulian lyrical poetry in their descriptions and experiences of a rural setting, predominantly the deep bond felt between the farming people and native land coupled with their terrible social strife. Gradnik and his contemporary Friulian authors also coincide in works with a nationalist theme – on the threshold of WWI both Slovene and Friulian authors infused their work with their personal vision for the future of their own community. They shared a negative literary depiction of the Austro-Hungarian Empire, and the wish to secure a better economic future, to protect and solidify their cultural heritage. Gradnik’s poetry and that of the contemporary Italian (irredentist) authors share a similar literary technique that depicted the national identities of today’s border between Italy and Slovenia; they were ideologically opposed however: while the Italians depicted the Italian view of the region, Gradnik highlights the presence of a Slavic element within the region.

Towards the end of the 20th century the Italian literature created outside Italy finally started to receive proper attention, because research began to focus on the socio-cultural analysis of the different forms of internal and external postcolonialism. As a result, both imperialism and nationalism are seen as responsible for phenomena of cultural alienation in many territories outside as well as inside the national borders of the country and are exposed as ideological constructs. Nevertheless research still neglects the one undoubtedly outstanding region in the production of Italian literature outside Italy, i.e. Austria, more precisely the territories of the Habsburg Monarchy, where for nearly 500 years - from early Humanism to the First World War - the tradition was the richest in quantity as well as in quality. This first part of a comprehensive history of the Italian literature created in Austria for an Austrian public has been written with the intention of filling this gap. The unique position the Italian language held at Vienna's imperial court at least from the middle of the 17th to the middle of the 18th century is well known: Italian was not only an official language for the purpose of representation, it also served as a vehicle of cultural communication in the inner circle of the imperial family. The numerous political connections between the House of Habsburg and the ruling Italian dynasties are a major reason for the manifold cultural transfers between the Austrian territories and the Italian States. The great number of strategic marriages led to intense cultural as well as economical relations, which obviously did result in occasional implications in territorial conflicts and in military alliances not always favorable to the mutual understanding. As a consequence of the above mentioned economical and dynastical connections the Habsburgs often intervened politically in Italy, first in the Early Modern Period, especially during the reigns of Charles V and Ferdinand I. Two centuries later, the Habsburg administration of the Kingdom of Naples (1707-1734) as well as of Lombardy during most of the 18th century (1714-1797) was decisive for the continuation of those interchanges, which ended however, when the Italian movement of unification began to create a totally new situation. Humanism, baroque and enlightenment, three currents which are amply discussed in the present volume, could more easily expand from Italy to Austria because of the before described dynastical connections and they established themselves still deeper because of the immigration or the long stays of Italian authors in the cultural centers of the Austrian monarchy, first of all of course in Vienna. Not surprisingly however, we possess so far only an inadequate and unsystematic documentation of the activities and literary productions of the great majority of those authors: As is well known, the 19th century created a nationalistic base for literary studies, a view which still for a long time influenced the 20th century for a long time. The Italian authors working and publishing in Austria did so in their own language, but in a foreign country and for a foreign sovereign. For this reason they obtained practically no attention in Austrian literary studies, because there works were not composed in the national language, and their appearance in Italian studies is all but nonexistent because they made no direct contribution to the national literary tradition.

The article analyzes the influence of F.M. Dostoevsky on Italian literature. In particular, the reception of his oeuvre in the 19th and 20th centuries. The first time the name of the Russian writer appears in Biographic Dictionary of the Contemporary Writers by Angelo De Gubernatis, an Italian indologist, interested in Russian literature. According to De Gubernatis, Dostoevsky was seen more as a moralist, a philosopher rather than a writer. Thanks to Gabriele D'annunzio, Dosotevsky will be recognised as a great writer a few years later. Influences by the Russian author are evident in his novel Giovanni Episcopo, where the monologues of the main character are very similar to the monologues of the protagonist of The meek one. Dostoevsky had a big influence on Luigi Pirandello and Italo Svevo, too. In Pirandello we can find the same use of irony. For Pirandello irony is a way to analyze reality in a very complete way, to search and find in tragedy a reason to smile. Italo Svevo was inspired by Dostoevsky for the construction of his characters, his “inetti”. Inetto is a man who is not able to live in society. Nevertheless, the condition of this man is a sort of reaction to the terribile, false world that surrounds him. Probably, Svevo was strongly influenced by the ideas of Schopenhauer and the common aspects in both authors' works are related to the effect of the German philosopher. Dostoevsky was also one of the most important sources of inspiration for Pier Paolo Pasolini. Pasolini wrote not only critical works on Dostoevsky but was also strongly influenced by him while he was writing his last, fragmentary and incomplete novel Petrolio. © И. Уччелло, 2022 Petrolio is a huge work full of philosophical, political and social lucubrations. It is a novel in which it is possible to read ideas on the function of a writer, but especially it is a novel that wants to show how power can destroy people. The last work of Pasolini wasn't studied enough especially because it was an “inconvient” book for the Italian elite, but also because the scenes of incest and pedophily weren't totally approved by the critics. In Petrolio, Pasolini wants to show a society in which the Demons have won and this is the reason why he takes intere scenes from the Dostoevskian novel Demons and just translates them. The Italian author wants to show that the “terrible” reality in Italy during the “Years of Lead” (Anni di Piombo) is not much different from the nihilist reality shown by Dostoevsky in his book. This article shows that Dostoevsky had an incredible influence on some cornerstones of Italian literature that are still active today. Moreover, it shows that topics, personages and atmospheres expressed by the Russian writer can be translated and transformed in another language and in another culture since they are universal.

Italian historiographers of the second half of the seventeenth century often establish parallels between early modern republics, comparing Genoa and Venice with the United Provinces, considered as similar political entities despite their evident political differences. The article, taking into account four different sources, investigates the meaning of those comparisons, published when the absolutist model was taking root all around Europe. In the twilight of the republican state, when the power and reputation of the Italian republics was maybe at its weakest, those comparisons served both as a way to boost a supranational republican identity, and to question the strength of the classical republican constitution. This survey explores how these authors claim that, in order to survive in the Europe of absolute monarchies, those republics have to undergo a radical political change. Only by avoiding splitting the sovereignty among too many subjects, and reinforcing the monarchical element in their constitution, these republican states, no more based on the principle of equality, could compete in the new seventeenth-century political scenario. For this reason, Italian authors looked with great interest, and often celebrated the Dutch republic, considered a stronger government than that of Venice, even if it was regarded as an imperfect republic.

GLORIA ALLAIRE AND F. REGINA PSAKI, eds., The Arthur of the Italians: The Arthurian Legend in Medieval Italian Literature and Culture. Cardiff: University of Wales Press, 2014. Pp. xiii, 297. isbn: 978-1-78416-050-1. $130.This volume, seventh in the series Arthurian Literature in the Middle Ages, is a very welcome addition, for it is the first comprehensive study in English of the legend's impact on medieval and Renaissance Italy since Edmund G. Gardner's The Arthurian Legend in Italian Literature (1930). In 1968, Daniela Delcorno Branca's Tristano e Lancilotto in Italia: Studi di letteratura arturiana provided a much-needed update, but although Italian-language scholarship (such as this remarkable study) is 'abundant, dynamic, meticulous and sophisticated' (1), as Psaki notes in her introduction, Anglophone criticism has been relatively limited. This is one reason why the Arthuriana of Italy has been less visible than that of other nations or regions covered in earlier volumes of this series. Another reason is that there was a relative lag in the development of Italian works devoted to Arthur, compared to other western European nations, in part because the Italian peninsula was extremely multilingual, with some of the earliest Arthurian texts appearing in Hebrew and Greek, as well as Latin. The Italian corpus is thus shared among different languages, with French playing a predominant role.Accordingly, Part One, 'France and Italy,' addresses the interface between the French and Italian lands that participated in the spread of Arthurian texts. Keith Busby describes the cultural colonization that the Italians welcomed in the various courts and city-states of Naples, Veneto, Lombardy, and Florence and demonstrates that Chretien's romances were well known and exerted an influence even earlier than the thirteenth-century French prose romances. Broaching the subject of the French redactions in Italy, Fabrizio Cigni discusses Rustichello da Pisa's Arthurian Compilation (after 1270-74). While exploring this important work, he shows its relation to Guiron le Courtois and charts the progress that is being made in the edition and study of a work that is still unedited and thus little studied.As is well known, Tristan was by far the most popular Arthurian character in Italy. Marie-Jose Heijkant traces the reception of the French Prose Tristan on the peninsula, and after describing the two principal French traditions of that work, she surveys the many manuscripts copied and owned in Italy and the numerous translations and adaptations composed in the vernaculars of Tuscany and Veneto: principally Tristano Riccardiano, Tristano Panciatichiano, Tristano Veneto, Tristano Corsiniano, the Tavola Ritonda, and shorter texts. In these works, Tristan is the exemplary knight and lover, presenting an ideal mirror for the aristocratic aspirations of the new middle class. The Tavola Ritonda is explored in much more detail in the chapter contributed by Delcorno Branca, who sees it as the Italian contribution par excellence to the Arthurian tradition in that, unlike the other Tristan romances, it has a narrative outline that is original with respect to the French tradition and represents 'a holistic attempt to assemble into a single romance the entire Arthurian cycle from Uther Pendragon to the Mort Artu, with Tristan as its focus' (69). The chivalric world it presents, moreover, is characterized by religious and civic ideals that appealed to audiences of varying political and societal tendencies.Part Two, 'Arthurian Material in Italian Narrative Forms,' shows how Arthurian themes, characters, and motifs were exploited by Italian authors. Using examples drawn from the Tavola Ritonda, Tristano Riccardiano, and Tristano Panciatichiano, Stefano Mula demonstrates how the authors used interlace, repetition, and compilation to adapt the long, often convoluted, French romances to the tastes of new audiences. Maria Bendinelli Predelli examines the Arthurian cantari (narrative ottava rima poems that were sung in public), identifying common traits and showing how the canterini (mostly anonymous except for Antonio Pucci) distill traditional romance situations into their most elementary components to make them more easily transmissible to a different culture. …

The focus of this study is on the topographic and travel literature by Italian authors that are part of the Eggenberg book collection kept in Český Krumlov State Castle and Chateau. The goal was to reconstruct the collection of books by Italian authors within the context of the complete Eggenberg book collection. Through a content analysis of these books, this study seeks to depict how Italian writers in the 16th and 17th centuries portrayed the known world and how it was perceived by a noble family settled in the Czech lands. Twenty-five bibliographic items in Italian, French, German and Latin have been identified in the Eggenberg library, primarily from the 17th century, including several books belonging to Princess Maria Ernestine of Eggenberg (1649–1719). While there are fewer preserved books from the 16th century, numerous deperdita indicate Hans Ulrich of Eggenberg’s (1568–1634) interest in the Cinquecento. As a result, the analysis of topographic and travel literature written by Italian authors during the Cinquecento and Seicento periods reveals an intriguing balance and indicates Eggenbergs’ continuous engagement with the geographical genre. Regarding content and authorship, this book collection features a variety of esteemed writers of that era. It contains depictions of different Italian cities and Italy in general, various European countries, travel reports from the Holy Land and the Orient, and historical and geographical representations from the entire known world at that time. This study builds on the extensive research conducted by leading Czech scholars on the Eggenberg book collection and the theme of travel by early modern nobility, firmly entrenched in Czech historical studies.

Giovanni Papini, who lived between 1881 and 1956, is one of the reformist Italian authors. Many of his written works, especially The Twilight of the Philosophers, A Man-Finished, Gog, The Black Book, had a broad repercussion in Italian Literature and became an issue of debate among Italian intellectuals. Papini not only contributed his works to Italian Literature, he also became a pioneer of such a complicated movement as Pragmatism. Giovanni Papini, who introduced one of the important movements, Pragmatism to Italian Literature in the twentieth century, and pioneered the spread of this movement in Italy, defended his idea in well-known literary and philosophical journals of his period such as Leonardo. In his autobiography, A Man-Finished, Giovanni Papini points out the concerns and the disquietude of the people living in the beginning of his era, the 20th century. He also tries to make the philosophy of Pragmatism, which arose in the U.S., prevail in Italy, and nd a solution to the problems faced by the intellectuals and the society. The autobiography of Papini, the pioneer of Pragmatism in Italy, is discussed within the context of cause and effect relationship. Thus, Papini's ideas are very important in terms of creating a new perspective on Italian literature, and for its development.

By the end of the 18th century, Italy was under Napoleon’s dominance. It was the time when centuries-long European values were being changed due to the Industrial, but also French revolution. The outcome of these enormous changes was an emergence of two artistic movements – neoclassicism and preromanticism that co-existed in Italy at the time. The most renowned Italian author of the 19th century, Ugo Foscolo, is a representative of both of these movements in the Italian literature. Neoclassicism and preromanticism emerged in the attempt to find an alternative to the same issues and, therefore, they co existed in the same period of time, the elements of which are often present in the same authors, or even in one work of art. Foscolo is the author of Grazie, a neoclassical masterpiece of Italian literature, but also of the most significant work of the Italian preromanticism, the novel titled The Last Letters of Jacopo Ortis. Both of these works present an attempt to escape the disappointing circumstances of the period in question. What is relevant is not the different directions at which these attempts of escapism were pointed, but the very need to do so. Culturally, in both cases, the rejection of the reality is evident. Both tendencies may be observed as a quest for an alternative to the existing conditions that are depressing: for neoclassicism, the alternative is found in the ideal of beauty and harmony, distant from the historical horrors and defeats. For preromanticism, it is the depths of one’s own self, in the union with nature, pastorally viewed as the centre of life’s authenticity. The different directions of escapism are no longer of any importance, but the very need to escape, which is what these two movements have in common. What we are about to explore in the present paper are the characteristics of neoclassicism and preromanticism in Italian literature, primarily in the works of Ugo Foscolo, the most influential Italian author of that period.

A quick check of the search engine on principal journalsdealing with life and evolution yielded thousands of results forthe word “creature.” The widespread use of such a term in thescientificliteraturepromptsabriefsemanticreflection.Theterm“creature” derives from the Latin “creatus” or “anything thatwas created.” Not surprisingly, the authoritative Italian dic-tionary(Zingarelli1991)containsasimilardefinition,character-izing “creatura” as “every living thing that has been created.”Even the first definition of The New Oxford Dictionary ofEnglish(Pearsall1999)isnotencouragingfromacontemporarybiological standpoint: “An animal, as distinct from a humanbeing” (as if Homo sapiens does not fall within the Animalia).It follows that the term “creature” is not a neutral descriptor:etymologically, it underlies a theistic outlook on life and bioticorigins (divine intervention, as opposed to a more moderatedeistic position, wherein the evolutionary process itself may beattributed to divine construction). Taking into account that theevolution paradigm is now accepted simply as a fact, use ofterms such as “creature” alongside other elements of a modernscientific vocabulary (e.g., evolution, phylogeny, cladisticsanalysis)isananachronisticoxymoron.Insomeofthecasesweencountered, the word is as an informal reference to animals orother living organisms, while in others it is used for humans aswell,thusalsocontraveningthedefinitionprovidedbyTheNewOxford Dictionary of English.In a quick overview, we found that Italian authors using“creature”inpapersdealingwithlifesciencesandevolutionarerelativelyfew,suggestingthatnaturalaffinitywiththeLatinrootmay be sufficient to avert use of such a term in a modernbiological context. Interestingly, the word “creatura” seems tohave been avoided by Italian authors through modern history,extending back to pioneering naturalists in the fields of naturalsciences and geology, between the 15th and 18th century, whenevolution was still an unimaginable concept and religiousthinking was pervasive, often leading to a completely theisticinterpretation of nature. Personalities such as Agostino Scilla(Scilla 1679), Paolo Boccone (Boccone 1674), AntonioVallisneri (Vallisneri 1721), Giovanni Giacomo Spada (Spada1737), Anton Lazzaro Moro (Moro 1740), and GiuseppeBaldassarri(Baldassarri1750;seeRomano2013,2014forotherfounding figures of the natural sciences and geology in Italy)employed neutral words such as “animals,”“species,” or“marinebodies”torefertolivingorganisms,withouteverusingthe word “creature.” (It is noteworthy that the use of this wordwaswidespreadamongcontemporarysacredtextsandreligiousdocuments of the Italian Peninsula.) Even in the work ofAntonio Bellenghi (Bellenghi 1824); where all the argumentsand reconstructions appear to be aimed at reconciliation of newgeological discoveries with the revealed truth of the SacredScriptures (see Romano 2014), we find no trace of the theisticword “creature.”It comes as an unfortunate irony, then, that Italy at presentfrequently imports scientific documentaries translated fromEnglish, wherein the word “creatura” is used with generalreference to organisms. Such usage undermines the semanticbasis of an educational system founded on modern concepts inthe life and Earth sciences. So we are witnessing a curiousphenomenon involving secondary onset of the inappropriateterm “creatura,” which threatens to take root not just in popularor pseudo-scientific media, but also (following the tradition inEnglish publications, cited above) in scholarly literaturepublished in leading scientific journals.An open question: must the progress of science, in terms ofKuhnian revolutions and paradigm shifts, be matched byappropriate changes in word choice, necessary to the crystal-lization of the new concepts? If the answer to that question isnegative, words like “phlogiston” or “orthogenesis” should stillenjoy widespread usage in today’s high-visibility scientificliterature. Alternatively, perhaps the mass-marketing of scien-tificresearchtothepublicatlargeshouldinvolvepriorepistemicand semantic reflection.REFERENCES

The paper presents an updated review of translations of contemporary Italian literature published in two issues of the popular Russian literary magazine “Inostrannaja literatura”. The first issue (2008, 10), entitled Italian Literature in Search of a Form , published translations by poets, prose writers, especially authors of stories, specimens of classic authors of the twentieth century: futurists, expressionists, surrealists, and writers of critical essays. Translation of some precious octaves of Ariosto’s poem Orlando furioso were also included. The second ‘special’ issue (2011, 8), entitled Italy: Seasons , is devoted to contemporary women writers of fiction. Particularly valuable is the Literature heritage section, which contains translations of Vivaldi’s sonnets by M. Amelin and of G.G. Belli’s Roman sonnets by E. Solonovic, both representatives of the excellence of the Russian school of translation. The two issues include a complete index of Italian authors translated into Russian between 1994 and 2011.