RUS (Sao Paulo)
type: channel
description: RUS - Journal of Russian Literature and Culture
publisher: Universidade de São Paulo. Faculdade de Filosofia, Letras e Ciências Humanas.
language: en
publication name: RUS (Sao Paulo)
issn: 2317-4765
copyright: Authors who publish in RUS agree to the following terms: a. Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution 4.0 International License (CC BY-NC-SA 4.0) that allows others to share the work with an acknowledgement of the work’s authorship and initial publication in this journal. b. Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal’s published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal. c. Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
items: Editorial
items: An absence of a thousand faces – about Zoo, or letters not about love, by Viktor Shklovsky
items: “Land of Screaming Stones: Osip Mandelstam and the Concept of Stone in the Armenian Cycle - A Poetics of Matter, Memory, and History”
items: "Afrikanskaya pauza": translations of José Craveirinha's poetry into Russian
items: Baratynski's "The ring", a fantastic short story from 19th century
items: Writing with Shadows: Rhetoric and Classicism in the poetry of Osip Mandelstam
items: Russia in the Work of Gustavo Barroso: An Imagological Study
items: "The return of Chorb", a short story by Vladimir Nabokov
items: Comparative Analysis: Russian Cultural Assimilation and Oswaldian Anthropophagy
items: Reification and desumanisation in Gógol and Melville
items: The Fabric of Time: Maria Stepanova and the Language of Memory in Post-Soviet Russia
items: From the overcoat to the tropics: humiliation and anonymity
items: Presentation: Dossier “Russian and Soviet Cinema: from the Empire to the Present Day”
items: The absence of affective memory and the non-conversion of Goryanchikov in Dostoevsky’s Notes from the House of the Dead
items: Narratives in Abyme in the Film Adaptations of The Master and Margarita
items: The movie in front of its abyss: Eisenstein and the teaching of cinema
items: Dionysian Echoes in Rabelais and his World:the Implicit Dialogue between Nietzsche and Bakhtin
items: Possessions of writing: J. M. Coetzee's reinterpretation of Dostoevsky's fiction in The Master of Petersburg
items: From text to painting on glass: the recreation of The Dream of a Ridiculous Man by Aleksandr Petrov
items: A Latin Angel
items: From Revolution to Cosmos: expressions of science fiction in the early decades of Soviet cinema
items: "Mentally organizing what has been seen": Dziga Vertov's diary of an expedition to Crimea, August 1925
items: The multifaceted Aleksandr Nevsky: from historical journey to Soviet reconstruction
items: Varia walks under the rubble: the dictates of “cinema for millions” in Boris Barnet’s mise-en-scène
items: The "Sistine Madonna": Dostoevsky and the Exercise of Looking
items: Three essays on cinema, by Yuri Tyniánov
items: Epic and lyric in contemporary Russia
items: A new study on Chernyshevsky by Camilo Domingues
items: Dostoyevsky and Freud on the Brink of Suicide: Melancholy and Mania in the Short Story The Dream of a Ridiculous Man

Editorial
type: item
subject: Editorial
  topic: section
subject: Editorial
  topic: keywords
creator: Fátima Bianchi
rights: Copyright (c) 2026 Fátima Bianchi https://creativecommons.org/licenses/by-nc-sa/4.0
date: 2026-05-30
publication date: 2026-05-30
starting page: 2
ending page: 5
doi: 10.11606/issn.2317-4765.rus.2026.249420

An absence of a thousand faces – about Zoo, or letters not about love, by Viktor Shklovsky
type: item
description: This review presents a reading of Viktor Shklovsky’s epistolary novel Zoo, or Letters Not About Love through the lens of Giorgio Agamben’s concept of the absent object.
subject: Resenha
  topic: section
subject: Viktor Shklovsky
  topic: keywords
subject: Epistolary novel
  topic: keywords
subject: Absent object
  topic: keywords
subject: Giorgio Agamben
  topic: keywords
creator: Valteir Vaz
rights: Copyright (c) 2026 Valteir Vaz https://creativecommons.org/licenses/by-nc-sa/4.0
date: 2026-05-30
publication date: 2026-05-30
starting page: 248
ending page: 255
doi: 10.11606/issn.2317-4765.rus.2026.249127

“Land of Screaming Stones: Osip Mandelstam and the Concept of Stone in the Armenian Cycle - A Poetics of Matter, Memory, and History”
type: item
description: This article examines the concept of stone in the so-called Armenian Cycle of Acmeist poet Osip Mandelstam, in connection with his 1930 journey to Armenia, highlighting a decisive transformation: from an Acmeist “architectonics of form” to a “stratigraphic poetics of existence,” in which stone ceases to function as a constructive principle and instead becomes a medium of memory and a materialization of historical experience. The study emphasizes the relationship between materiality, temporality, and the representation of trauma in Armenian history. Within this framework, it investigates how the opacity of stone enables the poet to articulate collective memory through a logic of inscription and resistance, thereby avoiding the demands of ideological transparency imposed by Socialist Realism and configuring an ethics of language grounded in density, trace, and persistence.
subject: Artigos
  topic: section
subject: Mandelstam
  topic: keywords
subject: Stone
  topic: keywords
subject: Armenia
  topic: keywords
subject: Memory
  topic: keywords
subject: Trauma
  topic: keywords
subject: Materiality
  topic: keywords
creator: Lusine Yeghiazaryan
rights: Copyright (c) 2026
date: 2026-05-30
publication date: 2026-05-30
starting page: 136
ending page: 155
doi: 10.11606/issn.2317-4765.rus.2026.248492

"Afrikanskaya pauza": translations of José Craveirinha's poetry into Russian
type: item
description: This article examines aspects of the Russian translations of José Craveirinha’s poetry. To this end, the research required a mapping of his translated poems: three Moscow-based anthologies were obtained (one African, one authorial, and one periodical) from the 1970s and 1980s, featuring 52 translated poems by Craveirinha. This mapping enabled an analysis of the following topics through distant reading: (1) the context and chronology of Craveirinha’s canonization in the Russian language and the USSR; (2) material aspects of the publications and their implications; (3) prefaces and the literati involved with the anthologies; (4) the selection of poems and the resulting projection of Craveirinha.
subject: Artigos
  topic: section
subject: translation
  topic: keywords
subject: poetry
  topic: keywords
subject: José Craveirinha
  topic: keywords
subject: Russian
  topic: keywords
subject: distant reading
  topic: keywords
creator: Samuel Caetano Costa Pereira
rights: Copyright (c) 2026 Samuel Caetano Costa Pereira https://creativecommons.org/licenses/by-nc-sa/4.0
date: 2026-05-30
publication date: 2026-05-30
starting page: 180
ending page: 209
doi: 10.11606/issn.2317-4765.rus.2026.247569

Baratynski's "The ring", a fantastic short story from 19th century
type: item
description: This article presents the translation of the short story "The ring" ("Persten’", 1830), by Yevgeny Baratynski (1800-1844), suceded by a brief presentation of the author and comments regarding the story and its translation. This is the author's only work of prose fiction; he was a Romantic poet remembered especially for his elegies and philosophical poems. The story belongs to the tradition of fantastic literature, which was gaining popularity in Russia in the 1830s. To the best of our knowledge, this is the first translation of the story into Brazilian Portuguese.
subject: Tradução
  topic: section
subject: Baratynski
  topic: keywords
subject: fantastic literature
  topic: keywords
subject: russian literature
  topic: keywords
subject: short story
  topic: keywords
subject: translation
  topic: keywords
creator: Evguéni Baratýnski
creator: Yuri Martins de Oliveira
rights: Copyright (c) 2026
date: 2026-05-30
publication date: 2026-05-30
starting page: 211
ending page: 230
doi: 10.11606/issn.2317-4765.rus.2026.246079

Writing with Shadows: Rhetoric and Classicism in the poetry of Osip Mandelstam
type: item
description: In this study, we conducted a brief survey of the critical reception of Osip Mandelstam, focusing on linguistic and rhetorical analyses of his poetry. From the works examined, we identified a small set of concepts proposed by critics to describe his poetics, particularly with regard to his use of figurative language and the lexico-grammatical units characteristic of his writing. Based on these concepts, we proposed a critical reading of the poem “Tristia”, investigating its classicism as part of the poet’s style, while also considering the particularities of his language and the relationship between discourse and the author’s contemporaneity. Beyond a poetics attentive to the uses and possibilities of the word, we sought to understand Mandelstam’s style as the expression of a worldview, reflecting the philosophical and immediate relationship that the poet establishes with the world around him.
subject: Artigos
  topic: section
subject: Osip Mandelstam
  topic: keywords
subject: Russian Poetry
  topic: keywords
subject: Silver Age of Russian Poetry
  topic: keywords
subject: Literary Stylistics
  topic: keywords
creator: Leonardo Augusto Martins Silva
rights: Copyright (c) 2026
date: 2026-05-30
publication date: 2026-05-30
starting page: 110
ending page: 134
doi: 10.11606/issn.2317-4765.rus.2026.245858

Russia in the Work of Gustavo Barroso: An Imagological Study
type: item
description: This study proposes an imagological and critical reading of the work of Gustavo Barroso, encompassing three spheres: the literary, the doctrinal, and the translational. With regard to the literary works, the focus falls on two short stories written prior to the author’s adherence to Integralism, “Autokrator” and “A rapariga de Kiev,” with the aim of showing how they construct a hetero-image of Russia as a space of atavisms and authoritarianisms. This hetero-image would later be reworked in the author’s doctrinal writings, linked to the Brazilian Integralist Action, and articulated with the elaboration of a desired self-image for Brazil — conceived as a barrier to an Oriental becoming and as aspiring to a Western, spiritualized, and cohesive becoming. However, Barroso’s relationship with Russia proves to be more ambiguous, as evidenced by his translation of Unknown Jesus by Dmitri Merejkóvski, a work which, by synthesizing Barroso’s political and spiritual concerns, seems to suggest Russian culture as a reference for the integralist.
subject: Artigos
  topic: section
subject: Gustavo Barroso
  topic: keywords
subject: Brazilian Literature
  topic: keywords
subject: Russian Literature
  topic: keywords
subject: Imagology
  topic: keywords
subject: Integralism
  topic: keywords
creator: João Marcos Cilli de Araujo
rights: Copyright (c) 2026
date: 2026-05-30
publication date: 2026-05-30
starting page: 7
ending page: 28
doi: 10.11606/issn.2317-4765.rus.2026.245842

"The return of Chorb", a short story by Vladimir Nabokov
type: item
description: First translation from Russian into Brazilian Portuguese of the short story “The Return of Chorb” [Возвращение Чорба] by Vladimir Nabokov, first published in 1925 under the pseudonym Vladimir Sirin.
subject: Tradução
  topic: section
subject: Vladimir Nabokov
  topic: keywords
subject: Short story
  topic: keywords
subject: Russian diasporic literature
  topic: keywords
subject: Translation
  topic: keywords
creator: Vladimir Nabokov
creator: Felipe Abeijon da Silva
rights: Copyright (c) 2026
date: 2026-05-30
publication date: 2026-05-30
starting page: 232
ending page: 246
doi: 10.11606/issn.2317-4765.rus.2026.245712

Comparative Analysis: Russian Cultural Assimilation and Oswaldian Anthropophagy
type: item
description: This article proposes a comparative analysis of identity formation in Brazil and Russia, using Oswald de Andrade’s concept of cultural anthropophagy as its theoretical axis. The metaphor of “critical devouring” serves as a consciously anachronistic heuristic tool, since the concept, developed in 20th-century Brazil, is retroactively applied to Russian debates dating back to the 18th and 19th centuries. The article acknowledges this anachronism as a constitutive limitation of the comparative proposal, while recognizing that both nations faced the common dilemma of assimilating external influences without losing their uniqueness, operating through distinct cultural processes of adaptation and identity creation embedded in their own historicity.
subject: Artigos
  topic: section
subject: Anthropophagy
  topic: keywords
subject: Brazil
  topic: keywords
subject: Cultural identity
  topic: keywords
subject: Russia
  topic: keywords
creator: Giovanni Pereira Pieroni
rights: Copyright (c) 2026 Giovanni Pereira Pieroni https://creativecommons.org/licenses/by-nc-sa/4.0
date: 2026-05-30
publication date: 2026-05-30
starting page: 30
ending page: 48
doi: 10.11606/issn.2317-4765.rus.2026.245662

Reification and desumanisation in Gógol and Melville
type: item
description: The concept of reification establishes that work dynamics interfere with objective and subjective structures in society. It is based on the understanding that, when engaged in fragmented work, individuals become closer to an objectified nature. Based on the points of convergence and divergence between the bureaucracy of the Russian Empire and the United States in the 19th century, this article aims to construct a dialogue between Akáki and Bartleby, protagonists, respectively, of the short stories “The Cloak” (1842) by Gogol and “Bartleby, the Scrivener” (1853) by Melville. We focus on authors such as Lukács (2003), Deleuze (1997), Araújo (2020), Agamben (2015), and Bezerra (1990). The conclusions show that, although the characters present, in different ways, a refusal to accept the dynamics of work, they are subjected to reification and dehumanisation. The comparative analysis sheds light on how the reality of these clerks can reveal similarities, even in disparate socio-historical contexts.
subject: Artigos
  topic: section
subject: The cloak
  topic: keywords
subject: Bartleby
  topic: keywords
subject: reification
  topic: keywords
subject: character
  topic: keywords
subject: scrivener
  topic: keywords
creator: Ingrid Rafaela Pinheiro Bernardo
creator: Rosanne Bezerra de Araújo
rights: Copyright (c) 2026
date: 2026-05-30
publication date: 2026-05-30
starting page: 67
ending page: 85
doi: 10.11606/issn.2317-4765.rus.2026.245935

The Fabric of Time: Maria Stepanova and the Language of Memory in Post-Soviet Russia
type: item
description: Since the 1990s, Maria Stepanova has established herself as one of the most distinctive voices in contemporary Russophone literature. Born in 1972, her work moves freely between poetry, essay, and prose fiction, creating a hybrid space in which different forms of memory, tradition, and experimentation coexist. Her writing does not simply narrate events; it organizes a space for observing the past—both family and collective history—marked by displacements, gaps, and interruptions that make any homogeneous reconstruction impossible. In her novels, Stepanova mobilizes family archives, photographs, and minor biographies; in her poetry, dense intertextual layers range from classical tradition to the avant-gardes and the Soviet experience. In a present marked by the return of war, her poetics highlights the fragility of historical knowledge and memory.
subject: Artigos
  topic: section
subject: Maria Stepanova
  topic: keywords
subject: Memory
  topic: keywords
subject: Archive
  topic: keywords
subject: Language
  topic: keywords
subject: Post-soviet Russia
  topic: keywords
creator: Biagio d'Angelo
rights: Copyright (c) 2026
date: 2026-05-30
publication date: 2026-05-30
starting page: 157
ending page: 178
doi: 10.11606/issn.2317-4765.rus.2026.245864

From the overcoat to the tropics: humiliation and anonymity
type: item
description: Starting from Nikolai Gogol’s short story The Overcoat, this essay investigates the figure of the erased subject as an ethical and aesthetic problem reflected in Latin American literature, through a specific focus on Brazilian literature. In Akaky Akakievich, humiliation and anonymity are not exceptional episodes but a structural condition of existence, produced by bureaucratic and social mechanisms of invisibilization. By displacing this figure to Latin American literature, the essay proposes a relationship of resonance rather than direct influence. Characters such as Macabéa, by Clarice Lispector, and Fabiano, by Graciliano Ramos, reaffirm the centrality of minimal lives marked by material precariousness, silencing, and symbolic exclusion. From the Russian administrative cold to the tropics, literature emerges as a privileged space of visibility for subjects whose existence, outside the pages, tends to remain erased.
subject: Artigos
  topic: section
subject: Russian literature
  topic: keywords
subject: Gogol
  topic: keywords
subject: Latin American Literature
  topic: keywords
creator: Manuela Del Lama Titoto
rights: Copyright (c) 2026
date: 2026-05-30
publication date: 2026-05-30
starting page: 50
ending page: 65
doi: 10.11606/issn.2317-4765.rus.2026.244379

Editorial
type: item
description: Editorial
subject: Editorial
  topic: section
subject: Editorial
  topic: keywords
creator: Fátima Bianchi
rights: Copyright (c) 2025 Fátima Bianchi https://creativecommons.org/licenses/by-nc-sa/4.0
date: 2025-11-30
publication date: 2025-11-30
starting page: 2
ending page: 4
doi: 10.11606/issn.2317-4765.rus.2025.243154

Presentation: Dossier “Russian and Soviet Cinema: from the Empire to the Present Day”
type: item
description: Estamos às vésperas dos 130 anos da chegada do cinema à Rússia e do posterior desenvolvimento de uma das mais potentes e inovadoras linguagens cinematográficas em âmbito mundial, que constitui o legado incontornável dos cineastas russos e soviéticos. Apesar de muitos desses filmes circularem discretamente no Brasil desde meados do século XX, pouca atenção é dada ao estudo sistemático da História do Cinema Russo, cuja relevância para a compreensão da cultura russa e soviética é irrefutável. Por esse motivo, a composição deste dossiê busca estimular pesquisas mais aprofundadas entre nossos estudiosos. E, seguindo essa proposta, decidimos oferecer um breve panorama histórico para iniciar esta apresentação. Nosso intuito é contribuir para a reflexão sobre a cinematografia russa e soviética, marcada por uma relação complexa e contínua com a censura, que reflete tanto as convulsões políticas do país quanto a influência decisiva de seus governantes, que, via de regra, permanecem no poder por longos períodos.
subject: Apresentação
  topic: section
subject: Apresentação
  topic: keywords
creator: Erivoneide Barros
creator: Neide Jallageas
rights: Copyright (c) 2025 Erivoneide Barros, Neide Jallageas https://creativecommons.org/licenses/by-nc-sa/4.0
date: 2025-11-30
publication date: 2025-11-30
starting page: 6
ending page: 12
doi: 10.11606/issn.2317-4765.rus.2025.243153

The absence of affective memory and the non-conversion of Goryanchikov in Dostoevsky’s Notes from the House of the Dead
type: item
description: This article analyzes the narrator Alexander Petrovich Goryanchikov in Fyodor Dostoevsky's Notes from the House of the Dead, arguing that his inability to achieve spiritual redemption and union with the common people stems from a narrative construction centered on the sterility of affective memory. The analysis identifies three interconnected characteristics: the narrator's immateriality, as he observes the prison from a detached perspective, without embodying the physical experience; temporal stasis, which confines him to a cyclical and empty present, reflected in the fragmentary structure of the narrative; and, most crucially, the absence of pre-incarceration affective memories. Goryanchikov does not evoke positive recollections from his past and remains entirely silent about his crime, preventing any elaboration of guilt or remorse. This deficiency renders inner conversion impossible. The article contrasts this condition with the sketch "The Peasant Marey," in which Dostoevsky himself recounts how an affective memory from his childhood brought about a redemptive transformation in his perception of the convicts. The deliberate absence of this resource in Goryanchikov's characterization consolidates his tragedy: reason, divorced from affective memory, becomes an inner prison, condemning him to a sterile freedom and isolation.
subject: Temática livre
  topic: section
subject: Notes from the House of the Dead
  topic: keywords
subject: Dostoevsky
  topic: keywords
subject: Narrative focus
  topic: keywords
subject: Memory
  topic: keywords
creator: Ednilson Rodrigo Pedroso
rights: Copyright (c) 2025 Ednilson Rodrigo Pedroso https://creativecommons.org/licenses/by-nc-sa/4.0
date: 2025-11-30
publication date: 2025-11-30
starting page: 268
ending page: 287
doi: 10.11606/issn.2317-4765.rus.2025.242196

Narratives in Abyme in the Film Adaptations of The Master and Margarita
type: item
description: The novel The Master and Margarita, by the Soviet playwright Mikhail Bulgákov (1928–1940), went through processes of burning, rewriting and circulation via samizdat, until its complete publication in 1973. Since then, it has inspired several adaptations, notably two homonymous Russian productions by Yuri Kara (1994) and Mikhail Lockshin (2024). Constructed as a specular double, the work is structured through Narratives in Abyss (Mise en Abyme), encompassing Goethe’s Faust, the biblical narrative of Pilate and Yeshua, and the context of censorship in the USSR experienced by the author and his characters. As these layers intertwine, they dilute the boundaries between the real and the fantastic, reflecting on the human condition and the duality between good and evil. This study proposes to analyze how the aforementioned adaptations translate these embedded narratives in the construction of the fictional universe for the cinema. As a theoretical framework, we draw upon studies on mise en abyme by Gide, Dallenbach and Todorov, as well as to the reflections on adaptation and rewriting proposed by Lefevere and Catrysse.
subject: Dossiê
  topic: section
subject: Film Adaptation
  topic: keywords
subject: Mise en abyme
  topic: keywords
subject: Soviet Literature
  topic: keywords
subject: The Master and Margarita
  topic: keywords
subject: Censorship
  topic: keywords
creator: Lorena Lopes Silva
rights: Copyright (c) 2025 Lorena Lopes Silva https://creativecommons.org/licenses/by-nc-sa/4.0
date: 2025-11-30
publication date: 2025-11-30
starting page: 157
ending page: 181
doi: 10.11606/issn.2317-4765.rus.2025.241596

The movie in front of its abyss: Eisenstein and the teaching of cinema
type: item
description: This article examines the tension between the creation of art and institutional education through Sergei Eisenstein's pedagogical practices at the VGIK. It explores the hypothesis that the filmmaker's intense teaching period coincided with a deepening of the reflection on creative process, resulting in increasingly complex works. The study demonstrates the viability of an educational model integrated within an aesthetic-political project, while highlighting the inherent challenges of translating the creative act into pedagogy.
subject: Tradução
  topic: section
subject: Sergei Eisenstein
  topic: keywords
subject: Film education
  topic: keywords
subject: Pedagogy
  topic: keywords
subject: VGIK
  topic: keywords
subject: Soviet cinema
  topic: keywords
creator: José Manuel Mouriño
creator: Erivoneide Barros
rights: Copyright (c) 2025 José Manuel Mouriño https://creativecommons.org/licenses/by-nc-sa/4.0
date: 2025-11-30
publication date: 2025-11-30
starting page: 224
ending page: 250
doi: 10.11606/issn.2317-4765.rus.2025.242251

Dionysian Echoes in Rabelais and his World:the Implicit Dialogue between Nietzsche and Bakhtin
type: item
description: This article investigates the presence of Friedrich Nietzsche’s thought in Mikhail Bakhtin’s Rabelais and His World, despite the almost complete absence of explicit references to the German philosopher. We assume that, although silenced by the ideological context of Stalinism, Nietzschean influence is covertly manifested in Bakhtin’s conception of carnival. To this end, we examine four analytical axes: the Russian intellectual context of the early twentieth century, biographical elements of Bakhtin that favored the reception of Nietzsche, theoretical connections already suggested by Western interpreters, and finally, the internal reading of the work itself. The results indicate that central categories of Nietzschean thought—such as the Dionysian, the eternal return, and the critique of social hierarchies—were reworked by Bakhtin from the perspective of popular culture, taking on communal and collective features in contrast to Nietzsche’s aristocratic individualism. We conclude that the relation between the two thinkers should not be understood as mere thematic coincidence, but as an implicit and creative dialogue that broadens the understanding of Bakhtin’s carnival as a philosophical, aesthetic, and anthropological category.
subject: Temática livre
  topic: section
subject: Bakhtin
  topic: keywords
subject: Nietzsche
  topic: keywords
subject: Carnival
  topic: keywords
subject: Dionysian
  topic: keywords
subject: Popular culture
  topic: keywords
creator: Paulo Roberto Pedrozo Rocha
creator: Francisco Benedito Leite
rights: Copyright (c) 2025 Francisco Benedito Leite, Paulo Roberto Pedrozo Rocha https://creativecommons.org/licenses/by-nc-sa/4.0
date: 2025-11-30
publication date: 2025-11-30
starting page: 341
ending page: 362
doi: 10.11606/issn.2317-4765.rus.2025.241265

Possessions of writing: J. M. Coetzee's reinterpretation of Dostoevsky's fiction in The Master of Petersburg
type: item
description: This paper proposes a comparative analysis of the critical and fictional resonances between the work of Russian writer Fyodor Dostoevsky and the novel "The Master of Petersburg" by South African writer John Maxwell Coetzee. Through a comparative approach, the study sought to identify narrative connections between the aforementioned novel and the broader Dostoevskyan oeuvre regarding the positions assumed by the characters throughout the plot. Thus, the research highlighted that, based on the characters constructed by J. M. Coetzee in his novel, there is an articulation and appropriation of Dostoevskyan dialogism through the characters' statements, leading the plot to simulate a "possession" that occurs not through the denotative meaning of this word, but rather through its use as a metaphor in the process of fictional writing.
subject: Temática livre
  topic: section
subject: Dialogism
  topic: keywords
subject: Polyphony
  topic: keywords
subject: Writing
  topic: keywords
subject: Possession
  topic: keywords
subject: J. M. Coetzee
  topic: keywords
creator: Antonio Maurício Martins Neto
rights: Copyright (c) 2025 Antonio Maurício Martins Neto https://creativecommons.org/licenses/by-nc-sa/4.0
date: 2025-11-30
publication date: 2025-11-30
starting page: 327
ending page: 339
doi: 10.11606/issn.2317-4765.rus.2025.241628

From text to painting on glass: the recreation of The Dream of a Ridiculous Man by Aleksandr Petrov
type: item
description: This study aims to analyze how Aleksandr Petrov’s animated film The Dream of a Ridiculous Man (1992) promotes a recreation of Dostoevskian poetics by adapting Fyodor Dostoyevsk’s short story of the same name. Based on Linda Hutcheon’s theory of adaptation (2011), Jasmine Jacq’s studies of the novelist’s adaptations (2017; 2019), and interviews with the filmmaker, this study seeks to highlight how the technique of glass painting intensifies the sensory experience of the emotions experienced by the character “ridiculous man.” Thus, by symbolically recreating the original narrative and incorporating metaphorical, sound, and visual elements, Petrov’s animated film offers a renewed experience that dialogues with Dostoevsky’s work by reinterpreting its essence through a pictorial expressiveness that is simultaneously realistic and subjective, capable of translating the spiritual density and inner drama of Dostoevsky’s characters.
subject: Dossiê
  topic: section
subject: Adaptation
  topic: keywords
subject: Recreation
  topic: keywords
subject: Dostoyevsky
  topic: keywords
subject: Aleksandr Petrov
  topic: keywords
creator: Anderson Souza Cantanhede
creator: Douglas De Sousa
rights: Copyright (c) 2025 Douglas de Sousa , Anderson Cantanhede https://creativecommons.org/licenses/by-nc-sa/4.0
date: 2025-11-30
publication date: 2025-11-30
starting page: 183
ending page: 222
doi: 10.11606/issn.2317-4765.rus.2025.241611

A Latin Angel
type: item
description: In Ivan the Terrible (Parts I and II), directed by Sergei Eisenstein (1943 and 1945), the figure of Saint Michael the Archangel – with his face set in a flaming sun—appears in the tsar’s reception hall, a design created by Eisenstein himself. Strikingly, it echoes the long-standing iconographic tradition of the same angel that has been depicted for centuries across Latin America. Likewise, the layout of the drawing on the ceiling and walls recalls graphic solutions explored by Mexican muralists, whom Eisenstein admired so deeply that he saw them as his artistic forebears. These affinities point to the complex kind of (international) nationalism that shaped the film’s conception. The (Latin) angel who at once threatened and empowered Ivan resists any simplistic reading of the film as mere Stalinist propaganda.
subject: Dossiê
  topic: section
subject: Eisenstein
  topic: keywords
subject: Saint Michael the Archangel
  topic: keywords
subject: Mexican Muralists
  topic: keywords
subject: Ivan, the Terrible
  topic: keywords
creator: Luiz Felipe Guimarães Soares
rights: Copyright (c) 2025 Luiz Felipe Guimarães Soares https://creativecommons.org/licenses/by-nc-sa/4.0
date: 2025-11-30
publication date: 2025-11-30
starting page: 110
ending page: 133
doi: 10.11606/issn.2317-4765.rus.2025.241681

From Revolution to Cosmos: expressions of science fiction in the early decades of Soviet cinema
type: item
description: This article aims to present an understanding of the cultural promotion of the science fiction/fantasy genre in imperial Russian and Soviet society, and conduct a study of the two cinematographic works selected using Marc Ferro's method of analysis. The science fiction/fantasy literary genre in the Russian Empire and the Soviet Union was popular in different forms and themes. In Soviet cinema, the genre began to be popularized through two productions: director Yakov Protazanov’s film Aelita, Queen of Mars (1924) and director Vasily Zhravlev’s Cosmic Journey (1936).
subject: Dossiê
  topic: section
subject: Soviet cinema
  topic: keywords
subject: Science fiction
  topic: keywords
subject: Russian literature
  topic: keywords
creator: Vinícius Braga Mendonça
creator: Walter Günther Rodrigues Lippold
rights: Copyright (c) 2025 Vinícius Braga Mendonça, Walter Günther Rodrigues Lippold https://creativecommons.org/licenses/by-nc-sa/4.0
date: 2025-11-30
publication date: 2025-11-30
starting page: 14
ending page: 36
doi: 10.11606/issn.2317-4765.rus.2025.241631

"Mentally organizing what has been seen": Dziga Vertov's diary of an expedition to Crimea, August 1925
type: item
description: In August of 1925, Dziga Vertov produced a handwritten report about a three-day visit to the Bakhchissaray district in Crimea. The analysis of this unpublished document, conserved in the “Notebooks and notepads” section of his fond in the Russian State Archive of Literature and Art (RGALI), allows us to glimpse at a rarely discussed stage of his creative process, defined by him as the “montage after an observation: mentally organizing what has been seen”. From his manuscript, the multiple interests at play during the making of A sixth of the world (1926) emerge – from the advertising of the commercial network managed by the Soviet State to the ethnographic study of the region – as well as the potential forms of cinematographic documentation considered by the filmmaker.
subject: Dossiê
  topic: section
subject: Dziga Vertov
  topic: keywords
subject: Soviet cinema
  topic: keywords
subject: Documentary cinema
  topic: keywords
subject: Diary
  topic: keywords
subject: Creative processes
  topic: keywords
subject: Ethnographic cinema
  topic: keywords
subject: Silent film
  topic: keywords
subject: A Sixth of the World
  topic: keywords
creator: Luis Felipe Gurgel Ribeiro Labaki
rights: Copyright (c) 2025 Luis Felipe Gurgel Ribeiro Labaki https://creativecommons.org/licenses/by-nc-sa/4.0
date: 2025-11-30
publication date: 2025-11-30
starting page: 38
ending page: 62
doi: 10.11606/issn.2317-4765.rus.2025.241576

The multifaceted Aleksandr Nevsky: from historical journey to Soviet reconstruction
type: item
description: Sergei Eisenstein’s 1938 film Alexander Nevsky sought to rehabilitate and reintroduce the thirteenth‑century saint and prince as a national hero, situating him within the patriotic discourses cultivated in the late 1930s in anticipation of the conflict with Nazi Germany, as part of the broader Stalinist cultural project. This study undertakes a concise historical review of Alexander Nevsky’s life and his leadership in the 1242 Battle on the Ice, followed by an analysis of his cinematic representation in Eisenstein’s work. Drawing upon the extant Portuguese‑language scholarship, it aims to elucidate continuities and transformations in the political uses of the prince’s memory across Russian history – from the medieval Rus polity to the Soviet era – thereby tracing the consolidation of a twentieth‑century reinterpretation of his figure through the medium of film.
subject: Dossiê
  topic: section
subject: Aleksandr Nevsky
  topic: keywords
subject: Soviet cinema
  topic: keywords
subject: Sergei Eisenstein
  topic: keywords
subject: Battle on the Ice
  topic: keywords
creator: Livia Bernardes Marciano
creator: Guilherme Faber
rights: Copyright (c) 2025 Guilherme Faber, Livia Bernardes Marciano https://creativecommons.org/licenses/by-nc-sa/4.0
date: 2025-11-30
publication date: 2025-11-30
starting page: 64
ending page: 88
doi: 10.11606/issn.2317-4765.rus.2025.239846

Varia walks under the rubble: the dictates of “cinema for millions” in Boris Barnet’s mise-en-scène
type: item
description: This article analyzes three sequences from the film "Odnajdy notchiu" to investigate director Boris Barnet's adherence to the dictates of "cinema for millions"—a set of rules of form and content that began to guide Soviet film production from the second half of the 1930s onward, aligning films with the demands of Socialist Realism.
subject: Dossiê
  topic: section
subject: Film Analysis
  topic: keywords
subject: Cinema for millions
  topic: keywords
subject: Stalinism
  topic: keywords
creator: Nuno Lindoso
rights: Copyright (c) 2025 Nuno Lindoso https://creativecommons.org/licenses/by-nc-sa/4.0
date: 2025-11-30
publication date: 2025-11-30
starting page: 90
ending page: 108
doi: 10.11606/issn.2317-4765.rus.2025.241523

The "Sistine Madonna": Dostoevsky and the Exercise of Looking
type: item
description: Raphael's ‘Sistine Madonna’, dated around 1513-1514 and housed in the Gemäldegalerie in Dresden, is one of the paintings that most impressed Dostoevsky, to the point that he wrote about it in several of his novels, from Crime and Punishment (Преступление и наказание, 1866) to The Demons (Бесы, 1873) and The Adolescent (Подросток, 1875). Dostoyevsky certainly knew other paintings by Raphael. But then why this insistence on Raphael's canvas? Our hypothesis is that Dostoyevsky perceived, in a totally modern way and outside the historicist schemes of art, the conceptual and symbolic complexity hidden behind the apparent simplicity of the image and the harmonious union between the ideal of Greco-Roman beauty and Christian religious sentiment. Furthermore, with the ‘Sistine Madonna,’ Dostoevsky inaugurates (or perhaps it would be better to say, brings to light) an ecphrastic myth in literature. With his exercise of the gaze, it is not only Raphael's painting that surprises with its ability to attract the gaze of different generations, but it is Dostoevsky himself who creates new interpretative palimpsests of the work, which will flow many years later into the dramatic and bitter reflections of Vasily Grossman, who, as we know, revisits the ‘Sistine Madonna’ to propose a historical reinterpretation that continues to question the observer's gaze to this day.
subject: Temática livre
  topic: section
subject: Sistine Madonna
  topic: keywords
subject: Gaze
  topic: keywords
subject: Aesthetics
  topic: keywords
subject: Ekphrasis
  topic: keywords
subject: Fyodor Dostoevsky
  topic: keywords
creator: Biagio D'Angelo
rights: Copyright (c) 2025 Biagio d'Angelo https://creativecommons.org/licenses/by-nc-sa/4.0
date: 2025-11-30
publication date: 2025-11-30
starting page: 309
ending page: 325
doi: 10.11606/issn.2317-4765.rus.2025.241465

Three essays on cinema, by Yuri Tyniánov
type: item
description: Written by Yuri Tynianov in the 1920s, the following essays (“Cinema – Word – Music,” “On Plot and Fabula in Cinema,” and “On the Screenplay”) form a key body of work for understanding the origins of Soviet film theory. A recognized member of the Society for the Study of Poetic Language (OPOIAZ), Tynianov applies the principles of formalist criticism to cinema, proposing a vision of cinema as an autonomous art form characterized by abstraction, fragmentation, and recomposition of expressive elements. In “Cinema – Word – Music,” he analyzes the specificity of cinematic discourse and argues for music as a structuring element of narrative rhythm. In “On Plot and Fabula in Cinema,” he applies the formalist distinction between fabula and plot to film, emphasizing stylistic procedures over predictable narrative content. In “On the Screenplay,” he critiques the conceptual confusion surrounding the role of the screenwriter, defending the screenplay as a distinct artistic form based on cinema’s visual language. These translations aim to make these reflections accessible to the Portuguese-speaking audience, highlighting their pioneering nature and continuing relevance to film studies, especially regarding narrative construction, aesthetic autonomy, and the relationship between literature, image, and sound in cinematic discourse.
subject: Tradução
  topic: section
subject: Yuri Tynianov
  topic: keywords
subject: Cinema
  topic: keywords
subject: Fabula
  topic: keywords
subject: Plot
  topic: keywords
subject: Screenplay
  topic: keywords
creator: Iuri Tyniánov
creator: Raquel Siphone
rights: Copyright (c) 2025 Raquel Siphone https://creativecommons.org/licenses/by-nc-sa/4.0
date: 2025-11-30
publication date: 2025-11-30
starting page: 252
ending page: 266
doi: 10.11606/issn.2317-4765.rus.2025.239865

Epic and lyric in contemporary Russia
type: item
description: In this second part of Marina Tsvetaeva’s essay Epos and Lyrics in contemporary Russia – Vladimir Mayakovsky and Boris Pasternak the author compares and contrasts the characteristics of both poets, particularly in terms of Epos and Lyrics, giving examples withdrawn from their poems.
subject: Tradução
  topic: section
subject: Marina Tsvetaeva
  topic: keywords
subject: 20th. century Russian poetry
  topic: keywords
subject: Epos and Lyrics
  topic: keywords
subject: Vladimir Mayakovsky
  topic: keywords
subject: Boris Pasternak
  topic: keywords
creator: Aurora Fornoni Bernardini
rights: Copyright (c) 2020 Aurora Fornoni Bernardini http://creativecommons.org/licenses/by-nc-sa/4.0
date: 2020-12-18
publication date: 2020-12-18
starting page: 293
ending page: 312
doi: 10.11606/issn.2317-4765.rus.2020.171418

A new study on Chernyshevsky by Camilo Domingues
type: item
description: The present work of scientific divulgation aims presenting to the interested public the recently published book “O que fazer?”, de N. Tchernychévski: a história do romance e de seu gênero literário, which originates from the Ph.D. thesis by Camilo Domingues.
subject: Resenha
  topic: section
subject: Review
  topic: keywords
subject: Scientific divulgation
  topic: keywords
subject: Nikolay Chernyshevsky
  topic: keywords
subject: What is to be done?
  topic: keywords
creator: Rafael Bonavina
rights: Copyright (c) 2025 Rafael Bonavina https://creativecommons.org/licenses/by-nc-sa/4.0
date: 2025-11-30
publication date: 2025-11-30
starting page: 364
ending page: 373
doi: 10.11606/issn.2317-4765.rus.2025.238968

Dostoyevsky and Freud on the Brink of Suicide: Melancholy and Mania in the Short Story The Dream of a Ridiculous Man
type: item
description: This paper aims to analyze melancholy in Fyodor Dostoyevsky's short story The Dream of a Ridiculous Man (2017), based on Freudian theories, seeking to demonstrate how the protagonist's melancholic suffering arises in the face of object loss and turns into mania. To this end, Sigmund Freud's text Mourning and Melancholia (2010) is fundamental to understanding how the character “ridiculous man” experiences his loss of self-esteem, indifference, and self-martyrdom, characteristics of the melancholic being. Through literary and psychoanalytic analysis, using authors who study Dostoevsky's work as a theoretical framework, the research will demonstrate how the “ridiculous aspect” of the character symbolizes not only the duplicity of the self, which he refuses to accept, but also his object loss of self-transformation through modern ideas. A narcissistic frustration that will provoke his symptoms of melancholy and suicidal masochism, but which, in a redemptive way, will transform into mania.
subject: Artigos
  topic: section
subject: Melancholia
  topic: keywords
subject: mania
  topic: keywords
subject: psychoanalysis
  topic: keywords
subject: Freud
  topic: keywords
subject: Dostoevsky
  topic: keywords
creator: Anderson Souza Cantanhede
creator: Douglas De Sousa
rights: Copyright (c) 2026
date: 2026-05-30
publication date: 2026-05-30
starting page: 87
ending page: 108
doi: 10.11606/issn.2317-4765.rus.2026.237924