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  <title type="text">Slovo</title>
  <subtitle type="text">Slovo: latest publications</subtitle>
  <logo>https://slovo.episciences.org/logos/logo-slovo-small.svg</logo>
  <updated>2026-06-02T01:58:24+00:00</updated>
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  <author>
    <name>Slovo</name>
  </author>
  <link rel="hub" href="https://pubsubhubbub.appspot.com/"/>
  <entry>
    <title type="html"><![CDATA[Hokanson Katya, 2022, A Woman’s Empire: Russian Women and Imperial Expansion in Asia: University of Toronto Press, 360 p]]></title>
    <summary type="html"><![CDATA[Dans A Woman’s Empire: Russian Women and Imperial Expansion in Asia, Katya Hokanson, professeure associée de littérature russe et comparée à l’université de l’Oregon, interroge le rôle des femmes dans l’expansion russe en Asie centrale au XIXe siècle.]]></summary>
    <published>2025-06-10T16:22:38+00:00</published>
    <updated>2025-06-10T16:22:38+00:00</updated>
    <link rel="alternate" type="text/html" href="https://doi.org/10.46298/slovo.2025.15840"/>
    <id>https://doi.org/10.46298/slovo.2025.15840</id>
    <author>
      <name>Pousson, Guilhem</name>
    </author>
    <category term="Slovo" label="Slovo"/>
    <category term="[SHS]Humanities and Social Sciences" label="[SHS]Humanities and Social Sciences"/>
  </entry>
  <entry>
    <title type="html"><![CDATA[Fediunin Jules Sergei, Les nationalismes russes. Gouverner, mobiliser, contester dans la Russie en guerre]]></title>
    <summary type="html"><![CDATA[Cet ouvrage de Jules Sergei Fediunin, préfacé par Stéphane Audoin-Rouzeau, traite d’un sujet d’une brûlante actualité, que le lecteur occidental méconnaît encore trop souvent dans sa complexité : les nationalismes russes, ferment de la guerre russo-ukrainienne.]]></summary>
    <published>2025-06-10T16:19:28+00:00</published>
    <updated>2025-06-10T16:19:28+00:00</updated>
    <link rel="alternate" type="text/html" href="https://doi.org/10.46298/slovo.2025.15839"/>
    <id>https://doi.org/10.46298/slovo.2025.15839</id>
    <author>
      <name>Rousselet, Kathy</name>
    </author>
    <category term="Slovo" label="Slovo"/>
    <category term="[SHS]Humanities and Social Sciences" label="[SHS]Humanities and Social Sciences"/>
  </entry>
  <entry>
    <title type="html"><![CDATA[Deruelle Benjamin (dir.), 2023, Quand l’Histoire sert à faire la guerre: Presses universitaires du Septentrion, 210 pages]]></title>
    <summary type="html"><![CDATA[Benjamin Deruelle, le directeur de publication, s’emploie avec l’aide de nombreux historiens spécialistes à démontrer que les différentes composantes du champ historique (récits, sources, historiographies…) ont toujours fait l’objet d’instrumentalisations pour appuyer les entrées en guerre – dans la lignée de la célèbre expression du géographe Yves Lacoste : « l’Histoire sert à faire la guerre ». C’est en tout cas la principale thèse défendue tout au long des pages. Loin de se vouloir moralisateur en affublant l’historien d’une quelconque responsabilité, l’ouvrage de Benjamin Deruelle se veut avant tout érudit et pédagogue.]]></summary>
    <published>2025-06-10T16:16:49+00:00</published>
    <updated>2025-06-10T16:16:49+00:00</updated>
    <link rel="alternate" type="text/html" href="https://doi.org/10.46298/slovo.2025.15838"/>
    <id>https://doi.org/10.46298/slovo.2025.15838</id>
    <author>
      <name>Nonjon, Adrien</name>
    </author>
    <category term="Slovo" label="Slovo"/>
    <category term="[SHS]Humanities and Social Sciences" label="[SHS]Humanities and Social Sciences"/>
  </entry>
  <entry>
    <title type="html"><![CDATA[La fondation de la bibliothèque Tourguénev à Paris: Comment le mythe masculin s’est progressivement substitué à une réalité transgressive]]></title>
    <summary type="html"><![CDATA[This article explores the foundation of the Tourguenev Russian Library in Paris as well as the origin of the myth surrounding it. Despite the library’s name, it is generally accepted that its founder was the famous revolutionary German Lopatine. A reassessment of memoirs and testimonies has allowed to retrace the circumstances that led to the idea of this library, emanating from very different circles of the Russian-speaking community of Paris: both from the artistic milieu and from radicalized medical students of Tchaikovsky’s circle. This group of young women, supported by Tourgueniev, succeeded in opening the first reading room. However, this initial transgressive diversity was forgotten, Tourgueniev’s role faded to become symbolic, while the doctor of medicine Nadejda Skrovortsova and the singer Maria Gay were made anonymous, replaced by the suitably masculine image of the revolutionary founder.]]></summary>
    <published>2025-06-10T16:14:17+00:00</published>
    <updated>2025-06-10T16:14:17+00:00</updated>
    <link rel="alternate" type="text/html" href="https://doi.org/10.46298/slovo.2025.15837"/>
    <id>https://doi.org/10.46298/slovo.2025.15837</id>
    <author>
      <name>Evstifeeva, Riva</name>
    </author>
    <author>
      <name>de Mauny, Polina</name>
    </author>
    <category term="Slovo" label="Slovo"/>
    <category term="feminism" label="feminism"/>
    <category term="revolutionary movements of the 19th century" label="revolutionary movements of the 19th century"/>
    <category term="Russian libraries in exile" label="Russian libraries in exile"/>
    <category term="History of Russian emigration" label="History of Russian emigration"/>
    <category term="Ivan Turgenev" label="Ivan Turgenev"/>
    <category term="Turgenev Russian Library" label="Turgenev Russian Library"/>
    <category term="féminisme" label="féminisme"/>
    <category term="mouvements révolutionnaires du xixe siècle" label="mouvements révolutionnaires du xixe siècle"/>
    <category term="bibliothèques russes en exil" label="bibliothèques russes en exil"/>
    <category term="histoire de l’émigration russe" label="histoire de l’émigration russe"/>
    <category term="bibliothèque russe Tourguenev" label="bibliothèque russe Tourguenev"/>
    <category term="[SHS]Humanities and Social Sciences" label="[SHS]Humanities and Social Sciences"/>
  </entry>
  <entry>
    <title type="html"><![CDATA[The Karaims in France: from mutual aid (1920-1939) to the struggle “against the monstrous threat hanging over our heads” (1939-1945)]]></title>
    <summary type="html"><![CDATA[At the beginning of the 1920s, an emigration minority of about 300 people, called the Crimean Karaims, settled in France within the first wave of Russian emigration. About 50 Karaites of Constantinople joined them, following the advent of Mustafa Kemal’s Turkey in 1924. During World War II (1939-1944), the Karaims’ community, spread over all Europe, was plunged into the turmoil of racial persecution and antisemitism. Supported by the Association des Karaïmes à Paris, which they had founded in 1923, the Karaims of France engaged into a collective struggle to save their lives, where the demonstration of their identity was at stake, in the face of two infamous administrations: the Gestapo and the General Commissariat for Jewish Affairs. We follow the course of this overwhelming page of History, through the unpublished tale, written by Simon Kazas, then President of the Association des Karaïmes à Paris.]]></summary>
    <published>2025-06-10T16:08:38+00:00</published>
    <updated>2025-06-10T16:08:38+00:00</updated>
    <link rel="alternate" type="text/html" href="https://doi.org/10.46298/slovo.2025.15836"/>
    <id>https://doi.org/10.46298/slovo.2025.15836</id>
    <author>
      <name>Guyot, Blandine</name>
    </author>
    <category term="Slovo" label="Slovo"/>
    <category term="repression" label="repression"/>
    <category term="Second World War" label="Second World War"/>
    <category term="Franco-russian history" label="Franco-russian history"/>
    <category term="emigration" label="emigration"/>
    <category term="minorities" label="minorities"/>
    <category term="minorités" label="minorités"/>
    <category term="émigration" label="émigration"/>
    <category term="histoire franco-russe" label="histoire franco-russe"/>
    <category term="seconde guerre mondiale" label="seconde guerre mondiale"/>
    <category term="répression" label="répression"/>
    <category term="меньшинства" label="меньшинства"/>
    <category term="эмиграция" label="эмиграция"/>
    <category term="франко-российская история" label="франко-российская история"/>
    <category term="Вторая мировая война" label="Вторая мировая война"/>
    <category term="репрессия" label="репрессия"/>
    <category term="[SHS]Humanities and Social Sciences" label="[SHS]Humanities and Social Sciences"/>
  </entry>
  <entry>
    <title type="html"><![CDATA[Documentation of the everyday life of war in Bad roads [Погані дороги] by Natalka Vorojbyt]]></title>
    <summary type="html"><![CDATA[This article aims to examine representations of everyday life during the Russo-Ukrainian war in eastern Ukraine through the documentary play Bad Roads by Natalka Vorozhbyt.. The analysis focuses on the everyday situations depicted in the play, as well as the transformation of language during times of war. The article also highlights the representations of the body, particularly the female body confronted with the ravages of war. Analyzing these elements in Vorojbyt’s work helps understand the role of contemporary dramaturgy in the development of the new Ukrainian drama.]]></summary>
    <published>2025-06-10T16:06:15+00:00</published>
    <updated>2025-06-10T16:06:15+00:00</updated>
    <link rel="alternate" type="text/html" href="https://doi.org/10.46298/slovo.2025.15835"/>
    <id>https://doi.org/10.46298/slovo.2025.15835</id>
    <author>
      <name>Tarasiuk, Kateryna</name>
    </author>
    <category term="Slovo" label="Slovo"/>
    <category term="war" label="war"/>
    <category term="Donbas" label="Donbas"/>
    <category term="everyday situations" label="everyday situations"/>
    <category term="ordinary spaces" label="ordinary spaces"/>
    <category term="minimalist language" label="minimalist language"/>
    <category term="violated body" label="violated body"/>
    <category term="new Ukrainian drama" label="new Ukrainian drama"/>
    <category term="guerre" label="guerre"/>
    <category term="Donbas" label="Donbas"/>
    <category term="quotidien" label="quotidien"/>
    <category term="espaces ordinaires" label="espaces ordinaires"/>
    <category term="langage minimaliste" label="langage minimaliste"/>
    <category term="corps violenté" label="corps violenté"/>
    <category term="nouveau drame ukrainien" label="nouveau drame ukrainien"/>
    <category term="[SHS]Humanities and Social Sciences" label="[SHS]Humanities and Social Sciences"/>
  </entry>
  <entry>
    <title type="html"><![CDATA[Transformations of the female subject in the cycle of (post-)Soviet violence: “Again they’re off for their Afghanistan…”, The Baltic Journal, and “#ConversationsWithTheDevil” by Elena Fanailova]]></title>
    <summary type="html"><![CDATA[This article examines the portrayals of the female subject and war depicted in three poetic works by Elena Fanailova, a contemporary Russian author and journalist. The article demonstrates that, through various narrative and symbolization strategies, Fanailova stages war as an essential emanation of Soviet and post-Soviet Russian society, which unity is grounded in a collective experience of military and civilian violence. Consequently, gender binary ceases to be a structuring antagonism in her representation of individuals and personal experiences. By anchoring female characters in the socio-political space of present-day Russia, Fanailova challenges the perception of violence as solely a male monopoly, distinguishing herself from several notable female writers in post-Soviet Russian literature.]]></summary>
    <published>2025-06-10T16:04:11+00:00</published>
    <updated>2025-06-10T16:04:11+00:00</updated>
    <link rel="alternate" type="text/html" href="https://doi.org/10.46298/slovo.2025.15834"/>
    <id>https://doi.org/10.46298/slovo.2025.15834</id>
    <author>
      <name>Arsich, Milena</name>
    </author>
    <category term="Slovo" label="Slovo"/>
    <category term="post-perestroika Russian poetry" label="post-perestroika Russian poetry"/>
    <category term="poetics of memory" label="poetics of memory"/>
    <category term="Russian women’s poetry" label="Russian women’s poetry"/>
    <category term="war writing" label="war writing"/>
    <category term="écriture de la guerre" label="écriture de la guerre"/>
    <category term="poésie féminine russe" label="poésie féminine russe"/>
    <category term="poétique de la mémoire" label="poétique de la mémoire"/>
    <category term="poésie russe de la post-perestroïka" label="poésie russe de la post-perestroïka"/>
    <category term="[SHS]Humanities and Social Sciences" label="[SHS]Humanities and Social Sciences"/>
  </entry>
  <entry>
    <title type="html"><![CDATA[Children and adolescents as wartime witnesses in contemporary Russian children’s literature]]></title>
    <summary type="html"><![CDATA[The article analyses three books for children and teenagers published in Russia between 2018 and 2023, which tell the story of the war in Ukraine, before or after 24 February 2022, as seen through the eyes of a child or adolescent narrator. These works form part of the tradition, recent in Russia, of narrative in which the child plays the role of witness to a historical trauma. Dealing with current events, these books are subject to censorship and hence blur the geographical context: the witnesses live in worlds - at once anonymous and recognizable - torn up by destruction and death, which is not, however, physically described. The child’s point of view focus on the changes in everyday life, on the slide of familiar objects and everyday actions towards horror and the unthinkable, which the narrators themselves struggle to grasp, admit and put into words, let alone judge.]]></summary>
    <published>2025-06-10T15:57:59+00:00</published>
    <updated>2025-06-10T15:57:59+00:00</updated>
    <link rel="alternate" type="text/html" href="https://doi.org/10.46298/slovo.2025.15833"/>
    <id>https://doi.org/10.46298/slovo.2025.15833</id>
    <author>
      <name>Ostromooukhova, Bella</name>
    </author>
    <category term="Slovo" label="Slovo"/>
    <category term="witnessing violence" label="witnessing violence"/>
    <category term="war in Ukraine" label="war in Ukraine"/>
    <category term="contemporary Russian literature" label="contemporary Russian literature"/>
    <category term="children’s literature" label="children’s literature"/>
    <category term="littérature jeunesse" label="littérature jeunesse"/>
    <category term="littérature russe contemporaine" label="littérature russe contemporaine"/>
    <category term="guerre en Ukraine" label="guerre en Ukraine"/>
    <category term="témoin de violences" label="témoin de violences"/>
    <category term="[SHS]Humanities and Social Sciences" label="[SHS]Humanities and Social Sciences"/>
  </entry>
  <entry>
    <title type="html"><![CDATA[The Role of Russian Internet Memes in Resisting Putin’s Regime and His War on Ukraine]]></title>
    <summary type="html"><![CDATA[Can laughter serve as a form of opposition to war? This article investigates the role and significance of humor in post-February 2022 Russia, with a particular emphasis on memes. Oscillating between resistance and compliance, this internet phenomenon has demonstrated the capacity both to mobilize and to hinder societal opposition to Russia’s aggression against Ukraine. The article begins by theorizing the potentially “virtuous” effects of memes, as well as their inherent limitations. It then analyzes two key case studies: the activities of Lentach, a popular Russian meme page on social media since the outbreak of the war, and the legal controversy surrounding the “No to the Vobla” meme in late 2022. While memes may not constitute a central instrument in the broader resistance against Putin’s war, they nonetheless can play a certain role in sustaining the potential for dissent within Russian society.]]></summary>
    <published>2025-06-10T15:52:23+00:00</published>
    <updated>2025-06-10T15:52:23+00:00</updated>
    <link rel="alternate" type="text/html" href="https://doi.org/10.46298/slovo.2025.15832"/>
    <id>https://doi.org/10.46298/slovo.2025.15832</id>
    <author>
      <name>Lakine, Denis</name>
    </author>
    <category term="Slovo" label="Slovo"/>
    <category term="war in Ukraine" label="war in Ukraine"/>
    <category term="Runet" label="Runet"/>
    <category term="Lentach" label="Lentach"/>
    <category term="Vobla" label="Vobla"/>
    <category term="memes" label="memes"/>
    <category term="mèmes" label="mèmes"/>
    <category term="guerre en Ukraine" label="guerre en Ukraine"/>
    <category term="Runet" label="Runet"/>
    <category term="Lentach" label="Lentach"/>
    <category term="Vobla" label="Vobla"/>
    <category term="[SHS]Humanities and Social Sciences" label="[SHS]Humanities and Social Sciences"/>
  </entry>
  <entry>
    <title type="html"><![CDATA[Opening our Eyes, Listening Attentively: the Deconstructing of Hate speech in Contemporary Bulgarian Literature]]></title>
    <summary type="html"><![CDATA[Relatively new in the Bulgarian public arena, the expression “hate speech” is helping to give greater recognition to hateful feelings as a basis for certain forms of discrimination in society. The literary production of the last ten years has also marked a significant change in this direction, taking up subjects that were previously marginal or completely absent from books of fiction and works of literary history. Alongside the large body of stories about conflicts between ideological opponents, there are now novels and poetry books that openly address issues of collective intolerance towards ethnic and sexual minorities. Hate, however, manifests itself in different forms which, paradoxically, produce a similar effect: the invisibilisation of otherness and, in some cases, the denial of its existence. In this article, I examine the various aspects of hatred through their representation in the most recent Bulgarian literature, while placing them in a historical perspective. The aim is to show that, after having helped to forge the prejudices that fuel fear and intolerance, literature can also contribute to their deconstruction.]]></summary>
    <published>2025-06-10T15:49:58+00:00</published>
    <updated>2025-06-10T15:49:58+00:00</updated>
    <link rel="alternate" type="text/html" href="https://doi.org/10.46298/slovo.2025.15830"/>
    <id>https://doi.org/10.46298/slovo.2025.15830</id>
    <author>
      <name>Guéorguiéva, Elena</name>
    </author>
    <category term="Slovo" label="Slovo"/>
    <category term="LGBTI people" label="LGBTI people"/>
    <category term="Bulgarian Roma" label="Bulgarian Roma"/>
    <category term="the “rescue” of the Bulgarian Jews" label="the “rescue” of the Bulgarian Jews"/>
    <category term="invisible minorities" label="invisible minorities"/>
    <category term="Bulgarian Turks" label="Bulgarian Turks"/>
    <category term="Bulgarian literature" label="Bulgarian literature"/>
    <category term="hate speech" label="hate speech"/>
    <category term="discours de haine" label="discours de haine"/>
    <category term="littérature bulgare" label="littérature bulgare"/>
    <category term="minorités invisibles" label="minorités invisibles"/>
    <category term="le « sauvetage » des Juifs de Bulgarie" label="le « sauvetage » des Juifs de Bulgarie"/>
    <category term="Turcs de Bulgarie" label="Turcs de Bulgarie"/>
    <category term="Roms de Bulgarie" label="Roms de Bulgarie"/>
    <category term="personnes LGBTI" label="personnes LGBTI"/>
    <category term="ЛГБТ хора" label="ЛГБТ хора"/>
    <category term="български роми" label="български роми"/>
    <category term="български турци" label="български турци"/>
    <category term="„спасяването“ на българските евреи" label="„спасяването“ на българските евреи"/>
    <category term="невидими малцинства" label="невидими малцинства"/>
    <category term="българска литература" label="българска литература"/>
    <category term="реч на омразата" label="реч на омразата"/>
    <category term="[SHS]Humanities and Social Sciences" label="[SHS]Humanities and Social Sciences"/>
  </entry>
  <entry>
    <title type="html"><![CDATA[The devices of hate in Notes from a Dead House by Fyodor Dostoyevsky]]></title>
    <summary type="html"><![CDATA[This article explores the theme of hatred in Fedor Dostoyevsky’s Notes from a Dead House. A key work by the novelist, it provides an opportunity to reflect on the complex “network” of hatred that structures the Russian prison system, organized around ethnic, religious and social hatred sustained and fueled by the prison administration. Drawing on other fundamental texts of prison literature, such as Kolyma Tales or The Gulag Archipelago, this work seeks to show how the experience of hatred shaped Dostoyevsky and his literary work.]]></summary>
    <published>2025-06-10T15:46:36+00:00</published>
    <updated>2025-06-10T15:46:36+00:00</updated>
    <link rel="alternate" type="text/html" href="https://doi.org/10.46298/slovo.2025.15829"/>
    <id>https://doi.org/10.46298/slovo.2025.15829</id>
    <author>
      <name>Lucas, Léandre</name>
    </author>
    <category term="Slovo" label="Slovo"/>
    <category term="hatred" label="hatred"/>
    <category term="prison" label="prison"/>
    <category term="Russian literature" label="Russian literature"/>
    <category term="Dostoyevsky" label="Dostoyevsky"/>
    <category term="haine" label="haine"/>
    <category term="bagne" label="bagne"/>
    <category term="littérature russe" label="littérature russe"/>
    <category term="Dostoïevski" label="Dostoïevski"/>
    <category term="[SHS]Humanities and Social Sciences" label="[SHS]Humanities and Social Sciences"/>
  </entry>
  <entry>
    <title type="html"><![CDATA[Vladimir Nabokov et la défense du droit à la différence]]></title>
    <summary type="html"><![CDATA[During his life Vladimir Nabokov experienced two totalitarian systems, embodied, on the one hand, by the Bolshevik power, from which the Nabokov family fled in 1919 and which led to the Soviet Union in 1922, and, on the other hand, by the national socialist regime, under which Nabokov lived until 1937, when he left Berlin for Paris, and then for the United States. Even if the writer did not himself suffer from the repression of these two totalitarianisms, he was nonetheless affected, since his cousin, Yuri, was killed by the Bolsheviks in 1919 and his homosexual brother, Sergei, died in the concentration camp of Neuengamme in 1945. Besides, he was considered as a “degenerate” individual because of his literary works, his Russian nationality and his Jewish wife, making him half-Jew. In light of this personal history, it is not surprising that the author devoted several of his works to these two regimes based on the hatred of the difference of others and depicted the perversion using explicit or implicit methods, especially in the two novels Invitation to a Beheading (1938) and Bend Sinister (1947) and the three short stories The Leonardo (1933), Cloud, Castle, Lake (1937) and Tyrants Destroyed (1938). This study emphasizes the writer’s will to defend human rights, expressly the right to be different and the uniqueness of the individual.]]></summary>
    <published>2025-06-10T15:43:39+00:00</published>
    <updated>2025-06-10T15:43:39+00:00</updated>
    <link rel="alternate" type="text/html" href="https://doi.org/10.46298/slovo.2025.15828"/>
    <id>https://doi.org/10.46298/slovo.2025.15828</id>
    <author>
      <name>Gassin, Alexia</name>
    </author>
    <category term="Slovo" label="Slovo"/>
    <category term="Russian literature" label="Russian literature"/>
    <category term="hatred" label="hatred"/>
    <category term="totalitarianism" label="totalitarianism"/>
    <category term="Nabokov" label="Nabokov"/>
    <category term="littérature russe" label="littérature russe"/>
    <category term="haine" label="haine"/>
    <category term="totalitarisme" label="totalitarisme"/>
    <category term="Nabokov" label="Nabokov"/>
    <category term="[SHS]Humanities and Social Sciences" label="[SHS]Humanities and Social Sciences"/>
  </entry>
  <entry>
    <title type="html"><![CDATA[Hate speech in caricatures (like the figures of Soviet heads of state and Vladimir Putin)]]></title>
    <summary type="html"><![CDATA[The author of the article aims to put into perspective the representations of Soviet heads of state in the anti-communist caricature, published in the press of Russian emigrants in France in the 1920s – 1930, and recent satirical drawings, published abroad, after the 24 February 2022, and evoking the murderous madness of the current Russian head of state. The proposed comparison will highlight the commonalities of these representations of «political enemies» belonging to two different eras: staging, metaphors, allusions, etc. The analysis of these works will also make it possible to initiate a reflection on the contextualization of hatred according to time and society.]]></summary>
    <published>2025-06-10T15:39:02+00:00</published>
    <updated>2025-06-10T15:39:02+00:00</updated>
    <link rel="alternate" type="text/html" href="https://doi.org/10.46298/slovo.2025.15827"/>
    <id>https://doi.org/10.46298/slovo.2025.15827</id>
    <author>
      <name>Lobodenko-Senani, Kateryna</name>
    </author>
    <category term="Slovo" label="Slovo"/>
    <category term="war" label="war"/>
    <category term="Putin" label="Putin"/>
    <category term="enemy" label="enemy"/>
    <category term="visual representations" label="visual representations"/>
    <category term="caricature" label="caricature"/>
    <category term="guerre" label="guerre"/>
    <category term="Poutine" label="Poutine"/>
    <category term="ennemi" label="ennemi"/>
    <category term="représentations visuelles" label="représentations visuelles"/>
    <category term="caricature" label="caricature"/>
    <category term="[SHS]Humanities and Social Sciences" label="[SHS]Humanities and Social Sciences"/>
  </entry>
  <entry>
    <title type="html"><![CDATA[Incited hatred, unspeakable hatred: The many facets of hate in times of war and survival]]></title>
    <summary type="html"><![CDATA[During the two-and-a-half-year siege of Leningrad by German troops, hatred underwent a double reversal of values. As was the case throughout the wartime USSR, it acquired a positive connotation when Soviet propaganda began to encourage hate - even elevating to the status of civic duty - of the fascist enemy. By studying the diaries kept by the besieged Leningraders, this article aims to show to what extent this campaign instrumentalizing emotions, intended to bolster the mobilization of the population, was effective and received by the population. Yet, contrary to the stereotype conveyed by decades of Soviet historiography frozen in a heroic canon, the Germans were not the sole target of the Leningraders’ hatred. In a context of famine, daily struggle for survival, and explosion of the death rate, manifestations of resentment, envy, and egoism appeared among the population, even reaching into the family sphere, which is one of the most untouchable taboos in this story, scorching the prevailing representation of an exemplary society. Such disparity invites us to question this feeling as an infraction of a behavioral and emotional norm that persists in portraying starving inhabitants, on the brink of death, as superhuman, denying them the right and legitimacy to experience emotions that were just as unusual as their living conditions were.]]></summary>
    <published>2025-06-10T15:34:26+00:00</published>
    <updated>2025-06-10T15:34:26+00:00</updated>
    <link rel="alternate" type="text/html" href="https://doi.org/10.46298/slovo.2025.15826"/>
    <id>https://doi.org/10.46298/slovo.2025.15826</id>
    <author>
      <name>Gruszka, Sarah</name>
    </author>
    <category term="Slovo" label="Slovo"/>
    <category term="stalinism" label="stalinism"/>
    <category term="subjectivity" label="subjectivity"/>
    <category term="diaries" label="diaries"/>
    <category term="historiography" label="historiography"/>
    <category term="nazis" label="nazis"/>
    <category term="hatred" label="hatred"/>
    <category term="emotions" label="emotions"/>
    <category term="World War II" label="World War II"/>
    <category term="blockade" label="blockade"/>
    <category term="siege" label="siege"/>
    <category term="Leningrad" label="Leningrad"/>
    <category term="Seconde Guerre mondiale" label="Seconde Guerre mondiale"/>
    <category term="Leningrad" label="Leningrad"/>
    <category term="siège" label="siège"/>
    <category term="blocus" label="blocus"/>
    <category term="stalinisme" label="stalinisme"/>
    <category term="émotions" label="émotions"/>
    <category term="haine" label="haine"/>
    <category term="nazis" label="nazis"/>
    <category term="historiographie" label="historiographie"/>
    <category term="journaux personnesl" label="journaux personnesl"/>
    <category term="subjectivité" label="subjectivité"/>
    <category term="[SHS]Humanities and Social Sciences" label="[SHS]Humanities and Social Sciences"/>
  </entry>
  <entry>
    <title type="html"><![CDATA[The time of monochrome feelings: towards a lexicographical description of nenavist’ ‘hate’ lexemes in contemporary Russian]]></title>
    <summary type="html"><![CDATA[This article aims to provide a lexicographical definition of the lexemes belonging to the Russian vocable nenavist’ ‘hate’ –within the framework of Explanatory-Combinatorial Lexicology. We present step by step the method that can serve as a lexicographic description scheme for other names of feelings applicable to other languages. After having presented the theoretical framework of our research, we approach the discussion of the name for the semantic field of feelings in Russian and put forward the hypothesis on the polysemy of vocable nenavist’. We then analyze the actantial structure of the nenavist’1 and nenavist’2 lexemes and, finally, give their lexicographic definitions – scientific and learner-friendly.]]></summary>
    <published>2025-06-10T15:29:40+00:00</published>
    <updated>2025-06-10T15:29:40+00:00</updated>
    <link rel="alternate" type="text/html" href="https://doi.org/10.46298/slovo.2025.15825"/>
    <id>https://doi.org/10.46298/slovo.2025.15825</id>
    <author>
      <name>Krylosova, Svetlana</name>
    </author>
    <category term="Slovo" label="Slovo"/>
    <category term="feeling names" label="feeling names"/>
    <category term="Explanatory-Combinatorial Lexicology" label="Explanatory-Combinatorial Lexicology"/>
    <category term="Russian langage" label="Russian langage"/>
    <category term="hate" label="hate"/>
    <category term="lexicographical definition" label="lexicographical definition"/>
    <category term="définition lexicographique" label="définition lexicographique"/>
    <category term="haine" label="haine"/>
    <category term="langue russe" label="langue russe"/>
    <category term="Lexicologie Explicative et Combinatoire" label="Lexicologie Explicative et Combinatoire"/>
    <category term="noms des sentiments" label="noms des sentiments"/>
    <category term="[SHS]Humanities and Social Sciences" label="[SHS]Humanities and Social Sciences"/>
  </entry>
  <entry>
    <title type="html"><![CDATA[Ukraine, hate]]></title>
    <summary type="html"><![CDATA[This article tries to ground the feeling of hate in the context of the largescale war started by Russia against Ukraine on the 24th of February 2022 through poetic texts and testimonies, for the most released in the media and social networks.]]></summary>
    <published>2025-06-10T15:24:35+00:00</published>
    <updated>2025-06-10T15:24:35+00:00</updated>
    <link rel="alternate" type="text/html" href="https://doi.org/10.46298/slovo.2025.15824"/>
    <id>https://doi.org/10.46298/slovo.2025.15824</id>
    <author>
      <name>Dmytrychyn, Iryna</name>
    </author>
    <category term="Slovo" label="Slovo"/>
    <category term="social networks" label="social networks"/>
    <category term="press" label="press"/>
    <category term="poetry" label="poetry"/>
    <category term="Russia" label="Russia"/>
    <category term="Ukraine" label="Ukraine"/>
    <category term="war" label="war"/>
    <category term="réseaux sociaux" label="réseaux sociaux"/>
    <category term="presse" label="presse"/>
    <category term="poésie" label="poésie"/>
    <category term="Russie" label="Russie"/>
    <category term="Ukraine" label="Ukraine"/>
    <category term="guerre" label="guerre"/>
    <category term="[SHS]Humanities and Social Sciences" label="[SHS]Humanities and Social Sciences"/>
  </entry>
  <entry>
    <title type="html"><![CDATA[The hatred of hatred]]></title>
    <summary type="html"><![CDATA[Julius Margolin, Jewish philosopher, writer and literary critic (1900-1971) spent five years in the Gulag camps (1941-1945). During his imprisonment, he was able to write, including a text entitled Doctrine of Hatred, in which he analyzed the different types of collective hate. This work was confiscated from him in the camp and destroyed. In his masterly account of the Gulag, translated into English under the title Journey into the Land of the Zeks and Back: a Memoir of the Gulag, Margolin summarizes this lost book in the form of a chapter. This article is an attempt to situate his work in the context of the humanist thought of its time.]]></summary>
    <published>2025-06-10T15:00:56+00:00</published>
    <updated>2025-06-10T15:00:56+00:00</updated>
    <link rel="alternate" type="text/html" href="https://doi.org/10.46298/slovo.2025.15823"/>
    <id>https://doi.org/10.46298/slovo.2025.15823</id>
    <author>
      <name>Jurgenson, Luba</name>
    </author>
    <category term="Slovo" label="Slovo"/>
    <category term="testimony" label="testimony"/>
    <category term="literature" label="literature"/>
    <category term="humanism" label="humanism"/>
    <category term="Gulag" label="Gulag"/>
    <category term="témoignage" label="témoignage"/>
    <category term="littérature" label="littérature"/>
    <category term="humanisme" label="humanisme"/>
    <category term="Goulag" label="Goulag"/>
    <category term="[SHS]Humanities and Social Sciences" label="[SHS]Humanities and Social Sciences"/>
  </entry>
  <entry>
    <title type="html"><![CDATA[Éditorial : la haine, la guerre]]></title>
    <summary type="html"><![CDATA[Plus que jamais, nous devons chercher à comprendre comment surgit la haine, ce sentiment qui fait perdre à l’homme sa grandeur, sa volonté de dominer ses pulsions et son envie de découvrir l’autre. Plus que jamais les textes réunis dans ce recueil sont nécessaires, car chacun d’entre eux apporte un éclairage sur les causes et les conséquences des explosions de haine et sur la plus violente d’entre elles : la guerre.]]></summary>
    <published>2025-06-10T14:57:04+00:00</published>
    <updated>2025-06-10T14:57:04+00:00</updated>
    <link rel="alternate" type="text/html" href="https://doi.org/10.46298/slovo.2025.15822"/>
    <id>https://doi.org/10.46298/slovo.2025.15822</id>
    <author>
      <name>Czerny, Boris</name>
    </author>
    <category term="Slovo" label="Slovo"/>
    <category term="Ukraine" label="Ukraine"/>
    <category term="Russie" label="Russie"/>
    <category term="littérature" label="littérature"/>
    <category term="guerre" label="guerre"/>
    <category term="haine" label="haine"/>
    <category term="[SHS]Humanities and Social Sciences" label="[SHS]Humanities and Social Sciences"/>
  </entry>
  <entry>
    <title type="html"><![CDATA[Liste des éditrices et rédactrices en chef de la presse périodique russophone dans l’Empire russe, 1763-1890]]></title>
    <summary type="html"><![CDATA[Cette liste recense les éditrices et rédactrices en chef de la presse périodique russophone dans l'Empire russe de 1763 à 1890. Chaque notice comporte dans sa première partie des données biographiques suivies d'une brève énumération des activités liées à la production et la médiation littéraires. La deuxième partie des notices est dédiée aux activités d'éditrice et de rédactrice en chef : y sont précisés la période pendant laquelle ces activités ont été pratiquées, les titres des périodiques concernés, la fréquence et le lieu de leur parution.]]></summary>
    <published>2024-09-18T17:53:09+00:00</published>
    <updated>2024-09-18T17:53:09+00:00</updated>
    <link rel="alternate" type="text/html" href="https://doi.org/10.46298/slovo.2024.14297"/>
    <id>https://doi.org/10.46298/slovo.2024.14297</id>
    <author>
      <name>Blinova, Olga</name>
    </author>
    <category term="Slovo" label="Slovo"/>
    <category term="[SHS]Humanities and Social Sciences" label="[SHS]Humanities and Social Sciences"/>
  </entry>
  <entry>
    <title type="html"><![CDATA[Anna Engelhardt (1835-1903), publisher, translator, literary critic and more…]]></title>
    <summary type="html"><![CDATA[This article presents Anna Engelhardt, a woman virtually unknown in France and little studied in Russia, despite her important role in her country’s social and cultural life in the 19th century. She was a writer, translator, editor, literary critic and much more besides. Born in St Petersburg in 1838, she learned several foreign languages from an early age, including French and English. She introduced Russian readers to the works of Émile Zola, Guy de Maupassant, François Rabelais, George Elliot and Louisa May Alcott. She produced the first translations of several works by J.-J. Rousseau, V. Hugo, G. Flaubert and H. Heine. She was also the author (or co-author) of an imposing German-Russian dictionary in two volumes, published in 1877. The article focuses in particular on her close links with Zola and her interpretation of Rabelais, to whom she attributed a special place. It is based on documents held by the Central State Archive of Literature and Art in St Petersburg and the Manuscript Department of the Institute of Russian Literature.]]></summary>
    <published>2024-09-18T17:51:22+00:00</published>
    <updated>2024-09-18T17:51:22+00:00</updated>
    <link rel="alternate" type="text/html" href="https://doi.org/10.46298/slovo.2024.14296"/>
    <id>https://doi.org/10.46298/slovo.2024.14296</id>
    <author>
      <name>Enderlein, Evelyne</name>
    </author>
    <category term="Slovo" label="Slovo"/>
    <category term="women mediators in Russia" label="women mediators in Russia"/>
    <category term="Russian culture" label="Russian culture"/>
    <category term="19th century Russia" label="19th century Russia"/>
    <category term="foreign literature and translations into Russian" label="foreign literature and translations into Russian"/>
    <category term="culture russe" label="culture russe"/>
    <category term="femmes médiatrices en Russie" label="femmes médiatrices en Russie"/>
    <category term="littératures étrangères et traductions en russe" label="littératures étrangères et traductions en russe"/>
    <category term="XIXe siècle russe" label="XIXe siècle russe"/>
    <category term="русский XIX век" label="русский XIX век"/>
    <category term="иностранная литература и переводы на русский язык" label="иностранная литература и переводы на русский язык"/>
    <category term="женщины-посредницы в России" label="женщины-посредницы в России"/>
    <category term="русская культура" label="русская культура"/>
    <category term="[SHS]Humanities and Social Sciences" label="[SHS]Humanities and Social Sciences"/>
  </entry>
  <entry>
    <title type="html"><![CDATA[Elizaveta Akhmatova: forgotten great name of Russian culture?]]></title>
    <summary type="html"><![CDATA[The paper focuses on Elizaveta Akhmatova (1820-1904) – translator, editor and writer, the “first pioneer”, in her own words, of women’s literary work. The purpose of this research was to describe the conditions for entry into the profession (translation, publishing, writing), to present the results of her editorial activity (published periodicals), and to look at the reception of Akhmatova’s work by her contemporaries.]]></summary>
    <published>2024-09-18T17:49:37+00:00</published>
    <updated>2024-09-18T17:49:37+00:00</updated>
    <link rel="alternate" type="text/html" href="https://doi.org/10.46298/slovo.2024.14295"/>
    <id>https://doi.org/10.46298/slovo.2024.14295</id>
    <author>
      <name>Maritchik-Sioli, Youlia</name>
    </author>
    <category term="Slovo" label="Slovo"/>
    <category term="woman translator" label="woman translator"/>
    <category term="Druzhinin" label="Druzhinin"/>
    <category term="Leskov" label="Leskov"/>
    <category term="Senkovskii" label="Senkovskii"/>
    <category term="pioneer" label="pioneer"/>
    <category term="literary lady" label="literary lady"/>
    <category term="woman editor" label="woman editor"/>
    <category term="traductrice" label="traductrice"/>
    <category term="Senkovski" label="Senkovski"/>
    <category term="Leskov" label="Leskov"/>
    <category term="Droujinine" label="Droujinine"/>
    <category term="pionnière" label="pionnière"/>
    <category term="dame de lettres" label="dame de lettres"/>
    <category term="éditrice" label="éditrice"/>
    <category term="переводчица" label="переводчица"/>
    <category term="издательница" label="издательница"/>
    <category term="литературная дама" label="литературная дама"/>
    <category term="пионерка" label="пионерка"/>
    <category term="Сенковский" label="Сенковский"/>
    <category term="Лесков" label="Лесков"/>
    <category term="Дружинин" label="Дружинин"/>
    <category term="[SHS]Humanities and Social Sciences" label="[SHS]Humanities and Social Sciences"/>
  </entry>
  <entry>
    <title type="html"><![CDATA[The Burnashev cousins and Elizaveta Kulmann]]></title>
    <summary type="html"><![CDATA[The Burnashev cousins distinguished themselves in several types of activities accessible to female members of the educated social classes of the mid-19th century. Sofia (1820-1883) published the journal The Leisure Hour and children’s books, while Ekaterina (1819-1875) and Maria (1817-1861) worked as teachers and translators. For them, the ideal female figure was Elizaveta Kulmann (1808-1825), a talented translator and poet who died prematurely. The cult of this young genius was supported by her teacher, Karl Friedrich von Großheinrich, who wrote a biography of Kulmann, translated by the Burnashevs from german to russian. The image of the young poetessbelongs to the culture of Romanticism, while the cousins were active in the era of the great reforms in women’s education. Kulmann’s biography as a creative personality who did not challenge the foundations of patriarchy and the gender canon was used by the Burnashev cousins to defend their conservative position on women’s issues.]]></summary>
    <published>2024-09-18T17:47:52+00:00</published>
    <updated>2024-09-18T17:47:52+00:00</updated>
    <link rel="alternate" type="text/html" href="https://doi.org/10.46298/slovo.2024.14294"/>
    <id>https://doi.org/10.46298/slovo.2024.14294</id>
    <author>
      <name>Kostioukhina, Marina</name>
    </author>
    <category term="Slovo" label="Slovo"/>
    <category term="Maria Burnasheva" label="Maria Burnasheva"/>
    <category term="gender canon" label="gender canon"/>
    <category term="women’s question" label="women’s question"/>
    <category term="Journal “The Leisure Hour”" label="Journal “The Leisure Hour”"/>
    <category term="culture of romanticism" label="culture of romanticism"/>
    <category term="conservative tradition" label="conservative tradition"/>
    <category term="Karl Friedrich von Großheinrich" label="Karl Friedrich von Großheinrich"/>
    <category term="Elizaveta Kulmann" label="Elizaveta Kulmann"/>
    <category term="Ekaterina Burnasheva" label="Ekaterina Burnasheva"/>
    <category term="Sofia Burnasheva" label="Sofia Burnasheva"/>
    <category term="Ékatérina Bournachéva" label="Ékatérina Bournachéva"/>
    <category term="revue L’Heure du loisir" label="revue L’Heure du loisir"/>
    <category term="question des femmes" label="question des femmes"/>
    <category term="culture du romantisme" label="culture du romantisme"/>
    <category term="canon de genre" label="canon de genre"/>
    <category term="tradition conservatrice" label="tradition conservatrice"/>
    <category term="Karl Grossheinrich" label="Karl Grossheinrich"/>
    <category term="Maria Bournachéva" label="Maria Bournachéva"/>
    <category term="Sofia Bournachéva" label="Sofia Bournachéva"/>
    <category term="Élizavéta Kulmann" label="Élizavéta Kulmann"/>
    <category term="гендерный канон" label="гендерный канон"/>
    <category term="женский вопрос" label="женский вопрос"/>
    <category term="журнал «Час досуга»" label="журнал «Час досуга»"/>
    <category term="культура романтизма" label="культура романтизма"/>
    <category term="консервативная традиция" label="консервативная традиция"/>
    <category term="Карл Гроссгейнрих" label="Карл Гроссгейнрих"/>
    <category term="Елизавета Кульман" label="Елизавета Кульман"/>
    <category term="Мария Бурнашева" label="Мария Бурнашева"/>
    <category term="Екатерина Бурнашева" label="Екатерина Бурнашева"/>
    <category term="Софья Бурнашева" label="Софья Бурнашева"/>
    <category term="[SHS]Humanities and Social Sciences" label="[SHS]Humanities and Social Sciences"/>
  </entry>
  <entry>
    <title type="html"><![CDATA[Natalia Golovkina and Franco-Russian cultural mediation: The destiny of a women’s epistolary novel in nineteenth-century Russian literature]]></title>
    <summary type="html"><![CDATA[It is generally admitted that the epistolary novel genre does not exist in Russian romantic and pre-romantic literature. As the exception to prove the rule, the novel The Letters of Ernest and Doravra (1766) by Fyodor Emin, an emigrant of uncertain origin who arrived in Russia in 1761, is sometimes mentioned. Natalia Golovkina’s Elisabeth de S***, or the History of a Russian girl narrated by one of her compatriots , which appeared in its original French version in Paris in 1802 and in Russian in Moscow in 1803-1804, is cited even more rarely and always as an example of a weak or insignificant work. In the context of the recent revaluation of the place of women in Russian literary history, this opinion hardly seems justified. Among the Russian fiction of the 1800s, Golovkina’s novel stands out for its innovative character. First, Elisabeth de S*** is an original example of Franco-Russian cultural mediation: the writer created a novel about Russian life based on French (and European) literary models and published it in two different countries. Golovkina’s work is also characterized by an interest in the psychology of her characters and in the evolution of love. Finally, it is a vast novel (some 600 pages), remarkable for its complex plot and the number of characters. In paying tribute to this unjustly forgotten writer, we will seek to understand why her work did not become part of the Russian literary canon.]]></summary>
    <published>2024-09-18T17:43:32+00:00</published>
    <updated>2024-09-18T17:43:32+00:00</updated>
    <link rel="alternate" type="text/html" href="https://doi.org/10.46298/slovo.2024.14293"/>
    <id>https://doi.org/10.46298/slovo.2024.14293</id>
    <author>
      <name>Subbotina, Galina</name>
    </author>
    <category term="Slovo" label="Slovo"/>
    <category term="epistolary novel" label="epistolary novel"/>
    <category term="Natalia Golovkina" label="Natalia Golovkina"/>
    <category term="women’s prose" label="women’s prose"/>
    <category term="Russian romantic literature" label="Russian romantic literature"/>
    <category term="littérature romantique russe" label="littérature romantique russe"/>
    <category term="roman épistolaire" label="roman épistolaire"/>
    <category term="prose féminine" label="prose féminine"/>
    <category term="Natalia Golovkina" label="Natalia Golovkina"/>
    <category term="русская романтическая литература" label="русская романтическая литература"/>
    <category term="роман в письмах" label="роман в письмах"/>
    <category term="женская проза" label="женская проза"/>
    <category term="Наталья Головкина" label="Наталья Головкина"/>
    <category term="[SHS]Humanities and Social Sciences" label="[SHS]Humanities and Social Sciences"/>
  </entry>
  <entry>
    <title type="html"><![CDATA[“I deserve neither mockery nor contempt”: the professional status of women in the world of journalism through their ego-documents (second half of the 19th century)]]></title>
    <summary type="html"><![CDATA[This article explores the perception of the professional status of Russian female journalists in the second half of the 19th century. The main sources are ego-documents of women at periodicals working during the period under study, as well as those who identified as journalists. One of the most frequent elements of the analysed memoir texts is the expression of the need to work at periodicals for material support and self-fulfilment. Most female journalists saw their labour as an option to serve society and were ready to make sacrifices for the cause. They emphasized respect and the value of their work in the eyes of their colleagues, ridiculing and denouncing cases of gender discrimination. Women’s limited access to higher education stands out as a significant issue in the ego-documents.]]></summary>
    <published>2024-09-18T17:40:23+00:00</published>
    <updated>2024-09-18T17:40:23+00:00</updated>
    <link rel="alternate" type="text/html" href="https://doi.org/10.46298/slovo.2024.14292"/>
    <id>https://doi.org/10.46298/slovo.2024.14292</id>
    <author>
      <name>Kouzmenko Starychkina, Anastassia</name>
    </author>
    <category term="Slovo" label="Slovo"/>
    <category term="women’s education" label="women’s education"/>
    <category term="women’s labour" label="women’s labour"/>
    <category term="professional status" label="professional status"/>
    <category term="identity" label="identity"/>
    <category term="Russian journalists" label="Russian journalists"/>
    <category term="women’s ego-documents" label="women’s ego-documents"/>
    <category term="statut professionnel" label="statut professionnel"/>
    <category term="éducation des femmes" label="éducation des femmes"/>
    <category term="travail féminin" label="travail féminin"/>
    <category term="identité" label="identité"/>
    <category term="femmes journalistes russes" label="femmes journalistes russes"/>
    <category term="ego-documents féminins" label="ego-documents féminins"/>
    <category term="русские журналистки" label="русские журналистки"/>
    <category term="идентичность" label="идентичность"/>
    <category term="профессиональный статус" label="профессиональный статус"/>
    <category term="женский труд" label="женский труд"/>
    <category term="женское образование" label="женское образование"/>
    <category term="женские эго-документы" label="женские эго-документы"/>
    <category term="[SHS]Humanities and Social Sciences" label="[SHS]Humanities and Social Sciences"/>
  </entry>
  <entry>
    <title type="html"><![CDATA[Women publishers and editors-in-chief of Russian-speaking periodicals in Russia of the 19th century: preliminary study]]></title>
    <summary type="html"><![CDATA[The participation of women in the development of periodicals in 19th-century Russia has not been ignored by researchers. Many works were devoted to this subject at the turn of the 21st century. However, only a tiny minority were specifically dedicated to female publishers and editors-in-chief. The purpose of our research is to give an overview of the matter, presenting the most complete list possible of pre-1890 women editors and publishers of periodicals in Russia, to examine the dynamics of the evolution of the number of publisher and editor-in-chief positions that they occupied, and to analyse the diachronic aspect of the periodicals’ geographical distribution. In addition, the question of the typology of periodicals is raised and a first attempt is made to assess the impact of women publishers and editors-in-chief of periodicals on the literary process in 19th-century Russia.]]></summary>
    <published>2024-09-18T17:34:46+00:00</published>
    <updated>2024-09-18T17:34:46+00:00</updated>
    <link rel="alternate" type="text/html" href="https://doi.org/10.46298/slovo.2024.14291"/>
    <id>https://doi.org/10.46298/slovo.2024.14291</id>
    <author>
      <name>Blinova, Olga</name>
    </author>
    <category term="Slovo" label="Slovo"/>
    <category term="women editors-in-chief" label="women editors-in-chief"/>
    <category term="women publishers" label="women publishers"/>
    <category term="periodicals" label="periodicals"/>
    <category term="literary process in Russia in the 19th century" label="literary process in Russia in the 19th century"/>
    <category term="mediators" label="mediators"/>
    <category term="journalism" label="journalism"/>
    <category term="rédactrices en chef" label="rédactrices en chef"/>
    <category term="journalisme" label="journalisme"/>
    <category term="médiatrices" label="médiatrices"/>
    <category term="processus littéraire dans la Russie du XIX﻿e siècle" label="processus littéraire dans la Russie du XIX﻿e siècle"/>
    <category term="presse périodique écrite" label="presse périodique écrite"/>
    <category term="éditrices" label="éditrices"/>
    <category term="женщины-редакторы" label="женщины-редакторы"/>
    <category term="редакторки" label="редакторки"/>
    <category term="издательницы" label="издательницы"/>
    <category term="периодическая печать" label="периодическая печать"/>
    <category term="литературный процесс в России xix века" label="литературный процесс в России xix века"/>
    <category term="посредницы" label="посредницы"/>
    <category term="журналистика" label="журналистика"/>
    <category term="[SHS]Humanities and Social Sciences" label="[SHS]Humanities and Social Sciences"/>
  </entry>
  <entry>
    <title type="html"><![CDATA[“Wives of…”: mediators or authors?]]></title>
    <summary type="html"><![CDATA[Often ignored by traditional hermeneutics and literary history, the question of mediation has been addressed by the sociology of literature, and more particularly by the interactionism put forward by Howard Becker in his 1982 book Art Worlds, which frames the artistic or literary work as the result of a collective and collaborative action. At the intersection of interactionism and gender studies, my paper focuses on female (but also male) mediation within the regime of couples where both members are writers. The relationship of effective and symbolic subordination that marks the «wives of…”, or “women in the shadow of great men”, is perceptible from the first publications of womenin Russia, in 1759, and continues throughout the century, up to the emblematic caseof Sofia Tolstaya, whose literary (non-)reception remains to this day determined by ahorizon of expectation inseparable from the posterity of Tolstoy’s works. Pavel Basinskyand Ekaterina Barbanyaga’s book Sonya, go away! (“Соня, уйди! Софья Толстая:взгляд мужчины и женщины. Роман-диалог”) shows how difficult it is even today fora female author to be seen as anything other than a cultural mediator - and sometimesin the worst sense of the word - within the system of literary value production.]]></summary>
    <published>2024-09-18T17:31:38+00:00</published>
    <updated>2024-09-18T17:31:38+00:00</updated>
    <link rel="alternate" type="text/html" href="https://doi.org/10.46298/slovo.2024.14290"/>
    <id>https://doi.org/10.46298/slovo.2024.14290</id>
    <author>
      <name>Géry, Catherine</name>
    </author>
    <category term="Slovo" label="Slovo"/>
    <category term="writing couples" label="writing couples"/>
    <category term="interactionism" label="interactionism"/>
    <category term="women writers" label="women writers"/>
    <category term="literary mediators" label="literary mediators"/>
    <category term="19th century Russia" label="19th century Russia"/>
    <category term="XIX﻿e siècle russe" label="XIX﻿e siècle russe"/>
    <category term="médiatrices littéraires" label="médiatrices littéraires"/>
    <category term="femmes-écrivains" label="femmes-écrivains"/>
    <category term="interactionnisme" label="interactionnisme"/>
    <category term="couples d’écrivains" label="couples d’écrivains"/>
    <category term="Россия XIX века" label="Россия XIX века"/>
    <category term="женщины-литераторы" label="женщины-литераторы"/>
    <category term="литературные посредницы" label="литературные посредницы"/>
    <category term="интеракционизм" label="интеракционизм"/>
    <category term="писательские пары" label="писательские пары"/>
    <category term="[SHS]Humanities and Social Sciences" label="[SHS]Humanities and Social Sciences"/>
  </entry>
  <entry>
    <title type="html"><![CDATA[Women Mediators in Russian Literature: the Paradigm Evolution in the 19th Century]]></title>
    <summary type="html"><![CDATA[In the first part of the article, the author corrects the traditional understanding of the term “mediator” applied to the literary sphere, offering a new definition which allows to distinguish between several levels of mediation in the literary field and present a complete paradigm of women’s mediating roles: publishers; editors; translators; literary critics; patrons; hostesses of artistic, literary and socio-literary salons; mothers, wives, widows and other female relatives of writers; mistresses; pupils and muses; memoirists; diarists; and prototypes of literary heroines. Besides, this part substantiates the dynamism of these roles and justifies the choice of two types of sources (ego-texts and bibliographic reference editions) chosen for the analysis of their genesis and evolution in literary history. The second part is devoted to the description and semantic-statistical analysis of eight ego-texts ( four male and four female ones), revealing a number of constants in the formation of the female mediator paradigm in nineteenth-century Russian literature. The third part presents a detailed hermeneutic and semiotic analysis of two women’s ego-texts (Avdotia Panaeva’s and Elena Stackenschneider’s) which illustrate the mechanisms of formation and functioning of women’s mediating roles and their actualization in memoirs and diaries. The article ends with general conclusions defining the specificities of the evolution of women mediators’ roles in nineteenth-century Russian literary life.]]></summary>
    <published>2024-09-18T17:24:47+00:00</published>
    <updated>2024-09-18T17:24:47+00:00</updated>
    <link rel="alternate" type="text/html" href="https://doi.org/10.46298/slovo.2024.14289"/>
    <id>https://doi.org/10.46298/slovo.2024.14289</id>
    <author>
      <name>Démidova, Olga</name>
    </author>
    <category term="Slovo" label="Slovo"/>
    <category term="gender paradigm" label="gender paradigm"/>
    <category term="Genre hierarchy" label="Genre hierarchy"/>
    <category term="diaries" label="diaries"/>
    <category term="memoirs" label="memoirs"/>
    <category term="literary hierarchy" label="literary hierarchy"/>
    <category term="literary activity" label="literary activity"/>
    <category term="evolution" label="evolution"/>
    <category term="tradition" label="tradition"/>
    <category term="role paradigm" label="role paradigm"/>
    <category term="role" label="role"/>
    <category term="female mediator" label="female mediator"/>
    <category term="hiérarchie littéraire" label="hiérarchie littéraire"/>
    <category term="paradigme des genres" label="paradigme des genres"/>
    <category term="tradition" label="tradition"/>
    <category term="paradigme des rôles" label="paradigme des rôles"/>
    <category term="évolution" label="évolution"/>
    <category term="rôle" label="rôle"/>
    <category term="médiatrice" label="médiatrice"/>
    <category term="journaux intimes" label="journaux intimes"/>
    <category term="mémoires" label="mémoires"/>
    <category term="activité littéraire" label="activité littéraire"/>
    <category term="hiérarchie de genre" label="hiérarchie de genre"/>
    <category term="дневники" label="дневники"/>
    <category term="воспоминания" label="воспоминания"/>
    <category term="гендерная и литературная иерархия" label="гендерная и литературная иерархия"/>
    <category term="литературная деятельность" label="литературная деятельность"/>
    <category term="эволюция" label="эволюция"/>
    <category term="традиция" label="традиция"/>
    <category term="гендерная парадигма" label="гендерная парадигма"/>
    <category term="ролевая парадигма" label="ролевая парадигма"/>
    <category term="роль" label="роль"/>
    <category term="посредница" label="посредница"/>
    <category term="[SHS]Humanities and Social Sciences" label="[SHS]Humanities and Social Sciences"/>
  </entry>
  <entry>
    <title type="html"><![CDATA[Préface]]></title>
    <summary type="html"><![CDATA[Le volume que nous proposons ici à l'attention des universitaires et plus généralement de toutes celles et ceux qui s'intéressent à la culture russe est à la fois une collection d'études consacrées aux médiatrices — traductrices, hôtesses de salon, éditrices, rédactrices en chef, membres des comités de rédaction, critiques, journalistes, correctrices, auxquelles on peut ajouter les préceptrices ou les enseignantes — et un hommage collectif à ces « petites mains » toujours négligées, parfois anonymes, qui ont pourtant participé pleinement à la construction de la littérature classique russe du XIXe siècle et de sa future historiographie.]]></summary>
    <published>2024-09-18T16:42:37+00:00</published>
    <updated>2024-09-18T16:42:37+00:00</updated>
    <link rel="alternate" type="text/html" href="https://doi.org/10.46298/slovo.2024.14273"/>
    <id>https://doi.org/10.46298/slovo.2024.14273</id>
    <author>
      <name>Blinova, Olga</name>
    </author>
    <author>
      <name>Géry, Catherine</name>
    </author>
    <category term="Slovo" label="Slovo"/>
    <category term="[SHS]Humanities and Social Sciences" label="[SHS]Humanities and Social Sciences"/>
  </entry>
  <entry>
    <title type="html"><![CDATA[France’s Reception of Soviet Music: Censorship from 1945 to 1956]]></title>
    <summary type="html"><![CDATA[This paper offers a study of the way Soviet authorities’ discourses on music were received in France. The post-war period is very interesting in many aspects. The political landscape changed following Zhdanov and Stalin’s deaths, and two decrees regarding music production were published in 1948 and 1958. The press bulletins of the Ministry of Foreign Affairs as well as the journalistic and intellectual production with scholarly pretensions of the PCF inform us about the reception of Soviet music in the French public space. We understand the evolution of censorship in the USSR thanks to the discourse in France about the professional Soviet musician and about the Soviet opera. Since censorship in the USSR was not always controlled, it is appropriate to question the role of Soviet and French communist intellectuals. As such, we study socialist realism in music, but also the conflicts that the enforcement of such ideological principles produces. Moreover, although French sympathizers covered Soviet musical news extensively, we observe divergences of opinion resulting from the diversity of the editorial frameworks.]]></summary>
    <published>2023-05-23T09:31:23+00:00</published>
    <updated>2023-05-23T09:31:23+00:00</updated>
    <link rel="alternate" type="text/html" href="https://doi.org/10.46298/slovo.2023.11359"/>
    <id>https://doi.org/10.46298/slovo.2023.11359</id>
    <author>
      <name>Thisselin, Thomas</name>
    </author>
    <category term="Slovo" label="Slovo"/>
    <category term="post-war" label="post-war"/>
    <category term="press" label="press"/>
    <category term="communist" label="communist"/>
    <category term="censorship" label="censorship"/>
    <category term="reception" label="reception"/>
    <category term="music" label="music"/>
    <category term="Soviet Union" label="Soviet Union"/>
    <category term="Union soviétique" label="Union soviétique"/>
    <category term="musique" label="musique"/>
    <category term="réception" label="réception"/>
    <category term="censure" label="censure"/>
    <category term="communiste" label="communiste"/>
    <category term="presse" label="presse"/>
    <category term="après-guerre" label="après-guerre"/>
    <category term="[SHS.HIST]Humanities and Social Sciences/History" label="[SHS.HIST]Humanities and Social Sciences/History"/>
    <category term="[SHS.MUSIQ]Humanities and Social Sciences/Musicology and performing arts" label="[SHS.MUSIQ]Humanities and Social Sciences/Musicology and performing arts"/>
  </entry>
  <entry>
    <title type="html"><![CDATA[In Vino Veritas or Is It Necessary to Drink to Understand Erofeev?]]></title>
    <summary type="html"><![CDATA[The purpose of this article is to develop an approach to integrating a recorded public reading of a novel by its author into literary research. More specifically, the article focuses on the recording of Venedikt Erofeev’s reading of Moscow to the End of the Line in 1980. This public reading raises the problem of literary interpretation and the voice in literature. Indeed, due to Erofeev’s double interference during the writing and the public reading of the text, this recording could possibly restrict the interpretative diversity of the work. However, the context and the nature of this public reading do not necessarily lead to the pitfall of a strictly author-centric interpretation. Rather, Erofeev’s recorded reading is a reminder of the intrinsic vocality of the work—an aspect of the text that can be lost in repeated silent reading.]]></summary>
    <published>2023-05-23T09:31:06+00:00</published>
    <updated>2023-05-23T09:31:06+00:00</updated>
    <link rel="alternate" type="text/html" href="https://doi.org/10.46298/slovo.2023.11358"/>
    <id>https://doi.org/10.46298/slovo.2023.11358</id>
    <author>
      <name>Lakine, Denis</name>
    </author>
    <category term="Slovo" label="Slovo"/>
    <category term="Erofeev" label="Erofeev"/>
    <category term="voice" label="voice"/>
    <category term="public reading" label="public reading"/>
    <category term="recording" label="recording"/>
    <category term="enregistrement sonore" label="enregistrement sonore"/>
    <category term="lecture publique" label="lecture publique"/>
    <category term="voix" label="voix"/>
    <category term="Erofeev" label="Erofeev"/>
    <category term="[SHS.LITT]Humanities and Social Sciences/Literature" label="[SHS.LITT]Humanities and Social Sciences/Literature"/>
  </entry>
</feed>
