{"id":37595,"date":"2025-05-27T11:24:51","date_gmt":"2025-05-27T10:24:51","guid":{"rendered":"https:\/\/www.maticasrpska.org.rs\/?page_id=37595"},"modified":"2025-06-25T10:55:32","modified_gmt":"2025-06-25T09:55:32","slug":"zmszs_107","status":"publish","type":"page","link":"https:\/\/www.maticasrpska.org.rs\/en\/zmszs_107\/","title":{"rendered":"\u0417\u0431\u043e\u0440\u043d\u0438\u043a \u041c\u0430\u0442\u0438\u0446\u0435 \u0441\u0440\u043f\u0441\u043a\u0435 \u0437\u0430 \u0441\u043b\u0430\u0432\u0438\u0441\u0442\u0438\u043a\u0443, \u0441\u0432\u0435\u0441\u043a\u0430 107, \u0433\u043e\u0434\u0438\u043d\u0430 2025."},"content":{"rendered":"\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
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\u0421\u0410\u0414\u0420\u0416\u0410\u0408\/ \u0421\u041e\u0414\u0415\u0420\u0416\u0410\u041d\u0418\u0415<\/p>\n<\/td>\n

\"\"<\/em><\/em><\/a><\/td>\n\u00a0<\/td>\n\"\"<\/em><\/em><\/a><\/td>\n\n

CONTENTS<\/p>\n<\/td>\n<\/tr>\n

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MIRACULUM VITAE<\/p>\n

\u041a 80-\u041b\u0415\u0422\u0418\u042e \u041c\u0418\u0425\u0410\u0418\u041b\u0410 \u0411\u041e\u0420\u0418\u0421\u041e\u0412\u0418\u0427\u0410 \u041c\u0415\u0419\u041b\u0410\u0425\u0410\u00a0<\/p>\n<\/td>\n

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\u00a0MIRACULUM VITAE<\/p>\n

To mark the 80th anniversary of Michael Borisovich Meylakh\u2019s birth<\/p>\n<\/td>\n<\/tr>\n

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\u0426\u0415\u041b\u041e \u0418\u0417\u0414\u0410\u040a\u0415<\/p>\n<\/td>\n

\u00a0<\/td>\n\"\"<\/em><\/em><\/a><\/td>\n\u00a0<\/td>\n\n

FULL EDDITION<\/p>\n<\/td>\n<\/tr>\n

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\u0414\u043c\u0438\u0442\u0440\u0438\u0439 \u0411\u043e\u0431\u044b\u0448\u0435\u0432<\/p>\n<\/td>\n

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\u00a0<\/p>\n<\/td>\n

\"\"<\/em><\/em><\/a><\/td>\n\n

\u00a0<\/p>\n<\/td>\n

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Dmitry Bobyshev<\/p>\n<\/td>\n<\/tr>\n

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\u00a0\u0414\u043c\u0438\u0442\u0440\u0438\u0439 \u0411\u044b\u043a\u043e\u0432<\/p>\n<\/td>\n

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\"\"<\/em><\/em><\/a><\/td>\n\n

\u00a0<\/p>\n<\/td>\n

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Dmitry Bykov\u00a0<\/p>\n<\/td>\n<\/tr>\n

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\u0412\u0438\u043a\u0442\u043e\u0440 \u041a\u0443\u043b\u043b\u0435\u00a0<\/p>\n<\/td>\n

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\u00a0<\/p>\n<\/td>\n

\"\"<\/em><\/em><\/a><\/td>\n\n

\u00a0<\/p>\n<\/td>\n

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Victor Kulle<\/p>\n<\/td>\n<\/tr>\n

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\u0415\u0432\u0433\u0435\u043d\u0438\u0439 \u0420\u0435\u0439\u043d<\/p>\n<\/td>\n

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\u00a0<\/p>\n<\/td>\n

\"\"<\/em><\/em><\/a><\/td>\n\n

\u00a0<\/p>\n<\/td>\n

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Evgeny Rein<\/p>\n<\/td>\n<\/tr>\n

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\u00a0\u041d\u0438\u043a\u0438\u0442\u0430 \u0415\u043b\u0438\u0441\u0435\u0435\u0432<\/p>\n<\/td>\n

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\u00a0<\/p>\n<\/td>\n

\"\"<\/em><\/em><\/a><\/td>\n\n

\u00a0<\/p>\n<\/td>\n

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Nikita Eliseev<\/p>\n<\/td>\n<\/tr>\n

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\u0422\u0430\u0442\u044c\u044f\u043d\u0430 \u041d\u0438\u043a\u043e\u043b\u044c\u0441\u043a\u0430\u044f\u00a0<\/p>\n<\/td>\n

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\u00a0<\/p>\n<\/td>\n

\"\"<\/em><\/em><\/a><\/td>\n\n

\u00a0<\/p>\n<\/td>\n

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Tatyana Nikolskaya<\/p>\n<\/td>\n<\/tr>\n

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\u041a\u043d. \u041d\u0438\u043a\u0438\u0442\u0430 \u041b\u043e\u0431\u0430\u043d\u043e\u0432-\u0420\u043e\u0441\u0442\u043e\u0432\u0441\u043a\u0438\u0439\u00a0<\/p>\n<\/td>\n

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Prince Nikita Lobanov-Rostovsky<\/p>\n<\/td>\n<\/tr>\n

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\u041a\u043e\u043d\u0441\u0442\u0430\u043d\u0442\u0438\u043d \u0410\u0437\u0430\u0434\u043e\u0432\u0441\u043a\u0438\u0439, \u042e\u0433\u043e\u0441\u043b\u0430\u0432\u044f\u043d\u0441\u043a\u0438\u0435 \u043d\u0430\u0440\u043e\u0434\u043d\u044b\u0435 \u043f\u0435\u0441\u043d\u0438: \u0438\u0441\u0442\u043e\u0440\u0438\u044f \u0441\u0431\u043e\u0440\u043d\u0438\u043a\u0430 \u041a. \u0414. \u0411\u0430\u043b\u044c\u043c\u043e\u043d\u0442\u0430
https:\/\/doi.org\/10.18485\/ms_zmss.2025.107.1\u00a0<\/p>\n<\/td>\n

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Konstantin Azadovsky, Yugoslav Folk Songs: The history of the Collection by K. D. Balmont
https:\/\/doi.org\/10.18485\/ms_zmss.2025.107.1<\/p>\n<\/td>\n<\/tr>\n

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\u0421\u0438\u0440\u0438\u043b \u0410\u0441\u043b\u0430\u043d\u043e\u0432, \u041e\u0442\u043a\u043b\u0438\u043a \u042d\u0440\u043d\u0435\u0441\u0442\u0430 \u0420\u0435\u043d\u0430\u043d\u0430 \u0432 \u0441\u0442\u0438\u0445\u043e\u0442\u0432\u043e\u0440\u0435\u043d\u0438\u0438 \u00ab\u041e\u0442\u0440\u0430\u0432\u043b\u0435\u043d \u0445\u043b\u0435\u0431 \u0438 \u0432\u043e\u0437\u0434\u0443\u0445 \u0432\u044b\u043f\u0438\u0442\u00bb \u041c\u0430\u043d\u0434\u0435\u043b\u044c\u0448\u0442\u0430\u043c\u0430
https:\/\/doi.org\/10.18485\/ms_zmss.2025.107.2\u00a0<\/p>\n<\/td>\n

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\u00a0<\/p>\n<\/td>\n

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Ciryl Alanov, An Echo of Ernest Renan in Mandelshtam\u2019s \u201cThe air is poisoned and the air\u2019s drunk dry\u201d
https:\/\/doi.org\/10.18485\/ms_zmss.2025.107.2<\/p>\n<\/td>\n<\/tr>\n

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\u0421\u0435\u0440\u0433\u0435\u0439 \u0411\u0438\u0440\u044e\u043a\u043e\u0432, \u041d\u0435\u0434\u043e\u0441\u0442\u0438\u0436\u0438\u043c\u044b\u0439 \u0425\u043b\u0435\u0431\u043d\u0438\u043a\u043e\u0432
https:\/\/doi.org\/10.18485\/ms_zmss.2025.107.3\u00a0<\/p>\n<\/td>\n

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Sergey Biriukov, Unreachable Khlebnikov
https:\/\/doi.org\/10.18485\/ms_zmss.2025.107.3<\/p>\n<\/td>\n<\/tr>\n

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\u041c\u0438\u0445\u0430\u0438\u043b \u0412\u0430\u0439\u0441\u043a\u043e\u043f\u0444, \u00ab\u0420\u043e\u0441\u0441\u0438\u044e \u043e\u0442\u043d\u044f\u043b\u0438, \u043a\u0430\u043a \u043d\u043e\u0433\u0443\u00bb: \u0433\u0440\u0430\u0444\u043e\u043c\u0430\u043d\u0438\u044f \u0432 \u0440\u0443\u0441\u0441\u043a\u043e-\u0438\u0437\u0440\u0430\u0438\u043b\u044c\u0441\u043a\u043e\u0439 \u043b\u0438\u0442\u0435\u0440\u0430\u0442\u0443\u0440\u0435 1920\u20131930-\u0445 \u0438 1970\u20131980-\u0445 \u0433\u043e\u0434\u043e\u0432 (\u043a\u0440\u0430\u0442\u043a\u0438\u0439 \u043e\u0431\u0437\u043e\u0440)
https:\/\/doi.org\/10.18485\/ms_zmss.2025.107.4\u00a0<\/p>\n<\/td>\n

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Michael Weisskopf, \u201cRussia was amputated like a leg\u201d: Graphomania in RussianIsraeli literature of the 1920s \u2014 30s and 1970s \u2014 80s (A brief overview)
https:\/\/doi.org\/10.18485\/ms_zmss.2025.107.4<\/p>\n<\/td>\n<\/tr>\n

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\u0418\u0433\u043e\u0440\u044c \u0412\u0438\u0448\u043d\u0435\u0432\u0435\u0446\u043a\u0438\u0439, \u041e \u0440\u0443\u0441\u0441\u043a\u0438\u0445 \u0441\u0442\u0438\u0445\u0430\u0445 \u042f\u043d\u0430 \u041a\u0430\u043f\u043b\u0438\u043d\u0441\u043a\u043e\u0433\u043e
https:\/\/doi.org\/10.18485\/ms_zmss.2025.107.5<\/p>\n<\/td>\n

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Igor Vishnevetsky, On Jaan Kaplinski\u2019s Russian poems
https:\/\/doi.org\/10.18485\/ms_zmss.2025.107.5<\/p>\n<\/td>\n<\/tr>\n

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\u041d\u0430\u0434\u0435\u0436\u0434\u0430 \u0413\u0440\u0438\u0433\u043e\u0440\u044c\u0435\u0432\u0430, \u00ab\u0421\u0443\u0431\u044a\u0435\u043a\u0442\u0438\u0432\u043d\u0430\u044f \u0441\u0443\u0432\u0435\u0440\u0435\u043d\u043d\u043e\u0441\u0442\u044c\u00bb \u0438 \u043d\u0435\u043f\u0440\u043e\u0438\u0437\u0432\u043e\u0434\u0438\u0442\u0435\u043b\u044c\u043d\u0430\u044f \u0442\u0440\u0430\u0442\u0430 \u0432 \u043a\u0438\u043d\u0435\u043c\u0430\u0442\u043e\u0433\u0440\u0430\u0444\u0435 1940\u20131970-\u0445 \u0433\u043e\u0434\u043e\u0432
https:\/\/doi.org\/10.18485\/ms_zmss.2025.107.6<\/p>\n<\/td>\n

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Nadezda Grigorieva, \u201cSubjective sovereignty\u201d and unproductive waste in the Cinema of the 1940s\u20131970s
https:\/\/doi.org\/10.18485\/ms_zmss.2025.107.6<\/p>\n<\/td>\n<\/tr>\n

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\u041d\u0438\u043a\u0438\u0442\u0430 \u0415\u043b\u0438\u0441\u0435\u0435\u0432, \u0414\u0432\u0430 \u0434\u043e\u043a\u0443\u043c\u0435\u043d\u0442\u0430 \u0438\u0437 \u043f\u0438\u0441\u0435\u043c \u0411. \u042f. \u042f\u043c\u043f\u043e\u043b\u044c\u0441\u043a\u043e\u0433\u043e (1921\u20132000) \u041d. \u041d. \u0428\u0443\u0431\u0438\u043d\u043e\u0439 (1923\u20132004) (\u0438\u0437 \u043b\u0438\u0447\u043d\u043e\u0433\u043e \u0430\u0440\u0445\u0438\u0432\u0430 \u0410. \u042f. \u042f\u043c\u043f\u043e\u043b\u044c\u0441\u043a\u043e\u0439)
https:\/\/doi.org\/10.18485\/ms_zmss.2025.107.7<\/p>\n<\/td>\n

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Nikita Eliseev, Two documents from correspondence of B. Yampolsky (1921\u20132000) and N. Shubina (1923\u20132004) (From the personal archive of A. Yampolskaya)
https:\/\/doi.org\/10.18485\/ms_zmss.2025.107.7<\/p>\n<\/td>\n<\/tr>\n

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\u0412\u043b\u0430\u0434\u0438\u043c\u0438\u0440 \u0415\u043c\u0435\u043b\u044c\u044f\u043d\u043e\u0432, \u0414\u0432\u0435 \u043c\u0435\u0442\u0430\u0444\u043e\u0440\u044b \u0438\u0437 \u044d\u043f\u043e\u0441\u0430 \u043e \u0413\u0438\u043b\u044c\u0433\u0430\u043c\u0435\u0448\u0435
https:\/\/doi.org\/10.18485\/ms_zmss.2025.107.8<\/p>\n<\/td>\n

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\u00a0<\/p>\n<\/td>\n

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Vladimir Emelianov, Two metaphors from the epic of Gilgamesh
https:\/\/doi.org\/10.18485\/ms_zmss.2025.107.8<\/p>\n<\/td>\n<\/tr>\n

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\u0410\u043b\u0435\u043a\u0441\u0430\u043d\u0434\u0440 \u0416\u043e\u043b\u043a\u043e\u0432\u0441\u043a\u0438\u0439, \u041e \u0442\u0435\u043a\u0441\u0442\u0430\u0445 \u2014 \u0441 \u0443\u0434\u043e\u0432\u043e\u043b\u044c\u0441\u0442\u0432\u0438\u0435\u043c
https:\/\/doi.org\/10.18485\/ms_zmss.2025.107.9<\/p>\n<\/td>\n

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Alexander Zholkovsky, About texts \u2014 with pleasure
https:\/\/doi.org\/10.18485\/ms_zmss.2025.107.9<\/p>\n<\/td>\n<\/tr>\n

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\u041d\u0430\u0442\u0430\u043b\u0438\u044f \u0417\u043b\u044b\u0434\u043d\u0435\u0432\u0430, \u00ab\u0422\u0435\u0437\u0438\u0441\u044b \u043e \u043f\u0440\u0435\u0434\u0438\u0441\u0442\u043e\u0440\u0438\u0438 \u043f\u043e\u0440\u0442\u0440\u0435\u0442\u0430 \u043a\u0430\u043a \u043e\u0441\u043e\u0431\u043e\u0433\u043e \u043a\u043b\u0430\u0441\u0441\u0430 \u0442\u0435\u043a\u0441\u0442\u043e\u0432\u00bb \u0412. \u041d. \u0422\u043e\u043f\u043e\u0440\u043e\u0432\u0430: \u043e\u043f\u044b\u0442 \u043f\u0440\u043e\u0447\u0442\u0435\u043d\u0438\u044f \u0438\u0441\u043a\u0443\u0441\u0441\u0442\u0432\u043e\u0432\u0435\u0434\u043e\u043c
https:\/\/doi.org\/10.18485\/ms_zmss.2025.107.10<\/p>\n<\/td>\n

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Nataliya Zlydneva, \u201cTheses on the Prehistory of the Portrait as a Special Class of Texts\u201d by V.N. Toporov: read by an Art Critic
https:\/\/doi.org\/10.18485\/ms_zmss.2025.107.10<\/p>\n<\/td>\n<\/tr>\n

\n

\u041a\u043e\u0440\u043d\u0435\u043b\u0438\u044f \u0418\u0447\u0438\u043d, \u0420\u043e\u043b\u044c \u0434\u043e\u043a\u0443\u043c\u0435\u043d\u0442\u0430 \u0432 \u0441\u0435\u0440\u0431\u0441\u043a\u043e\u043c \u0441\u044e\u0440\u0440\u0435\u0430\u043b\u0438\u0441\u0442\u0438\u0447\u0435\u0441\u043a\u043e\u043c \u0436\u0443\u0440\u043d\u0430\u043b\u0435 \u0421\u0432\u0435\u0434\u043e\u0447\u0430\u043d\u0441\u0442\u0432\u0430
https:\/\/doi.org\/10.18485\/ms_zmss.2025.107.11<\/p>\n<\/td>\n

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Kornelija I\u010din, The Role of the Document in the Serbian Surrealist Journal Svedo\u010danstva
https:\/\/doi.org\/10.18485\/ms_zmss.2025.107.11<\/p>\n<\/td>\n<\/tr>\n

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\u041e\u043b\u0435\u0433 \u041b\u0435\u043a\u043c\u0430\u043d\u043e\u0432, \u0413\u0440\u0430\u0444\u043e\u043c\u0430\u043d\u0438\u044f \u0443 \u043f\u043e\u0441\u0442\u0441\u0438\u043c\u0432\u043e\u043b\u0438\u0441\u0442\u043e\u0432 \u0438 \u043e\u0431\u044d\u0440\u0438\u0443\u0442\u043e\u0432
https:\/\/doi.org\/10.18485\/ms_zmss.2025.107.12\u00a0<\/p>\n<\/td>\n

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Oleg Lekmanov, Graphomania among Post-Symbolists and OBERIU Writers
https:\/\/doi.org\/10.18485\/ms_zmss.2025.107.12<\/p>\n<\/td>\n<\/tr>\n

\n

\u0410\u043d\u043d\u0430 \u041b\u0438\u0442\u0432\u0438\u043d\u0430 , \u0424\u0435\u0434\u043e\u0440 \u0423\u0441\u043f\u0435\u043d\u0441\u043a\u0438\u0439, \u0414\u0432\u0430 \u043e\u0442\u0447\u0435\u0441\u0442\u0432\u0430 \u041b\u0435\u0440\u043c\u043e\u043d\u0442\u043e\u0432\u0430
https:\/\/doi.org\/10.18485\/ms_zmss.2025.107.13<\/p>\n<\/td>\n

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Anna Litvina , Fyodor Uspensky, Lermontov\u2019s Two Patronymics
https:\/\/doi.org\/10.18485\/ms_zmss.2025.107.13<\/p>\n<\/td>\n<\/tr>\n

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\u0412\u0435\u0440\u0430 \u041c\u0438\u043b\u044c\u0447\u0438\u043d\u0430, \u00ab\u0412\u043e\u0437\u044c\u043c\u0438\u0442\u0435 \u043c\u043e\u0435\u0433\u043e \u043c\u0435\u0434\u0432\u0435\u0434\u044f\u00bb: \u0438\u0437 \u0438\u0441\u0442\u043e\u0440\u0438\u0438 \u043e\u0434\u043d\u043e\u0433\u043e \u00ab\u043c\u0435\u043c\u0430\u00bb XIX \u0432\u0435\u043a\u0430
https:\/\/doi.org\/10.18485\/ms_zmss.2025.107.14<\/p>\n<\/td>\n

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Vera Milchina, \u201cTake my Bear\u201d: From the History of one \u201cmeme\u201d of the 19th Century
https:\/\/doi.org\/10.18485\/ms_zmss.2025.107.14<\/p>\n<\/td>\n<\/tr>\n

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\u0422\u0430\u0442\u044c\u044f\u043d\u0430 \u041c\u0438\u0445\u0430\u0439\u043b\u043e\u0432\u0430, \u041e \u00ab\u0442\u0435\u043c\u043d\u043e\u043c \u044f\u0437\u044b\u043a\u0435\u00bb \u043f\u043e\u044d\u0442\u043e\u0432 \u0414\u0440\u0435\u0432\u043d\u0435\u0439 \u0418\u0440\u043b\u0430\u043d\u0434\u0438\u0438
https:\/\/doi.org\/10.18485\/ms_zmss.2025.107.15<\/p>\n<\/td>\n

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Tatyana Mikhailova, On the \u201cdark language\u201d of poets in Early Ireland
https:\/\/doi.org\/10.18485\/ms_zmss.2025.107.15<\/p>\n<\/td>\n<\/tr>\n

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\u0413\u043b\u0435\u0431 \u041c\u043e\u0440\u0435\u0432, \u00ab\u041e\u0441\u0442\u0430\u043d\u043e\u0432\u043a\u0430 \u0432 \u043f\u0443\u0441\u0442\u044b\u043d\u0435\u00bb: \u0418\u043e\u0441\u0438\u0444 \u0411\u0440\u043e\u0434\u0441\u043a\u0438\u0439 \u0432 1968 \u0433\u043e\u0434\u0443
https:\/\/doi.org\/10.18485\/ms_zmss.2025.107.16<\/p>\n<\/td>\n

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Gleb Morev, \u201cA Stop in a Desert\u201d: Joseph Brodsky in 1968
https:\/\/doi.org\/10.18485\/ms_zmss.2025.107.16<\/p>\n<\/td>\n<\/tr>\n

\n

\u0421\u0435\u0440\u0433\u0435\u0439 \u041d\u0435\u043a\u043b\u044e\u0434\u043e\u0432, \u0418\u0441\u0442\u043e\u0440\u0438\u044f \u00ab\u0431\u043b\u0430\u0433\u043e\u0434\u0430\u0440\u043d\u043e\u0433\u043e \u043b\u044c\u0432\u0430\u00bb (Mot. B 381): \u043e\u0442 \u0410\u043d\u0434\u0440\u043e\u043a\u043b\u0430 \u0434\u043e \u0411\u043e\u0440\u043c\u044b\u044f\u0440\u044b\u0436\u043a\u0438
https:\/\/doi.org\/10.18485\/ms_zmss.2025.107.17<\/p>\n<\/td>\n

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Sergey Neklyudov, The Story of the \u201cGrateful Lion\u201d (Mot. B 381): From Androcles to Borma-Jaryzhka
https:\/\/doi.org\/10.18485\/ms_zmss.2025.107.17<\/p>\n<\/td>\n<\/tr>\n

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\u041b\u0430\u0434\u0430 \u041f\u0430\u043d\u043e\u0432\u0430, \u0418\u0437 \u041f\u0443\u0442\u0435\u0432\u043e\u0434\u0438\u0442\u0435\u043b\u044f \u043f\u043e \u00ab\u0421\u043c\u0435\u0440\u0442\u0438 \u041d\u0435\u0440\u043e\u043d\u0430\u00bb \u041c\u0438\u0445\u0430\u0438\u043b\u0430 \u041a\u0443\u0437\u043c\u0438\u043d\u0430
https:\/\/doi.org\/10.18485\/ms_zmss.2025.107.18<\/p>\n<\/td>\n

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Lada Panova, From The Guide to Mikhail Kuzmin\u2019s \u201cDeath of Nero\u201d
https:\/\/doi.org\/10.18485\/ms_zmss.2025.107.18<\/p>\n<\/td>\n<\/tr>\n

\n

\u0418\u0433\u043e\u0440\u044c \u041f\u0438\u043b\u044c\u0449\u0438\u043a\u043e\u0432, \u0417\u0430\u043f\u0438\u0441\u043d\u0430\u044f \u043a\u043d\u0438\u0436\u043a\u0430 \u0411\u0430\u0442\u044e\u0448\u043a\u043e\u0432\u0430 \u0420\u0430\u0437\u043d\u044b\u0435 \u0437\u0430\u043c\u0435\u0447\u0430\u043d\u0438\u044f: \u0438\u0441\u0442\u043e\u0440\u0438\u044f \u0437\u0430\u043f\u043e\u043b\u043d\u0435\u043d\u0438\u044f. \u0427\u0430\u0441\u0442\u044c 1. \u041b\u0438\u0441\u0442\u044b 13\u201320 (\u0432\u0435\u0441\u043d\u0430 \u2014 \u043b\u0435\u0442\u043e 1810)
https:\/\/doi.org\/10.18485\/ms_zmss.2025.107.19<\/p>\n<\/td>\n

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Igor Pilshchikov, Batiushkov at Work on his Notebook Various Remarks: Part 1. Leaves 13\u201320 (Spring and Summer 1810)
https:\/\/doi.org\/10.18485\/ms_zmss.2025.107.19<\/p>\n<\/td>\n<\/tr>\n

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\u0418\u0433\u043e\u0440\u044c \u0421\u043c\u0438\u0440\u043d\u043e\u0432, (\u041d\u0435)\u0432\u0435\u0441\u0435\u043b\u043e\u0435 \u0431\u043e\u0433\u043e\u0441\u043b\u043e\u0432\u0438\u0435 \u0410\u043b\u0435\u043a\u0441\u0430\u043d\u0434\u0440\u0430 \u0412\u0432\u0435\u0434\u0435\u043d\u0441\u043a\u043e\u0433\u043e (\u041a\u0440\u0443\u0433\u043e\u043c \u0432\u043e\u0437\u043c\u043e\u0436\u043d\u043e \u0411\u043e\u0433)
https:\/\/doi.org\/10.18485\/ms_zmss.2025.107.20<\/p>\n<\/td>\n

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Igor Smirnov, (Un)happy theology of Alexander Vvedensky (God may be all around)
https:\/\/doi.org\/10.18485\/ms_zmss.2025.107.20<\/p>\n<\/td>\n<\/tr>\n

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\u041d\u0438\u043a\u043e\u043b\u0430\u0439 \u0421\u0443\u0445\u0430\u0447\u0435\u0432, \u041c\u0435\u0442\u0430\u043c\u043e\u0440\u0444\u043e\u0437\u044b \u00ab\u0441\u043d\u0430\u00bb (\u041a. \u041f. \u0411\u0440\u044e\u043b\u043b\u043e\u0432 \u0438 \u0421. \u0414\u0430\u043b\u0438)
https:\/\/doi.org\/10.18485\/ms_zmss.2025.107.21

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Nikolay Sukhachev, Metamorphoses of \u201cDream\u201d (K. P. Bryllov and S. Dali)
https:\/\/doi.org\/10.18485\/ms_zmss.2025.107.21<\/p>\n<\/td>\n<\/tr>\n

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\u0420\u043e\u043c\u0430\u043d \u0422\u0438\u043c\u0435\u043d\u0447\u0438\u043a, \u0418\u0437 \u0438\u043c\u0435\u043d\u043d\u043e\u0433\u043e \u0443\u043a\u0430\u0437\u0430\u0442\u0435\u043b\u044f \u043a \u0437\u0430\u043f\u0438\u0441\u043d\u044b\u043c \u043a\u043d\u0438\u0436\u043a\u0430\u043c \u0410\u043d\u043d\u044b \u0410\u0445\u043c\u0430\u0442\u043e\u0432\u043e\u0439 (\u041d\u0438\u043a\u043e\u043b\u0430\u0439 \u0410\u0441\u0435\u0435\u0432)
https:\/\/doi.org\/10.18485\/ms_zmss.2025.107.22<\/p>\n<\/td>\n

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Roman Timenchik, From Names Index to Anna Akhmatova\u2019s Notebooks (Nikolai Aseev)
https:\/\/doi.org\/10.18485\/ms_zmss.2025.107.22<\/p>\n<\/td>\n<\/tr>\n

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\u0415\u043b\u0435\u043d\u0430 \u0422\u043e\u043b\u0441\u0442\u0430\u044f, \u00ab\u0412\u043e\u043e\u0431\u0449\u0435 \u0441\u043e\u0446\u0438\u0430\u043b\u0438\u0437\u043c \u2014 \u0441\u043e\u0441\u0442\u043e\u044f\u043d\u0438\u0435 \u043f\u043e\u0441\u0442\u043d\u0438\u0447\u0435\u0441\u043a\u043e\u0435\u00bb: \u043a\u0442\u043e \u043f\u0438\u0441\u0430\u043b \u043f\u043e\u0434 \u043f\u0441\u0435\u0432\u0434\u043e\u043d\u0438\u043c\u043e\u043c \u00ab\u041d\u0438\u043b\u00bb \u0432 \u0412\u0435\u0447\u0435\u0440\u043d\u0438\u0445 \u043e\u0433\u043d\u044f\u0445 (\u041f\u0435\u0442\u0440\u043e\u0433\u0440\u0430\u0434, 1918)?
https:\/\/doi.org\/10.18485\/ms_zmss.2025.107.23<\/p>\n<\/td>\n

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Elena Tolstaya, \u201cIn general, Socialism is a State of fasting\u201d: Who wrote under the Pseudonym \u201cNil\u201d in The Evening Lights (Petrograd, 1918)?
https:\/\/doi.org\/10.18485\/ms_zmss.2025.107.23<\/p>\n<\/td>\n<\/tr>\n

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\u0421\u0432\u0435\u0442\u043b\u0430\u043d\u0430 \u0422\u043e\u043b\u0441\u0442\u0430\u044f, \u0422\u0440\u0438 \u0437\u0430\u043c\u0435\u0442\u043a\u0438 \u043e \u043f\u043e\u044d\u0442\u0438\u0447\u0435\u0441\u043a\u043e\u043c \u044f\u0437\u044b\u043a\u0435 \u041f\u0430\u0441\u0442\u0435\u0440\u043d\u0430\u043a\u0430
https:\/\/doi.org\/10.18485\/ms_zmss.2025.107.24<\/p>\n<\/td>\n

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Svetlana Tolstaya, Three Notes on the Poetic Language of Pasternak
https:\/\/doi.org\/10.18485\/ms_zmss.2025.107.24<\/p>\n<\/td>\n<\/tr>\n

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\u0412\u0430\u043b\u0435\u0440\u0438\u0439 \u0428\u0443\u0431\u0438\u043d\u0441\u043a\u0438\u0439, \u0412\u0435\u0449\u044c \u0438 \u0434\u0435\u0439\u0441\u0442\u0432\u0438\u0435 (\u043a \u043f\u043e\u0441\u0442\u0430\u043d\u043e\u0432\u043a\u0435 \u0432\u043e\u043f\u0440\u043e\u0441\u0430)
https:\/\/doi.org\/10.18485\/ms_zmss.2025.107.25\u00a0<\/p>\n<\/td>\n

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\u00a0Valery Shubinsky, Thing and Action (Towards the Formulation of the Question)
https:\/\/doi.org\/10.18485\/ms_zmss.2025.107.25<\/p>\n<\/td>\n<\/tr>\n

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David Gold, Sample entries of Slavic Interest IN a discursive etymological dictionary of Yidish in Preparation
https:\/\/doi.org\/10.18485\/ms_zmss.2025.107.26<\/p>\n<\/td>\n

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David Gold, Sample entries of Slavic Interest IN a discursive etymological dictionary of Yidish in Preparation
https:\/\/doi.org\/10.18485\/ms_zmss.2025.107.26<\/p>\n<\/td>\n<\/tr>\n

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Luc de Goustine, Sur La temp\u00eate
https:\/\/doi.org\/10.18485\/ms_zmss.2025.107.27<\/p>\n<\/td>\n

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Luc de Goustine, On The Tempest
https:\/\/doi.org\/10.18485\/ms_zmss.2025.107.27<\/p>\n<\/td>\n<\/tr>\n

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Wendy Pfeffer, The Scholarly Bibliography of Michael Meylac
https:\/\/doi.org\/10.18485\/ms_zmss.2025.107.28<\/p>\n<\/td>\n

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Wendy Pfeffer, The Scholarly Bibliography of Michael Meylac
https:\/\/doi.org\/10.18485\/ms_zmss.2025.107.28<\/p>\n<\/td>\n<\/tr>\n

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Roy Rosenstein, Teaching Italo Calvino in Paris: From Small Fry to Big Fish
https:\/\/doi.org\/10.18485\/ms_zmss.2025.107.29<\/p>\n<\/td>\n

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Roy Rosenstein, Teaching Italo Calvino in Paris: From Small Fry to Big Fish
https:\/\/doi.org\/10.18485\/ms_zmss.2025.107.29<\/p>\n<\/td>\n<\/tr>\n

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\u041c\u0438\u0445\u0430\u0438\u043b \u041c\u0435\u0439\u043b\u0430\u0445. \u0411\u0438\u0431\u043b\u0438\u043e\u0433\u0440\u0430\u0444\u0438\u044f<\/p>\n<\/td>\n

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Michael Meylakh. Bibliography<\/p>\n<\/td>\n<\/tr>\n

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\u0420\u0435\u0433\u0438\u0441\u0442\u0430\u0440 \u043a\u0459\u0443\u0447\u043d\u0438\u0445 \u0440\u0435\u0447\u0438<\/p>\n<\/td>\n

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Register of key words<\/p>\n<\/td>\n<\/tr>\n

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\u0421\u043f\u0438\u0441\u0430\u043a \u0441\u0430\u0440\u0430\u0434\u043d\u0438\u043a\u0430\u00a0<\/p>\n<\/td>\n

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List of contributors<\/p>\n<\/td>\n<\/tr>\n

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\u0423\u043f\u0443\u0442\u0441\u0442\u0432\u043e \u0437\u0430 \u043f\u0440\u0438\u043f\u0440\u0435\u043c\u0443 \u0440\u0443\u043a\u043e\u043f\u0438\u0441\u0430 \u0437\u0430 \u0448\u0442\u0430\u043c\u043f\u0443<\/p>\n<\/td>\n

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Instructions for authors<\/p>\n<\/td>\n<\/tr>\n

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Reviewers<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

\u00a0<\/p>\n","protected":false},"excerpt":{"rendered":"

\u0421\u0410\u0414\u0420\u0416\u0410\u0408\/ \u0421\u041e\u0414\u0415\u0420\u0416\u0410\u041d\u0418\u0415 \u00a0 CONTENTS MIRACULUM VITAE \u041a 80-\u041b\u0415\u0422\u0418\u042e \u041c\u0418\u0425\u0410\u0418\u041b\u0410 \u0411\u041e\u0420\u0418\u0421\u041e\u0412\u0418\u0427\u0410 \u041c\u0415\u0419\u041b\u0410\u0425\u0410\u00a0 \u00a0 \u00a0 \u00a0 \u00a0MIRACULUM VITAE To mark the 80th anniversary of Michael Borisovich Meylakh\u2019s birth \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u0426\u0415\u041b\u041e \u0418\u0417\u0414\u0410\u040a\u0415 \u00a0 \u00a0 FULL EDDITION \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u0414\u043c\u0438\u0442\u0440\u0438\u0439 \u0411\u043e\u0431\u044b\u0448\u0435\u0432 \u00a0 \u00a0 Dmitry Bobyshev \u00a0\u0414\u043c\u0438\u0442\u0440\u0438\u0439 \u0411\u044b\u043a\u043e\u0432 \u00a0 \u00a0 Dmitry Bykov\u00a0 \u0412\u0438\u043a\u0442\u043e\u0440… Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":6,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"yoast_head":"\n\n\n\n\n\n\n\n\n\n\n\n\t\n