{"id":38626,"date":"2025-11-27T09:44:46","date_gmt":"2025-11-27T08:44:46","guid":{"rendered":"https:\/\/www.maticasrpska.org.rs\/?page_id=38626"},"modified":"2025-12-05T12:10:56","modified_gmt":"2025-12-05T11:10:56","slug":"zmszs_108","status":"publish","type":"page","link":"https:\/\/www.maticasrpska.org.rs\/en\/zmszs_108\/","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 108, \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\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

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

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\u0426\u0415\u041b\u041e \u0418\u0417\u0414\u0410\u040a\u0415\u00a0<\/p>\n<\/td>\n

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

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\u0421\u0422\u0423\u0414\u0418\u0408\u0415 \u0418 \u0420\u0410\u0421\u041f\u0420\u0410\u0412\u0415<\/span><\/p>\n

\u0413\u0420\u0410\u041c\u0410\u0422\u0418\u0427\u041a\u0410 \u0421\u0422\u0420\u0423\u041a\u0422\u0423\u0420\u0410 \u0421\u041b\u041e\u0412\u0415\u041d\u0421\u041a\u0418\u0425
<\/span>\u0408\u0415\u0417\u0418\u041a\u0410<\/span><\/p>\n<\/td>\n

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

ARTICLES AND TREATISES<\/span><\/p>\n

GRAMMATICAL STRUCTURE OF SLAVIC LANGUAGES<\/span><\/p>\n<\/td>\n<\/tr>\n

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A \u0434 \u0440 \u0438 \u0430 \u043d\u00a0 \u0411 \u0430 \u0440 \u0435 \u043d \u0442 \u0441 \u0435 \u043d,
\u041a\u043e\u043d\u043a\u0443\u0440\u0435\u043d\u0446\u0438\u044f \u043c\u0435\u0436\u0434\u0443 \u0441\u043e\u044e\u0437\u0430\u043c\u0438 \u043f\u0440\u0435\u0440\u044b\u0432\u0430\u044e\u0449\u0435\u0433\u043e \u0441\u043b\u0435\u0434\u043e\u0432\u0430\u043d\u0438\u044f \u0432 \u0437\u0430\u043f\u0430\u0434\u043d\u043e\u0441\u043b\u0430\u0432\u044f\u043d\u0441\u043a\u0438\u0445, \u0431\u043e\u043b\u0433\u0430\u0440\u0441\u043a\u043e\u043c \u0438 \u0443\u043a\u0440\u0430\u0438\u043d\u0441\u043a\u043e\u043c \u044f\u0437\u044b\u043a\u0430\u0445
https:\/\/doi.org\/10.18485\/ms_zmss.2025.108.1
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A d r i a n\u00a0 B a r e n t s e n ,
Competition Between Conjunctions of Interrupting Posteriority in West Slavic, Bulgarian and Ukrainian
https:\/\/doi.org\/10.18485\/ms_zmss.2025.108.
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\u0420 \u043e \u0437 \u0430 \u043d \u043d \u0430\u00a0 \u0411 \u0435 \u043d \u0430 \u043a \u043a \u044c \u043e,
\u0420\u0430\u0441\u043f\u0440\u043e\u0441\u0442\u0440\u0430\u043d\u0435\u043d\u0438\u0435 \u0432\u0435\u0436\u043b\u0438\u0432\u043e\u0433\u043e \u043c\u0435\u0441\u0442\u043e\u0438\u043c\u0435\u043d\u0438\u044f \u00ab\u0412\u044b\u00bb \u0432 XVIII \u0432\u0435\u043a\u0435 \u0432 \u0440\u0443\u0441\u0441\u043a\u043e\u043c \u044f\u0437\u044b\u043a\u0435: \u043c\u0435\u0436\u0434\u0443 \u0433\u0440\u0430\u043c\u043c\u0430\u0442\u0438\u043a\u043e\u0439 \u0438 \u043f\u0440\u0430\u0433\u043c\u0430\u0442\u0438\u043a\u043e\u0439
https:\/\/doi.org\/10.18485\/ms_zmss.2025.108.2
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R o s a n n a\u00a0 B e n a c c h i o ,
The Spread of the Polite Pronoun \u201cVy\u201d in 18th Century Russian: Between Grammar and Pragmatics
https:\/\/doi.org\/10.18485\/ms_zmss.2025.108.2
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\u00a0\u0418 \u0433 \u043e \u0440 \u044c\u00a0 \u0411 \u043e \u0433 \u0443 \u0441 \u043b \u0430 \u0432 \u0441 \u043a \u0438 \u0439,
<\/span>\u0412 <\/em>\u0442<\/em>\u0440\u0435<\/em>\u0442<\/em> \u0438\u0439 \u0440\u0430\u0437<\/em>: \u0441\u0438\u043d\u0442\u0430\u043a\u0441\u0438\u0441, \u0441\u0435\u043c\u0430\u043d\u0442\u0438\u043a\u0430 \u0438 \u043a\u043e\u043c\u043c\u0443\u043d\u0438\u043a\u0430\u0442\u0438\u0432\u043d\u0430\u044f \u043e\u0440\u0433\u0430\u043d\u0438\u0437\u0430\u0446\u0438\u044f
https:\/\/doi.org\/10.18485\/ms_zmss.2025.108.3
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I g o r\u00a0 B o g u s l a v s k i j ,
<\/span>Third Time: <\/span>Syntax, Semantics, and Communicative Organization
https:\/\/doi.org\/10.18485\/ms_zmss.2025.108.3
<\/span><\/p>\n<\/td>\n<\/tr>\n

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\u0410 \u043d \u0430 \u0442 \u043e \u043b \u0456 \u0439\u00a0 \u0417 \u0430 \u0433 \u043d \u0456 \u0442 \u043a \u043e,
\u041f\u0440\u0438\u0439\u043c\u0435\u043d\u043d\u0438\u043a\u043e\u0432i \u043e\u0434\u0438\u043d\u0438\u0446i \u0437 \u043a\u043e\u043c\u043f\u043e\u043d\u0435\u043d\u0442\u043e\u043c <\/span>\u0314\u05b1\u043b\u0438\u0431\u0438\u043d\u0430<\/span>\u2019: \u0441\u0442\u0430\u043bi\u0441\u0442\u044c i \u0434\u0438\u043d\u0430\u043ci\u043a\u0430\u02c8 \u0432 \u043e\u0434\u043d\u043e\u0441\u0438\u0441\u0442\u0435\u043c\u043d\u0438\u0445 \u043c\u043e\u0432\u0430\u0445
https:\/\/doi.org\/10.18485\/ms_zmss.2025.108.4
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A n a t o l i i\u00a0 Z a h n i t k o ,
Prepositional Units with <\/span>\u0314\u05b1\u043b\u0438\u0431\u0438\u043d\u0430<\/span>\u2019 Component: Stability and Dynamics
https:\/\/doi.org\/10.18485\/ms_zmss.2025.108.4
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\u0411 \u043e \u0440 \u0438 \u0441\u00a0 \u041d \u043e \u0440 \u043c \u0430 \u043d,
\u00ab\u0422\u0430\u043a \u043c\u043e\u0436\u043d\u043e \u0441\u043a\u0430\u0437\u0430\u0442\u044c, \u043d\u043e \u0442\u0430\u043a \u043d\u0435 \u0433\u043e\u0432\u043e\u0440\u044f\u0442\u00bb (\u043e \u0441\u0435\u043b\u0435\u043a\u0442\u0438\u0432\u043d\u043e\u0439 \u0444\u0443\u043d\u043a\u0446\u0438\u0438 \u0433\u0440\u0430\u043c\u043c\u0430\u0442\u0438\u0447\u0435\u0441\u043a\u0438\u0445 \u0444\u043e\u0440\u043c)
https:\/\/doi.org\/10.18485\/ms_zmss.2025.108.5
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B o r i s\u00a0 N o r m a n ,
\u00abYou can say that, but no one says that\u00bb (about Selective Functions of Grammatical Forms)
https:\/\/doi.org\/10.18485\/ms_zmss.2025.108.5
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\u041f \u0435 \u0442 \u044f\u00a0 \u041e \u0441 \u0435 \u043d \u043e \u0432 \u0430,
\u0413\u0440\u0430\u043c\u0430\u0442\u0438\u043a\u0430\u0442\u0430 \u043e\u0442\u0441\u0442\u044a\u043f\u0432\u0430 \u043f\u0440\u0435\u0434 \u043f\u0440\u0430\u0433\u043c\u0430\u0442\u0438\u043a\u0430\u0442\u0430 (\u043d\u0430\u0431\u043b\u044e\u0434\u0435\u043d\u0438\u044f \u0432\u044a\u0440\u0445\u0443 \u0431\u044a\u043b\u0433\u0430\u0440\u0441\u043a\u0438\u044f \u0435\u0437\u0438\u043a)
https:\/\/doi.org\/10.18485\/ms_zmss.2025.108.6
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P e t y a\u00a0 O s e n o v a ,
Grammar Gives Way to Pragmatics (Observations on Bulgarian)
https:\/\/doi.org\/10.18485\/ms_zmss.2025.108.6
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\u0409\u0443 \u0434 \u043c \u0438 \u043b \u0430\u00a0 \u041f \u043e \u043f \u043e \u0432 \u0438 \u045b,
\u0412\u0435\u0437\u043d\u0438\u043a <\/span>\u0447\u0438\u043c<\/em> <\/span>\u0443 \u0441\u0440\u043f\u0441\u043a\u043e\u043c \u0458\u0435\u0437\u0438\u043a\u0443 \u0443 \u043f\u043e\u0440\u0435\u0452\u0435\u045a\u0443 \u0441 \u0438\u0441\u0442\u043e\u0447\u043d\u043e\u0441\u043b\u043e\u0432\u0435\u043d\u0441\u043a\u0438\u043c \u0432\u0435\u0437\u043d\u0438\u043a\u043e\u043c <\/span>\u0440\u0430\u0437
https:\/\/doi.org\/10.18485\/ms_zmss.2025.108.7
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L j u d m i l a\u00a0 P o p o v i \u0107 ,
The Conjunction <\/span>\u010cIM <\/span>in Serbian in Comparison with the East Slavic Conjunction <\/span>RAZ
https:\/\/doi.org\/10.18485\/ms_zmss.2025.108.7
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M a c i e j\u00a0 G r o c h o w s k i,
Przymiotnik <\/span>okre\u015blony<\/em> <\/span>w j\u0119zyku polskim, cechy gramatyczne i semantyczne
https:\/\/doi.org\/10.18485\/ms_zmss.2025.108.8
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M a c i e j\u00a0 G r o c h o w s k i ,
The Polish Adjective okre\u015blony \u2018definite\u2019, Its Grammatical and Semantic Features
https:\/\/doi.org\/10.18485\/ms_zmss.2025.108.8
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I m k e\u00a0 M e n d o z a,
Post-posed Double-headed Relative constructions Between syntax and Cohesion
https:\/\/doi.org\/10.18485\/ms_zmss.2025.108.9
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I m k e\u00a0 M e n d o z a ,
Post-posed Double-headed Relative Constructions Between Syntax and Cohesion
https:\/\/doi.org\/10.18485\/ms_zmss.2025.108.9
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K a r o l \u00ed n a\u00a0 S k w a r s k a,
<\/span>Unifikace plur\u00e1lov\u00fdch tvar\u016f substantiv v sou\u010dasn\u00fdch slovansk\u00fdch jazyc\u00edch
https:\/\/doi.org\/10.18485\/ms_zmss.2025.108.10
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K a r o l \u00ed n a\u00a0 S k w a r s k a ,
Unification of Plural Forms of Nouns in Contemporary Slavic Languages
https:\/\/doi.org\/10.18485\/ms_zmss.2025.108.10
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B j \u00f6 r n\u00a0 W i e m e r,
<\/span>Prefixing non-past forms of simplex stems and their vicissitudes in Slavic
https:\/\/doi.org\/10.18485\/ms_zmss.2025.108.11
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\u00a0<\/p>\n<\/td>\n

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B j \u00f6 r n\u00a0 W i e m e r ,
Prefixing non-past forms of simplex stems and their vicissitudes in Slavic
https:\/\/doi.org\/10.18485\/ms_zmss.2025.108.11
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S \u00e9 b a s t i e n\u00a0 G r \u00e9 a l,
<\/span>Notes \u00e9tymologiques : les d\u00e9signations des crapauds en slave
https:\/\/doi.org\/10.18485\/ms_zmss.2025.108.12
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S \u00e9 b a s t i e n\u00a0 G r \u00e9 a l,
Etymological Notes: The Designations of Toads in Slavic
https:\/\/doi.org\/10.18485\/ms_zmss.2025.108.12
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Yelena A. A nd reyeva, I n na G. Kor neva, Field Structure of Russian and German Axiological Phraseology
https:\/\/doi.org\/10.18485\/ms_zmss.2025.108.13
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Yelena A. A nd reyeva, I n na G. Kor neva, Field Structure of Russian and German Axiological Phraseology
https:\/\/doi.org\/10.18485\/ms_zmss.2025.108.13
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O k s a n a K o v t u n,
Grammatical Gender and Number in Pronouns: Evaluative Perspectives in Ukrainian and English
https:\/\/doi.org\/10.18485\/ms_zmss.2025.108.14
<\/span><\/p>\n<\/td>\n

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

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

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O k s a n a\u00a0 K o v t u n,
Grammatical Gender and Number in Pronouns: Evaluative Perspectives in Ukrainian and English
https:\/\/doi.org\/10.18485\/ms_zmss.2025.108.14
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\u0410 \u043d \u043d \u0430\u00a0 \u0429 \u0435 \u0442 \u0438 \u043d \u0438 \u043d \u0430,
<\/span>\u041em \u0441n\u043b\u0435m\u043d\u0438\u0446\u044b \u043a \u0430\u0432m\u043e\u0440\u0438m\u0435m\u043d\u043e\u043c\u0443 \u0438\u0441m\u043e\u0447\u043d\u0438\u043a\u0443<\/span>: <\/span><\/em>\u043d\u043e\u0432\u043e\u0435 \u0437\u043d\u0430\u0447\u0435\u043d\u0438\u0435 \u0438\u0437\u0432\u0435\u0441\u0442\u043d\u043e\u0439 \u0438\u0434\u0438\u043e\u043c\u044b<\/span> \u0441\u0430\u0440\u0430\u0444\u0430\u043d\u043d\u043e\u0435 \u0440\u0430\u0434\u0438\u043e<\/span>
<\/span><\/em>h<\/span>ttps:\/\/doi.org\/10.18485\/ms_zmss.2025.108.15<\/span>
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A n n a\u00a0 S h c h e t i n i n a ,
<\/span>From Gossip to Authoritative Source<\/em>: <\/span>A New Meaning of the well-known Idiom \u201c<\/span>sarafannoye radio<\/span><\/em>\u201d
https:\/\/doi.org\/10.18485\/ms_zmss.2025.108.15
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\u041c \u0430 \u0440 \u0438 \u044f\u00a0 \u0428 \u0443 \u043c \u0438 \u043b \u043e \u0432 \u0430 ,
\u0410 \u043d \u0442 \u043e \u043d\u00a0 \u0410 \u0437 \u0430 \u0440 \u0435 \u043d \u043a \u043e \u0432,
\u0421\u0438\u043b\u043b\u0430\u0431\u043e-\u0442\u043e\u043d\u0438\u0447\u0435\u0441\u043a\u0430\u044f \u043c\u0435\u0442\u0440\u0438\u043a\u0430 \u0432 \u0432\u0435\u0440\u043b\u0438\u0431\u0440\u0435: \u0441\u043b\u0443\u0447\u0430\u0439\u043d\u043e\u0441\u0442\u044c \u0438\u043b\u0438 \u043f\u0440\u0438\u0435\u043c? (\u043d\u0430 \u043f\u0440\u0438\u043c\u0435\u0440\u0435 \u043f\u0435\u0440\u0435\u0432\u043e\u0434\u043e\u0432 \u0410\u043b\u0435\u043a\u0441\u0430\u043d\u0434\u0440\u0430 \u0428\u0443\u043c\u0438\u043b\u043e\u0432\u0430 \u0438\u0437 \u0441\u0435\u0440\u0431\u0441\u043a\u043e\u0439 \u043f\u043e\u044d\u0437\u0438\u0438 \u0438 \u0435\u0433\u043e \u043e\u0440\u0438\u0433\u0438\u043d\u0430\u043b\u044c\u043d\u043e\u0433\u043e \u0442\u0432\u043e\u0440\u0447\u0435\u0441\u0442\u0432\u0430)
https:\/\/doi.org\/10.18485\/ms_zmss.2025.108.16
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M a r i a\u00a0 S h u m i l o v a ,
A n t o n\u00a0 A z a r e n k o v,
Accentual-Syllabic Meters in Free Verse: Accident or Poetic Technique? (An Analysis of Alexander Shumilov\u2019s Translations of Serbian Poetry and his Original Poems)
https:\/\/doi.org\/10.18485\/ms_zmss.2025.108.16
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\u0416 \u0435 \u043b \u0438 \u043c \u0438 \u0440\u00a0 \u0412 \u0443 \u043a \u0430 \u0448 \u0438 \u043d \u043e \u0432 \u0438 \u045b,
\u041d\u0438\u0447\u0435 \u0438 \u0414\u043e\u0441\u0442\u043e\u0458\u0435\u0432\u0441\u043a\u0438: \u043a\u0440\u043e\u0437 \u043d\u0438\u0445\u0438\u043b\u0438\u0437\u0430\u043c, \u0434\u043e \u0441\u0430\u043c\u043e\u0441\u043f\u043e\u0437\u043d\u0430\u0458\u0435
https:\/\/doi.org\/10.18485\/ms_zmss.2025.108.17
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\u017d e l i m i r\u00a0 V u k a \u0161 i n o v i \u0107 ,
Nietzsche and Dostoevsky: Through Nihilism, to Selfunderstanding
https:\/\/doi.org\/10.18485\/ms_zmss.2025.108.17
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I n s o n\u00a0 C h o i,
The Grotesque Aesthetics of Tolstoy\u2019s <\/span>War and Peace
<\/span><\/em>https:\/\/doi.org\/10.18485\/ms_zmss.2025.108.18<\/span>
<\/span><\/em><\/p>\n<\/td>\n

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I n s o n\u00a0 C h o i ,
The Grotesque Aesthetics of Tolstoy\u2019s <\/span>War and Peace
<\/span><\/em>https:\/\/doi.org\/10.18485\/ms_zmss.2025.108.18<\/span>
<\/span><\/em><\/p>\n<\/td>\n<\/tr>\n

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\u0410 \u043d \u0434 \u0440 \u0435 \u0439\u00a0 \u0420 \u043e \u0441 \u0441 \u043e \u043c \u0430 \u0445 \u0438 \u043d,
\u00ab\u0415\u0441\u043b\u0438 \u044f \u043e\u0431\u0440\u0430\u0449\u0443 \u0447\u0435\u043b\u043e\u0432\u0435\u0447\u0435\u0441\u0442\u0432\u043e \u0432 \u0447\u0430\u0441\u044b\u2026\u00bb \u0412\u0435\u043b\u0438\u043c\u0438\u0440\u0430 \u0425\u043b\u0435\u0431\u043d\u0438\u043a\u043e\u0432\u0430: \u041e\u043f\u044b\u0442 \u043a\u043e\u043c\u043c\u0435\u043d\u0442\u0430\u0440\u0438\u044f
https:\/\/doi.org\/10.18485\/ms_zmss.2025.108.19
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A n d r e y\u00a0 R o s s o m a k h i n ,
\u00abIf I Turn Mankind into a Clock\u2026\u00bb by Velimir Khlebnikov: Experience of Commentary
https:\/\/doi.org\/10.18485\/ms_zmss.2025.108.19
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\u0410 \u043b \u0435 \u043a \u0441 \u0430 \u043d \u0434 \u0440\u00a0 \u041f \u0435 \u0440 \u0435 \u0446<\/strong><\/span> ,
\u0415 \u043a \u0430 \u0442 \u0435 \u0440 \u0438 \u043d \u0430\u00a0 \u0427 \u0435 \u0440 \u0435 \u043f \u0430 \u043d \u043e \u0432 \u0430,
\u042d\u043a\u0437\u0438\u0441\u0442\u0435\u043d\u0446\u0438\u0430\u043b\u044c\u043d\u043e\u0435 \u043c\u0438\u0440\u043e\u043e\u0442\u043d\u043e\u0448\u0435\u043d\u0438\u0435 \u0432 \u043f\u044c\u0435\u0441\u0430\u0445 \u0410. \u0412\u0430\u043c\u043f\u0438\u043b\u043e\u0432\u0430: \u0432\u0440\u0435\u043c\u044f \u0438 \u0431\u044b\u0442\u0438\u0435
https:\/\/doi.org\/10.18485\/ms_zmss.2025.108.20
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A l e x a n d e r\u00a0 P e r t s e v<\/strong><\/span> ,
E k a t e r i n a\u00a0 C h e r e p a n o v a ,
Existential Worldview in the Plays of Alexander Vampilov: Concepts of Time and Being
https:\/\/doi.org\/10.18485\/ms_zmss.2025.108.20
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\u041e \u043b \u0435 \u0441 \u044f\u00a0 \u0421 \u0430 \u0431 \u0430 \u043d \u043e \u0432 \u0430,
\u0410\u043a\u0442\u0443\u0430\u043b\u0438\u0437\u0430\u0446\u0438\u044f \u043f\u043e\u0437\u0438\u0446\u0438\u0438 \u043d\u0430\u0431\u043b\u044e\u0434\u0430\u0442\u0435\u043b\u044f \u0432 \u043f\u0440\u043e\u0437\u0435 \u042d\u0434\u0443\u0430\u0440\u0434\u0430 \u041b\u0438\u043c\u043e\u043d\u043e\u0432\u0430: \u0436\u0430\u043d\u0440\u043e\u0432\u044b\u0439 \u0430\u0441\u043f\u0435\u043a\u0442
https:\/\/doi.org\/10.18485\/ms_zmss.2025.108.21
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O l e s i a\u00a0 S a b a n o v a ,
Actualisation of the Obserever\u2019s Position in the Prose of Eduard Limonov: Genre Aspect
https:\/\/doi.org\/10.18485\/ms_zmss.2025.108.21
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\u041f\u0420\u0418\u041b\u041e\u0417\u0418 \u0418 \u0413\u0420\u0410\u0402\u0410<\/span><\/p>\n<\/td>\n

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CONTRIBUTIONS AND MATERIALS<\/span><\/p>\n<\/td>\n<\/tr>\n

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\u041f \u0430 \u0432 \u0435 \u043b\u00a0 \u0413 \u043b \u0443 \u0448 \u0430 \u043a \u043e \u0432 ,
\u0410 \u043d \u0434 \u0440 \u0435 \u0439\u00a0 \u0414 \u043c \u0438 \u0442 \u0440 \u0438 \u0435 \u0432 ,
\u041f\u043e\u044d\u0437\u0438\u044f \u0414\u043c\u0438\u0442\u0440\u0438\u044f \u0410\u043b\u0435\u043a\u0441\u0430\u043d\u0434\u0440\u043e\u0432\u0438\u0447\u0430 \u041f\u0440\u0438\u0433\u043e\u0432\u0430 \u0432 \u0440\u0435\u0446\u0435\u043f\u0446\u0438\u0438 \u0414. \u0415. \u041c\u0430\u043a\u0441\u0438\u043c\u043e\u0432\u0430: \u043d\u0435\u043e\u043f\u0443\u0431\u043b\u0438\u043a\u043e\u0432\u0430\u043d\u043d\u044b\u0435 \u043c\u0430\u0442\u0435\u0440\u0438\u0430\u043b\u044b 1980 \u0433\u043e\u0434\u0430
https:\/\/doi.org\/10.18485\/ms_zmss.2025.108.22
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P a v e l\u00a0 G l u s h a k o v ,
A n d r e y\u00a0 D m i t r i e v ,
Poetry of Dmitry Alexandrovich Prigov in the Reception of D. E. Maksimov: Unpublished Materials of 1980
https:\/\/doi.org\/10.18485\/ms_zmss.2025.108.22
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\u0410 \u043d \u0442 \u043e \u043d \u0438 \u043d \u0430\u00a0 \u0429 \u0435 \u0440 \u0431 \u0430 \u043a ,
\u0421 \u0435 \u0440 \u0433 \u0435 \u0439\u00a0 \u0411 \u0438 \u0440 \u044e \u043a \u043e \u0432 ,
\u0412\u0435\u0440\u0431\u0430\u043b\u044c\u043d\u0430\u044f \u043f\u0435\u0440\u0435\u0434\u0430\u0447\u0430 \u0436\u0438\u0432\u043e\u043f\u0438\u0441\u043d\u043e\u0433\u043e <\/span>\u0421\u0430\u043c\u0430\u0440\u043a\u0430\u043d\u0434\u0430 <\/span>\u0432 \u0442\u0432\u043e\u0440\u0447\u0435\u0441\u0442\u0432\u0435 \u0445\u0443\u0434\u043e\u0436\u043d\u0438\u043a\u0430 \u041a. \u0421. \u041f\u0435\u0442\u0440\u043e\u0432\u0430-\u0412\u043e\u0434\u043a\u0438\u043d\u0430
https:\/\/doi.org\/10.18485\/ms_zmss.2025.108.23
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A n t o n i n a\u00a0 S h c h e r b a k ,
S e r g e y\u00a0 B i r y u k o v ,
Verbal Transmission of Picturesque Samarkand in the Work of the Artist K. S. Petrov-Vodkin
https:\/\/doi.org\/10.18485\/ms_zmss.2025.108.23
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\n

\u042e \u043b \u0438 \u044f\u00a0 \u041a \u0443 \u0437 \u043d \u0435 \u0446 \u043e \u0432 \u0430,
\u0413\u043e\u043b\u043e\u0441 \u0420\u043e\u044f\u043b\u044f: \u0441\u0442\u0438\u0445\u043e\u0442\u0432\u043e\u0440\u0435\u043d\u0438\u0435 \u00ab\u0420\u043e\u044f\u043b\u044c\u00bb \u0438\u0437 \u0441\u0431\u043e\u0440\u043d\u0438\u043a\u0430 \u041e\u043b\u0435\u0433\u0430 \u0418\u0432\u0430\u043d\u043e\u0432\u0430 <\/span>\u0413\u043e\u043b\u043e\u0441\u0430 \u0432\u0435\u0449\u0435\u0439<\/span><\/em>
https:\/\/doi.org\/10.18485\/ms_zmss.2025.108.24
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I u l i i a\u00a0 K u z n e t s o v a ,
The Voice of the Grand Piano: to the Poem \u201cGrand Piano\u201d from Oleg Ivanov\u2019s Collection <\/span>Voices of Thing<\/span><\/em>
https:\/\/doi.org\/10.18485\/ms_zmss.2025.108.24
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\u041f\u0420\u0418\u041a\u0410\u0417\u0418<\/span><\/p>\n<\/td>\n

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REVIEWS<\/span><\/p>\n<\/td>\n<\/tr>\n

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\u0414\u0432\u0435 \u043c\u043e\u043d\u043e\u0433\u0440\u0430\u0444\u0438\u0458\u0435 \u0438\u0437 \u0433\u0440\u0430\u043c\u0430\u0442\u0438\u0447\u043a\u0435 \u0441\u0435\u043c\u0430\u043d\u0442\u0438\u043a\u0435 \u0441\u0440\u043f\u0441\u043a\u043e\u0433 \u0458\u0435\u0437\u0438\u043a\u0430. \u0418\u0432\u0430\u043d\u0430 \u0410\u043d\u0442\u043e\u043d\u0438\u045b, <\/span>\u041e\u0433\u043b\u0435\u0434\u0438 \u0438\u0437 \u0441\u0438\u043d\u0442\u0430\u043a\u0441\u0435 \u0438 \u0441\u0435\u043c\u0430\u043d\u0442\u0438\u043a\u0435 \u043f\u0430\u0434\u0435\u0436\u0430 1, 2<\/span><\/em>. \u041d\u043e\u0432\u0438 \u0421\u0430\u0434-\u0421\u0440\u0435\u043c\u0441\u043a\u0438 \u041a\u0430\u0440\u043b\u043e\u0432\u0446\u0438: \u0418\u0437\u0434\u0430\u0432\u0430\u0447\u043a\u0430 \u043a\u045a\u0438\u0436\u0430\u0440\u043d\u0438\u0446\u0430 \u0417\u043e\u0440\u0430\u043d\u0430 \u0421\u0442\u043e\u0458\u0430\u043d\u043e\u0432\u0438\u045b\u0430, 2023, 534 \u0441\u0442\u0440. (\u0411\u0438\u0431\u043b\u0438\u043e\u0442\u0435\u043a\u0430 \u0415\u043b\u0435\u043c\u0435\u043d\u0442\u0438; 140); \u041e\u0433\u043b\u0435\u0434\u0438 \u0438\u0437 \u0441\u0438\u043d\u0442\u0430\u043a\u0441\u0435 \u0438 \u0441\u0435\u043c\u0430\u043d\u0442\u0438\u043a\u0435 \u0440\u0435\u0447\u0435\u043d\u0438\u0446\u0435<\/em>, \u0421\u0440\u0435\u043c\u0441\u043a\u0438 \u041a\u0430\u0440\u043b\u043e\u0432\u0446\u0438-\u041d\u043e\u0432\u0438 \u0421\u0430\u0434: \u0418\u0437\u0434\u0430\u0432\u0430\u0447\u043a\u0430 \u043a\u045a\u0438\u0436\u0430\u0440\u043d\u0438\u0446\u0430 \u0417\u043e\u0440\u0430\u043d\u0430 \u0421\u0442\u043e\u0458\u0430\u043d\u043e\u0432\u0438\u045b\u0430, 2025, 393 \u0441\u0442\u0440. <\/span>\u00a0(\u0411\u0438\u0431\u043b\u0438\u043e\u0442\u0435\u043a\u0430 \u0415\u043b\u0435\u043c\u0435\u043d\u0442\u0438; 144) (<\/span>\u0409\u0443\u0434\u043c\u0438\u043b\u0430 \u041f\u043e\u043f\u043e\u0432\u0438\u045b<\/span><\/em>)<\/span><\/p>\n<\/td>\n

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\u0414\u0432\u0435 \u043c\u043e\u043d\u043e\u0433\u0440\u0430\u0444\u0438\u0458\u0435 \u0438\u0437 \u0433\u0440\u0430\u043c\u0430\u0442\u0438\u0447\u043a\u0435 \u0441\u0435\u043c\u0430\u043d\u0442\u0438\u043a\u0435 \u0441\u0440\u043f\u0441\u043a\u043e\u0433 \u0458\u0435\u0437\u0438\u043a\u0430. \u0418\u0432\u0430\u043d\u0430 \u0410\u043d\u0442\u043e\u043d\u0438\u045b, <\/span>\u041e\u0433\u043b\u0435\u0434\u0438 \u0438\u0437 \u0441\u0438\u043d\u0442\u0430\u043a\u0441\u0435 \u0438 \u0441\u0435\u043c\u0430\u043d\u0442\u0438\u043a\u0435 \u043f\u0430\u0434\u0435\u0436\u0430 1, 2<\/span><\/em>. \u041d\u043e\u0432\u0438 \u0421\u0430\u0434-\u0421\u0440\u0435\u043c\u0441\u043a\u0438 \u041a\u0430\u0440\u043b\u043e\u0432\u0446\u0438: \u0418\u0437\u0434\u0430\u0432\u0430\u0447\u043a\u0430 \u043a\u045a\u0438\u0436\u0430\u0440\u043d\u0438\u0446\u0430 \u0417\u043e\u0440\u0430\u043d\u0430 \u0421\u0442\u043e\u0458\u0430\u043d\u043e\u0432\u0438\u045b\u0430, 2023, 534 \u0441\u0442\u0440. (\u0411\u0438\u0431\u043b\u0438\u043e\u0442\u0435\u043a\u0430 \u0415\u043b\u0435\u043c\u0435\u043d\u0442\u0438; 140); <\/span>\u041e\u0433\u043b\u0435\u0434\u0438 \u0438\u0437 \u0441\u0438\u043d\u0442\u0430\u043a\u0441\u0435 \u0438 \u0441\u0435\u043c\u0430\u043d\u0442\u0438\u043a\u0435 \u0440\u0435\u0447\u0435\u043d\u0438\u0446\u0435<\/span><\/em>, \u0421\u0440\u0435\u043c\u0441\u043a\u0438 \u041a\u0430\u0440\u043b\u043e\u0432\u0446\u0438-\u041d\u043e\u0432\u0438 \u0421\u0430\u0434: \u0418\u0437\u0434\u0430\u0432\u0430\u0447\u043a\u0430 \u043a\u045a\u0438\u0436\u0430\u0440\u043d\u0438\u0446\u0430 \u0417\u043e\u0440\u0430\u043d\u0430 \u0421\u0442\u043e\u0458\u0430\u043d\u043e\u0432\u0438\u045b\u0430, 2025, 393 \u0441\u0442\u0440. (\u0411\u0438\u0431\u043b\u0438\u043e\u0442\u0435\u043a\u0430 \u0415\u043b\u0435\u043c\u0435\u043d\u0442\u0438; 144) (<\/span>Ljudmila Popovi\u0107<\/span><\/em>)<\/span><\/p>\n<\/td>\n<\/tr>\n

\n

Medzi imagin\u00e1ciou a exaktnos\u0165ou, zborn\u00edk na po\u010des\u0165 Michala Harp\u00e1\u0148a <\/span><\/em>\u2014 Izme\u0111u imaginacije i egzaktnosti, zbornik u \u010dast Mihala Harpanja \/ editorka Mar\u00edna \u0160im\u00e1kov\u00e1 Spev\u00e1kov\u00e1. Novi Sad: Filozofski faklutet, 2025, 329 str. (<\/span>\u0417\u0434\u0435\u043d\u043a\u0430 \u0412\u0430\u043b\u0435\u043d\u0442 \u0411\u0435\u043b\u0438\u045b<\/span><\/em>)<\/span><\/p>\n<\/td>\n

\n

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

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

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

\n

Medzi imagin\u00e1ciou a exaktnos\u0165ou, zborn\u00edk na po\u010des\u0165 Michala Harp\u00e1\u0148a <\/span><\/em>\u2014 Izme\u0111u imaginacije i egzaktnosti, zbornik u \u010dast Mihala Harpanja\/editorka Mar\u00edna \u0160im\u00e1kov\u00e1 Spev\u00e1kov\u00e1. Novi Sad: Filozofski faklutet, 2025, 329 str. (<\/span>Zdenka Valent Beli\u0107<\/span><\/em>)<\/span><\/p>\n<\/td>\n<\/tr>\n

\n

\u0413\u043b\u0430\u0432\u043d\u0438 \u0458\u0443\u043d\u0430\u0446\u0438: \u0415\u0440\u043e\u0441, \u0422\u0430\u043d\u0430\u0442\u043e\u0441 \u0438 \u041b\u043e\u0433\u043e\u0441. \u041e\u043b\u0438\u0432\u0435\u0440\u0430 \u0416\u0438\u0436\u043e\u0432\u0438\u045b. <\/span>\u0414\u0435\u043c\u043e\u043d\u0438 \u0459\u0443\u0431\u0430\u0432\u0438: \u041b\u0430\u0432 \u0422\u043e\u043b\u0441\u0442\u043e\u0458 \u0438 \u0434\u0443\u0431\u0438\u043d\u0441\u043a\u0430 \u043f\u0441\u0438\u0445\u043e\u043b\u043e\u0433\u0438\u0458\u0430<\/span><\/em>. \u0411\u0435\u043e\u0433\u0440\u0430\u0434: \u0424\u0435\u0434\u043e\u043d, 2024, 412 \u0441\u0442\u0440. (<\/span>\u0408\u0435\u043b\u0435\u043d\u0430 \u041c\u0430\u0440\u0438\u045b\u0435\u0432\u0438\u045b \u0411\u0430\u043b\u0430\u045b<\/span><\/em>)<\/span><\/p>\n<\/td>\n

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

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

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

\n

\u0413\u043b\u0430\u0432\u043d\u0438 \u0458\u0443\u043d\u0430\u0446\u0438: \u0415\u0440\u043e\u0441, \u0422\u0430\u043d\u0430\u0442\u043e\u0441 \u0438 \u041b\u043e\u0433\u043e\u0441. \u041e\u043b\u0438\u0432\u0435\u0440\u0430 \u0416\u0438\u0436\u043e\u0432\u0438\u045b. <\/span>\u0414\u0435\u043c\u043e\u043d\u0438 \u0459\u0443\u0431\u0430\u0432\u0438: \u041b\u0430\u0432 \u0422\u043e\u043b\u0441\u0442\u043e\u0458 \u0438 \u0434\u0443\u0431\u0438\u043d\u0441\u043a\u0430 \u043f\u0441\u0438\u0445\u043e\u043b\u043e\u0433\u0438\u0458\u0430<\/span><\/em>. \u0411\u0435\u043e\u0433\u0440\u0430\u0434: \u0424\u0435\u0434\u043e\u043d, 2024, 412 \u0441\u0442\u0440. (<\/span>Jelena Mari\u0107evi\u0107 Bala\u0107<\/span><\/em>)<\/span><\/p>\n<\/td>\n<\/tr>\n

\n

\u0410\u043d\u0434\u0440\u0435\u0458 \u041f\u043b\u0430\u0442\u043e\u043d\u043e\u0432 \u0438 \u0430\u043f\u0441\u0443\u0440\u0434. Hans G\u00fcnther. <\/span>Andrej Platonov und das Absurde<\/span><\/em>. Berlin: Frank&Timme GmbH, 2024, 132 S. (<\/span>\u041c\u0430\u0440\u0438\u0458\u0430 \u041a\u0443\u0432\u0435\u043a\u0430\u043b\u043e\u0432\u0438\u045b<\/span><\/em>)<\/span><\/p>\n<\/td>\n

\n

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

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

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

\n

\u0410\u043d\u0434\u0440\u0435\u0458 \u041f\u043b\u0430\u0442\u043e\u043d\u043e\u0432 \u0438 \u0430\u043f\u0441\u0443\u0440\u0434. Hans G\u00fcnther. <\/span>Andrej Platonov und das Absurde<\/span><\/em>. Berlin: Frank&Timme GmbH, 2024, 132 S. (<\/span>Marija Kuvekalovi\u0107<\/span><\/em>)<\/span><\/p>\n<\/td>\n<\/tr>\n

\n

\u0412\u0430\u0441\u0438\u043b\u0438\u0441\u0430 \u0428\u043b\u0438\u0432\u0430\u0440. \u0414\u0435\u0441\u0430\u043a\u0440\u0430\u043b\u0438\u0437\u0430\u0446\u0438\u044f \u043c\u043e\u043b\u0447\u0430\u043d\u0438\u044f. \u041e \u0431\u043b\u043e\u043a\u0430\u0434\u043d\u044b\u0445 \u0441\u0442\u0438\u0445\u043e\u0442\u0432\u043e\u0440\u0435\u043d\u0438\u044f\u0445 \u0413\u0435\u043d\u043d\u0430\u0434\u0438\u044f \u0413\u043e\u0440\u0430<\/em>. \u0421\u0430\u043d\u043a\u0442-\u041f\u0435\u0442\u0435\u0440\u0431\u0443\u0440\u0433: Jarom\u00edr Hlad\u00edk press, 2025, 200 \u0441\u0442\u0440.<\/span>\u00a0(<\/span>\u041a\u043e\u0440\u043d\u0435\u043b\u0438\u0458\u0430 \u0418\u0447\u0438\u043d<\/span><\/em>)<\/span><\/p>\n<\/td>\n

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

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

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

\n

\u0412\u0430\u0441\u0438\u043b\u0438\u0441\u0430 \u0428\u043b\u0438\u0432\u0430\u0440. <\/span>\u0414\u0435\u0441\u0430\u043a\u0440\u0430\u043b\u0438\u0437\u0430\u0446\u0438\u044f \u043c\u043e\u043b\u0447\u0430\u043d\u0438\u044f<\/em>. \u041e \u0431\u043b\u043e\u043a\u0430\u0434\u043d\u044b\u0445 \u0441\u05b3\u0438\u0445\u043e\u05b3\u0432\u043e\u0440\u0435\u043d\u0438\u044f\u0445<\/em> \u0413\u0435\u043d\u043d\u0430\u0434\u0438\u044f \u0413\u043e\u0440\u0430<\/em><\/span>. \u0421\u0430\u043d\u043a\u0442-\u041f\u0435\u0442\u0435\u0440\u0431\u0443\u0440\u0433: Jarom\u00edr Hlad\u00edk press, 2025, 200 \u0441\u0442\u0440. (<\/span>Kornelija I\u010din<\/span><\/em>)<\/span><\/p>\n<\/td>\n<\/tr>\n

\n

\u201e\u041c\u043d\u043e\u0433\u043e \u0442\u043e\u0433\u0430 \u0441\u0430\u043c \u0432\u0438\u0434\u0435\u043e \u0438 \u043d\u0438\u0448\u0442\u0430 \u043d\u0438\u0441\u0430\u043c \u0437\u0430\u0431\u043e\u0440\u0430\u0432\u0438\u043e\u201c. Marija Mitrovi\u0107. <\/span>Andri\u0107 i Italija<\/span><\/em>. Novi Sad: Akademska knjiga; Beograd: Narodna biblioteka Srbije, 2025, 214 str. (<\/span>\u041b\u0435\u043d\u043a\u0430 \u0421. \u041d\u0430\u0441\u0442\u0430\u0441\u0438\u045b<\/span><\/em>)<\/span><\/p>\n<\/td>\n

\n

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

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

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

\n

\u201e\u041c\u043d\u043e\u0433\u043e \u0442\u043e\u0433\u0430 \u0441\u0430\u043c \u0432\u0438\u0434\u0435\u043e \u0438 \u043d\u0438\u0448\u0442\u0430 \u043d\u0438\u0441\u0430\u043c \u0437\u0430\u0431\u043e\u0440\u0430\u0432\u0438\u043e\u201c. Marija Mitrovi\u0107. <\/span>Andri\u0107 i Italija<\/span><\/em>. Novi Sad: Akademska knjiga; Beograd: Narodna biblioteka Srbije, 2025, 214 str. (<\/span>Lenka S. Nastasi\u0107<\/span><\/em>)<\/span><\/p>\n<\/td>\n<\/tr>\n

\n

\u201e\u0408\u0430\u201c \u043a\u0430\u043e \u043a\u043e\u043d\u0441\u0442\u0430\u043d\u0442\u0430. \u041a\u0430\u0437\u0430\u0440\u043d\u043e\u0432\u0441\u043a\u0438\u0439 \u041f\u0435\u0442\u0440. \u00ab\u0418\u0437\u043e\u0431\u0440\u0430\u0436\u0435\u043d\u0438\u0435 \u0440\u0430\u044f\u00bb: \u041f\u043e\u044d\u0442\u0438\u043a\u0430 \u0441\u043e\u0437\u0435\u0440\u0446\u0430\u043d\u0438\u044f \u041b\u0435\u043e\u043d\u0438\u0434\u0430 \u0410\u0440\u043e\u043d\u0437\u043e\u043d\u0430<\/em>. \u041c\u043e\u0441\u043a\u0432\u0430: \u041d\u043e\u0432\u043e\u0435 \u043b\u0438\u0442\u0435\u0440\u0430\u0442\u0443\u0440\u043d\u043e\u0435 \u043e\u0431\u043e\u0437\u0440\u0435\u043d\u0438\u0435, 2025, 752 \u0441\u0442\u0440.<\/span>\u00a0(<\/span>\u0412\u0430\u0441\u0438\u043b\u0438\u0441\u0430 \u0428\u0459\u0438\u0432\u0430\u0440<\/span><\/em>)<\/span><\/p>\n<\/td>\n

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

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

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

\n

\u201e\u0408\u0430\u201c \u043a\u0430\u043e \u043a\u043e\u043d\u0441\u0442\u0430\u043d\u0442\u0430. \u041a\u0430\u0437\u0430\u0440\u043d\u043e\u0432\u0441\u043a\u0438\u0439 \u041f\u0435\u0442\u0440. <\/span>\u00ab\u0418\u0437\u043e\u0431\u0440\u0430\u0436\u0435\u043d\u0438\u0435 \u0440\u0430\u044f\u00bb: \u041f\u043e\u044d\u05b3\u0438\u043a\u0430 \u0441\u043e\u0437\u0435\u0440\u0446\u0430\u043d\u0438\u044f \u041b\u0435\u043e\u043d\u0438\u0434\u0430 \u0410\u0440\u043e\u043d\u0437\u043e\u043d\u0430<\/span><\/em>. \u041c\u043e\u0441\u043a\u0432\u0430: \u041d\u043e\u0432\u043e\u0435 \u043b\u0438\u0442\u0435\u0440\u0430\u0442\u0443\u0440\u043d\u043e\u0435 \u043e\u0431\u043e\u0437\u0440\u0435\u043d\u0438\u0435, 2025, 752 \u0441\u0442\u0440. (<\/span>Vasilisa \u0160ljivar<\/span><\/em>)<\/span><\/p>\n<\/td>\n<\/tr>\n

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\u0425\u0420\u041e\u041d\u0418\u041a\u0410<\/span><\/p>\n<\/td>\n

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

\u00a0<\/td>\n\n

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CHRONICLE<\/span><\/p>\n<\/td>\n<\/tr>\n

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\n

\u041c\u0435\u0452\u0443\u043d\u0430\u0440\u043e\u0434\u043d\u0430 \u043d\u0430\u0443\u0447\u043d\u0430 \u043a\u043e\u043d\u0444\u0435\u0440\u0435\u043d\u0446\u0438\u0458\u0430 \u201e\u041a\u043e\u0441\u043c\u043e\u0441 \u0438 \u0445\u0430\u043e\u0441 \u0443 \u0440\u0443\u0441\u043a\u043e\u0458 \u0430\u0432\u0430\u043d\u0433\u0430\u0440\u0434\u0438\u201c, \u0418\u043d\u0441\u0442\u0438\u0442\u0443\u0442 \u0437\u0430 \u0444\u0438\u043b\u043e\u0437\u043e\u0444\u0438\u0458\u0443 \u0438 \u0434\u0440\u0443\u0448\u0442\u0432\u0435\u043d\u0443 \u0442\u0435\u043e\u0440\u0438\u0458\u0443 \u0423\u043d\u0438\u0432\u0435\u0440\u0437\u0438\u0442\u0435\u0442\u0430 \u0443 \u0411\u0435\u043e\u0433\u0440\u0430\u0434\u0443, 6. \u0438 7. \u0458\u0443\u043d 2025 (<\/span>\u041a\u043e\u0440\u043d\u0435\u043b\u0438\u0458\u0430 \u0418\u0447\u0438\u043d<\/span><\/em>)<\/span><\/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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International Scientific Symposium \u201eCosmos and Chaos in Russian Avant-Garde\u201c, Institute for Philosophy and Social Theory, University of Belgrade, June 6\u20137, 2025 (<\/span>Kornelija I\u010din<\/span><\/em>)<\/span><\/p>\n<\/td>\n<\/tr>\n

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XVII \u041c\u0435\u0452\u0443\u043d\u0430\u0440\u043e\u0434\u043d\u0438 \u043a\u043e\u043d\u0433\u0440\u0435\u0441 \u0441\u043b\u0430\u0432\u0438\u0441\u0442\u0430 (25\u201330. \u0430\u0432\u0433\u0443\u0441\u0442 2025, \u041f\u0430\u0440\u0438\u0437, \u0424\u0440\u0430\u043d\u0446\u0443\u0441\u043a\u0430) (<\/span>\u0422\u0438\u0458\u0430\u043d\u0430 \u0411\u0430\u043b\u0435\u043a<\/span><\/em>)<\/span><\/p>\n<\/td>\n

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XVIIth International Congress of Slavists (August 25\u201330, 2025, Paris, France) (<\/span>Tijana Balek<\/span><\/em>)<\/span><\/p>\n<\/td>\n<\/tr>\n

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\u041c\u0435\u0452\u0443\u043d\u0430\u0440\u043e\u0434\u043d\u0430 \u043d\u0430\u0443\u0447\u043d\u0430 \u043a\u043e\u043d\u0444\u0435\u0440\u0435\u043d\u0446\u0438\u0458\u0430 \u201e41\u00ba \u0438 \u0435\u0432\u0440\u043e\u043f\u0441\u043a\u0430 \u0430\u0432\u0430\u043d\u0433\u0430\u0440\u0434\u0430\u201c, \u0411\u0435\u043e\u0433\u0440\u0430\u0434, \u0422\u0435\u0430\u0442\u0430\u0440 \u201e\u0412\u0443\u043a\u201c, 4\u20137. \u0441\u0435\u043f\u0442\u0435\u043c\u0431\u0430\u0440 2025 (<\/span>\u0408\u0435\u043b\u0435\u043d\u0430 \u041a\u0443\u0441\u043e\u0432\u0430\u0446<\/span><\/em>)<\/span><\/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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International Scientific Symposium \u201e41\u00ba and European Avant-Garde \u201c, Belgrade, Theatre \u201eVuk\u201c, September 4 \u20137, 2025 (<\/span>Jelena Kusovac<\/span><\/em>)<\/span><\/p>\n<\/td>\n<\/tr>\n

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IN MEMORIAM<\/span><\/p>\n<\/td>\n

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IN MEMORIAM<\/span><\/p>\n<\/td>\n<\/tr>\n

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

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\u0416\u0438\u0432\u043e\u0442 \u0443 \u043f\u0440\u0435\u0434\u0435\u043b\u0438\u043c\u0430 \u0441\u043b\u0430\u0432\u0438\u0441\u0442\u0438\u043a\u0435: \u043f\u0440\u043e\u0444. \u0434\u0440 \u0413\u043e\u0440\u0434\u0430\u043d\u0430 \u0408\u043e\u0432\u0430\u043d\u043e\u0432\u0438\u045b (1940\u20132024) (<\/span>\u041f\u0440\u0435\u0434\u0440\u0430\u0433 \u041e\u0431\u0443\u045b\u0438\u043d\u0430<\/span><\/em>)<\/span><\/p>\n<\/td>\n

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

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

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Life in Slavic Studies: Prof. Dr. Gordana Jovanovi\u0107 (1940\u20132024) (<\/span>Predrag Obu\u00ad\u0107ina<\/span><\/em>)<\/span><\/p>\n<\/td>\n<\/tr>\n

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\u0423 \u0434\u0438\u0458\u0430\u043b\u043e\u0433\u0443 \u0441\u0430 \u043f\u0440\u043e\u0444. \u0434\u0440 \u0410\u043b\u0435\u043a\u0441\u0430\u043d\u0434\u0440\u043e\u043c \u0412\u0440\u0430\u043d\u0435\u0448 (1960\u20132025): \u043e \u0445\u0443\u043c\u0430\u043d\u0438\u0441\u0442\u0438\u0447\u043a\u0438\u043c \u043d\u0430\u0443\u043a\u0430\u043c\u0430 \u0438 \u0438\u0434\u0435\u0458\u0438 \u0443\u043d\u0438\u0432\u0435\u0440\u0437\u0438\u0442\u0435\u0442\u0430 (<\/span>\u041a\u043e\u0440\u043d\u0435\u043b\u0438\u0458\u0430 \u0418\u0447\u0438\u043d<\/span><\/em>)<\/span><\/p>\n<\/td>\n

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

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In the Dialogue with Prof. Dr. Aleksandra Vrane\u0161 (1960\u20132025): on the Humanities and the Idea of the University (<\/span>Kornelija I\u010din<\/span><\/em>)<\/span><\/p>\n<\/td>\n<\/tr>\n

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

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

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

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

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

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

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

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

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\u0420\u0435\u0446\u0435\u043d\u0437\u0435\u043d\u0442\u0438<\/p>\n<\/td>\n

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\"\"<\/em><\/em><\/a><\/td>\n\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 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u0426\u0415\u041b\u041e \u0418\u0417\u0414\u0410\u040a\u0415\u00a0 \u00a0 \u00a0 FULL EDDITION \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u0421\u0422\u0423\u0414\u0418\u0408\u0415 \u0418 \u0420\u0410\u0421\u041f\u0420\u0410\u0412\u0415 \u0413\u0420\u0410\u041c\u0410\u0422\u0418\u0427\u041a\u0410 \u0421\u0422\u0420\u0423\u041a\u0422\u0423\u0420\u0410 \u0421\u041b\u041e\u0412\u0415\u041d\u0421\u041a\u0418\u0425 \u0408\u0415\u0417\u0418\u041a\u0410 \u00a0 \u00a0 \u00a0 ARTICLES AND TREATISES GRAMMATICAL STRUCTURE OF SLAVIC LANGUAGES \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 A \u0434 \u0440 \u0438 \u0430 \u043d\u00a0 \u0411 \u0430 \u0440 \u0435 \u043d \u0442… 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