{"id":40451,"date":"2026-06-08T12:21:01","date_gmt":"2026-06-08T11:21:01","guid":{"rendered":"https:\/\/www.maticasrpska.org.rs\/?page_id=40451"},"modified":"2026-06-09T10:06:42","modified_gmt":"2026-06-09T09:06:42","slug":"zmszs_109","status":"publish","type":"page","link":"https:\/\/www.maticasrpska.org.rs\/en\/zmszs_109\/","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 109, \u0433\u043e\u0434\u0438\u043d\u0430 2026."},"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
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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 <\/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

\u0421\u0422\u0420\u0410\u041d\u0418\u0426\u042b \u0418\u0421\u0422\u041e\u0420\u0418\u0418 \u041f\u0420\u041e\u0421\u0412\u0415\u0429\u0415\u041d\u0418\u042f
\u0412 \u0421\u0415\u0420\u0411\u0421\u041a\u041e\u041c \u0418 \u0420\u0423\u0421\u0421\u041a\u041e\u041c \u041e\u0411\u0429\u0415\u0421\u0422\u0412\u0415 XVIII\u2013XIX \u0412\u0412.<\/span><\/p>\n<\/td>\n

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

PAGES FROM THE HISTORY OF ENLIGHTENMENT IN SERBIAN AND RUSSIAN SOCIETY IN THE 18TH\u201319TH CENTURIES<\/span><\/p>\n<\/td>\n<\/tr>\n

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 \u041e \u043b \u044c \u0433 \u0430   \u0425 \u0430 \u0432 \u0430 \u043d \u043e \u0432 \u0430,
\u0418\u043e\u0433\u0430\u043d\u043d \u041a\u0440\u0438\u0441\u0442\u043e\u0444 \u0411\u0430\u0440\u0442\u0435\u043d\u0448\u0442\u0430\u0439\u043d \u043e \u0441\u0435\u0440\u0431\u0441\u043a\u043e\u043c \u0432\u043e\u043f\u0440\u043e\u0441\u0435 \u0432 \u043c\u043e\u043d\u0430\u0440\u0445\u0438\u0438 \u0413\u0430\u0431\u0441\u0431\u0443\u0440\u0433\u043e\u0432 \u0432 XVIII \u0432.: \u0430\u043a\u043a\u0443\u043b\u044c\u0442\u0443\u0440\u0430\u0446\u0438\u044f \u0438\u043d\u043e\u043a\u043e\u043d\u0444\u0435\u0441\u0438\u043e\u043d\u0430\u043b\u044c\u043d\u043e\u0433\u043e \u044d\u0442\u043d\u043e\u0441\u0430

https:\/\/doi.org\/10.18485\/ms_zmss.2026.109.1<\/a>
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O l g a   K h a v a n o v a,
Johann Christof Bartenstein on the Serbian Question in the Habsburg Monarchy in the Eighteenth Century: Acculturation of a Confessionally Different Ethnic Group
https:\/\/doi.org\/10.18485\/ms_zmss.2026.109.1<\/a>
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 \u0414 \u043c \u0438 \u0442 \u0440 \u0438 \u0439   \u041f \u043e \u043b \u043e \u043d \u0441 \u043a \u0438 \u0439,
\u041f\u0440\u0430\u0436\u0441\u043a\u0438\u0435 \u0441\u043b\u0435\u0434\u044b \u00ab\u0441\u0435\u0440\u0431\u0441\u043a\u043e\u0439\u00bb \u0431\u0438\u0431\u043b\u0438\u043e\u0442\u0435\u043a\u0438 \u041c\u0430\u043a\u0441\u0438\u043c\u0430 \u0438 \u041f\u0435\u0442\u0440\u0430 \u0421\u0443\u0432\u043e\u0440\u043e\u0432\u044b\u0445 (1725 \u0433.)

https:\/\/doi.org\/10.18485\/ms_zmss.2026.109.2<\/a>
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D m i t r i  P o l o n s k i,
Prague Traces of the \u201cSerbian\u201d Library of Maxim and Peter Suvorov (1725)

https:\/\/doi.org\/10.18485\/ms_zmss.2026.109.2<\/a>
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 \u041a \u0441 \u0435 \u043d \u0438 \u044f   \u041c \u0435 \u043b \u044c \u0447 \u0430 \u043a \u043e \u0432 \u0430,
<\/span>\u00ab\u0414\u0430 \u043f\u0440\u043e\u043b\u044c\u0435\u0442\u0441\u044f \u0441\u0432\u0435\u0442 \u043d\u0430\u0443\u043a\u0438 \u043d\u0430 \u0432\u0441\u044e \u0413\u0435\u0440\u0446\u0435\u0433\u043e\u0432\u0438\u043d\u0443…\u00bb: \u0440\u043e\u0441\u0441\u0438\u0439\u0441\u043a\u0438\u0435 \u0434\u0438\u043f\u043b\u043e\u043c\u0430\u0442\u044b \u043e \u043f\u043e\u043f\u044b\u0442\u043a\u0430\u0445 \u043e\u0442\u043a\u0440\u044b\u0442\u0438\u044f \u043f\u0440\u0430\u0432\u043e\u0441\u043b\u0430\u0432\u043d\u043e\u0439 \u0441\u0435\u043c\u0438\u043d\u0430\u0440\u0438\u0438 \u0432 1850\u2013 1870-\u0435 \u0433\u043e\u0434\u044b<\/span><\/p>\n

https:\/\/doi.org\/10.18485\/ms_zmss.2026.109.3<\/a><\/p>\n<\/td>\n

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K s e n i a   M e l c h a k o v a,
\u201cLet the Light of Science Shed on the All of Herzegovina…\u201d: Russian Diplomats on the Attempts to Open an Orthodox Seminary in the 1850s\u20131870s

https:\/\/doi.org\/10.18485\/ms_zmss.2026.109.3<\/a>
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 \u041b \u044e\u0434 \u043c \u0438 \u043b \u0430   \u041a \u0443 \u0437 \u044c \u043c \u0438 \u0447 \u0435 \u0432 \u0430,
\u0412\u043a\u043b\u0430\u0434 \u0441\u0435\u0440\u0431\u0441\u043a\u043e\u0433\u043e \u043c\u0438\u0442\u0440\u043e\u043f\u043e\u043b\u0438\u0442\u0430 \u041c\u0438\u0445\u0430\u0438\u043b\u0430 (1826\u20131898) \u0432 \u0440\u0430\u0437\u0432\u0438\u0442\u0438\u0435 \u0441\u0435\u0440\u0431\u0441\u043a\u043e-\u0440\u0443\u0441\u0441\u043a\u0438\u0445 \u043a\u0443\u043b\u044c\u0442\u0443\u0440\u043d\u044b\u0445 \u0441\u0432\u044f\u0437\u0435\u0439

https:\/\/doi.org\/10.18485\/ms_zmss.2026.109.4<\/a>
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L y u d m i l a   K u z m i c h e v a,
The Contribution of Serbian Metropolitan Michael (1826\u20131898) to the Develipment of Serbian\/Russian Cultural Relations

https:\/\/doi.org\/10.18485\/ms_zmss.2026.109.4<\/a>
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 \u0427\u0415\u041b\u041e\u0412\u0415\u041a-\u041f\u0415\u0420\u0415\u041a\u0420\u0415\u0421\u0422\u041e\u041a: \u0421\u0415\u0420\u0413\u0415\u0419 \u0422\u0420\u0415\u0422\u042c\u042f\u041a\u041e\u0412 \u041d\u0410 \u0421\u0422\u042b\u041a\u0415 \u0421\u0422\u0418\u041b\u0415\u0419, \u041a\u0423\u041b\u042c\u0422\u0423\u0420 \u0418 \u042d\u041f\u041e\u0425
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CROSSROADS MAN: SERGEY TRETYAKOV AT THE CROSSROADS OF STYLES, CULTURES, AND EPOCHS
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 M a s u m i   K a m e d a,
Unlived Experience: Tretyakov\u2019s Life History Writing and DeVictimization

https:\/\/doi.org\/10.18485\/ms_zmss.2026.109.5<\/a>
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M a s u m i   K a m e d a,
Unlived Experience: Tretyakov\u2019s Life History Writing and DeVictimization

https:\/\/doi.org\/10.18485\/ms_zmss.2026.109.5<\/a>
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 \u0412 \u0430 \u043b \u0435 \u0440 \u0438 \u0439   \u0413 \u0440 \u0435\u0447 \u043a \u043e,
\u00ab\u0411\u0435\u0440\u043b\u0438\u043d\u0441\u043a\u0438\u0439 \u0434\u043e\u043a\u043b\u0430\u0434\u00bb \u0421\u0435\u0440\u0433\u0435\u044f \u0422\u0440\u0435\u0442\u044c\u044f\u043a\u043e\u0432\u0430 \u0438 \u043a\u043e\u043d\u0446\u0435\u043f\u0446\u0438\u044f \u00ab\u043e\u043f\u0435\u0440\u0430\u0442\u0438\u0432\u043d\u043e\u0433\u043e \u043f\u0438\u0441\u0430\u0442\u0435\u043b\u044f\u00bb

https:\/\/doi.org\/10.18485\/ms_zmss.2026.109.6<\/a>
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V a l e r i j   G r e t c h k o,
Sergei Tretyakov\u2019s \u201cBerlin Lecture\u201d and the Concept of the \u201cOperative Writer\u201d

https:\/\/doi.org\/10.18485\/ms_zmss.2026.109.6<\/a>
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 H i r o k o   M a s u m o t o,
The Influence of Tretyakov\u2019s play Roar, China! <\/span>on Brecht

https:\/\/doi.org\/10.18485\/ms_zmss.2026.109.7<\/a>
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H i r o k o   M a s u m o t o,
The Influence of Tretyakov\u2019s Play Roar, China! <\/span>on Brecht

https:\/\/doi.org\/10.18485\/ms_zmss.2026.109.7<\/a>
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 \u042f \u043d \u044c   \u0414 \u0438 \u043d – \u0446 \u0437 \u044f,
<\/span>\u041e\u0442 \u043f\u0435\u0440\u0435\u0432\u043e\u0434\u0430 \u043a \u043f\u0435\u0440\u0435\u043f\u0438\u0441\u044b\u0432\u0430\u043d\u0438\u044e: \u0442\u0440\u0430\u043d\u0441\u0444\u043e\u0440\u043c\u0430\u0446\u0438\u044f \u043f\u044c\u0435\u0441\u044b \u0421. \u0422\u0440\u0435\u0442\u044c\u044f\u043a\u043e\u0432\u0430 \u0420\u044b\u0447\u0438, \u041a\u0438\u05b3\u0430\u0439! <\/span>\u0432 \u041a\u0438\u0442\u0430\u0435 \u0438 \u043d\u0430 \u0422\u0430\u0439\u0432\u0430\u043d\u0435 (1930\u20131940-\u0435 \u0433\u0433.)

https:\/\/doi.org\/10.18485\/ms_zmss.2026.109.8<\/a>
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Y e n  T i n g – c h i a,
From Translation to Rewriting: the Transformation of S. Tretyakov\u2019s Play Roar, China! <\/span>in China and Taiwan (1930s\u20131940s)

https:\/\/doi.org\/10.18485\/ms_zmss.2026.109.8<\/a>
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 \u041d \u0430 \u043e \u0442 \u043e \u042f \u0433 \u0438,
\u00ab\u0414\u043b\u0438\u0442\u0435\u043b\u044c\u043d\u043e\u0435 \u043d\u0430\u0431\u043b\u044e\u0434\u0435\u043d\u0438\u0435\u00bb \u0421. \u0422\u0440\u0435\u0442\u044c\u044f\u043a\u043e\u0432\u0430 \u0438 \u044d\u0442\u043d\u043e\u0433\u0440\u0430\u0444\u0438\u0447\u0435\u0441\u043a\u0438\u0439 \u0444\u0438\u043b\u044c\u043c

https:\/\/doi.org\/10.18485\/ms_zmss.2026.109.9<\/a>
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N a o t o   Y a g i,
S. Tretyakov\u2019s \u201cLong-Term Observation\u201d and Ethnographic Film

https:\/\/doi.org\/10.18485\/ms_zmss.2026.109.9<\/a>
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 \u041c \u0430 \u0440 \u0438 \u044f   \u041a \u0443 \u0432 \u0435 \u043a \u0430 \u043b \u043e \u0432 \u0438 \u0447,
<\/span>\u0422\u0440\u0435\u0442\u044c\u044f\u043a\u043e\u0432 \u0438 \u0413\u043e\u0441\u043a\u0438\u043d\u043f\u0440\u043e\u043c: \u0432\u043e\u0437\u043c\u043e\u0436\u043d\u043e\u0441\u0442\u0438 \u043d\u043e\u0432\u043e\u0433\u043e \u0441\u043e\u0432\u0435\u0442\u0441\u043a\u043e\u0433\u043e \u043a\u0438\u043d\u043e (\u043d\u0430 \u043f\u0440\u0438\u043c\u0435\u0440\u0435 \u0444\u0438\u043b\u044c\u043c\u0430 \u00ab\u042d\u043b\u0438\u0441\u043e\u00bb)

https:\/\/doi.org\/10.18485\/ms_zmss.2026.109.10<\/a>
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M a r i j a   K u v e k a l o v i \u0107,
Tretyakov and Goskinprom: The Potential of the New Soviet Cinema (Based on the Film \u201cEliso\u201d)

https:\/\/doi.org\/10.18485\/ms_zmss.2026.109.10<\/a>
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 \u041d \u0430 \u0442 \u0430 \u043b \u044c \u044f   \u0428 \u0440 \u043e \u043c \u0430,
\u041b\u0430\u0442\u0432\u0438\u0439\u0441\u043a\u0438\u0439 \u041b\u0435\u0432\u044b\u0439 \u0444\u0440\u043e\u043d\u05b3 <\/span>(Kreis<\/span>\u0101 <\/span>fronte<\/span>) \u0438 \u0421\u0435\u0440\u0433\u0435\u0439 \u0422\u0440\u0435\u0442\u044c\u044f\u043a\u043e\u0432

https:\/\/doi.org\/10.18485\/ms_zmss.2026.109.11<\/a>
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N a t a l j a   \u0160 r o m a,
The Latvian Left Front <\/span>(Kreis<\/span>\u0101 <\/span>Fronte<\/span>) and Sergei Tretyakov

https:\/\/doi.org\/10.18485\/ms_zmss.2026.109.11<\/a>
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 \u0414\u0418\u0410\u041b\u0415\u041a\u0422\u0418\u041a\u0410 \u0412\u041d\u0415\u041d\u0410\u0425\u041e\u0414\u0418\u041c\u041e\u0421\u0422\u0418 \u041c\u041e\u0421\u041a\u041e\u0412\u0421\u041a\u041e\u0413\u041e \u041a\u041e\u041d\u0426\u0415\u041f\u0422\u0423\u0410\u041b\u0418\u0417\u041c\u0410: \u0410\u041d\u0414\u0420\u0415\u0419 \u041c\u041e\u041d\u0410\u0421\u0422\u042b\u0420\u0421\u041a\u0418\u0419 \u041a\u0410\u041a \u041e\u0411\u042a\u0415\u041a\u0422 \u0418 \u0421\u0423\u0411\u042a\u0415\u041a\u0422
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THE DIALECTIC OF EXOTOPIC OUTSIDEDNESS IN MOSCOW CONCEPTUALISM: ANDREI MONASTYRSKY AS OBJECT AND SUBJECT

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\u0418\u0440\u043e\u043d\u0438\u044f \u043f\u0443\u0441\u0442\u043e\u0442\u044b \u0438 \u043a\u043e\u043b\u043b\u0435\u043a\u0442\u0438\u0432\u043d\u043e\u0435 (\u0431\u0435\u0441)\u0441\u043e\u0437\u043d\u0430\u043d\u0438\u0435: \u0444\u0438\u043b\u043e\u0441\u043e\u0444\u0441\u043a\u0438\u0435 \u0438 \u044d\u0441\u0442\u0435\u0442\u0438\u0447\u0435\u0441\u043a\u0438\u0435 \u043e\u0441\u043d\u043e\u0432\u0430\u043d\u0438\u044f \u043c\u043e\u0441\u043a\u043e\u0432\u0441\u043a\u043e\u0433\u043e \u043a\u043e\u043d\u0446\u0435\u043f\u0442\u0443\u0430\u043b\u0438\u0437\u043c\u0430 \u0432 \u0431\u0435\u0441\u0435\u0434\u0435 \u0441 \u0410\u043d\u0434\u0440\u0435\u0435\u043c \u041c\u043e\u043d\u0430\u0441\u0442\u044b\u0440\u0441\u043a\u0438\u043c (\u0431\u0435\u0441\u0435\u0434\u0443 \u0432\u0435\u043b \u0414. \u0418\u043e\u0444\u0444\u0435, \u0441 \u0443\u0447\u0430\u0441\u0442\u0438\u0435\u043c \u0415. \u041f\u0435\u043d\u0441\u043a\u043e\u0439)
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The irony of emptiness and collective (un)consciousness: the Philosophical and Aesthetic Foundations of Moscow Conceptualism in Conversation with Andrei Monastyrsky (Interview Conducted by Denis Ioffe, with the Participation of Elena Penskaya)<\/span>
<\/span><\/em>https:\/\/doi.org\/10.18485\/ms_zmss.2026.109.12<\/span><\/a>
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 \u0415 \u043b \u0435 \u043d \u0430   \u041f \u0435 \u043d \u0441 \u043a \u0430 \u044f,
\u041f\u0435\u0440\u0441\u043e\u043d\u0430\u0436\u0438 \u0432 \u043f\u043e\u0438\u0441\u043a\u0430\u0445 \u0430\u0432\u0442\u043e\u0440\u0430. \u0425\u0430\u0440\u0430\u043a\u0442\u0435\u0440\u043e\u043b\u043e\u0433\u0438\u0447\u0435\u0441\u043a\u0438\u0435 \u0440\u0430\u0434\u0438\u043a\u0430\u043b\u044b \u0432 \u0434\u043d\u0435\u0432\u043d\u0438\u043a\u0435 \u0410\u043d\u0434\u0440\u0435\u044f \u041c\u043e\u043d\u0430\u0441\u0442\u044b\u0440\u0441\u043a\u043e\u0433\u043e 1981\u20131984 \u0433\u0433. \u041a \u043f\u0440\u043e\u0431\u043b\u0435\u043c\u0435 \u044d\u0433\u043e-\u0434\u043e\u043a\u0443\u043c\u0435\u043d\u0442\u043e\u0432 \u0432 \u043a\u043e\u043d\u0446\u0435\u043f\u0442\u0443\u0430\u043b\u0438\u0437\u043c\u0435

https:\/\/doi.org\/10.18485\/ms_zmss.2026.109.13<\/a>
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E l e n a P e n s k a y a, Characters in Search of an Author. Characterological Radicals in Andrei Monastyrsky\u2019s Diary from 1981\u20131984. On the Problem of Ego-Documents in Conceptualism

https:\/\/doi.org\/10.18485\/ms_zmss.2026.109.13<\/a>
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 \u0414 \u0435 \u043d \u043d \u0438 \u0441   \u0418 \u043e \u0444 \u0444 \u0435,
\u041c\u043e\u0440\u0444\u043e\u043b\u043e\u0433\u0438\u044f \u0433\u0440\u0438\u0431\u043d\u043e\u0433\u043e \u0441\u044e\u0436\u0435\u0442\u0430 \u0432 \u0440\u0443\u0441\u0441\u043a\u043e\u043c \u043a\u043e\u043d\u0446\u0435\u043f\u0442\u0443\u0430\u043b\u0438\u0437\u043c\u0435: \u043c\u0438\u043a\u043e\u043d\u0430\u0443\u043a\u0430, \u0412\u0442\u043e\u0440\u043e\u0439 \u0430\u0432\u0430\u043d\u0433\u0430\u0440\u0434 \u0438 \u0441\u0443\u0433\u0433\u0435\u0441\u0442\u0438\u0432\u043d\u0430\u044f \u0432\u0438\u0437\u0443\u0430\u043b\u044c\u043d\u043e\u0441\u0442\u044c

https:\/\/doi.org\/10.18485\/ms_zmss.2026.109.14<\/a>
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D e n n i s   I o f f e,
Fungal Motif in Russian Conceptualism: Mycological Science, the Second Avant-Garde, and Suggestive Visuality

https:\/\/doi.org\/10.18485\/ms_zmss.2026.109.14<\/a>
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\n

 \u0414 \u0430 \u0440 \u044c \u044f   \u0412 \u043e \u0439 \u0432 \u043e \u0434 \u0438 \u0447,
\u041f\u0440\u0435\u0434\u0441\u0442\u0430\u0432\u0435 \u043e \u0433\u043d\u0435\u0437\u0434\u0443 \u0443 \u043d\u0430\u0440\u043e\u0434\u043d\u043e\u0458 \u043a\u0443\u043b\u0442\u0443\u0440\u0438 \u0441\u043b\u043e\u0432\u0435\u043d\u0430
https:\/\/doi.org\/10.18485\/ms_zmss.2026.109.15<\/a>
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D a r j a   Vo j v o d i \u0107,
Conceptions of the Nest in Slavic Folk Culture

https:\/\/doi.org\/10.18485\/ms_zmss.2026.109.15<\/a>
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\n

\u042e \u043b \u0438 \u044f  \u0415 \u0433 \u043e \u0440 \u043e \u0432 \u0430, 
\u0420\u043e\u043b\u044c \u041c. \u0413\u043e\u0440\u044c\u043a\u043e\u0433\u043e\u0432 \u0441\u0442\u0430\u043d\u043e\u0432\u043b\u0435\u043d\u0438\u0438 \u0441\u043b\u0430\u0432\u044f\u043d\u043e-\u0435\u0432\u0440\u0435\u0439\u0441\u043a\u043e\u0433\u043e \u0434\u0438\u0430\u043b\u043e\u0433\u0430

https:\/\/doi.org\/10.18485\/ms_zmss.2026.109.16<\/a>
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Y u l i y a   E g o r o v a,
The Role of M. Gorky in the Formation of Slavic-Jewish Dialogue

https:\/\/doi.org\/10.18485\/ms_zmss.2026.109.16<\/a>
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\n

\u042f \u043a \u043e \u0432   \u0427 \u0435 \u0447 \u043d \u0435 \u0432 , \u041c \u0430 \u0440 \u043a   \u0423 \u043b \u044c \u044f \u043d \u043e \u0432, \u041d\u0430\u0441\u043a\u043e\u043b\u044c\u043a\u043e <\/span>\u0424\u0430\u0440\u0444\u043e\u0440\u043e\u0432\u044b\u0439 \u05b2\u0430\u0432\u0438\u043b\u044c\u043e\u043d <\/span>\u041d. \u0421. \u0413\u0443\u043c\u0438\u043b\u0435\u0432\u0430 \u043a\u0438\u0442\u0430\u0439\u0441\u043a\u0438\u0439? (\u0437\u0430\u043c\u0435\u0442\u043a\u0438 \u043a \u0442\u0435\u043c\u0435)

https:\/\/doi.org\/10.18485\/ms_zmss.2026.109.17<\/a>
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Y a k o v   C h e c h n e v, M a r k   U l y a n o v, How Chinese is in N. S. Gumilev\u2019s <\/span>Porcelain Pavilion<\/span>? (Notes to the Theme)

https:\/\/doi.org\/10.18485\/ms_zmss.2026.109.17<\/a>
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\u041e \u043b \u044c \u0433 \u0430   \u0421 \u043e \u043a \u043e \u043b \u043e \u0432 \u0430,
\u041a\u043e\u043d\u0446\u0435\u043f\u0442 <\/span>\u043c\u0438\u0440 <\/span>\u0432 \u043f\u043e\u044d\u0442\u0438\u0447\u0435\u0441\u043a\u043e\u043c \u044f\u0437\u044b\u043a\u0435 \u0412\u0435\u043b\u0438\u043c\u0438\u0440\u0430 \u0425\u043b\u0435\u0431\u043d\u0438\u043a\u043e\u0432\u0430
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https:\/\/doi.org\/10.18485\/ms_zmss.2026.109.18<\/a><\/p>\n<\/td>\n

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O l g a   S o k o l o v a,
Concept of Peace <\/span>in the Poetic Language of Velimir Khlebnikov

https:\/\/doi.org\/10.18485\/ms_zmss.2026.109.18<\/a>
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\u0412 \u0430 \u0441 \u0438 \u043b \u0438 \u0441 \u0430   \u0428 \u043b \u0438 \u0432 \u0430 \u0440,
\u0412\u0435\u043b\u0438\u043c\u0438\u0440 \u0425\u043b\u0435\u0431\u043d\u0438\u043a\u043e\u0432 \u2013 \u0441\u0432\u043e\u0435\u043d\u0440\u0430\u0432\u043d\u044b\u0439 \u0411\u043e\u0433 \u0412\u043b\u0430\u0434\u0438\u043c\u0438\u0440\u0430 \u041a\u0430\u0437\u0430\u043a\u043e\u0432\u0430
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https:\/\/doi.org\/10.18485\/ms_zmss.2026.109.19<\/a><\/p>\n<\/td>\n

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V a s i l i s a   \u0160 l j i v a r,
Velimir Khlebnikov \u2014 Vladimir Kazakov\u2019s Wilful God

<\/span>https:\/\/doi.org\/10.18485\/ms_zmss.2026.109.19<\/p>\n<\/td>\n<\/tr>\n

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\u0421 \u0432 \u0435 \u0442 \u043b \u0430 \u043d \u0430   \u0422\u043e \u043c \u0438 \u045b,
\u041a\u0443\u043b\u0442\u0443\u0440\u043d\u0438 \u0436\u0438\u0432\u043e\u0442 \u0440\u043e\u043c\u0430\u043d\u0430 <\/span>\u0427\u0435\u0442\u0438\u0440\u0438 \u0443\u0441\u043f\u0435\u0445\u0430 \u0413\u0443\u0459\u0435 \u041a\u043e\u0440\u043e\u0459\u043e\u0432\u0435 <\/span>\u0408\u0435\u043b\u0435\u043d\u0435 \u0418\u0459\u0438\u043d\u0435
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https:\/\/doi.org\/10.18485\/ms_zmss.2026.109.20<\/a><\/p>\n<\/td>\n

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S v e t l a n a   T o m i \u0107,
The Cultural Life of Yelena Ilina\u2019s Novel The Fourth Height<\/span>

https:\/\/doi.org\/10.18485\/ms_zmss.2026.109.20<\/a>
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\u0421 \u0432 \u0435 \u0442 \u043b \u0430 \u043d \u0430   \u041a \u0430 \u0440 \u0434 \u0438 \u043d \u0441 \u043a \u0430 \u044f, \u0421\u0430\u043c\u043e\u043e\u043f\u0440\u0435\u0434\u0435\u043b\u0435\u043d\u0438\u0435 \u043f\u043e\u044d\u0442\u0438\u0447\u0435\u0441\u043a\u043e\u0433\u043e \u044f\u0437\u044b\u043a\u0430 \u0432 \u0444\u0438\u0433\u0443\u0440\u0430\u0445 \u0438\u0440\u043e\u043d\u0438\u0438 (\u043d\u0430 \u043f\u0440\u0438\u043c\u0435\u0440\u0435 \u0441\u043e\u0432\u0440\u0435\u043c\u0435\u043d\u043d\u043e\u0439 \u0440\u043e\u0441\u0441\u0438\u0439\u0441\u043a\u043e\u0439 \u043f\u043e\u044d\u0437\u0438\u0438)
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https:\/\/doi.org\/10.18485\/ms_zmss.2026.109.21<\/a><\/p>\n<\/td>\n

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S v e t l a n a   K a r d i n s k a y a,
Self-Determination of Poetic Language in Figures of Irony (on the Example of Contemporary Russian Poetry)

https:\/\/doi.org\/10.18485\/ms_zmss.2026.109.21<\/a>
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\u0418 \u043b \u044c \u044f   \u041c \u043e \u0440 \u043e \u0437 \u043e \u0432 ,
\u0421\u0435\u043c\u0438\u043e\u0442\u0438\u043a\u0430 \u0431\u043b\u044d\u043a\u0430\u0443\u0442-\u043f\u043e\u044d\u0437\u0438\u0438
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https:\/\/doi.org\/10.18485\/ms_zmss.2026.109.22<\/a><\/p>\n<\/td>\n

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I l y a   M o r o z o v,
The Semiotics of Blackout Poetry

<\/span>https:\/\/doi.org\/10.18485\/ms_zmss.2026.109.22<\/a><\/p>\n<\/td>\n<\/tr>\n

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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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 \u0410 \u043d \u0434 \u0440 \u0435 \u0439  \u0420 \u043e \u0441 \u0441 \u043e \u043c \u0430 \u0445 \u0438 \u043d,
\u0423\u043d\u0438\u0447\u0442\u043e\u0436\u0435\u043d\u043d\u044b\u0439 \u0438 \u0437\u0430\u0431\u044b\u0442\u044b\u0439 \u0436\u0443\u0440\u043d\u0430\u043b Standard <\/span>(1924): \u043a\u0440\u0430\u0445 \u043f\u0440\u043e\u0435\u043a\u0442\u0430 \u043a\u043e\u043d\u0441\u0442\u0440\u0443\u043a\u0442\u0438\u0432\u0438\u0441\u0442\u0441\u043a\u043e\u0433\u043e \u0434\u0430\u0439\u0434\u0436\u0435\u0441\u0442\u0430-\u0440\u0435\u0432\u044e

https:\/\/doi.org\/10.18485\/ms_zmss.2026.109.23<\/a>
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A n d r e y   R o s s o m a k h i n,
The Suppressed and Forgotten Journal Standard <\/span>(1924): The Failure of a Constructivist Digest-Review Project

https:\/\/doi.org\/10.18485\/ms_zmss.2026.109.23<\/a>
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 \u0415 \u0432 \u0433 \u0435 \u043d \u0438 \u0439   \u042f \u0431 \u043b \u043e \u043a \u043e \u0432,
\u00ab\u0423\u0439\u0434\u0443 \u044f \u043e\u0442 \u0432\u0430\u0441 \u0432 \u0440\u0430\u0437\u0431\u043e\u0439\u043d\u0438\u043a\u0438 \u00bb: \u0414\u0443\u0440\u0430\u043a\u0438 \u043d\u0430 \u043f\u0435\u0440\u0438\u0444\u0435\u0440\u0438\u0438 <\/span>\u0410. \u041f. \u041f\u043b\u0430\u0442\u043e\u043d\u043e\u0432\u0430 \u0438 \u0413\u043e\u0440\u044f\u0447\u0435\u0435 \u0441\u0435\u0440\u0434\u0446\u0435 <\/span>\u0410. \u041d. \u041e\u0441\u0442\u0440\u043e\u0432\u0441\u043a\u043e\u0433\u043e

https:\/\/doi.org\/10.18485\/ms_zmss.2026.109.24<\/a>
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E v g e n y  Y a b l o k o v,
\u201cI will leave you and become A robber\u201d: Fools on the Periphery <\/span>by Andrey Platonov and An Ardent Heart <\/span>by Alexander Ostrovsky

https:\/\/doi.org\/10.18485\/ms_zmss.2026.109.24<\/a>
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 \u0410 \u043b \u0435 \u043a \u0441 \u0430 \u043d \u0434 \u0440  \u041c \u0430 \u0440 \u043a \u043e \u0432 ,
\u041e \u043a \u0441 \u0430 \u043d \u0430  \u0428 \u0442 \u0430 \u0439 \u043d,
\u00ab\u0410\u043a\u0430\u0434\u0435\u043c\u0438\u0447\u0435\u0441\u043a\u0438\u0439 \u0430\u0432\u0430\u043d\u0433\u0430\u0440\u0434\u0438\u0437\u043c\u00bb \u041c\u0438\u0445\u0430\u0438\u043b\u0430 \u0413\u0430\u0441\u043f\u0430\u0440\u043e\u0432\u0430 \u043a\u0430\u043a \u043f\u0440\u043e\u0438\u0437\u0432\u0435\u0434\u0435\u043d\u0438\u0435 \u0432\u0442\u043e\u0440\u043e\u0433\u043e \u0430\u0432\u0430\u043d\u0433\u0430\u0440\u0434\u0430
<\/span>https:\/\/doi.org\/10.18485\/ms_zmss.2026.109.25<\/a>
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A l e x a n d e r   M a r k o v,
O k s a n a   S h t a y n,
Mikhail Gasparov\u2019s <\/span>Academic Avantgardism Sampling the Second Russian Avant-Garde<\/span>

https:\/\/doi.org\/10.18485\/ms_zmss.2026.109.25<\/a>
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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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 Ingeborg Jandl-Konrad. <\/span>Foto-Text und Sprechen: Trauma und Transformation in den postjugoslawischen Literaturen. <\/span>(<\/span>\u041a\u043b\u0430\u0443\u0434\u0438\u0458\u0430 \u041c\u0430\u0458\u0435\u0440 \u0412\u0435\u0441\u0435\u043b\u0438\u043d\u043e\u0432\u0438\u045b<\/span>)<\/span><\/p>\n<\/td>\n

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Ingeborg Jandl-Konrad. <\/span>Foto-Text und Sprechen: Trauma und Transformation in den postjugoslawischen Literaturen. <\/span>(<\/span>Klaudija Majer Veselinovi\u0107<\/span>)<\/span><\/p>\n<\/td>\n<\/tr>\n

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 Catherine Boshian-Campaner, <\/span>Iliazd, un apatride \u00e0 Paris. <\/span>Paris: Classiques Garnier, 2023, 266 p. (<\/span>\u0408\u0435\u043b\u0435\u043d\u0430 \u041a\u0443\u0441\u043e\u0432\u0430\u0446<\/span>)<\/span><\/p>\n<\/td>\n

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Catherine Boshian-Campaner, <\/span>Iliazd, un apatride \u00e0 Paris. <\/span>Paris: Classiques Garnier, 2023, 266 p. (<\/span>JelenaKusovac<\/span>)<\/span><\/p>\n<\/td>\n<\/tr>\n

\n

 \u041f\u0430\u0432\u043b\u043e\u0432\u0435\u0446 \u041c. \u0413. <\/span>\u041d\u0435\u043e\u0430\u0432\u0430\u043d\u05b1\u0430\u0440\u0434 \u0432 \u0440\u0443\u0441\u0441\u043a\u043e\u044f\u0437\u044b\u0447\u043d\u043e\u0439 \u05b2\u043e\u044d\u0437\u0438\u0438: \u0432\u05b3\u043e\u0440\u0430\u044f \u05b2\u043e\u043b\u043e\u0432\u0438\u043d\u0430 XX \u2014 \u043d\u0430\u0447\u0430\u043b\u043e XXI \u0432\u0435\u043a\u0430<\/span>. \u041c\u043e\u0441\u043a\u0432\u0430: \u0418\u0437\u0434\u0430\u0442\u0435\u043b\u044c\u0441\u043a\u0438\u0439 \u0434\u043e\u043c \u0412\u044b\u0441\u0448\u0435\u0439 \u0448\u043a\u043e\u043b\u044b \u044d\u043a\u043e\u043d\u043e\u043c\u0438\u043a\u0438, 2025. \u2015 536 \u0441. (<\/span>A\u043d\u0430 \u0426\u0432\u0435\u0442\u043a\u043e\u0432\u0438\u045b<\/span>)<\/span><\/p>\n<\/td>\n

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\u041f\u0430\u0432\u043b\u043e\u0432\u0435\u0446, \u041c. \u0413. <\/span>\u041d\u0435\u043e\u0430\u0432\u0430\u043d\u05b1\u0430\u0440\u0434 \u0432 \u0440\u0443\u0441\u0441\u043a\u043e\u044f\u0437\u044b\u0447\u043d\u043e\u0439 \u05b2\u043e\u044d\u0437\u0438\u0438: \u0432\u05b3\u043e\u0440\u0430\u044f \u05b2\u043e\u043b\u043e\u0432\u0438\u043d\u0430 XX \u2014 \u043d\u0430\u0447\u0430\u043b\u043e XXI \u0432\u0435\u043a\u0430<\/span>. \u041c\u043e\u0441\u043a\u0432\u0430: \u0418\u0437\u0434\u0430\u0442\u0435\u043b\u044c\u0441\u043a\u0438\u0439 \u0434\u043e\u043c \u0412\u044b\u0441\u0448\u0435\u0439 \u0448\u043a\u043e\u043b\u044b \u044d\u043a\u043e\u043d\u043e\u043c\u0438\u043a\u0438, 2025. \u2015 536 \u0441. (<\/span>Ana Cvetkovi\u0107<\/span>)<\/span><\/p>\n<\/td>\n<\/tr>\n

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 \u041e\u0434 \u041c\u043e\u0440\u0430\u0432\u0435 \u0434\u043e \u041c\u043e\u0440\u0430\u0432\u0435 IV: \u0418\u0437 \u0438\u0441\u0442\u043e\u0440\u0438\u0458\u0435 \u0441\u0440\u043f\u0441\u043a\u043e-\u0447\u0435\u0448\u043a\u0438\u0445 \u043e\u0434\u043d\u043e\u0441\u0430 (\u043a\u043e\u043b\u0435\u043a\u0442\u0438\u0432\u043d\u0430 \u043c\u043e\u043d\u043e\u0433\u0440\u0430\u0444\u0438\u0458\u0430), \u043f\u0440\u0438\u0440. \u0412\u0435\u0440\u0438\u0446\u0430 \u041a\u043e\u043f\u0440\u0438\u0432\u0438\u0446\u0430, \u0410\u043b\u0435\u043a\u0441\u0430\u043d\u0434\u0440\u0430 \u041a\u043e\u0440\u0434\u0430-\u041f\u0435\u0442\u0440\u043e\u0432\u0438\u045b, \u0412\u0430\u0446\u043b\u0430\u0432 \u0428\u0442\u0458\u0435\u043f\u0430\u043d\u0435\u043a \u0438 \u041b\u0430\u0434\u0438\u0441\u043b\u0430\u0432 \u0425\u043b\u0430\u0434\u043a\u0438, \u041c\u0430\u0442\u0438\u0446\u0430 \u0441\u0440\u043f\u0441\u043a\u0430 \u2013 \u041c\u0430\u0442\u0438\u0446\u0430 \u043c\u043e\u0440\u0430\u0432\u0441\u043a\u0430, \u041d\u043e\u0432\u0438 \u0421\u0430\u0434 \u2013 \u0411\u0440\u043d\u043e 2025, 616 \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>)<\/span><\/p>\n<\/td>\n

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\u041e\u0434 \u041c\u043e\u0440\u0430\u0432\u0435 \u0434\u043e \u041c\u043e\u0440\u0430\u0432\u0435 IV: \u0418\u0437 \u0438\u0441\u0442\u043e\u0440\u0438\u0458\u0435 \u0441\u0440\u043f\u0441\u043a\u043e-\u0447\u0435\u0448\u043a\u0438\u0445 \u043e\u0434\u043d\u043e\u0441\u0430 (\u043a\u043e\u043b\u0435\u043a\u0442\u0438\u0432\u043d\u0430 \u043c\u043e\u043d\u043e\u0433\u0440\u0430\u0444\u0438\u0458\u0430), \u043f\u0440\u0438\u0440. \u0412\u0435\u0440\u0438\u0446\u0430 \u041a\u043e\u043f\u0440\u0438\u0432\u0438\u0446\u0430, \u0410\u043b\u0435\u043a\u0441\u0430\u043d\u0434\u0440\u0430 \u041a\u043e\u0440\u0434\u0430-\u041f\u0435\u0442\u0440\u043e\u0432\u0438\u045b, \u0412\u0430\u0446\u043b\u0430\u0432 \u0428\u0442\u0458\u0435\u043f\u0430\u043d\u0435\u043a \u0438 \u041b\u0430\u0434\u0438\u0441\u043b\u0430\u0432 \u0425\u043b\u0430\u0434\u043a\u0438, \u041c\u0430\u0442\u0438\u0446\u0430 \u0441\u0440\u043f\u0441\u043a\u0430 \u2014 \u041c\u0430\u0442\u0438\u0446\u0430 \u043c\u043e\u0440\u0430\u0432\u0441\u043a\u0430, \u041d\u043e\u0432\u0438 \u0421\u0430\u0434 \u2014 \u0411\u0440\u043d\u043e 2025, 616 \u0441\u0442\u0440. (<\/span>JelenaMri\u0107evi\u0107 Bala\u0107<\/span>)<\/span><\/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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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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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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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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Reviewers<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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

\u0421\u0410\u0414\u0420\u0416\u0410\u0408\/ \u0421\u041e\u0414\u0415\u0420\u0416\u0410\u041d\u0418\u0415   CONTENTS           \u0426\u0415\u041b\u041e \u0418\u0417\u0414\u0410\u040a\u0415      FULL EDDITION           \u0421\u0422\u0423\u0414\u0418\u0408\u0415 \u0418 \u0420\u0410\u0421\u041f\u0420\u0410\u0412\u0415 \u0421\u0422\u0420\u0410\u041d\u0418\u0426\u042b \u0418\u0421\u0422\u041e\u0420\u0418\u0418 \u041f\u0420\u041e\u0421\u0412\u0415\u0429\u0415\u041d\u0418\u042f\u0412 \u0421\u0415\u0420\u0411\u0421\u041a\u041e\u041c \u0418 \u0420\u0423\u0421\u0421\u041a\u041e\u041c \u041e\u0411\u0429\u0415\u0421\u0422\u0412\u0415 XVIII\u2013XIX \u0412\u0412.       ARTICLES AND TREATISES PAGES FROM THE HISTORY OF ENLIGHTENMENT IN SERBIAN AND RUSSIAN SOCIETY IN THE 18TH\u201319TH CENTURIES    … 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