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Bartolini Brogi 2007.Indd BIBLIOTECA DI STUDI SLAVISTICI – 4 – COMITATO SCIENTIFICO Giovanna Brogi Bercoff (Direttore), Michaela Böhmig, Stefano Garzonio (Presidente AIS), Nicoletta Marcialis, Marcello Garzaniti (Direttore esecutivo), Krassimir Stantchev COMITATO DI REDAZIONE Alberto Alberti, Giovanna Brogi Bercoff, Marcello Garzaniti, Stefano Garzonio, Giovanna Moracci, Marcello Piacentini, Donatella Possamai, Giovanna Siedina Titoli pubblicati 1. Nicoletta Marcialis, Introduzione alla lingua paleoslava, 2005 2. Ettore Gherbezza, Dei delitti e delle pene nella traduzione di Michail M. Ščerbatov, 2007 3. Gabriele Mazzitelli, Slavica biblioteconomica, 2007 Kiev e Leopoli: il “testo” culturale a cura di Maria Grazia Bartolini Giovanna Brogi Bercoff Firenze University Press 2007 Kiev e Leopoli : il testo culturale / a cura di Maria Grazia Bartolini, Giovanna Brogi Bercoff. – Firenze : Firenze University Press, 2007. (Biblioteca di Studi slavistici ; 4) http://digital.casalini.it/9788884536662 ISBN 978-88-8453-666-2 (online) ISBN 978-88-8453-665-5 (print) 947 (ed. 20) La collana Biblioteca di Studi Slavistici è curata della redazione di Studi Slavistici, rivista di proprietà dell’Associazione Italiana degli Slavisti (<http://epress.unifi.it/riviste/ss>). © 2007 Firenze University Press Università degli Studi di Firenze Firenze University Press Borgo Albizi, 28 50122 Firenze, Italy http://epress.unifi.it/ Printed in Italy INDICE G. Brogi Bercoff Prefazione 7 G. Siedina Il retaggio di Orazio nella poesia neolatina delle poetiche kieviane: alcuni modi della sua ricezione 11 D. Tollet La connaissance du judaïsme en Pologne dans l’œuvre de Gaudencjusz Pikulski, La méchanceté des Juifs (Lwów 1760) 37 Ks. Konstantynenko La vita artistica a Leopoli nel Seicento: l’arte delle icone 47 M.G. Bartolini Kiev e la formazione culturale di Skovoroda 61 A. Ferrari Le comunità armene di Leopoli e Kiev. Dinamiche di integrazione e assimilazione 77 L. Bernardini “Leopoli è ovunque”: alcune considerazioni su Due città di Adam Zagajewski 87 B. Myciek Il viaggio sentimentale dei polacchi a Leopoli 99 O. Toločko Peripatetic History: Russian Travellers to Kyiv in the Early Nineteenth Century and how Ukraine’s Past Was Forged 125 G. Lami L’epopea di Kiev nella memorialistica dell’emigrazione russa (1918-1920) 139 E.A. Rybałt Il neobizantinismo tra Kiev e Leopoli: la cattedrale di San Vladimiro e la chiesa della Trasfi gurazione 165 S. Merlo Kiev città santa? Permanenze e discontinuità nella rappresentazione di un luogo-simbolo dell’ortodossia 175 T. Hundorova Kiev tra romanzo e romanza: la desacralizzazione del topos cittadino 187 E. Solovej La poesia della “Scuola di Kiev” come accusa contro il sistema 197 O. Pachlovska Kiev nella rivoluzione arancione e la crisi dell’ortodossia 205 O. Ponomareva Kiev, Leopoli e Donec’k nel discorso politologico moderno: alcuni aspetti del regionalismo ucraino 227 Abstracts 237 Prefazione Giovanna Brogi Bercoff (Università di Milano) Da quando ho cominciato ad occuparmi dell’Ucraina sono stata affascina- ta ed incuriosita dalla sorprendente capacità di Kiev non solo di accogliere ed elaborare le idee e gli apporti culturali più diversi sia in senso diacronico (dalla tradizione varjaga a quella slava ecclesiastica, da quella rinascimentale e baroc- ca polacca – ed europea – e fi no a quella del modernismo e delle varie correnti del secolo XX, derivanti sia dalla letteratura occidentale che da quella russa), sia in senso diatopico, assimilando al suo “testo culturale” le persone di origine, religione e formazione più diversa. Per restare nell’ambito cronologico e cultu- rale a me più familiare mi limito a ricordare tre “personaggi chiave” dello strato più elevato della cultura ucraina del Seicento: Petro Mohyla, Innokentyj Gizel’ e Stefan Javors’kyj – ortodosso di casa principesca moldava il primo, tedesco luterano il secondo, ucraino originario della sponda destra del Dniprò, infl uen- zato fi no al midollo dall’aspetto più “controriformistico” della cultura polacca e cattolica europea, il terzo. Questi tre personaggi, di origine e formazione così diversa (sia etnica sia culturale), hanno attraversato dall’inizio alla fi ne il secolo più drammaticamente movimentato e ricco di cambiamenti della storia ucrai- na, riuscendo a contribuire nel modo più coerente ed armonico alla creazione di quel sistema di categorie logiche, di principi giuridici e di autopercezione identitaria che hanno permesso lo sviluppo posteriore di un’Ucraina unitaria e – sostanzialmente – europea. Mi si permetta di sottolineare ancora come questi tre personaggi, di origine profondamente diversa, abbiano creato il patrimonio fondamentale della nuova Ucraina moderna esprimendosi – nel cuore culturale di Kiev – con un linguaggio unico, internamente coeso e sostanzialmente ori- ginale. Come sempre nella cultura ucraina, tutto viene da “fuori” eppure tutto è sostanzialmente “nuovo”. La medaglia della capacità assimilatrice di Kiev ha, come sempre, il suo rovescio, ossia: la straordinaria capacità degli ucraini di interagire (spesso fi no all’assimilazione) con le culture esterne. È una qualità ovviamente positiva in se stessa, ma presenta dei pericoli evidenti. Lo dimostra la diffi coltà dell’Ucraina indipendente di autodefi nirsi ed affermarsi nel mondo di oggi, fra inattese fughe in avanti che destano improvvise meraviglie e pantani d’immobilismo o di no- stalgie (patriarcali o feudali, neosovietiche o neopagane, e altre se ne potrebbero aggiungere – del resto non specifi che dell’Ucraina, ma di tutto il mondo post-so- vietico e post-comunista) che gettano nello sconforto qualsiasi mente che ragio- ni con le categorie razionali dell’Europa romano-germanica-anglosassone. 8 Giovanna Brogi Bercoff Pensando al “testo kieviano” mi è sembrato inevitabile prendere in conside- razione anche l’altro “testo emblematico” dell’identità ucraina, quello di Leo- poli, non meno composito (anzi, forse di più) di quello kieviano: esso è però, forse, meno amalgamato, meno coeso, meno “sistemico”; ed è probabilmente per questo che Kiev è stata il centro populsore dell’Ucraina nei momenti più im- portanti e critici della sua storia, e si manifesta sempre più come la vera capitale, dinamica e vitale, del paese. Pur essendo io assolutamente convinta dell’unità inscindibile della cultura ucraina nelle sue varie forme, resta pur sempre impre- scindibile il principio che, per conoscere se stessi, bisogna conoscere l’Altro. In questo caso, per capire Kiev è indispensabile capire Leopoli. Mi sono sembrate, queste, ragioni suffi cienti per lanciare l’idea di iniziare una rifl essione, appunto, sul “testo culturale” di Kiev e di Leopoli. In realtà la mia idea non era molto originale: è risultato assai presto che ci sono vari studiosi che in America come in Europa ed in Ucraina hanno iniziato a lavorare sistema- ticamente proprio su questo. Tuttavia, gli studi sono per lo più ancora in corso d’opera e ritengo utile, pertanto, avviare il lavoro anche in Italia. D’accordo con i colleghi dell’Associazione Italiana di Studi Ucrainistici, abbiamo quindi organizzato il Convegno dell’Associazione dedicandola al “te- sto culturale” di Kiev e Leopoli. Il Convegno si è svolto a Milano nei giorni 1-2 febbraio 2007, ci è sembrato di riconoscere nei contributi ivi presentati un buon livello ed abbiamo deciso quindi di pubblicarli al più presto. Sono stati invitati ed hanno proposto la loro collaborazione specialisti pro- venienti da aree disciplinari e da profi li culturali molto diversi: storici e letterati, fi lologi e culturologi, storici dell’arte, specialisti di questioni religiose e di altre culture (in particolare l’armenistica e la polonistica). Abbiamo offerto la pos- sibilità di partecipare anche ai più giovani, consci che un’ucrainistica italiana è ancora tutta da costruire. La varietà dei contributi ha pertanto le sue origini non solo nell’ampiezza del tema proposto e nella varietà intrinseca del “testo kieviano” come del “testo leopolitano”, nel loro plurilinguismo e nella diversità di etnie, religioni e confessioni, culture, letterature che vi hanno convissuto per secoli; la varietà dei contributi proviene anche dal carattere volutamente interdi- sciplinare che ci sembrava indispensabile per il tema proposto. Si trovano così in questo volume articoli di profonda specializzazione fi lo- logica, storica e fi losofi co-letteraria (G. Siedina: la cultura classica nella retorica Mohyliana; D. Tollet: le dispute antiebraiche nella Leopoli del XVIII secolo; M.G. Bartolini: il posto di Kiev nella formazione di H. Skovoroda), di illumi- nante rifl essione sui viaggiatori del XIX e XX secolo, che offrono anche inte- ressanti spaccati sulla reciproca appercezione di Ucraina e Russia (O. Toločko, G. Lami), di informazione e rifl essione sulla pittura e l’architettura (Ks. Kostan- tynenko, E. Rybałt). In altri casi è venuta alla luce l’immagine mitica – forse un po’ idealizzata, ma non meno affascinante! – di Leopoli per i polacchi del XIX-XX secolo (B. Myciek), la secolare presenza armena in questa città (A. Ferrari) e alcuni aspetti paradossali delle due città-mito – Vilna e Leopoli – per la coscienza polacca moderna (L. Bernardini). Al mondo ucraino contempora- neo portano alcuni studi sulla letteratura e la cultura del Novecento e il suo ruolo Prefazione 9 nello sviluppo della coscienza civile e nazionale odierna (E. Solovej, T. Hundo- rova, O. Pachlovska, O. Ponomareva). Certamente gli argomenti che sono stati affrontati in questa sede rappresen- tano solo una piccolissima parte dell’amplissimo spettro di questioni e problemi che
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