eSamizdat. Rivista di culture dei paesi slavi / Journal of Slavic Cultures / Журнал славянских культур

“Proteggimi fin quando non avrà inizio il jazz”: cronotopi del rock sovietico dei primi anni Ottanta nei testi di Boris Grebenščikov

2026-02-15T09:46:15+01:00

The article analyses some of the chronotopes that characterise the lyrics of the songs by Boris Grebenshchikov, leader of the Soviet rock group Akvarium, in the first half of the 1980s. The high degree of literariness and intertextuality of the lyrics is emphasised, and the cultural context in which they were written is discussed. In particular, chronotopes relating to meditation, estrangement, and solitude (with the keywords ‘river’, ‘shore’, ‘hill’) are analysed, as well as those that, on the contrary, imply a confrontation with Soviet society and claim belonging to a non-conformist community (with the keywords ‘night’, ‘thresholds’, ‘jazz’).

Requiem for a Lost Future? A Hauntological Reading of Late-Soviet Underground Rock Through the Lyrics of Viktor Tsoi, Aleksandr Bashlachev and Egor Letov

2026-02-15T10:06:36+01:00

In the late Soviet years, a distinctive musical subculture emerged in Russia that fused elements of Western rock with the Russian bard tradition. This article examines the lyrical output of key underground artists Viktor Tsoi, Aleksandr Bashlachev, and Egor Letov, interpreting their songs through the lens of hauntology (Derrida, 1993; Fisher, 2014) and post-Soviet reflective nostalgia (Boym, 2001). Their works are read as expressions of dissent permeated by a postmodern sensibility, at once criticizing the crumbling socialist order and mournfully anticipating the neoliberal future. In their lyrics, nostalgia for a future imagined but never realized triggers a second-order longing in later listeners – the mediated, vicarious form of nostalgia known as armchair nostalgia (Appadurai, 1996). Hovering between protest and introspection, their music gives voice to a generation suspended between two ideological failures, as well as between two polar stances – combative resistance and disenchantment.

Russian Rap and the Case of Husky: Traces of Counterculture?

2026-02-15T10:12:57+01:00

In this article, the authors examine the history and current state of the diverse landscape of Russian rap music. An overview of the evolution of hip-hop summarizes how the genre emerged in the mid-1980s as part of the broader underground movement. In the 1990s, the drastic change in the sociocultural context was followed by the dissolution of the Soviet counterculture represented by music genres such as rock and rap. Based on this historical context, the authors examine the esthetics and cultural significance of contemporary Russian rap as a possible cradle of a new musical countercultural movement. Using the example of Russian rappers from the periphery such as Dmitrii ‘Husky’ Kuznetsov, the authors discuss the nature of the emerging musical underground and draw parallels with the musical landscape of the late-Soviet Siberian underground. Finally, the article lays the foundation for further research on the development of Russian underground culture under the conditions of the restoration of the country’s authoritarian politics.

Carnevale techno: genealogia del rave russo

2026-02-15T10:21:30+01:00

The article delves into the emergence of the rave culture in Russia contextualizing the phenomenon within broader transformations in youth subcultures, artistic practices, and political landscapes during the years that marked the passage from perestroika to a new federal reality. The study interprets the first Russian rave events as performative and ritualistic practices akin to both the Bakhtinian concept of carnival and the Temporary Autonomous Zones theorized by Hakim Bey. These techno gatherings, particularly in Leningrad and Moscow, are examined as liminal spaces where collective identity could be reimagined through music, dance, costume, and synesthetic experience. These events are presented as a dual force, enabling the evolution of new generational rituals while empowering young artists seeking identity and creative outlets.

“Bažaješ smerti moskalju? Todi їbaš joho v sobi”. Note sul rap ucraino ai tempi della guerra su larga scala

2026-02-15T10:26:06+01:00

This paper analyzes a selection of songs and music videos written and performed by Ukrainian rappers since the onset of Russia’s full-scale invasion of Ukraine. The artists under consideration are united by their deliberate use of the Ukrainian language and by their explicit support for their country. On the one hand, there is a substantial body of overtly militaristic rap, intended to bolster the morale of soldiers on the front lines and civilians in the rear, as well as patriotic rap that emphasizes national unity and foregrounds Ukraine’s cultural roots, often in opposition to stereotypical representations of local folklore. On the other hand, many tracks are concerned with the processing of trauma and the recovery of a seemingly lost sense of human warmth. Particular attention is devoted to the work of Palindrom, who explores contradictions within Ukrainian society in the context of the war.

La poesia ucraina come fonte di ispirazione della musica metal: un esempio di dialogo con la cultura ‘alta’

2026-02-15T10:32:55+01:00

Metal music (especially some of its more aggressive and controversial subgenres) is often considered a ‘second-rate’ form of expression. However, it is often enriched with literary references, philosophical reflections and fruitful connections with other artistic forms. Although it does not necessarily represent a politicised counter-cultural universe, it is nevertheless true that, in some of its fringes, it is possible to trace a more or less evident ideological discourse and a use of artistic expression as a form of protest. As other European countries, Ukraine also has a thriving metal music scene, and many bands and musicians in this milieu use the works of the most representative national poets as lyrics for their songs. In this essay, we analyse some of the most representative cases, attempting to establish an initial taxonomy in terms of the poets used, preferred themes and the possible socio-political motivations that inspire the musicians in question.

“Nessuna speranza, nessuna paura”: la scena alternativa musicale in Slovenia alla vigilia della dissoluzione jugoslava

2026-02-15T10:37:22+01:00

This paper aims to analyse the role of alternative music in Slovenia in the 1980s, on the eve of the dissolution of the Socialist Federal Republic of Yugoslavia. In the 1970s, Slovenia was the cradle of the Yugoslav punk and new wave movements. During the second half of the 1980s, alongside the Kosovo question and the rise of Slobodan Milošević, the Alpine country also played a key role in the crisis that would lead to the dissolution of the federation, due to its differences with Belgrade. Musically, this was expressed through the work of various groups and collectives who, despite belonging to different genres, captured the fears, feelings and anger of Slovenians, as well as the changes in the country, during that difficult period, which culminated in the entry of federal tanks into Slovenia in June 1991.

Neofolk in Poland. Between a New Religious Movement and Subculture

2026-02-15T10:44:47+01:00

Following the collapse of communism in Poland, interest in folk culture and music emerged from the artistic explorations of alternative musicians in the 1990s. At the same time, bands with Slavic musical roots emerged alongside mainstream offerings that combined rock aesthetics with a highland feel. This gave rise to a distinct musical movement that sought to reinterpret the old sound in a new format. It soon became apparent that this new aesthetic was accompanied by a new lifestyle, linked to both an ecocritical attitude, ecology, and a post-colonial rejection of Christian cultural hegemony. Returning to Slavic music became a way of returning to indigenisation. At the same time, this new musical practice entailed a new way of life that is closer to nature and to the ancient Slavic traditions. In this article, I will discuss these religion elements and the moral life of neofolk circles.

Musica e musica nazionale nella Russia imperiale e sovietica: introduzione

2026-02-15T11:02:44+01:00

A critical discussion of a selection of writings by different commentators (Ia. Neverov, V. Odoevskii, A. Rubinshtein, A. Serov, V. Stasov, V. Karatygin, L. Sabaneev, B. Asaf’ev, V. Belyi, L. Kulakovskii, A. Zhdanov, L. Mazel’, N. Briusova, L. Knipper, I. Nest’ev) issued between the 1830s and the 1950s, on the theme of music in Russia in connection with issues of modernity, artistic adequacy and excellence, originality and imitation, and national identity of (imperial and Soviet) Russia as mirrored by art music in its relatioship with folkmusic.

Della nuova opera russa di Glinka “Una vita per lo zar” (traduzione di Lara Martelozzo)

2026-02-15T11:10:49+01:00

Italian translation of O novoi russkoi opere Glinki “Zhizn’ za Tsaria” by Ianuarii Neverov.

Appunti per il mio pronipote sulla letteratura del nostro tempo e altre cose (Lettera del signor Bičev – Ruslan e Ljudmila, opera del signor Glinka) (traduzione di Arianna Lombardo)

2026-02-15T11:22:51+01:00

Italian translation of Zapiski dlia moego prapravnuka o literature nashego vremeni i o prozem (pis’mo g. Bisheva. – “Ruslan i Liudmila”, opera g. Glinki) by Vladimir Odoevskii.

Compositori di Russia (traduzione di Francesca Lazzarin)

2026-02-15T11:27:48+01:00

Italian translation of by Die Componisten Russland’s by Anton Rubinshtein.

Il canto popolare russo come oggetto di studio scientifico (traduzione di Andrea Ziggiotto e Anna Giust)

2026-02-15T11:32:18+01:00

Italian translation of Russkaia narodnaia pesnia kak predmet nauki by Aleksandr Serov.

Perov e Musorgskij (1834-1882 e 1839-1881) (traduzione di Alice D’Auria)

2026-02-15T11:36:44+01:00

Italian translation of Perov i Musorgskii (1834-1882 i 1839-1881) by Vladimir Stasov.

“Salambô” di Musorgskij (traduzione di Giovanni Polizzi)

2026-02-15T11:42:22+01:00

Italian translation of Salambô Musorgskogo by Viacheslav Karatygin.

La musica contemporanea (traduzione di Vadim Anzante)

2026-02-15T11:47:57+01:00

Italian translation of Sovremennaia muzyka by Leonid Sabaneev.

Crisi della creatività individuale (traduzione di Eleonora Bianchi)

2026-02-15T11:51:38+01:00

Italian translation of Krizis lichnogo tvorchestva by Boris Asaf’ev.

Compositori, affrettatevi! (traduzione di Mirella Di Vita)

2026-02-15T11:56:02+01:00

Italian translation of Kompozitory, pospeshite! by Boris Asaf’ev.

Questioni di principio relative allo sviluppo delle culture musicali nazionali (traduzione di Marianna Celeste Cerilli e Anna Giust)

2026-02-15T12:01:40+01:00

Italian translation of Principial’nye voprosy razvitiia natsional’nykh muzykal’nykh kul’tur by Viktor Belyi.

Intervento al Primo congresso degli scrittori dell’Unione Sovietica 1934 (traduzione di Ekaterina V. Pechenevskaya)

2026-02-15T12:05:45+01:00

Italian translation of Viktor Belyi’s speech at the Pervyi vsesoiuznyi s”ezd sovetskikh pisatelei.

Note sulle origini del formalismo (traduzione di Diana Bota)

2026-02-15T12:12:45+01:00

Italian translation of Zametki ob istokakh formalizma by Lev Kulakovskii.

Intervento all’assemblea degli operatori della musica sovietica (traduzione di Anna Giust)

2026-02-15T12:16:23+01:00

Italian translation of Vystuplenie tovarishcha A. A. Zhdanova na soveshchanii deiatelei sovetskoi muzyki by Andrei Zhdanov.

Discussione sull’appartenenza nazionale nella musica sovietica (traduzione di Anna Giust e Tania Triberio)

2026-02-15T12:20:27+01:00

Italian translation of Diskussiia o narodnosti v sovetskoi muzyke, with contributions by Nadezhda Briusova, Lev Mazel’, Lev Knipper, Izrail Nest’ev.

Nella speranza di essere gocce d’acqua. Intervista ad Alexander Etkind

2026-02-15T12:30:41+01:00

This contribution presents a dialogue between Barbara Ronchetti and Alexander Etkind, inspired by the publication of the Italian translation of Etkind’s Russia Against Modernity.

Марксизм в литературоведении: интервью с Кириллом Осповатом

2026-02-15T12:35:27+01:00

The interview addresses the position of historical materialism within Russian literary scholarship in the past and in the current moment. While it was programmatically discarded after the fall of the Soviet Union together with other trappings of Soviet officialdom, a materialist understanding of literary criticism remained operative in historical, contextual studies of literature and political thought that remained mainstream. In the current moment, it is time to revive the political implications of historical materialism and Marxism in a democratic struggle against imperialism and authoritarianism, as well its theoretical frameworks which allow us to extend historical analysis far beyond simple contextualization of canonical works and authors.

Attraversare la crisi: bilanci e prospettive di un dibattito autoriflessivo

2026-02-15T19:57:05+01:00

This section of "eSamizdat" (2025, XVIII) promotes a collective reflection on the ongoing crisis affecting both the Slavic world and Slavic studies as a discipline. Four years into the war, as geopolitical realignments and epistemological tensions continue to reshape the field, the questionnaire invites scholars to reassess the ethical, methodological, and institutional foundations of the discipline. The contributions gathered here aim to stimulate a shared debate on disciplinary identity, memory, and future perspectives within Italian Slavistics and beyond.