LAUSR

The article attempts to retrace the history of perception of Rozanovian personal­ity and creativity, presented in the light of the experience of Dostoevsky’s inter­pretation in Italy. By this work, the author introduces the texts, previously un­known to the Russian specialists on Rozanov, published in Italy over the past 50 years. The elaborations of the Russian Rozanovian Studies serve as the me­thodological and axiological guidelines, that, however, are not cited in connec­tion with the format of the article, but with which the author relates in her own conclusions. The great sensitivity of Italian critics to Dostoevsky could not be re­flected on the approach to his younger contemporary. The article raises the ques­tions about the degree of influence and borrowing, congeniality and the presence of the polemic component. It carries out its analysis with the help of the proven critical tools: using the main lines of research and consideration of possible ap­proaches to the thinkers’ common axial themes. The author distinguishes main research lines in the mainstream of which it is possible to trace the stages of de­velopment and the exit of Italian Rozanovian Studies from under the shadow of Dostoevsky Studies. The “popular” and literary-biographical lines of research are summarized, and the religious-philosophical line is more detailed, with the inclusion of a political element. The last line analyzes in fuller manner the Com­ments on “Legend of the Grand Inquisitor”. Rozanov’s entire future creative process, according to Italian critics, has already been declared by this book, right up to the final “Apocalypse of our time”. Passing thinkers through the phases of rapprochement and repulsion, admitting Dostoevsky’s finish speaking in Rozanov, Italian researchers consider Russian thinkers as inhabitants of different meta­physical worlds, generating in their touch the invariants of Russian culture.