About the author:
Irina V. Dergacheva, DSc in Philology, Professor, Moscow State Psychological and Pedagogical University.
S. Aloe described in detail the difficult process of Italian Slavists and writers’ exposure to the work of Dostoevsky, complicated for a number of years by the lack of translations of his works into Italian — readers could only have gotten acquainted with French translations [Aloe, 2013]. Of particular interest from the point of view of the reception of the ideological and artistic originality of Dostoevsky’s texts in Italy is the analysis of their interpretations by Italian criticism, which did not immediately adequately perceive the rich heritage of F. M. Dostoevsky’s artistic discourse, which characterizes Russian mentality and heavily influences public consciousness. The article presents stages of reception of Dostoevsky’s artistic heritage in Italy. Special attention is paid to the most popular text in terms of number of translations into Italian — Notes from Underground. The Appendix contains the texts of forewords by Armando Torno and E. Lo Gatto to the Italian edition of Notes from a Dead House and Notes from Underground [Dostoevskij, p. 5–17, 29].