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Reader as Accomplice: Narrative Ethics in Dostoevsky and Nabokov argues that Fyodor Dostoevsky and Vladimir Nabokov seek to affect the moral imagination of their readers by linking morally laden plots to the ethical questions raised by narrative fiction at the formal level. By doing so, these two authors ask us to consider and respond to the ethical demands that narrative acts of representation and interpretation place on authors and readers.

Using the lens of narrative ethics, Alexander Spektor brings to light the important, previously unexplored correspondences between Dostoevsky and Nabokov. Ultimately, he argues for a productive comparison of how each writer investigates the ethical costs of narrating oneself and others. He also explores the power dynamics between author, character, narrator, and reader. In his readings of such texts as “The Meek One” and The Idiot by Dostoevsky and Bend Sinister and Despair by Nabokov, Spektor demonstrates that these authors incite the reader’s sense of ethics by exposing the risks but also the possibilities of narrative fiction.

    Readers often have regarded with curiosity the creative life of the poet. In this passionate and authoritative new study, David Bethea illustrates the relation between the art and life of nineteenth-century poet Alexander Pushkin, the central figure in Russian thought and culture. Bethea shows how Pushkin, on the eve of his two-hundredth birthday, still speaks to our time. He indicates how we as modern readers might "realize"— that is, not only grasp cognitively, but feel, experience—the promethean metaphors central to the poet's intensely "sculpted" life. The Pushkin who emerges from Bethea's portrait is one who, long unknown to English-language readers, closely resembles the original both psychologically and artistically.
    Bethea begins by addressing the influential thinkers Freud, Bloom, Jakobson, and Lotman to show that their premises do not, by themselves, adequately account for Pushkin's psychology of creation or his version of the "life of the poet." He then proposes his own versatile model of reading, and goes on to sketches the tangled connections between Pushkin and his great compatriot, the eighteenth-century poet Gavrila Derzhavin. Pushkin simultaneously advanced toward and retreated from the shadow of his predecessor as he created notions of poet-in-history and inspiration new for his time and absolutely determinative for the tradition thereafter.

How modernist interartistic experimentation and the proliferation of new media technologies inspired fresh insights into poetry

Isobel Palmer spotlights Russian modernist poets’ and formalist theorists’ conscious engagement with formal convention, showing how their efforts were tied up with broader attempts in the early Soviet era to understand and articulate the nature of poetry and its most characteristic devices. Returning to critical debates around poetic encounters with three key aesthetic categories—rhythm, image, and voice—Palmer unpacks the period’s deeper interest in the material bases of poetic speech itself. Through fresh, incisive readings of canonical poets and theorists, from Andrei Bely and Vladimir Mayakovsky to Yury Tynianov and Viktor Shklovsky, Revolutions in Verse: The Medium of Russian Modernism explores the proliferation of interartistic experiments and the emergence of new media technologies that made poetry visible as a medium in its own right.

In the development of modernist fiction, perhaps no artistic product has had as vaunted a place as the novel, a genre theorized primarily with recourse to Western authors. Here, Łukasz Wodzyński challenges the primacy of the novel as the organizing principle of modernist prose in East-Central Europe, particularly in Poland and Russia. By carefully studying some of the most innovative texts in Polish and Russian from the early twentieth century, Wodzyński posits that the “novel” genre has hindered our understanding of long modernist narratives.

Instead, he proposes to read these pathbreaking works as a twentieth-century reclamation of the romance. Specifically, he argues that these latter-day romances channel early modernist apocalyptic and utopian ideals through popular genres like science fiction and adventure narratives—and thus imagine a human future freed from modern fixations on control, efficiency, and utility. The romance form, he suggests, was uniquely poised to address the deep civilizational anxieties underwriting modernist literary publications in East-Central Europe. Understanding these works and the ways in which they spoke to these anxieties thus informs not only the study of Polish and Russian literature but also the development of modernism itself.

Aside from the near-complete devastation of a sovereign state and reversal of the global balance of power, the Russian invasion of Ukraine in 2022 is leading to a radical transformation in the Eastern European and Eurasian regions – including Russia itself.

The 13 chapters in this volume examine the main geopolitical consequences of the resurgent imperialist aspirations of the Russian Federation. They examine the ideological tools of history falsification as an integral part of hybrid warfare. Turning to the economy, the book discusses how the war and economic sanctions imposed on Russia are redrawing the geopolitical map and how economic relations would change following a regime transformation. The book discusses the reactions of members of the international community to the invasion, whether threatened or neutral parties or allies. The collection therefore offers a comprehensive picture of the main consequences of the resurgent imperialist aspirations of the Russian Federation. Equipped with the conceptual tools of the analysis with a focus on the patronal features of the political-economic system, the book considers the aftermath of the war. This collection complements the book entitled Ukraine. Patronal Democracy and the Russian Invasion.

Although younger than most European theatrical traditions, the Russian professional theater has generated an exciting body of criticism and theory which until recently has remained unknown or nearly inaccessible in the West. This anthology presents a selection of important Russian writing on the aesthetics of drama and the theater from 1828 to 1914.

The focus of these essays, most published here for the first time in English, is on the so-called Crisis in the Theater of 1904 to 1914, a lively debate between the symbolists and the naturalists that evoked brilliant polemic writing from Meyerhold, Bely, Bryusov, and others. Along with Chekhov's amusing critique of Sarah Bernhardt ("monstrously facile!") and Ivanov's abstruse analysis of the essence of tragedy, the essays form a running commentary on the development of the Russian theater: Pushkin on his predecessors, Gogol on his own work, Belinsky on Gogol, Sleptsov on Ostrovsky and Leskov, Bely on Chekhov's The Cherry Orchard ("enervated people, trying to forget the terror of life"), the symbolists on one another.

Each selection is printed in its entirety, with extensive notes, and a lengthy introduction places all the pieces within their historical and cultural contexts to comprise a brief history of Russian dramatic theory before the revolution. This volume is essential reading for all who wish to extend their knowledge of the Russian contribution to theatrical history, theory, and criticism.

An unorthodox portrait of modern-day Russia, including its paradoxes, practices, and patterns.

Russian Pendulum takes readers on a compelling journey through Russia in which tradition, modernity, power, and informality collide. Linking local knowledge and insider expertise with global trends and international perspectives, the book reveals the patterns that have defined Russia’s destiny for centuries. At its core lies an intricate system of informal networks that are held together by cooptation, control, and camouflage practices.

Russia’s Black Genius: A Sourcebook on the African Heritage of Alexander Pushkin brings together primary sources related to the racialization of Russian poet Alexander Pushkin and his Afro-Russian great-grandfather, the military engineer and general Abram Petrovich Gannibal. While Pushkin is a canonical figure and renowned to this day as Russia’s national poet, his African heritage is often overlooked or poorly understood; meanwhile Gannibal, despite his compelling life story, has become a relatively obscure figure outside of Russia. Yet over the course of the nineteenth and twentieth centuries, it was common to find discussions of Pushkin’s Black and multiracial ancestry in books and periodicals on both sides of the Atlantic. Building on the work of a small but influential cohort of scholars and intellectuals who have illuminated the racial dimensions of Pushkin’s legacy, this volume makes primary and source materials available, often for the first time, to readers who are not fluent in the Russian language. Ranging from US criticism and English translations of Russian, German, and French texts to numerous accounts of Pushkin’s life and works penned by Black Americans, the texts in this sourcebook expand and complicate the historical reception of Pushkin in Europe and the United States. Through translation and interdisciplinary dialogue, Russia’s Black Genius brings one of Russia’s—and the world’s— foremost poets into conversation with a broader swath of global readers.
 

Russia’s Capitalist Realism examines how the literary tradition that produced the great works of Leo Tolstoy, Fyodor Dostoevsky, and Anton Chekhov responded to the dangers and possibilities posed by Russia’s industrial revolution. During Russia’s first tumultuous transition to capitalism, social problems became issues of literary form for writers trying to make sense of economic change. The new environments created by industry, such as giant factories and mills, demanded some kind of response from writers but defied all existing forms of language.

This book recovers the rich and lively public discourse of this volatile historical period, which Tolstoy, Dostoevsky, and Chekhov transformed into some of the world’s greatest works of literature. Russia’s Capitalist Realism will appeal to readers interested in nineteenth‑century Russian literature and history, the relationship between capitalism and literary form, and theories of the novel.