Tolstoy's War and Peace


Book Description

"Literature deals with the intrusion of the extraordinary into the ordinary. This intrusion may begin in a work's very first sentence, as in Kafka's The Trial: "Somebody must have made a false accusation against Joseph K., for he was arrested one morning without having done anything wrong." Alternatively, it may be hinted at in the first sentences and more internally oriented, as in Dostoevsky's Notes from the Underground: "I am a sick man ... I am a spiteful man. No, I am not a pleasant man at all. I believe there is something wrong with my liver. However, I don't know a damn thing about my liver; neither do I know whether there is anything really wrong with me." Tolstoy avoids such dramatic openings and introduces the extraordinary into the ordinary by means of storytelling. Literature, he believes, tells us stories about experiences that take us, temporarily or permanently, out of our comfort zone, off well-trodden paths. The story can be simple or complex, funny or tragic, about a small incident or the shattering of one's world. Using an example from Tolstoy's own What is Art?, the story could be about a boy who encounters a wolf in the forest yet manages to run back to the safety of his home to tell the story to his parents, or to anyone who is willing to listen. In War and Peace, the story is about a series of brutal wars that Russia fought against France between 1805 and 1812, in which the Russian troops were pushed to the brink of defeat but eventually managed to overpower Napoleon's invading army and reestablish peace"--




And Then Came Dance


Book Description

Presenting for the first time Akim Volynsky's (1861-1926) pre-balletic writings on Leonardo da Vinci, Fyodor Dostoevsky, Otto Weininger, and on such illustrious personalities as Zinaida Gippius, Ida Rubinstein, and Lou Andreas-Salome, And Then Came Dance provides new insight into the origins of Volynsky's life-altering journey to become Russia's foremost ballet critic. A man for whom the realm of art was largely female in form and whose all-encompassing image of woman constituted the crux of his aesthetic contemplation that crossed over into the personal and libidinal, Volynsky looks ahead to another Petersburg-bred high priest of classical dance, George Balanchine. With an undeniable proclivity toward ballet's female component, Volynsky's dance writings, illuminated by examples of his earlier gendered criticism, invite speculation on how truly ground-breaking and forward-looking this critic is.




Queer Tolstoy


Book Description

Queer Tolstoy is a multidimensional work combining psychoanalysis, political history, LGBTQ+ studies, sexology, ethics, and theology to explore the life and art of Count Lev Nikolaevich Tolstoy. Using a psychobiographical framework, Sethness Castro uncovers profoundly queer dimensions in Tolstoy’s life experiences and art. Deftly contributing to the progressive and radical analysis of gender and sexuality, this book examines how Tolstoy’s erotic dissidence informed his anarchist politics, anti-militarist ideals, and voluminous literary production. Sethness Castro analyzes the influence of Buddha, Socrates, Jesus, Cervantes, Rousseau, Kant, Herzen, Proudhon, Chernyshevsky, and his mother Marya Volkonskaya on the artist's writings. Furthermore, he details Tolstoy's emblematic linking of LGBTQ+ desire with moral and erotic self-determination and resistance to Tsarist despotism—especially in War and Peace. This book is vital reading for those interested in the intersection of literature, psychoanalysis, queer studies, and Russian history. Chapter 2 of this book is available for free in PDF format as Open Access from the individual product page at www.taylorfrancis.com. It has been made available under a Creative Commons Attribution-NonCommercial 4.0 International license.




Tolstoy's Pacifism


Book Description

Leo Tolstoy (1828-1910) was the most influential, challenging, and provocative pacifist of his generation. The most famous person alive at the dawn of the twentieth century, his international stature came not only from his great novels but from his rejection of violence and the state. Tolstoy was a strict pacifist in the last three decades of his life, and wrote at length on a central issue of politics, namely, the use of violence to maintain order, to promote justice, and to ensure the survival of society, civilization, and the human species. He unreservedly rejected the use of physical force to these or any ends. Tolstoy was a religious pacifist rather than an ethical or political one. His pacifism was rooted not in a moral doctrine or political theory but in his straightforward reading of the teachings of Jesus as recorded in the Gospels. Despite his fame, Tolstoy's pacifism remains insufficiently studied. A hundred years after his death, Tolstoy is a figure unfamiliar in political science, encountered, if at all, as the author of hortatory quotations on the wrongness of political violence or of allegiance to the state. This work of political science offers an account of Leo Tolstoy as a Christian thinker on political violence. It presents Tolstoy's pacifism as a striking case of the impact of religious idealism on political attitudes. The Russian novelist offers an instructive case study in Christian pacifism and in the attractions and failings of strict, literalist, and simplistic religious approaches to the many and complex issues of politics. Today, the political implications of religious fundamentalism, scriptural literalism, and Christian faith are very much live issues and the contemporary discussion of them should not omit pacifism. In this first study of Tolstoy's pacifism by a political scientist, Colm McKeogh unravels the complexities of Tolstoy's writings on Christianity and political violence. This work serves scholars of political science by bringing together relevant extracts from Tolstoy's writings and providing a succinct treatment of the core political issues. It establishes that Tolstoy's stance is primarily one of non-violence rather than non-resistance. McKeogh's work then assesses the internal consistency of Tolstoy's pacifism, its grounding in the Gospels and Christian tradition, its political and anti-political implications, and the meaning in life that it offers. It finds that Tolstoy does great service to the pacifist cause (with his defense of peace as close to the centre of Christ's message) and yet harm to it too (by divorcing peace from the love that is even more central to Christ's message). Tolstoy's political and religious legacy is not that of a prophet, a social activist, a moral reformer, a political idealist or pacifist theorist but that of a dissident. Tolstoy stands as one of the great dissidents of twentieth-century Russia, a man who condemned the system utterly and who refused to perform any act that could be construed as compromising with it. He left behind a powerful statement of the urgent human need to connect our daily living to a deep and fulfilling conception of the meaning of life. Tolstoy's Pacifism is important for political science, Christian ethics, literature, and Russian collections.







Tolstoy and the Religious Culture of His Time


Book Description

The first book-length study on the subject in any language, Tolstoy and the Religious Culture of His Time treats Tolstoy's experience as a massive philosophical and religious project rather than a crisis-laden tragedy. Inessa Medzhibovskaya explains the evolution of Tolstoy's religious outlook based on his ongoing dialogue with the tradition of conversion in Europe and Russia, as well as on the demands of his own heart, mind, and spirit. The author contextualizes Tolstoy's conversion, comparing his pattern of religious conversion with that of other notable religious converts-Saint Paul, Saint Augustine, Luther, Pascal, Rousseau-as well with that of Tolstoy's countrymen-Pushkin, Gogol, Chaadaev, Stankevich, Belinsky, Herzen, and Dostoevsky. Stressing the importance of the religious culture of his time for Tolstoy, this study investigates the nineteenth century debates that inspired and repelled Tolstoy as he weighed arguments for or against faith in his dialogues with the culture of his time, covering widely differing fields and disciplines of experimental knowledge. The author considers German Romantic philosophy, the natural sciences, pragmatist religious solutions, theories of social progress and evolution, and the historical school of Christianity. Medzhibovskaya stresses the fact that influential intellectual currents were as important to Tolstoy as believers and nonbelievers were from and beyond his immediate environment. The author argues that, in this sense, Tolstoy's conversion emerges as deeply intertextual, and this surprising discovery should not diminish our trust in Tolstoy's sincerity during his religious evolution, which occurred both spontaneously as well as deliberately. The polyphony of discreet spiritual moments that Tolstoy created by fusing in his narratives of conversion religious and artistic realms is arguably his greatest contribution to spiritual autobiography.




The Firebird and the Fox


Book Description

A century of Russian artistic genius, including literature, art, music and dance, within the dynamic cultural ecosystem that shaped it.




Transnational Tolstoy


Book Description

Transnational Tolstoy renews and enhances our understanding of Tolstoy's fiction in the context of "World Literature," a term that he himself used in What is Art? It offers a fresh perspective on Tolstoy's fiction as it connects with writers and works from outside his Russian context, including Stendhal, Flaubert, Goethe, Proust, Lampedusa and Mahfouz. Foster provides an interlocking series of cross-cultural readings ranging from nineteenth-century Germany, France, and Italy through the rise of modernist fiction and the crisis of World War II, to the growth of a worldwide literary outlook from 1960 onward. He emphasizes Tolstoy's writings with the most consistent international resonance: War and Peace and Anna Karenina, two of the world's most compelling novels. Transnational Tolstoy also discusses a shorter work, Hadji Murad. It shares the earlier novels' historical sweep, social breadth, and subtle interplay among a large cast of characters. Along with bringing Tolstoy's gifts to bear on a Muslim protagonist, it also represents his most sustained attempt at world literature.




Reading Russian Sources


Book Description

Reading Russian Sources is an accessible and comprehensive guide that introduces students to the wide range of sources that can be used to engage with Russian history from the early medieval to the late Soviet periods. Divided into two parts, the book begins by considering approaches that can be taken towards the study of Russian history using primary sources. It then moves on to assess both textual and visual sources, including memoirs, autobiographies, journals, newspapers, art, maps, film and TV, enabling the reader to engage with and make sense of the burgeoning number of different sources and the ways they are used. Contributors illuminate key issues in the study of different areas of Russia’s history through their analysis of source materials, exploring some of the major issues in using different source types and reflecting recent discoveries that are changing the field. In so doing, the book orientates students within the broader methodological and conceptual debates that are defining the field and shaping the way Russian history is studied. Chronologically wide-ranging and supported by further reading, along with suggestions to help students guide their own enquiries, Reading Russian Sources is the ideal resource for any student undertaking research on Russian history.




"Who, What Am I?"


Book Description

"God only knows how many diverse, captivating impressions and thoughts evoked by these impressions... pass in a single day. If it were only possible to render them in such a way that I could easily read myself and that others could read me as I do..." Such was the desire of the young Tolstoy. Although he knew that this narrative utopia—turning the totality of his life into a book—would remain unfulfilled, Tolstoy would spend the rest of his life attempting to achieve it. "Who, What Am I?" is an account of Tolstoy's lifelong attempt to find adequate ways to represent the self, to probe its limits and, ultimately, to arrive at an identity not based on the bodily self and its accumulated life experience.This book guides readers through the voluminous, highly personal nonfiction writings that Tolstoy produced from the 1850s until his death in 1910. The variety of these texts is enormous, including diaries, religious tracts, personal confessions, letters, autobiographical fragments, and the meticulous accounts of dreams. For Tolstoy, inherent in the structure of the narrative form was a conception of life that accorded linear temporal order a predominant role, and this implied finitude. He refused to accept that human life stopped with death and that the self was limited to what could be remembered and told. In short, his was a philosophical and religious quest, and he followed in the footsteps of many, from Plato and Augustine to Rousseau and Schopenhauer. In reconstructing Tolstoy's struggles, this book reflects on the problems of self and narrative as well as provides an intellectual and psychological biography of the writer.