This volume contains articles by 17 slavists from the Low Countries. Although they are all about Slavic linguistics, they cover a wide range of subjects and their theoretical implications are often not restricted to slavistics alone. Most contributions deal with Russian or Slavic in general, but South and West Slavic are also represented. The reader who knows the strong points for which Dutch slavistics is traditionally known and appreciated will not be disappointed: s/he will find papers on syntax and semantics (Fortuin, Van Helden, Honselaar, Keijsper, Tribušinina), aspectology (Barentsen, Genis), philology (Veder), historical Slavic phonology and morphology (Derksen, Kortlandt, Vermeer), dialectology (Houtzagers, Pronk), the study of sentence intonation (Odé) and papers representing crossroads between these disciplines: philology and historical linguistics (Hendriks, Schaeken), aspectology and philology (Kalsbeek). Apart from its quality in the linguistic fields enumerated here, Dutch Slavic linguistics is known for its empirical approach: the main goal is to find explanations for linguistic reality. Theory is relevant inasmuch as it helps us to find such explanations and not for its own sake. Though each and every paper in this volume exemplifies this empirical attitude, it might be especially illustrative to mention that almost all authors who studied the larger contemporary Slavic languages made extensive use of language corpus resources, part of which were collected at the University of Amsterdam.

In this volume of SSLP the contributions of Dutch scholars working in the field of Slavic literature and culture to the 14th International Congress of Slavists (Ohrid, Macedonia, September 10–16, 2008) are brought together. All of them except one (on the Polish poet Cyprian Norwid's story Stigma), deal with Russian literature from the end of the 18th century up to recent years. A variety of topics is treated, such as the feminization of Russian literature, the reflection of poetry in prose, anthropological and religious dimensions of literature, the specifics of theme and of plot, Russian modernism and postmodernism, and the status of language, from different methodological angles: gender studies, structural analysis, philosophical-contextual, postcolonial. Works of such Russian authors as Ippolit Bogdanovich, Ivan Turgenev, Pavel Mel'nikov-Pecherskii, Ignatii Potapenko, Iurii Trifonov, Timur Kibirov and Viktor Pelevin are discussed in detail. This volume is of interest for a scholarly audience interested in Russian literature of the last 250 years.

This volume contains articles by 17 slavists from the Low Countries. Although they are all about Slavic linguistics, they cover a wide range of subjects and their theoretical implications are often not restricted to slavistics alone. Most contributions deal with Russian or Slavic in general, but South and West Slavic are also represented. The reader who knows the strong points for which Dutch slavistics is traditionally known and appreciated will not be disappointed: s/he will find papers on syntax and semantics (Fortuin, Van Helden, Honselaar, Keijsper, Tribušinina), aspectology (Barentsen, Genis), philology (Veder), historical Slavic phonology and morphology (Derksen, Kortlandt, Vermeer), dialectology (Houtzagers, Pronk), the study of sentence intonation (Odé) and papers representing crossroads between these disciplines: philology and historical linguistics (Hendriks, Schaeken), aspectology and philology (Kalsbeek). Apart from its quality in the linguistic fields enumerated here, Dutch Slavic linguistics is known for its empirical approach: the main goal is to find explanations for linguistic reality. Theory is relevant inasmuch as it helps us to find such explanations and not for its own sake. Though each and every paper in this volume exemplifies this empirical attitude, it might be especially illustrative to mention that almost all authors who studied the larger contemporary Slavic languages made extensive use of language corpus resources, part of which were collected at the University of Amsterdam.

This book takes up the obtrusive problem of visual representation of fiction in contemporary Russian book design. By analyzing a broad variety of book covers, the study offers an absolutely unique material that illustrates a radically changing notion of literature in the transformation of Soviet print culture to a post-Soviet book market. It delivers a profound and critical exploration of Russian visual imaginary of classic, popular, and contemporary prose. Among all the carelessly bungled covers of mass-published post-Soviet series the study identifies gems from experimental designers. By taking a comparative approach to the clash of two formerly separate book cultures, the Western and the Soviet, that results both in a mixture of highbrow and lowbrow forms and in ideological re-interpretations of the literary works, this book contributes to opening an East-West dialogue between the fields of Russian studies, contemporary book and media history, art, design, and visual studies.

The domestic theme has a tremendous anthropological, literary and cultural significance. The purpose of this book is to analyse and interpret the most important realisations and tendencies of this thematic complex in the history of Russian literature. It is the first systematic book-length exploration of the meaning and development of the House theme in Russian literature of the past 200 years. It studies the ideological, psychological and moral meanings which Russian cultural and literary tradition have invested in the house or projected on it in literary texts. Central to this study's approach is the concept of the House Myth, consisting of a set of basic fabular elements and a set of general types of House images. This House Myth provides the general point of reference from which the literary works were analyzed and compared. With the help of this analytical procedure characteristics of individual authors could be described as well as recurrent patterns and features discerned in the way Russian literature dealt with the House and its thematics, thus reflecting characteristics of Russian literary world pictures, Russian mentalities and Russian attitudes towards life. This book is of interest for students of Russian literature as well as for those interested in the House as a cultural and literary topic, in the semiotics of literature, and in relations between culture, anthropology and literature.

Banned shortly after its publication in 1907, the Russian novel Sanin scandalized readers with the sexual exploits of its eponymous hero. Wreaking havoc on the fictional town he visits in Mikhail Artsybashev’s story, the character Sanin left an even deeper imprint on the psyche of the real-life Russian public. Soon “Saninism” became the buzzword for the perceived faults of the nation. Seen as promoting a wave of hedonistic, decadent behavior, the novel was suppressed for decades, leaving behind only the rumor of its supposedly epidemic effect on a vulnerable generation of youth. Who were the Saninists, and what was their “teaching” all about? Delving into police reports, newspaper clippings, and amateur plays, Otto Boele finds that Russian youth were not at all swept away by the self-indulgent lifestyle of the novel’s hero. In fact, Saninism was more smoke than fire—a figment of the public imagination triggered by anxieties about the revolution of 1905 and the twilight of the Russian empire. The reception of the novel, Boele shows, reflected much deeper worries caused by economic reforms, an increase in social mobility, and changing attitudes toward sexuality. Showing how literary criticism interacts with the age-old medium of rumor, Erotic Nihilism in Late Imperial Russia offers a meticulous analysis of the scandal’s coverage in the provincial press and the reactions of young people who appealed to their peers to resist the novel’s nihilistic message. By examining the complex dialogue between readers and writers, children and parents, this study provides fascinating insights into Russian culture on the eve of World War I.

Sofya Khagi’s Pelevin and Unfreedom: Poetics, Politics, Metaphysics is the first book-length English-language study of Victor Pelevin, one of the most significant and popular Russian authors of the post-Soviet era. The text explores Pelevin’s sustained Dostoevskian reflections on the philosophical question of freedom and his complex oeuvre and worldview, shaped by the idea that contemporary social conditions pervert that very notion. Khagi shows that Pelevin uses provocative and imaginative prose to model different systems of unfreedom, vividly illustrating how the present world deploys hyper-commodification and technological manipulation to promote human degradation and social deadlock. Rather than rehearse Cold War–era platitudes about totalitarianism, Pelevin holds up a mirror to show how social control (now covert, yet far more efficient) masquerades as freedom and how eagerly we accept, even welcome, control under the techno-consumer system. He reflects on how commonplace discursive markers of freedom (like the free market) are in fact misleading and disempowering. Under this comfortably self-occluding bondage, the subject loses all power of self-determination, free will, and ethical judgment. In his work, Pelevin highlights the unprecedented subversion of human society by the techno-consumer machine. Yet, Khagi argues, however circumscribed and ironically qualified, he holds onto the emancipatory potential of ethics and even an emancipatory humanism.