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.

Few literary phenomena are as elusive and yet as persistent as realism. While it responds to the perennial impulse to use literature to reflect on experience, it also designates a specific set of literary and artistic practices that emerged in response to Western modernity. Landscapes of Realism is a two-volume collaborative interdisciplinary exploration of this vast territory, bringing together leading-edge new criticism on the realist paradigms that were first articulated in nineteenth-century Europe but have since gone on globally to transform the literary landscape. Tracing the manifold ways in which these paradigms are developed, discussed and contested across time, space, cultures and media, this first volume tackles in its five core essays and twenty-five case studies such questions as why realism emerged when it did, why and how it developed such a transformative dynamic across languages, to what extent realist poetics remain central to art and popular culture after 1900, and how generally to reassess realism from a twenty-first-century comparative perspective.

Soviet and Russian filmmakers have traditionally had uneasy relationships to the concept of genre. This volume rewrites that history by spotlighting some genres not commonly associated with cinema in the region, including Cold War spy movies and science-fiction films; blockbusters and horror films; remakes and adventure films; and chernukha films and serials. Introductory essays establish key aspects of these genres, and directors’ biographies provide the background for the key players. Building on the work of its predecessor, which explored cinema from the time of the tsars to the Putin era, this book will be warmly received by the serious film scholar as well as all those who love Russian cinema. Directory of World Cinema: Russia 2 is an essential companion to the filmic legacy of one of the world’s most storied countries.

My research in the intellectual and spiritual sphere of nineteenth century Russia revealed that ever since the penetration of the fashion able anti-ecclesiastical views of the Encyclopedists into Russia, the aristocrats had grown indifferent to religion. The spiritual vacuum created as a result of such conditions could not last, however, for a prolonged period of time; least of all during the decades following the r860's when Russia's moral, socio-political, and religious problems were most acute. The subsequent quest for salvation and the general religious inquiry among Russia's elite, as they were known in the West, manifested itself chiefly in the writings of such profound religious and philosophical thinkers as V. Solov'ev, K. Leont'ev, N. Fedorov, Dos toevskij, and Tolstoj. They constitute, however, only a fraction of those tormented by the longing for religious truth and guidance in an age of transition and uncertainty. There existed among Russia's aristocracy in the second half of the nineteenth century a widespread socio-religious movement known as Radstockism or Pashkovism, which aimed for a religious renovation and with it a transformation of Russia on an ethical and moral basis. These aristocrats were men and women who in their youth were in different to all faith, but who had never abandoned the search for a solution to their own and to Russia's problems. The solution to these problems they believed to be based on moral and religious principles found in Evangelical Christianity.

The second half of the nineteenth century was a turbulent and momentous time in Russian history, during which were sown the seeds of the revolution that would rout the monarchy and transform Russian society in the next century. In literature, this was the age of the great Realist novel, of the novelists and novels that first put Russian literature on the map of European culture.

Vols. 17-18 cover 1775-1914.