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.

The dangers of political violence and the possibilities of non-violence were the central themes of three lives which changed the twentieth century--Leo Tolstoy, writer and aristocrat who turned against his class, Mohandas Gandhi who corresponded with Tolstoy and considered him the most important person of the time, and Nelson Mandela, prisoner and statesman, who read War and Peace on Robben Island and who, despite having led a campaign of sabotage, saw himself as a successor to Gandhi. Tolstoy, Gandhi, and Mandela tried to create transformed societies to replace the dying forms of colony and empire. They found the inequalities of Russia, India, and South Africa intolerable yet they questioned the wisdom of seizing the power of the state, creating new kinds of political organisation and imagination to replace the old promises of revolution. Their views, along with their ways of leading others, are closely connected, from their insistence on working with their own hands and reforming their individual selves to their acceptance of death. On three continents, in a century of mass mobilization and conflict, they promoted strains of nationalism devoid of antagonism, prepared to take part in a general peace. Looking at Tolstoy, Gandhi, and Mandela in sequence, taking into account their letters and conversations as well as the institutions they created or subverted, placing at the centre their treatment of the primal fantasy of political violence, this volume reveals a vital radical tradition which stands outside the conventional categories of twentieth-century history and politics.

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? (1897). 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.

“This is a little gem, the best introduction to Tolstoy I have ever encountered, and it is more than that. The most accomplished scholar will find important new insights, the sort that one immediately recognizes as both true and profound. Orwin brings Tolstoy to life as a person and as a writer, and she also shows beautifully how the two are linked. The discussions of Tolstoy's views on psychology and the nature of art are especially illuminating.” —Gary Saul Morson, Lawrence B. Dumas Professor of the Arts and Humanities and Professor of Slavic Languages and Literatures, Northwestern University Count Leo Tolstoy (1828-1910) was born at Yasnaya Polyana, his ancestral estate located about 120 miles from Moscow. While he would live and travel in other places over the years, he always considered this family residence in the Russian heartland as his home. His lifelong quest for truth and meaning began while he was a university student. Subsequent experiences as an artillery officer in the Caucasian and Crimean Wars, and time spent in St. Petersburg and Europe, broadened his perspective and profoundly influenced him. In Simply Tolstoy, Professor Donna Tussing Orwin traces the author’s profound journey of discovery and explains how he mined his tumultuous inner life to create his great works, including War and Peace, Anna Karenina and The Death of Ivan Ilych. She shows how these books, both fiction and nonfiction, are not autobiographical in the conventional sense, but function as snapshots of Tolstoy’s state of mind at specific points in his life. The story she tells is, inevitably, intertwined with the story of Russia, a country also in constant search of its identity. Mixing biography, literary analysis, and history, Simply Tolstoy is a satisfying read for those already familiar with the author’s work, as well as an accessible and thoroughly engaging introduction to a literary giant who was also a tireless and uncompromising seeker of truth.

Assessing the relevance of Tolstoy's thought and teachings for the current day, Tolstoy and His Problems: Views from the Twenty-First Century is a collection of essays by a group of Tolstoy specialists who are leading scholars in the humanities and social sciences. In the broadest sense—with essays on a variety of issues that occupied Tolstoy, such as nihilism, mysticism, social theory, religion, Judaism, education, opera, and Shakespeare—the volume offers a fresh evaluation of Tolstoy's program to reform the ways we live, work, commune with nature and art, practice spirituality, exchange ideas and knowledge, become educated, and speak and think about history and social change.

Joe Andrew and Robert Reid assemble thirteen analytical discussions of Tolstoi’s key works, written by leading scholars from around the world. The works studied cover almost the entire length of Tolstoi’s career; the analyses present unique insights into Tolstoi’s artistic world.

What does sound, whether preserved or lost, tell us about nineteenth-century wartime? Hearing the Crimean War: Wartime Sound and the Unmaking of Sense pursues this question through the many territories affected by the Crimean War, including Britain, France, Turkey, Russia, Italy, Poland, Latvia, Dagestan, Chechnya, and Crimea. Examining the experience of listeners and the politics of archiving sound, it reveals the close interplay between nineteenth-century geographies of empire and the media through which wartime sounds became audible--or failed to do so. The volume explores the dynamics of sound both in violent encounters on the battlefield and in the experience of listeners far-removed from theaters of war, each essay interrogating the Crimean War's sonic archive in order to address a broad set of issues in musicology, ethnomusicology, literary studies, the history of the senses and sound studies.