- No value - # A B C D E F G H I J K L M N O P R S T U V W Y
The Great Republic Tested by the Touch of Truth
xxii + 71

Aleksei Evstaf´ev’s 1852 book, The Great Republic Tested by the Touch of Truth, is an early work in English by a native of Ukraine who identified as a Russian. Drawing from his years of Russian diplomatic service in the United States, Evstaf´ev presented a critique of American democracy as well as Russian despotism, preferring British constitutional monarchy instead. Writing from a conservative point of view, Evstaf´ev questioned whether people can govern themselves and argued that the fault lines of American politics would lead to a collapse.

The work presents an early example of a Russian critique of America. Particularly strong sections deal with the history of New York City before the Civil War and the problems of the American judicial system.

This annotated version provides the necessary context to understand the discussion of American and European politics and culture during the 1840s and 1850s. The Great Republic Tested by the Touch of Truth is a contribution to the history of Russian-American relations, Russian political thought, and New York City and American history.

Born in Ukraine, then part of the Russian Empire, in 1783, Evstaf´ev studied at the Kharkiv Ecclesiastical Seminary and then joined the Russian embassy in Britain as a churchman for services. His fluency in English and ability to write polemical booklets defending Russia advanced his career, and in 1808 he was named the Russian consul to Boston. There he spent his best-known years as a friend of the Federalist Party and an author of plays and books. With the  collapse of the Federalist

Party, he declined into obscurity. He later served as a diplomat in New York City and died in 1857. He is buried in Green-Wood Cemetery, Brooklyn.

Translated and edited by Alexander Rojavin

viii + 234

A bear self-begets in an ordinary Russian family’s bathroom, Pushkin accidentally survives his duel with d’Anthès, and the ill-fated family of a small boy born in prerevolutionary Russia stumbles through the 20th century all the way into the 21st, where the not-so-distant past is faded in the minds of the newest generations. But does that make the past irrelevant? Three plays accurately portray a Russia that is constant—constantly in flux, with both its present and its past changing from day to day. With time flowing forward, backward, and even sideways, the three plays in this book serve up an unflinching reflection of Russia’s tumultuous timeline.

Twenty short stories glossed and annotated by Oscar E. Swan


Mirosław Żuławski. Opowieśći mojej żony/Tales of My Wife is a glossed reader containing 20 short stories by the late Polish writer and diplomat Mirosław Żulławski. Loosely connected to the nostalgia-enhanced but true history of a Polish family over four generations, first in the Przemyśl area under Austro-Hungary and eventually in Warsaw during and after World War II, each "tale" takes departure from some social gathering at which the narrator's wife is reluctantly prevailed upon to tell a story to which she has alluded in conversation. Partly funny, partly philosophical, sometimes moving, often with unexpected twists and morals and tinged with irony, the stories reflect a belief in the ultimate sense of the way things turn out in life. Rich in concrete everyday vocabulary, the opowieśći are narrated in a simple direct conversational style, ideal for recitation and retelling. They are course-tested and are guaranteed to be read with pleasure by the advanced-intermediate or advanced-level student of Polish, whether as a supplement or as the primary text in a semester-long reading, writing, and conversation course. Occasional difficult passages and cultural obscurities are explained in notes, and the text is enhanced by several pages of photographs relating to places mentioned, some of them taken by the editor on a bicycle trip through the sub-Carpathians, recapturing the backdrop of several of the stories.

For additional materials, visit the author's website at: http://lektorek.org


Charles Halperin’s classic work of medieval Russian history, The Tatar Yoke, presented for the first time a comprehensive analysis of all major texts of Old Russian literature pertaining to Russo-Tatar relations. Halperin integrated the findings both of textologists and literary specialists about the history and evolution of the monuments and of orientalists about the Golden Horde. From these varied disciplinary perspectives he created a new historical context for interpreting Russian perceptions of the Tatars, the ideology of silence. The present volume is a corrected reprint of the original 1986 edition, with a new index created to enhance the volume’s usability. After nearly two decades out of print, during which time readers have been driven to consulting rare book dealers, the work is once again conveniently available to a new generation of Russian historians.

Book Review

Jahrbücher für Geschichte Osteuropas, Recensio.net, vol. 4, 2011

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Steven J. Molinsky


A manual to accompany A Russian Course by Alexander Lipson: The Teacher's Manual by Molinsky is by far the most complete and thorough teacher's manual for any Russian textbook, and it makes using the Lipson book easy for beginners as well as experienced teachers, since it gives step-by-step instructions for each class hour, with sample lesson plans, assignments for homework, sample tests, and explanations of why the book is constructed the way it is and what each section accomplishes. The Teacher's Manual is particularly useful for schools where much of the teaching is done by graduate students, since it gives them the day-to-day guidance that they need when starting their teaching careers.

John Reed

edited and annotated by William Benton Whisenhunt


Of all of the books by American witnesses of the Russian Revolution, John Reed's Ten Days That Shook the World was and still is the best known. Even though Reed arrived in Russia in September 1917 and left in the spring of 1918, his enthusiastic account focuses on the ten key days of the revolution itself, bringing to life the sights, sounds, and key people who were so instrumental in this critical event. Reed, officially a journalist, shed his objectivity and supported the Bolshevik cause, and this book was the key forum in which he made his case. In the end, the book has survived, and even thrived, as a primary source on the revolution, even though Reed died in 1920.

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A study of both the songs and the role that they play in the society which sings them. Contains twelve photographs, several pages of musical notation, and many song texts, given both in the Serbo-Croatian original and in English translation. " ...The author should be congratulated on a work which is a useful contribution to ... comparative folklore studies." (Folklore) "This small book deserves the attention of folklorists...." (Anthropos)


The Third Supplement to a Comprehensive Bibliography of Former Yugoslav Literature in English extends the project begun in 1976 with a preliminary volume-reprinted totally in 1984-and followed with the First Supplement in 1988 and the Second Supplement in 1992. The Third Supplement has added the word "Former" to Yugoslav Literature because of the political changes in the 1990s. This volume lists translations and criticism published anywhere in 1991-1998, as well as addenda. It follows closely the format of the previous volumes. It is all-inclusive (except for newspaper notices). Part 1 is preceded by a list of abbreviations, followed by the alphabetical listing of translations of folk literature in section 1. Section 2 of part 1 lists translations of poetry, fiction, drama, and literary essays by individual authors alphabetically (the definite and indefinite articles are ignored in alphabetization). Repeated translations of the same work are listed chronologically in the same entry; when the translations and the translator are the same, the translator's name is omitted in the subsequent source(s). In anthologies and sources with more than one work by the same author, the works are listed subsequently as they appear in the source, alphabetically by the first title only. Reviews of translated works follow the translation entry immediately. Part 2 lists all forms of criticism-reference works, books, articles, reviews, and dissertations. In obscure titles, the subject reference is provided in brackets. Authors of critical works are listed chronologically; anonymous works are listed under "Anonymous." Part 3 consists of indices. Index 1 lists the English titles or the first lines of works without a title. Index 2 provides titles of periodicals and newspapers, while Index 3 is the subject and name index (references to translated authors can be found also in part 1 and references to critics in part 2).

Contents Preface Abbreviations

Part One: Translations Folk Literature Individual Writers

Part Two: Criticism Entries in Reference Works Books and Articles Reviews Dissertations

Part Three: Indices English Titles or First Line of Translation Periodicals and Newspapers Subject and Name


Although Russian literary versification has been thoroughly investigated, Russian folk verse has been relatively little studied. Epic verse has received the most attention and has been compared with the Serbo-Croatian deseterac in an effort to derive a Common Slavic epic meter. The most widely accepted attitudes about Russian folk verse are that it shares no rhythmical features with literary meters, consists of accentual or tonic verse, has lost a regular number of syllables per line, or has no meters. Such theories have been based on analysis of a small number of texts and have largely ignored lyric verse. In actuality, three kinds of verse coexist in Russian folk poetry: isosyllabic meters, accentual verse, and meterless verse. As an exploration into Russian folk versification this study reevaluates existing theories and offers a new interpretation by focusing on songs composed in three lyric folk meters -- the 5 + 5 form, trochaic tetrameter with dactylic ending, and a related type of two-stress accentual verse with dactylic ending. Since the language of folk poetry differs in many respects from contemporary standard Russian, much attention is devoted to accentuation and syllabification in folk songs. Although the noun in phrases such as "vo chisto pole" is customarily regarded as losing its stress and becoming an enclitic, in texts having thoroughly marked accentuation the stress of the noun is shifted to the second syllable to avoid clashing adjacent stresses -- "vochisto polio." Such shifting widely occurs in folk songs, affects most parts of speech, and can be ascribed to the action of a fundamental rhythmic law operating in folk verse. Russian singers are capable of creating songs with a regular number of syllables per line by selecting morphological variants, particles, hypocoristics, and filler vowels that exist in folk poetry. The chapters about accentuation and syllabification represent important contributions to the study of the traditional language of folk songs and provide many insights into the composition of oral poetry. Many misconceptions about folk verse arise because of a failure to observe a fundamental distinction between the fixed text of a literary work and the variable text of a folk song. Successive chapters are concerned with the three meters and with a typology of all Russian folk meters with dactylic ending. For each meter textological problems inherent to the study of folk songs are covered, rhythmical analysis is presented chronologically, and generic associations are delineated. For instance, the 5 + 5 form is associated with wedding songs and non-ritual lyrics, but not with epics. The trochaic tetrameter has been studied only in wedding songs. Its rhythmical structure is close to that of the same literary meter, thus showing that folk and literary verse have common rhythmical features. In regard to songs in two-stress accentual verse, the thesis is proposed that historically accentual verse originated from a partial loss of syllabism in isosyllabic meters and that meterless verse arose from further syllabic loosening of the lines. Consideration of all verse forms with a dactylic ending reveals that Russian epic verse had already lost isosyllabism by the time that the first recordings were made in the eighteenth century, but that isosyllabic meters exist in lyric genres to this day. The wide-spread but not total loss of syllabism may be attributed to the development of the uniquely Russian performance mode of lyric song termed the prothzhnah pesnh in which the verbal text is fragmented. Russian folk verse appears to have developed several innovations which set it apart from the verse of other Slavic traditions. Extensive bibliographies are included on folk song collections and on studies about folklore, Russian accentuation, the languages of folk poetry, and versification.

"Kniga zasluzhivaet togo, chtoby vstat' rjadom s naibolee znachitel'nymi issledovanijami po russkomu fol'kloru poslednego vremeni." (Živaja starina)

"Bailey's book will be essential reading for those with a specialist interest in Russian folk verse..." (SEER)


This volume is a tribute to Theofanis G. Stavrou, Professor of Russian and Near Eastern History and Director of Modern Greek Studies at the University of Minnesota. A generous and penetrating scholar, as well as an award-winning teacher and mentor, Professor Stavrou is well known for his infectious enthusiasm for collaborative scholarship and wide-ranging expertise in Russian history and culture, Eastern Orthodox Church history, Modern Greek literature, and other fields. The forty-four contributors to this collection are a diverse group of mainly senior American scholars who have published erudite monographs related to the fields of Slavic, European, Mediterranean, and Eastern Orthodox studies.


Professor Stavrou has been a veritable institution in the United States for more than forty years. His works are cited broadly and his research has more often been confirmed than challenged over his career—something others could only wish for themselves. Professor Stavrou has also been the academic advisor of several generations of scholars in North America and Europe, and his ideas have influenced even young scholars who were not ever formally his students. His generosity and breadth of knowledge has been and continues to be tapped by scholars around the world, yet he remains modest about his own accomplishments and place in the field(s) he has pursued. Despite that modesty, this volume convincingly demonstrates that no one has earned the honor of a Festschrift more than he has.

Russell E. Martin
Professor of History
Westminster College

Albert Rhys Williams

Edited and introduced by William Benton Whisenhunt

xxiv + 199
Through the Russian Revolution by Albert Rhys Williams, a Congregationalist pastor-turned-labor-organizer-and-journalist, offers readers a first-hand account of the exciting and confusing events of the Russian Revolution from June 1917 to August 1918. Williams, a lifelong defender of the Soviet system, documented his first adventure in Russia at its most chaotic moments. There he formed a lasting impression of what he thought the Soviet system could offer to the world and dedicated the rest of his life to this cause. His account, while sympathetic, reveals to a modern audience the inner workings of the Bolshevik Party, life in Petrograd and the countryside, and an optimistic vision of the revolutionary future.

Josephine Pasternak-Ramsay & Rimgaila Salys


The Russian Poet and Philosopher Josephine Pasternak (1900–93) published two collections of verse during her lifetime, and her philosophical treatise Indefinability was brought out posthumously in 1998. Josephine belonged to a famous Moscow Family: her older brother was the poet and novelist Boris Pasternak and her father Leonid was a well-known early 20th-century painter. She left Russia in 1921 to study in Germany, married there, and subsequently emigrated to England. After the publication of Doctor Zhivago in 1957, Josephine was asked to write a history of the Pasternak family, which eventually led her to begin her own autobiography.

The memoir spans the years 1913–26 and records Josephine's transition from adolescence to young adulthood, first in pre-revolutionary Russia; then during the period of World War I and the Revolution; and finally in Germany during the early twenties. It provides a riveting picture of Russian life and personalities in the first quarter of the 20th century: Josephine describes middle-class life before the Revolution with wit and gusto, witnesses the events of 1917 in Moscow, writes humorously and irreverently about her working life in a government office, and ends with an account of her turbulent life in Berlin and Munich during the twenties.

Josephine constructs her life history as a frank exploration of her perceived failure to achieve her full potential in life, gradually uncovering the sexual and pathological origins of her later episodes of neurosis. Writing mostly during the mid-1960s, she would ever have called herself liberated, yet the autobiography emerges as a feminist text in spite of itself, centered in the tension between her genuine love for her family ad her repudiation of its control through a series of escapes: into neurosis and secret religious observances, fascinated both by the neatness and clarity of physics and mathematics, as well as under the spell of powerful superstitions and compulsions. The stress of reconciling these conflicting forces was to plague and exhaust her throughout her life. "Tightrope walking," she called it.

This memoir is a significant contribution to the study of Russian women's autobiography and, above all, a fascinating account of a remarkable young woman's life.

Elizabeth Ginzburg

xi + 249

Just as the key to Fedor Tjutchev’s life is his poetry, the key to his euphonious lyrics is sound. Tjutchev’s poetry demonstrates how he greatly extended the field of poetic sound form, much beyond the accomplishments of his predecessors. This study develops an original, functional approach to the structural role of assonance as expressed in his works. The functional approach is supplemented with the analytic methods of poetics and lingua-poetics, as well as those of musicology and the theory of music, and employs some common modes of musical analysis in order to treat sound in lyrics as part of a formal system. “For the general lover of poetry, Elizabeth Ginzburg’s book provides fascinating information and insights into the special role of sound in poetic language and into how sound produces and participates in meaning. This study of Tjutchev’s lyrics is a ‘must’ for versification specialists—and not just those in Russian poetry. It offers new approaches in theory and methodology applicable to any Western poetic tradition. The author’s dual expertise in musicology and Russian prosody combine here to produce a unique book.” — Anna Lisa Crone, University of Chicago “Tjutchev: Euphony and Beyond comprises an original approach to the study of verse structure. The author proposes to consider two major verse models, the dynamic (found in Tjutchev, Derzhavin, and Pushkin) and the static (identified in Fet). The work has a particular focus on the role of stressed vowels, as outlined in part 1, ‘Sound and Structure,’ and turns to anagrams in part 2, ‘Sound and Meaning.’ While there have been previous tentative explorations of such subjects as assonance, or anagrams, Elizabeth Ginzburg goes further than other scholars in showing the effect that both features can have on the organization and meaning of a poem. As a person with musical training, she also brings a fresh emphasis to investigating the relationship between music and poetry. In all these regards the book will prove of value to those interested in the study of verse.” — Barry P. Scherr, Mandel Family Professor of Russian, Dartmouth College


Among the many paradoxes in Tolstoy's thought and action there is the dichotomy between his tremendous authority as an artist and his supposedly inconsequential, wrong-headed views on aesthetics, expressed in the treatise What is Art? The conventional view is that for many complex and obscure reasons Tolstoy in his old age abandoned all his artistic accomplishments and all his understanding of art, replacing them both with a morality that had the sour, peevish smell of a hidden hostility to life. Proceeding from the premise that Tolstoy's aesthetic theories must always be seen in context of, and not separately from his art, the present book takes a radically different position. Tolstoy's views on art have been thoroughly consistent from the very beginning, and his own great works embody exactly the same aesthetic values as were later formulated in What is Art? The illusion of discrepancy arises from failure to perceive that one and the same idea will look very different when it is presented as an argument in a treatise, and when it is conveyed as complex human experience in a novel. Thus, the aim here is to reveal the profound integrity and wholeness of Tolstoy's art and thought.

"Scholars interested in Tolstoyan aesthetics will find much relevant information expertly presented in this book." (Choice)

"Silbajoris's reading of Tolstoi is thus successfully corrective, astutely synthetic and a welcome new appreciation of the power of Tolstoi's aesthetics and his art." (SR) "...he leads us to an even deeper and fuller appreciation of Tolstoy's genius." (RR)

Edited by Demetrius J. Koubourlis

viii + 270



Demetrius J. Koubourlis

 Foreword     iii

Robert Abernathy

 An Often-Solved Problem Indo-European kt in Slavic     1

James Augerot

 Jat' and the Bulgarian Verb     24

Herbert Coats

 On the Alternation j/v in Russian     29

Frederick Columbus

 Phonological Rules in the Language of Sofronij Vracanskij     43

Richard C. DeArmond

 An Abstract Phonological Interpretation of Verb Stems in Ukrainian Formed with the Thematic Suffix /oh/     50

Michael S. Flier

 The v/j Alternation in Certain Russian Verbal Roots     66

Zbigniew Golab

 The Internal Conditioning and Relative Chronology of the Polish `Mazurzenie'     84 Phillip Klindt

 Vowel Length Alternations in Czech Inflectional Paradigms     102

Demetrius J. Koubourlis and Donald J. Nelson

 Phoneme Nonrandomness and the Mechanical Morpheme Segmentation of Russian     110

Jasna Kragalott

 On the Phonology of Turkish Loanwords in Serbocroatian     127

Lew Micklesen

 The Slavic Comparative     140

Kenneth E. Naylor

 Notes on Chakavian Prosody     152

Elizabeth Pribic

 Some Observations on the Phonological System of the Language of the Alaska Herald     167

Edward T. Purcell

 A Model for Word-tone and Segmental Duration in Serbocroatian     178

Michael Shapiro

 Phonological Aspects of the Russian Morphophonemic Component     203

George Y. Shevelov

 The Reflexes of *dj in Ukranian     223

Dean S. Worth

 On Irregularities (Real and Apparent)     235

Index     251

x + 294

Most students who take Russian wonder about various aspects of its phonology and grammatical system, especially the idiosyncrasies and intricacies that differ markedly from English. Many sense that a more orderly system must underlie the complex and often confusing system presented in beginning textbooks. Hart's book introduces students to Russian linguistics through a study of various topics in phonetics, phonology, and grammar. It assumes no previous knowledge of linguistics. The first three chapters deal with phonetics, phonology, and review several fundamental alternations. Questions about exceptional forms lead to the book's fourth chapter, a survey of topics from the history of Russian. The second part of the book returns to the modern language and concentrates on inflectional and derivational morphology and introduces fundamental concepts of morphophonemics. The final chapter, which draws on much of what was presented in earlier chapters, provides a description of Russian stress according to the latest theory and presents a methodology for predicting stress, given certain information. Major dialectal deviations from standard usage are discussed in most chapters. Appendices include a key to the exercises, stress valencies of high-frequency roots, definitions of key terms and principles used throughout the text, and a bibliography and index. The book is aimed primarily at advanced undergraduate and beginning graduate students of Russian, but parts of it will be useful for advanced graduate students.


Thompson Bradley taught Russian language and literature at Swarthmore College from 1962 to 2001. He has had a tremendous and continuing influence on colleagues, friends, students, and comrades in political organizing and action. This Festschrift honors his passion and dedication with contributions from three disciplines that most concerned him: literature, history, and politics. In each case, they include both scholarship and writing about action.

xvii + 274

Yale Russian and East European Publications

How national rivalry led to dictatorship and the division of Europe.


Introduction: From the Habsburgs to the Soviet Russians

Part One: The Tragedy of Nationalism:

1. The Lost Peace

2. Federalist Failures

3. The Nazi Challenge

4. Czechs and Hungarians

5. Appeasement of Hitler

6. Munich: Hopes and Lessons

7. From Munich to Moscow

Part Two: The Triumph of Tyranny:

8. German Hegemony

9. Federalist Interlude

10. Partition of Europe

11. Churchill's Bargain

12. Yalta: Hopes and Lessons

13. Stalin's Triumph

14. From Potsdam to Prague

15. Benesh and the Russians

Part Three: The Aftermath -- Eastern Europe since 1948

Epilogue One: The Unfinished Struggle for Independence

Epilogue Two: Cold War Becomes Dïtente



"Never has the reviewer read a more objective account of events that have occurred in Central Europe over the past sixty years..." (Polish Review)

M. Zoshchenko, selected and annotated for English-speaking students by Lesli LaRocco and Slava Paperno


These short stories by Mikhail Zoshchenko, a classic of Soviet satire, were collected from various early editions. They include such gems as "Rodnye Liudi", "Seren'kii kozlik", "Bania," and other stories. No changes were made in the text. All idiomatic, elliptical, colloquial, or difficult phrases are explained in the footnotes. Standard literary equivalents are provided for all colloquial expressions. A glossary at the end of the book contains all of the words used in the stories. The glossary also contains detailed morphological information, in the same format as the grammatical dictionary 5000 Russian Words (also from Slavica). The stories can be used for second- or third-year students of Russian. Some are suitable even for late in the first year. In addition to being excellent reading assignments, all stories can be summarized easily by the students, or acted out in class. Additional materials for this title are available through the Cornell Language Resource Center at: http://www.lrc.cornell.edu/sales/links/russian "...a timely choice... a welcome classroom tool... (MLJ)


Since July 2004 Robert Rothstein has been writing about Polish language, literature and folklore for the Boston-based biweekly Biały Orzeł/White Eagle. Inspired by the calender, by items in the Polish press, by his experience learning and teaching the Polish language, by new acquisitions for his home library, by questions from readers and by serendipity, he has explored, among other things, the origins of words and expressions, the grammatical peculiarities of the language and the reflections of everyday (and not so everyday) life in Polish proverbs and folksongs and in the works of great Polish writers. The present edited collection of seventy of his columns deals with topics ranging from why there is no country called Italia on Polish maps to why the word to the wise is not always sufficient; from names for the devil to what Polish turkeys have to do with India; from the language of flowers to the signs of the zodiac; from urban folksongs to why Polish is so difficult. You don't have to be Polish-or even know Polish- to enjoy the essays collected here.

Robert A. Rothstein is professor of Slavic and Judaic Studies and of Comparative Literature, and adjunct professor of Linguistics at the University of Massachusetts Amherst, where he also holds the Amesbury Professorship in Polish Language, Literature, and Culture and regularly teaches the Polish language. After studying mathematics and linguistics at MIT, he earned the Ph.D. in Slavic Languages and Literatures at Harvard. He has published widely in the areas of Slavic linguistics, folklore, cultural history, and music. His contributions to Polish studies include the chapter on the Polish language for the Routledge handbook The Slavonic Languages and articles on the publicistic works of the great Polish linguist Jan Baudouin de Courtenay, on aspects of Polish syntax, on issues of sex and gender in the Polish language, as well as studies of mutual cultural and linguistic influences between Polish and Yiddish, and articles making use of Polish folkloric material. In 2013 he was awarded the Officer’s Cross of the Order of Merit of the Polish Republic by President Bronisław Komorowski in recognition of his work of more than four decades in supporting and promoting Polish culture.


Often a single concept, or a polarity between opposing concepts, will provide the key to understanding a unique vision of social interaction, organizing many of a writer's perceptions around a central axis. An understanding of this central axis enables readers and critics to see the writer's work in clearer perspective. In the works of Fyodor Dostoevsky the concept of dominance in personal relationships provides such an axis around which human interaction is organized. Cox's book explores this concept on the basis of a variety of Dostoevsky's works. Contents: 1. Introduction; 2. Bonding Hierarchies in Literature before Dostoevsky; 3. The Emotional Solipsist; 4. Identity Crisis and Character Doubling; 5. The Friend as Enemy; 6. The Lover as Tyrant; 7. Guilt, Compassion, and the Power of Weakness; 8. The Criminal as Victim; 9. Primal Murders; 10. The Dominance Hierarchy in Political Behavior; 11. The Structure of Dostoevsky's Images. "A most interesting study, highly recommended." (JRS) "... Cox's subtle treatment and understanding of the psychological dimensions of Dostoevsky's works are impressive and deserve attention." (Choice)