Most discussions of sexuality in the work of Dostoevsky have been framed in Freudian terms. But Dostoevsky himself wrote about sexuality from a decidedly pre Freudian perspective. By looking at the views of human sexual development that were available in Dostoevsky's time and that he, an avid reader and observer of his own social context, absorbed and reacted to, Susanne Fusso gives us a new way of understanding a critical element in the writing of one of Russia's literary masters. Beyond discovering Dostoevsky's own views and representations of sexuality as a reflection of his culture and his time, Fusso also explores his artistic treatment of how children and adolescents discover sexuality as part of their growth.

In Dostoevsky’s Dialectics and the Problem of Sin, Ksana Blank borrows from ancient Greek, Chinese, and Christian dialectical traditions to formulate a dynamic image of Dostoevsky’s dialectics—distinct from Hegelian dialectics—as a philosophy of “compatible contradictions.”

When Fyodor Dostoevsky proclaims that he is a "realist in a higher sense," it is because the facts are irrelevant to his truth. And it is in this spirit that Apollonio approaches Dostoevsky’s work, reading through the facts the text of his canonical novels for the deeper truth that they distort, mask, and, ultimately, disclose. This sort of reading against the grain is, Apollonio suggests, precisely what these works, with their emphasis on the hidden and the private and their narrative reliance on secrecy and slander, demand.

Effective History presents its reader with a thorough explanation and evaluation of H.-G. Gadamer’s concept of “effective history,” not only as it pertains to the broader range of hermeneutic and postmodern thinkers working in the wake of Kantian philosophy, but first and foremost as a careful and measured consideration of the practice of effective history as a critical method for philosophy in our current times.

How does the body politic reflect the nature of human embodiment? To pursue this question in a new and productive way, James Mensch employs a methodology consistent with the fact of our embodiment; he uses Merleau Ponty’s concept of "intertwining"—the presence of one’s self in the world and of the world in one’s self—to understand the ideas that define political life.

Sots art, the mock use of the Soviet ideological clichés of mass culture, originated in Soviet nonconformist art of the early 1970s. An original and provocative guide, Endquote: Sots Art Literature and Soviet Grand Style examines the conceptual aspect of sots art, sots art poetry, and sots art prose, and discusses where these still vital intellectual currents may lead.

As cultural conflicts roil the world, the idea of a “clash of civilizations” has lately taken hold, with commentators from both East and West weighing the religious and political disparities that affect global unity. For all its present currency and urgency, the idea is nothing new.  In various contexts V. S. Soloviev (1853–1900), the most distinguished representative of nineteenth century Russian religious philosophy, anticipated our current global dilemma by more than a hundred years. These essays, presented together for the first time in English, consider from a number of perspectives how a future clash of cultures between East and West threatens human progress toward the harmonic unity that, for Soloviev, represented the ultimate human telos.

These fourteen essays reflect the increasingly interdisciplinary character of Russian literature research in general and of the study of Gogol in particular, focusing on specific works, Gogol's own character, and the various approaches to aesthetic, religious, and philosophical issues raised by his writing.

However widely and differently Jacques Derrida may be viewed as a "foundational" French thinker, the most basic questions concerning his work still remain unanswered: Is Derrida a friend of reason, or philosophy, or rather the most radical of skeptics? Are language related themes writing, semiosis his central concern, or does he really write about something else? And does his thought form a system of its own, or does it primarily consist of commentaries on individual texts? This book seeks to address these questions by returning to what it claims is essential history: the development of Derrida's core thought through his engagement with Husserlian phenomenology. Joshua Kates recasts what has come to be known as the Derrida/Husserl debate, by approaching Derrida's thought historically, through its development. Based on this developmental work, Essential History culminates by offering discrete interpretations of Derrida's two book length 1967 texts, interpretations that elucidate the until now largely opaque relation of Derrida's interest in language to his focus on philosophical concerns.

Though among the most prominent writers in Russia in the mid nineteenth century, Evgeniia Tur (1815 92) and V. Krestovskii (1820? 89) are now little known. By looking in depth at these writers, their work, and their historical and aesthetic significance, Jehanne M. Gheith shows how taking women's writings into account transforms traditional understandings of the field of nineteenth century Russian literature. Gheith's analysis of these writers' biographies, prose, and criticism intervenes in debates about the Russian literary tradition in general, Russian women's writing in particular, and feminist criticism on female authors and authority as it has largely been developed in and for Western contexts.