New Books by Dartmouth Authors: East European, Eurasian, and Russian Studies

Written in Blood offers a fundamentally new interpretation of the emergence of modern terrorism, arguing that it formed in the Russian literary imagination well before any shot was fired or bomb exploded. In March 1881, Russia stunned the world when a small band of revolutionaries calling themselves ""terrorists"" assassinated the Tsar-Liberator, Alexander II. Horrified Russians blamed the influence of European political and social ideas, while shocked Europeans perceived something new and distinctly Russian in a strategy of political violence that became known the world over as ""terrorism"" or ""the Russian method."" Lynn Ellen Patyk contends that the prototype for the terrorist was the Russian writer, whose seditious word was interpreted as an audacious deed-and a violent assault on autocratic authority. The interplay and interchangeability of word and deed, Patyk argues, laid the semiotic groundwork for the symbolic act of violence at the center of revolutionary terrorism. While demonstrating how literary culture fostered the ethos, pathos, and image of the revolutionary terrorist and terrorism, she spotlights Fyodor Dostoevsky and his ""terrorism trilogy""-Crime and Punishment (1866), Demons (1870-73), and The Brothers Karamazov (1878-80)-as novels that uniquely illuminate terrorism's methods and trajectory. Deftly combining riveting historical narrative with penetrating literary analysis of major and minor works, Patyk's groundbreaking book reveals the power of the word to spawn deeds and the power of literature to usher new realities into the world.

Confronting Bakhtin's formative reading of Dostoevsky to recover the ways the novelist stokes conflict and engages readers--and to explore the reasons behind his adversarial approach   Like so many other elements of his work, Fyodor Dostoevsky's deliberate deployment of provocation was both prescient and precocious. In this book, Lynn Ellen Patyk singles out these forms of incitement as a communicative strategy that drives his paradoxical art. Challenging, revising, and expanding on Mikhail Bakhtin's foundational analysis in Problems of Dostoevsky's Poetics, Patyk demonstrates that provocation is the moving mover of Dostoevsky's poetics of conflict, and she identifies the literary devices he uses to propel plot conflict and capture our attention. Yet the full scope of Dostoevsky's provocative authorial activity can only be grasped alongside an understanding of his key themes, which both probed and exploited the most divisive conflicts of his era. The ultimate stakes of such friction are, for him, nothing less than moral responsibility and the truth of identity.   Sober and strikingly original, compassionate but not uncritical, Dostoevsky's Provocateurs exposes the charged current in the wiring of our modern selves. In an economy of attention and its spoils, provocation is an inexhaustibly renewable and often toxic resource.

In late nineteenth-century Russia, a series of organizations emerged from the nascent radical liberationist movement for the purposes of providing aid to political prisoners and exiles. Those leading these endeavors framed them as a philanthropic exercise that was paradoxically always also political, provocatively appropriating the name and humanitarian mission of the Red Cross for their illicit attempts to assist the enemies of the Tsarist state. These efforts provided a unifying thread to the fractious and fragmented revolutionary movement over years and even decades. The unjustly persecuted political prisoner or exile came to serve as a powerful synecdoche for the tyranny of the autocratic state, while assisting these "suffering martyrs" came to be legible as an indisputably noble act across political and even national boundaries. Revolutionary Philanthropy--the first book in any language to provide a comprehensive portrait of the origins of these organizations--posits that the groupings that undertook aid to political prisoners and exiles emerged through gradually accrued shared practices within a series of constantly evolving, overlapping domestic and international personal and political networks. In bringing together two seemingly incompatible modes of social action--radical politics and philanthropy--these "red cross" activities came to form a vital connective tissue across party and ideological lines. Moreover, they connected the still small and isolated groupings of committed revolutionaries to a significantly wider circle of sympathizers, both at home and abroad. Within Russia, this linked radicals to a significantly broader circle of liberals and politically uncommitted supporters, while revolutionary émigrés presented the Western public with a captivating narrative of heroic martyrs unjustly suffering for the cause. While the strain of conflicting imperatives threatened on multiple occasions to unravel the entire affair, in the end this very tension proved instrumental in making them durable. Drawing on a wide range of archival sources inÂmultipleÂlanguages,ÂsomeÂof which have not been consulted before

Tapping into the emergence of scholarly comedy studies since the 2000s, this collection brings new perspectives to bear on the Dostoevskian light side. Funny Dostoevksy demonstrates how and why Dostoevsky is one of the most humorous 19th-century authors, even as he plumbs the depths of the human psyche and the darkest facets of European modernity. The authors go beyond the more traditional categories of humor, such as satire, parody, and the carnivalesque, to apply unique lenses to their readings of Dostoevsky. These include cinematic slapstick and the body in Crime and Punishment, the affective turn and hilarious (and deadly) impatience in Demons, and ontological jokes in Notes from Underground and The Idiot. The authors - (coincidentally?) all women, including some of the most established scholars in the field alongside up-and-comers - address gender and the marginalization of comedy, culminating in a chapter on Dostoevsky's "funny and furious" women, and explore the intersections of gender and humor in literary and culture studies. Funny Dostoevksy applies some of the latest findings on humor and laughter to his writing, while comparative chapters bring Dostoevsky's humor into conjunction with other popular works, such as Chaplin's Modern Times and Lin-Manuel Miranda's Hamilton. Written with a verve and wit that Dostoevsky would appreciate, this boldly original volume illuminates how humor and comedy in his works operate as vehicles of deconstruction, pleasure, play, and transcendence.