This bilingual collection in honor of the great scholar and writer Alexander Zholkovsky brings together new work from forty-four leading scholars in nine countries. Like Zholkovsky's oeuvre, this volume covers a broad range of subjects and employs an array of approaches. Topics range from Russian syntax to Peter the Great, literary theory, and Russian film. The articles are rooted in computational analysis, literary memoir, formal analysis, cultural history, and a host of other methodological and discursive modes. This collection provides not only a fitting tribute to one of the most fascinating figures of Russian letters but also a remarkable picture of the shape of Russian literary scholarship today.

This bilingual collection in honor of the great scholar and writer Alexander Zholkovsky brings together new work from forty-four leading scholars in nine countries. Like Zholkovsky's oeuvre, this volume covers a broad range of subjects and employs an array of approaches. Topics range from Russian syntax to Peter the Great, literary theory, and Russian film. The articles are rooted in computational analysis, literary memoir, formal analysis, cultural history, and a host of other methodological and discursive modes. This collection provides not only a fitting tribute to one of the most fascinating figures of Russian letters but also a remarkable picture of the shape of Russian literary scholarship today.

In early nineteenth-century Russia, members of jocular literary societies gathered to recite works written in the lightest of genres: the friendly verse epistle, the burlesque, the epigram, the comic narrative poem, the prose parody. In a period marked by the Decembrist Uprising and heightened state scrutiny into private life, these activities were hardly considered frivolous; such works and the domestic, insular spaces within which they were created could be seen by the Russian state as rebellious, at times even treasonous. Joe Peschio offers the first comprehensive history of a set of associated behaviours known in Russian as "shalosti," a word which at the time could refer to provocative behaviours like practical joking, insubordination, ritual humiliation, or vandalism, among other things, but also to literary manifestations of these behaviours such as the use of obscenities in poems, impenetrably obscure allusions, and all manner of literary inside jokes. One of the period's most fashionable literary and social poses became this complex of behaviours taken together. Peschio explains the importance of literary shalosti as a form of challenge to the legitimacy of existing literary institutions and sometimes the Russian regime itself. Working with a wide variety of primary texts-from verse epistles to denunciations, etiquette manuals, and previously unknown archival materials-Peschio argues that the formal innovations fuelled by such "prankish" types of literary behaviour posed a greater threat to the watchful Russian government and the literary institutions it fostered than did ordinary civic verse or overtly polemical prose.