In June 1862, Dostoevsky left Petersburg on his first excursion to Western Europe. Ostensibly making the trip to consult Western specialists about his epilepsy, he also wished to see firsthand the source of the Western ideas he believed were corrupting Russia. Over the course of his journey he visited a number of major cities, including Berlin, Paris, London, Florence, Milan, and Vienna. He recorded his impressions in Winter Notes on Summer Impressions, which were first published in the February 1863 issue of Vremya (Time), the periodical of which he was the editor.

In June 1862, Dostoevsky left Petersburg on his first excursion to Western Europe. Ostensibly making the trip to consult Western specialists about his epilepsy, he also wished to see first-hand the source of the Western ideas he believed were corrupting Russia. Over the course of his journey he visited a number of major cities, including Berlin, Paris, London, Florence, Milan and Vienna.His record of the trip, Winter Notes on Summer Impressions - first published in the February 1863 issue of Vremya, the periodical he edited - is the chrysalis out of which many elements of his later masterpieces developed.

The book description for the previously published "Dostoevsky: The Stir of Liberation, 1860-1865" is not yet available.

"The aim of this book is to explore some of the main pre-occupations of literature, culture and criticism dealing with historical themes in post-Soviet Russia, focusing mainly on literature in the years 1991 to 2006." --introd.

Before leaving home he had engaged to send back dispatches to La Stampa; after appearing there, his "letters from India" were collected and issued posthumously as Verso la cuna del mondo (1917), now published in English for the first time. The extent of Gozzano's travels - to Ceylon, Goa, Agra, Jaipur - makes one wonder how the writer was able to visit all or even most of the places he so vividly describes.

One of the most profound and most unsettling works of modern literature, Notes from Underground (first published in 1864) remains a cultural and literary watershed. In these pages Dostoevsky unflinchingly examines the dark, mysterious depths of the human heart. The Underground Man so chillingly depicted here has become an archetypal figure -- loathsome and prophetic -- in contemporary culture. This vivid new rendering by Boris Jakim is more faithful to Dostoevsky s original Russian than any previous translation; it maintains the coarse, vivid language underscoring the "visceral experimentalism" that made both the book and its protagonist groundbreaking and iconic.

Reconsidering Dostoevsky's legacy 200 years after his birth, this collection addresses how and why his novels contribute so much to what we think of as the modern condition.

The word “freedom” is so overly used—and frequently abused—that it is always in danger of becoming nothing but a cliché. In Another Freedom, Svetlana Boym offers us a refreshing new portrait of the age-old concept. Exploring the rich cross-cultural history of the idea of freedom, from its origins in ancient Greece to the present day, she argues that our attempts to imagine freedom should occupy the space of not only “what is” but also “what if.” Beginning with notions of sacrifice and the emergence of a public sphere for politics and art, Boym expands her account to include the relationships between freedom and liberation, modernity and terror, and political dissent and creative estrangement. While depicting a world of differences, she affirms lasting solidarities based on the commitment to the passionate thinking that reflections on freedom require. To do so, Boym assembles a remarkable cast of characters: Aeschylus and Euripides, Kafka and Mandelstam, Arendt and Heidegger, and a virtual encounter between Dostoevsky and Marx on the streets of Paris. By offering a fresh look at the strange history of this idea, Another Freedom delivers a nuanced portrait of freedom, one whose repercussions will be felt well into the future.