' Here is Tolstoy's religion; and non-violence is at its heart. Simon Parke, author of The Beautiful Life.

Maude's excellent translation of Tolstoy's treatise on the emotionalist theory of art was the first unexpurgated version of the work to appear in any language. More than ninety years later this work remains, as Vincent Tomas observed, "one of the most rigorous attacks on formalism and on the doctrine of art for art's sake ever written". Tomas' Introduction makes this the edition of choice for students of aesthetics and anyone with philosophical interests.

In the summer of 1886, shortly before his fifty-eighth birthday, Leo Tolstoy was seriously injured while working in the fields of his estate. Bedridden for over two months, Tolstoy began writing a meditation on death and dying that soon developed into a philosophical treatise on life, death, love, and the overcoming of pessimism. Although begun as an account of how one man encounters and laments his death and makes this death his own, the final work, On Life, describes the optimal (...) life in which we can all be happy despite our mortality. After its completion, On Life was suppressed by the tsars, attacked by the hierarchs of the Russian Orthodox Church, and then censored by the Stalinist regime. This critical edition is the first accurate translation of this unsung classic of Russian thought into English, based on a study of manuscript pages of Tolstoy's drafts, and the first scholarly edition of this work in any language. It includes a detailed introduction and annotations, as well as historical material, such as early drafts, documents related to the presentation of an early version at the Moscow Psychological Society, and responses to the work by philosophers, religious leaders, journalists, and ordinary readers of Tolstoy's day. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

Maude's excellent translation of Tolstoy's treatise on the emotionalist theory of art was the first unexpurgated version of the work to appear in any language. More than ninety years later this work remains, as Vincent Tomas observed, "one of the most rigorous attacks on formalism and on the doctrine of art for art's sake ever written". Tomas' Introduction makes this the edition of choice for students of aesthetics and anyone with philosophical interests.

Leo Tolstoy (1828–1910) was one of the greatest artists of all time, but also one of the harshest critics of the contemporary art. In the conclusion of his controversial book, What is Art?, Tolstoy claimed: “The purpose of art in our time consists in transferring from the realm of reason to the realm of feeling the truth that people’s well-being lies in being united among themselves and in establishing, in place of the violence that now reins, that Kingdom of God (...) – that is, of love – which we all regard as the highest aim of human nature.” In my paper I want to examine what Tolstoy means by that, and also how his understating of the purpose of art applies to his own works of art, as well as how it applies to some other contemporary works of art. (shrink)

The tragic death in Tolstoy's writings has helped both Max Weber and György Lukács in characterizing the modern pathos as a tragic contemplation of the emptiness of life. Through Tolstoy's readings, Weber and Lukács found an interesting source of denying arts and modern sciences autonomy, considering, from the aesthetics sphere, the meaningless of this new immanent reality. Both has assumed Tolstoy main theme from the same perspective, contrasting ancient and modern worldviews. Max Weber presented this theme in his disenchantment of (...) world theory and Lukács, in a very similar way, following the paradox of religious needing as a mainline. -/- O tema da morte trágica, presente nos escritos de Liev Tolstói, auxiliou tanto a Max Weber como a György Lukács a caracterizarem o pathos moderno de pressentimento da morte como uma contemplação do vazio. Weber e Lukács encontraram, através das leituras de Tolstói, uma interessante maneira de questionar a autonomia da arte e da ciência moderna, considerando pela esfera estética, como se mostra sem sentido a recente realidade imanente. Ambos assumiram o tema central das obras de Tolstói segundo uma mesma imagem, derivada do contraste entre o mundo antigo e o moderno. Max Weber adequou esse tema a sua teoria do desencantamento do mundo e Lukács, de modo muito semelhante, seguindo seu conceito do paradoxo da necessidade religiosa. (shrink)

Doctor Stephen Strange and Leo Tolstoy both experienced significant changes in mid‐life, though, that affected their worldviews and led them to reconsider the meaning of life. For his part, Tolstoy developed a strong opposition to violence, even when used in resistance to evil. A central focus of Tolstoy's newfound philosophy is the evil of the violence practiced by humans throughout history. The metaphysical nature of evil is reflected in the amount of time Doctor Strange spends in such realms as the (...) Dream Dimension, fighting the darkness that tries to take over human minds and souls. If Tolstoy were in the world of Doctor Strange, he might open the sacred Book of Vishanti, don the Eye of Agamotto, and become a sorcerer‐defender of our planet from demonic evil. (shrink)

In his later years, Leo Tolstoy wrote numerous books, essays and pamphlets expounding his newly-articulated denunciations of all political violence, whether by dissidents or ostensibly legitimate states. If these writings have inspired many later pacifists and anarchists, it is partly thanks to his masterful deployment of the literary technique of ‘defamiliarisation’ – or looking at the familiar as if new – to shake readers into recognising the absurdity of common justifications of violence, admitting their implicit complicity in it, and noticing (...) the process which numbed them into accepting such complicity. This paper discusses Tolstoy’s use of the imagination to defamiliarise and denounce violence, first by citing several typical examples, then by reflecting on four of its subversive characteristics: its disruption of automated perception, its implicit concession of some recognition, its corrosion of conventional respect for traditional hierarchies, and its encouragement of empathy. (shrink)

In no other age, however distinguished it may have been by brilliant discoveries, has the question of the meaning of life faced humanity as acutely and urgently as in recent times. Considerable interest in this realm of philosophical thought has been aroused chiefly by the fact that now more than ever, the most urgent and dramatic crises of being have emerged and grown more threatening, taking the form of "eternal questions" for mankind as a whole: will humanity, its culture, science, (...) and art, exist or not exist? How can we ward off the threat that hangs over the entire world, and how with the aid of reason can we defend the humanistic principles of the human community? and what is reason itself in the contemporary person—the ethically "neutral" intellect of the bourgeois scholar, or a special capability, characteristic only of those who can understand life's phenomena through an inner spiritual-valuative relation to themselves and others as human beings? It is precisely the problem of the ethical orientation of human reason, its conversion from an "instrument of knowledge' ' into a means for the humanization of human existence that has become one of the most critical problems of the last quarter of the twentieth century. Despite the advancing progress of science and technology, and to some extent even because of it, again the person is turned towards self-knowledge, to the definition of his essence in new concrete historical conditions. In this article, we have attempted to approach the idea of the humanization of human reason, turning to the problems of the ethical-philosophical legacy of L. N. Tolstoy. We will try to demonstrate the expediency, and necessity, of such an approach. (shrink)

In the article the basic principles of L. Tolstoy’s teaching are singled out, which according to his critics testify to its “non-Christian” character. Among these principles, there are emphasis on personal religious experience; emphasis on the importance of reason as the main ability of man in his relationship with God; the understanding of God as an impersonal absolute embracing all that exists. The main principle of Tolstoy’s teaching is the possibility of a person’s merging with God, this leads to the (...) loss of the personality of man; on the other hand, after merging person with God evil, suffering and death become inessential: a religious person must come to an understanding of life as a blessing and realize his own eternity – uncreatedness and indestructibility. Jesus Christ is understood by Tolstoy as a great teacher, and not as a Savior: Christ brought the doctrine of how to make a life good and perfect. Tolstoy denies the idea of a personal bodily resurrection, considering it to be characteristic of Judaism; in the teaching of Tolstoy man is eternal, and death refers only to the empirical level of our existence. It is shown that Tolstoy’s teaching in all these principles coincides with the teaching of Gnostic Christianity. If the hypothesis that the Gnostic apocrypha express the most ancient layer of Christian ideas is true, Tolstoy’s teaching can be recognized as the exact expression of the true, original Christianity. (shrink)

Tolstoy was a frame of reference in the work of Lukács twice, during 1914–16 and 1935–6 respectively. His first-time encounter with Tolstoy was presented in the chapter of The Theory of the Novel involving both Dostoevsky and Tolstoy, but the former was given more credit and reckoned as the prophet of a new world. It was not until the 1930s that Lukács’ taste changed, and his top priority went to Tolstoy instead. Yet, with due respect to the vicissitudes of his (...) life throughout the 1910s until the 1930s, Lukács remained faithful to his philosophy of history in terms of aesthetic judgment. His preference for the grand artworks was not new as his admiration for Homer showed, but his belief in the resurrection of grand art as realism was rooted in a new and false illusion. Still, his essays on Tolstoy of the 1930s are rich in aesthetic analysis, such as the different aspects of temporality. (shrink)

This article follows a strand of ethical thought that weaves itself throughout Leo Tolstoy’s religious writings: the injunction of non-resistance. This ethical position has been described by some critics as a form of religious idolatry in Tolstoy’s work. I challenge that claim in this article by deploying the work of Emmanuel Levinas to provide much needed nuance to Tolstoy’s call for non-resistance. Via the ethical framework provided by Levinas, I contend that Tolstoy’s positions are built upon a conception of the (...) finite world that sees a proper comportment to finitude as the mode by which one engages the infinite. This ethical call is one that escapes satiation by demanding a ceaseless act of non-resistance—which is, for him, the essential kernel of the Christian message. Tolstoy’s God, I argue, is this infinite demand; something akin to an ethical claim that marks the subject—a mandate that is met when one enacts the ethical obligation of non-resistance. (shrink)

This article argues that Tolstoy’s What Is Art? had a direct influence on David Foster Wallace’s conception of literature, and most specifically that Wallace appropriated Tolstoy’s discourse (down to most of its most specific details) to found his literary project. The article seeks to prove this by exhibiting the striking extent of Wallace’s alignment with Tolstoy’s beliefs, by retracing the multiple direct references to Tolstoy in Wallace’s work, and by uncovering Wallace’s annotations on his own copy of What Is Art? (...) as further confirmation of what a careful comparative analysis of the works of the two authors makes manifest. (shrink)

The novelty of the idea of the article is an attempt to include Tolstoyana in the ongoing religious war in the world, the global struggle of truth against deception. The battle of the West with the East clarifies what "truly exists" and "how man manifests God". The author reflects on the laws of life and coexistence of people.

The paper discusses Leo Tolstoy's philosophy as developed in his works 'A Synoptic Presentation of the Four Gospels' and 'The Gospel in Brief'. Tolstoy considered Christian religion not as a belief but as an ethical doctrine about how to live, so that our life does not lose its meaning when confronted with the death. Jesus' doctrine teaches that we must lead our life following our spirit, not our flesh. This means that we must strive to understand other persons and to (...) be good to them. Then God will stay with us and we will lose our fear of the death.. (shrink)

The text analyzes Leo Tolstoy’s Resurrection focusing on the feelings expressed in the novel. It focuses on: the ways in which the content of the novel is expressed through artistic means; Tolstoy’s anthropology; the notion of love presented by Ronald de Sousa in his last book Love. A Very Short Introduction: the difference between love and mood or emotion; the classification of love ; the distinction between love and lust; love as a reason-free desire; and the notion of the historicity (...) of love. (shrink)

The masterly essay on Tolstoy’s view of history, in which Sir Isaiah Berlin underlines a fundamental distinction between those people (foxes) who are fascinated by the infinite variety of things and those (hedgehogs) who relate everything to a central, all-embracing system.

This paper explores two opposed paradigmatic approaches to heroic power: Thomas Carlyle's versus Leo Tolstoy's. In On Heroes, Hero Worship and the Heroic in History (1840), Carlyle argues for its crucial importance, whereas in War and Peace (1869), Tolstoy denies its very possibility. Carlyle's heroic model attributes to the hero (the leader) a high degree of mastery and control over social and political circumstances, whereas Tolstoy's a-heroic model implies a small degree of personal mastery and much greater constraints on the (...) individual leader. Both models achieved prominence in the wake of the Napoleonic Wars, which brought the role of the individual (hero) in history to the forefront of intellectual and political debate throughout Europe. The two models are shown as parts of and important links in long-established traditions; they are internally coherent yet totally contradictory of each other. The comparison of these opposed perceptions of heroic figures in history suggests that they might originate in an ambivalent, polarized perception of power and mastery, and in the sense of individual insecurity in the face of historical upheavals. (shrink)

This article demonstrates the perspectives on near-death experience in two works, Leo Tolstoy’s The Death of Ivan Ilyich and Andrei Platonov’s Soul. The author examines the significance of the boun...

The author analyses the problem of weak will in Leo Tolstoy’s story Father Sergius. She ponders why the protagonist, a man with such heightened awareness of good and evil, at some point in his life chooses evil. She places the problem of weak will (akrasia) first into the context of the various iterations of determinism and subsequently of the considerations raised by Socrates and Aristotle. As their answers are not fully applicable to the problem of Tolstoy’s titular character, she looks (...) for an explanation to Saint Augustine’s philosophy of free will. (shrink)

This paper will focus on the discussion of Tolstoy’s ideas in the late 1920s, right after the 100th anniversary of the writer’s birth, by the State Academy for the Study of Arts (GAKhN) (in a collective volume entitled Leo Tolstoy’s Aesthetics, 1929) and by Mikhail Bakhtin (in his two articles written specially for Tolstoy’s Collected Works). These interpretations were notably influenced by the official commemoration of Tolstoy during the anniversary year and by changes in the prevailing Marxist discourse regarding the (...) creative legacy and ideology of the author of War and Peace. (shrink)

In recent years, critics sensitive to animal issues have begun to theorize a new direction in literary criticism, an animal-centric or animal-standpoint criticism. Such a criticism seeks to examine works of literature from the point of view of how animals are treated therein, often looking to reconstruct the standpoint of the animals in question. This article examines a selection of short stories by Leo Tolstoy considering them exemplary from the point of view of animal-standpoint criticism.

Among Tolstoy's absolute statements are those that exhibit characteristics of both biblical commands and proverbs—and of other types of absolute statements as well. He also draws, for example, on logical propositions, mathematical deductions, laws of nature and human nature, dictionary definitions, and metaphysical assertions. The language of all these forms is timeless, anonymous, and above all categorical. Their stylistic features imply that they are not falsifiable and that they are not open to qualification: they characteristically include words like "all," "each," (...) "every," "only," and "certainly" and phrases like "there neither is nor can be," "the human mind cannot grasp," and "it is impossible that." Even in sentences that omit such phrases, the very refusal to use a qualifier of any kind can assert unqualifiability. When Tolstoy's absolute statements take the form of syllogisms, the use of the word "therefore" or some explicit or implicit equivalent carries the force of logical inevitability. It carries the same force with Tolstoy's enthymemes, which omit the major premise for the reader to reconstruct. [An example] from The Death of Ivan Ilysch,1 cited above, for instance, contains a minor premise and a conclusion of a syllogism; the reader himself must supply the major premise, which would be: "The simpler and more ordinary a life is, the more terrible it is."· 1. "Ivan Ilysch's life was the most simple and the most ordinary, and therefore the most terrible."Leo Tolstoy, The Death of Ivan Ilysch, ed. John Bayley, trans. Louise and Aylmer Maude , p.225.Gary Saul Morson is an associate professor of Russian literature at the University of Pennsylvania, and the author of The Boundaries of Genre: Dostoevsky's Diary of a Writer and the Traditions of Literary Utopia, and The Broken Frame: The Anti-tradition of Russian Literature. The present article is from a theoretical study of literary creativity and the biography of authors. (shrink)

In his intervention to the ‘bankruptcy of science debate’, which raged in Paris in the turn of the twentieth century, Leo Tolstoy was one of the first to use the past record of science as a weapon against current science. It is not inductive. It does not conclude that all current scientific theories will be abandoned; nor that most of them will be abandoned; not even that it is more likely than not that all or most of them will be (...) abandoned. Its conclusion is modest: some of presently accepted theories will have the fate of those past theories that once dominated the scene but subsequently were abandoned. (shrink)