By giving us a horse's perspective on human life, Lev Tolstoi's Kholstomer (1886) has usually been recognized in the west as a stellar example of the author's use of “defamiliarization.” Most of the critical attention the story has received in Russia, by contrast, consists of Soviet-era studies diat examine the creative history of the text and/or remark on its satiric elements. In this article, Ronald D. LeBlanc examines instead the treatment of the themes of sex, love, and motherhood in Tolstoi's story about a castrated horse. In particular, he explores the significance that castration— with its accompanying cessation of sexual desire—appears to have in this story about a selfless gelding, a tale that may be read as the expression of a desire on the author's part to be unburdened of the affliction of sexual lust and thus to be freed to pursue a more spiritual, less carnal existence on earth.

This study analyzes the biographies of a number of Soviet communications officials in order to address some fundamental and increasingly important questions about the communications process and about prospects for responding to the dilemmas that recent information about the Soviet audience has revealed. Major efforts to examine audience opinion have been undertaken in the Soviet Union. To a considerable extent these efforts are a response to the perception, on the part of media officials, that foreign communications sources have made inroads into the communications system and have created, especially in this time of increased bipolar world tension, alternative channels of information. As the officials recognize, the internal media system has changed substantially, and new patterns of communications consumption have emerged. But as a result of the findings of audience surveys, basic elements of the political doctrine concerning communications have been undermined.

When “Bezhin Meadow” first appeared in Sovremennik in 1851, Turgenev’s friend Feoktistov wrote to him that while the story had “produced an enormous effect on the public in Moscow,” he found it lacked a “general impression,” a “general thread,” that would unify its fragmentary parts and give the reader a clue to its general significance. Well might Feoktistov have been puzzled, for the censor had omitted the story’s ending! The ending was soon available to the reader in the edition of A Hunter’s Notes published in Moscow in 1852: “With sorrow I must add that Pavel died before the year was out. He was not drowned, but killed by a fall from a horse. A pity, he was a splendid lad !“ While indicating a “general thread,” the theme of mortality, the lines produce what may at first appear to be a facile irony.

Since the collapse of communism, much scholarship has examined the efforts by the countries of east central Europe and the former Soviet Union to develop democratic regimes. The majority of such studies have focused on institutional development and the problems of democratic transition at the national level. Although this focus is not at all surprising given the highly centralized political structures that have been the legacy of the communist past, the efficacy, indeed the ultimate success or failure of democratization, may well rest largely on the ability of local government to satisfy citizen demands. Local government is most directly involved in delivering the goods and services that affect people’s daily lives. Hence, citizens often form their judgments of political systems based on the performance of local government. To the degree that democracy depends on the loyalty of the citizenry, local government is important to the survival of democracy.

Who rules is the central question posed by scholars studying local government. This issue lies at the heart of democracy. While it is nowhere the case that citizens rule directly, in a democracy their preferences must have some effect on public policy.

Among the most prominent generic signals of Dostoevskii’s The Possessed are those suggesting allegory. Allegory is one of several genres in the novel referred to by name. The narrator characterizes Stepan Trofimovich’s romantic poema as “some sort of allegory” (9) and remarks that, after the most intimate of encounters with his patroness, Stepan Trofimovich would sometimes “jump up from the couch and beat the wall with his fists,” all of which “without the slightest allegory“ (12). Concerning the climax of Iuliia Mikhailovna’s soirée, an allegorical representation of the various literary schools and tendencies of the day, the narrator reports, “It would have been difficult to imagine a more pitiful, tactless, talentless, and vapid allegory than that ‘literary quadrille’” (389). On a more fundamental level, the work’s second epigraph, the passage from the Gospel of Luke describing the exorcism of a possessed man and the flight of the demons into a herd of swine, provides an allegorical foundation for the entire action, projecting the work against biblical history.