MLR, 104.2, 2009 617 where civil societywas more developed. The Riga society provided quite successful work-relief schemes, drawing on family networks in themerchant milieu of some of itsmembers. Finally, Rosslyn turns to the Ladies' Committees of the Society for the Care of Prisons in St Petersburg and Orel, a component of a mixed-sex society. These women's activities were modelled on Elizabeth Fry's prison reforms in London's Newgate Prison. Their correspondence with Frymade them part of an international philanthropic network. Rosslyn's study is meticulously researched and draws on awide variety of sources. Itbrims with information, presenting the readerwith excerpts from reports and de tailed statistics of the various societies' incomes and expenditures. Where primary sources were scarce, Rosslyn has included alternative sources and drawn intelligent conclusions. University of Bern Ursula Stohler The Poetry ofProse: Readings inRussian Literature. By Jostein Bortnes. (Slavica Bergensia, 8) Bergen: Department of Foreign Languages, University of Bergen. 2007. 211pp. ?14. ISBN 978-82-90249-34-7. The Poetry ofProse gathers together essays written by JosteinBortnes over twenty fiveyears into a readable and interesting collection which shows effectively the development ofmajor aspects of the authors ideas on religion and the nineteenth centuryRussian novel. Bortnes defines the poetry of prose' as the function of poetic modes of similarity in difference, inboth formal features such as metre and rhyme and elements of content such as allegory and metaphor, which transform the prose text from sequential, causal narrative into 'symbolic parallelism' (p. 10). Bortnes relates this transformation to the projection into art of theOrthodox conception of the self as emulating the life and suffering of Christ. The first chapter, on medieval Russian literature,although largely informative rather than argumentative, establishes thisOrthodox anthropology within hagiographic texts and provides the basis for themore detailed examination of the development of this feature in the Russian novel. The influence ofRousseau's natural man', and of theRomantic cult of genius, which gained its strongest expression in theworship ofNapoleon, provided a challenge to theOrthodox idea of the self, and inChapter 2 Bortnes shows how these differentworld-views are combined in the nineteenth-century novel, as the movement from transgression and separation through a liminal state to regeneration and reintegration, apparent inworks as varied asGogol"s Dead Souls and Turgenev's Fathers and Sons, becomes fundamental toDostoevski's experimentation with the possibility of a christocentric anthropology in themodern world' (p. 79). Chapter 3 discusses how a dialogue with hagiography in thedepiction ofAlesha in The Brothers KaramazoVy and with biblical references in Crime and Punishment, through the presentation of theRaising of Lazarus scene, moves these novels towards 'symbolic parallelism', while the idea of polyphony in relation to the 'dissimilar similarity' (p. 101) of both models and their imitations, and the thematic repetitions which form the plots of Dostoevski's novels, form the basis of Chapter 4. Traditional 6i8 Reviews interpretations of the iurodivyi (holy fool) as either religious ormad are challenged by the conception of'God's secret servant' (p. 113), a figureboth outside the religious establishment and quite sane?as in the case ofAlesha afterhe leaves themonastery and Zosima before he becomes a monk?to show in Chapter 5 that iurodstvo is related in Dostoevskii to belief in Christ as the foundation of human freedom. Chapter 6 covers some of the same ground in itsquestioning of Prince Myshkin's Christ-like status in The Idiot, showing how differentmodels are projected on this character, while Chapters 7 and 8 expand on Girard's analysis of triangular desire inDostoevskii. In Chapter 9 Bortnes moves away from Dostoevskii to focus on the relationship between character and setting, self and nature, and inner reflection and narration in Turgenev's Fathers and Sons, in a fine close reading. Finally Chapter 10 discusses Bakhtinian genre theory, and in a departure from the other essays, shows how a dialogue between genres underpins the depiction of Sebastian Flyte in EvelynWaugh's Brideshead Revisited. Although the hagiographic element of the analysis here ties inwith other essays, the oddness of this switch tomid twentieth-century English literature unbalances the collection slightly.Two other minor problems might have been avoided through greater revision of the original essays. There is a tendency to...