Slavonic and East European Review, 92, 3, 2014 Reviews Oppo, Andrea (ed.). Shapes of Apocalypse: Arts and Philosophy in Slavic Thought. Myths and Taboos in Russian Culture. Academic Studies Press, Boston, MA, 2013. 285 pp. Notes. Bibliography. Index. $85.00. This collection of ten essays tackles an ambitious topic: the treatment and representations of apocalypse in Slavic culture. The project is founded on the premise that the Slavic approach to apocalypse is somehow distinctive and unique. In the introduction the volume’s editor, Andrea Oppo, suggests that this is due to the Slavic emphasis on the ‘kairotic idea of apocalypse’ (p. 32) — not apocalypse as an imagined end to linear, historical time, but apocalypse as the individual’s subjective experience of spiritual awakening, countering the view of time as progress. If this is indeed the case, then it needs to be explained and demonstrated at greater length; statements such as ‘it would seem that the sensitivity of the Slavic soul plays a significant role in a similar “vote of no confidence” against the reality of progress’ (p. 32) are too speculative to carry much weight. The extension of the common understanding of apocalypse to the more diffuse concept of a personal, immanent revelation, akin to an epiphany, stretches the meaning of the term so far that the coherence and focus of the volume’s subject risk being undermined. The book is divided into three parts. The first deals with philosophy and comprises two essays. Despite its considerable length (32 pp.) Giancarlo Buffo’s exploration of Rozanov and the apocalypse does not entirely succeed in clarifying the mysteries of its topic. Sentences such as ‘only Rozanov, after his brief lapse into anti-Semitism, penetrated to the bottom of the “theodramatics ” that characterizes the processuality of the religious meta-history of the West’ (p. 36) or ‘if the mystery Israel of [sic] is circumcision as the wedding ring that joins God to His people’ (p. 37) only add to the confusion that often characterizes Rozanov’s writing. The second contribution by Riccardo Paparusso investigates the relationship between Christianity and the prehistoric, mythic and biological, as presented in the late work of the Czech phenomenologist Jan Patočka. Complex ideas are raised, but not always in a clear or concise manner. Virtually identical sentences are repeated on pages 68 and 72. The choice of Rozanov and Patočka as philosophers to frame the exploration of apocalypse in the essays that follow appears somewhat random. Although the editor states in his introduction that Rozanov and Patocka represent the ‘two poles of modern apocalyptic reflection in Slavic philosophy’ (p. 10), this claim is far too general and not substantiated. A contribution on the work of Vladimir Solov´ev, one of the most influential architects of Russian apocalyptical thought, would have been welcome. A consideration of the theological underpinnings of philosophical and cultural treatments of the REVIEWS 515 apocalypse would also not go amiss — do the differences between Russian Orthodox and Catholic teachings not weaken the case for a specific and unique Slavic approach to apocalypse? Part two, on literature, consists of four essays. Vladimir Glyantz explores apocalyptic themes in three works by Gogol´ (‘The Portrait’, ‘The Nose’, ‘The Government Inspector’), connecting these to the false expectation of the end of the world in 1836. Several interesting points are made, but the overall argument remains cloudy. The essay appears to draw on earlier Russian works by the author (including Gogol´ i Apokalipsis, Moscow, 2004). It is incorrect to suggest that scholars have not focused on the religious symbolism of Gogol´’s works (p. 89), or to refer to ‘The Nose’ as a novel (p. 98). The essay ends on a rather apocalyptic note: ‘Gogol’s main religious intuition was not wrong, and perhaps in the same way our world today, running late and breathless on its last lap, is also rapidly reaching the finishing line’ (p. 121). William J. Leatherbarrow’s essay (previously published in 1982) on apocalyptic imagery in Dostoevskii’s The Idiot and The Devils is an outstanding model of concise, elegant and lucid analysis. Although the author modestly refers to it as a ‘working paper’ (p. 132) and draws only tentative conclusions, he...