The image of St Basil's Cathedral in Moscow's Red Square is a familar Russian landmark. Yet few people know what made Basil so famous. He was a saint who wandered about naked, bullied passers-by, brawled in the market-place, and once even smashed a revered icon. Saints such as Basil overturn the conventional concept of sainthood - what, we may ask, is saintly about them? This book aims to solve the mystery by exploring the figure of the holy fool in Byzantium and in later Russianhistory.

"This richly illustrated volume’s innovative intersciplinary approaches and engagement with the newest scholarly literature presents a new basis for exploration of holy foolishness [iurodstvo] in Russia as a unique expression of national identity. Its articles elucidate the genesis, nature, and development of the foolishness in the medi[e]val period and its on-going significance as a broadly cultural and religious paradigm. Sweeping in its scope, this volume is poineering in several respects: addressing holy foolishness from its Byzantine origins to postmodern, contemporary Russia, it offers innovative explorations of hagiographical, historical, poetic, and liturgical apsects of writings about such seeminal holy fools as Andrew of Constantinople, Isaakii of Kiev Caves Monastery and Kseniia of St. Petersburg; the first English translation of A. M.Panchenko’s classic study of holy foolish phenomenology, 'Laughter as Spectacle'; and new discussions of miniatures accompanying the text of St. Andrew’s vita. Further, it addresses foundational moments in the institutionalization of holy foolishness: the Church calendar commemorations of holy fools inherited from Byzantium; the first Russian holy foolish narrative; the genesis of the Intercession cult in the vita of Andrew the fool; the first holy foolish vita with verifiable facts about the protagonist’s life; the first canonized Russian female holy fool, Kseniia of St. Petersburg; and comprehensive treatments of holy foolery’s culturological significance for Leningrad underground poets, Soviet and post-Soviet performance art, and postmodern thinkers. The volume’s innovative interdisciplinary approaches and engagement with the newest scholarly literature assure its broad appeal to students and teachers of Russian culture, and of comparative, and religious studies, and offer a new basis for exploration of this spiritually and culturally complex phenomenon"--

A century of Russian artistic genius, including literature, art, music and dance, within the dynamic cultural ecosystem that shaped it.

There are saints in Orthodox Christian culture who overturn the conventional concept of sainthood. Their conduct may be unruly and salacious, they may blaspheme and even kill - yet, mysteriously, those around them treat them with even more reverence. Such saints are called 'holy fools'. In this pioneering study Sergey A. Ivanov examines the phenomenon of holy foolery from a cultural standpoint. He identifies its prerequisites and its development in religious thought, and traces the emergence of the first hagiographic texts describing these paradoxical saints. He describes the beginnings of holy foolery in Egyptian monasteries of the fifth century, followed by its high point in the cities of Byzantium, with an eventual decline in the twelfth to fourteenth centuries. He also compares the important Russian tradition of holy fools, which in some form has survived to this day.