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In the 1920s and 1930s in Soviet Russia and émigré communities, three late Tolstoyan works, The Kreutzer Sonata, Resurrection, and The Living Corpse, were adapted as public mock trials. All three works bring together issues of sexual relations and legal and ethical judgment. In this paper, I use these twentieth-century mock trial adaptations to explore the relationship between sex, gender, and judgment in Tolstoy.