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Russian writers of the nineteenth century were quite consciously creating a new national literary tradition. They saw themselves self-consciously through Western European eyes, at once admiring Europe and feeling inferior to it. This ambivalence was perhaps most keenly felt in relation to France, whose language and culture had shaped the world of the Russian aristocracy from the time of Catherine the Great. In How the Russians Read the French, Priscilla Meyer shows how Mikhail Lermontov, Fyodor Dostoevsky, and Lev Tolstoy engaged with French literature and culture to define their own positions as Russian writers with specifically Russian aesthetic and moral values. Rejecting French sensationalism and what they perceived as a lack of spirituality among Westerners, these three writers attempted to create moral and philosophical works of art that drew on sources deemed more acceptable to a Russian worldview, particularly Pushkin and the Gospels. Through close readings of A Hero of Our Time, Crime and Punishment, and Anna Karenina, Meyer argues that each of these great Russian authors takes the French tradition as a thesis, proposes his own antithesis, and creates in his novel a synthesis meant to foster a genuinely Russian national tradition, free from imitation of Western models. Winner, University of Southern California Book Prize in Literary and Cultural Studies, American Association for the Advancement of Slavic Studies
Every summer, young Andrei visits his grandmother, Charlotte Lemmonier, whom he loves dearly. In a dusty village overlooking the vast Russian steppes, she captivates her grandson and the other children of the village with wondrous tales—watching Proust play tennis in Neuilly, Tsar Nicholas II’s visit to Paris, French president Felix Faure dying in the arms of his mistress. But from his mysterious grandmother, Andrei also learns of a Russia he has never known: a country of famine and misery, brutal injustice, and the hopeless chaos of war. Enthralled, he weaves her stories into his own secret universe of memory and dream. She creates for him a vivid portrait of the France of her childhood, a distant Atlantis far more elegant, carefree, and stimulating than Russia in the 1970s and ‘80s. Her warm, artful memories of her homeland and of books captivate Andrei. Absorbed in this vision, he becomes an outsider in his own country, and eventually a restless traveler around Europe. Dreams of My Russian Summers is an epic full of passion and tenderness, pain and heartbreak, mesmerizing in every way.
Locked behind the Iron Curtain, a young boy grows up bewitched by his French grandmother’s memories of Paris before the Great War. On her balcony overlooking the Siberian steppes, Charlotte Lemonnier fires her grandson’s imagination with tales of the great flood in 1910, of Proust playing tennis in Neuilly and the President dying in the arms of his mistress, of avenues lined with chestnut trees and elegant cafes. Charlotte’s vision of a paradise lost, though, is overlaid by her subsequent experience. As her grandson grows older, he learns how this remarkable woman survived the Russian revolution’s aftermath, Stalin’s purges and the horrors of the Second World War, gaining from her a portrait of the country drawn with an outsider’s eye. Yet for all the monstrosities of his native land, he realises he is proud to be Russian. Torn between two cultures, as an adolescent he turns his back on all things French. Then in his twenties he abandons the Soviet Union and eventually reaches Paris – where a startling revelation awaits him. This luminous, haunting novel traces a sentimental and intellectual journey that embraces the dramatic history of this century.
The summer of ’47. In the sleepy town of Villiers-la-Forêt, roughly an hour from Paris, the peaceful radiance of the day is interrupted by the discovery that, along a nearby riverbank, the body of a man has washed up, a gaping wound in his skull. Beside him rests a beautiful, nearly bare-breasted woman, her dress soaked and in tatters. An accident or foul play? A crime of passion? Soon there are almost as many speculations and theories as there are townspeople. The woman, it turns out, is a Russian princess, Olga Arbyelina, a refugee from the Bolshevik revolution who in the 1930s had settled in town along with many of her compatriots. Rumor was that Olga's husband, a dashing prince given to gambling and revels, had deserted her some years after the couple's arrival in France, leaving her alone to care for their young son. About the victim, also a Russian refugee, little is known: many years Olga's elder, he was a taciturn, rather coarse, slightly ridiculous man name Sergei Golets, thought dismissively to be a former horse butcher. What on earth could have brought these two unlikely souls together? Makine meticulously re-creates Olga's past—her enchanted childhood; her pampered youth and fevered, transitory embrace of the revolution; her arduous flight toward freedom; her encounter with the dashing White Army officer who saved her life; her marriage and arrival in France; the birth of her adored son. Love has its limits, its limitations and boundaries. But in a woman of great passion, what do such limits mean when you know that each day may be the last for your son?
In the immense virgin pine forests of Siberia, where the snows of winter are vast and endless, sits the little village of Svetlaya. Once, the village had been larger, more prosperous, but time and the pendulum of history had reduced it by the 1970s to no more than a cluster of izbas. But for three young men—the handsome young Alyosha, the crippled Utkin, and the older, dashing Samurai—little is needed to construct their own special universe. Despite the harshness of the environment and their meager resources, the three adolescents form a tight band of friendship and dream of another life, a world of passion and love. And when they learn one day that a Western film is being shown in the closest real city, they trek for hours on snowshoes to see it. Through that film, the boys’ lives are changed forever. Written from the perspective of twenty years after these youthful events, Once Upon the River Love follows the destinies of these three young idealists up to the present day, to the boardwalks of Brighton Beach and the jungles of Central America. With the same mastery of plot and prose that marked the author’s Dreams of My Russian Summers, this novel demonstrates Makine’s remarkable ability to recreate the past with such precision and beauty that the present becomes all the more poignant.
A boy growing up in the Soviet Union of the 1960s and 1970s visits his French grandmother each summer, accumulating new tales of a Russia he never knew
Andrei, a 1960s Soviet schoolboy, recalls his summer visits with his grandmother, Charlotte, in a remote Siberian village, her magical tales of another time and world.
This exceptional novel by the well-known Russian writer describes the decay and eventual collapse of French society between 1935 and the German occupation in 1940.