The poet Wilhelm Kuchelbecker, Pushkin's school-friend, suffered twenty years of imprisonment and Siberian exile for his part in the ill-fated Decembrist rising of 1825 against the Russian autocracy. His largely forgotten life and work are vividly recreated in Kuchlya (1925), a pioneering historical novel by the eminent literary scholar and Formalist theorist Yury Tynyanov. Writing at a time when Stalin was tightening his grip on Soviet culture and society, Tynyanov implicitly brings together the disquieting experiences of the 1820s and the 1920s. In a lively, innovative style, his gripping and moving narrative, here translated for the first time, evokes the childhood, youth, beliefs and often absurd adventures of a Quixotic, idealistic protagonist against the richly complex backdrop of post-Napoleonic Russian society.

The poet Wilhelm Kuchelbecker, Pushkin's school-friend, suffered twenty years of imprisonment and Siberian exile for his part in the ill-fated Decembrist rising of 1825 against the Russian autocracy. His largely forgotten life and work are vividly recreated in Kuchlya (1925), a pioneering historical novel by the eminent literary scholar and Formalist theorist Yury Tynyanov. Writing at a time when Stalin was tightening his grip on Soviet culture and society, Tynyanov implicitly brings together the disquieting experiences of the 1820s and the 1920s. In a lively, innovative style, his gripping and moving narrative, here translated for the first time, evokes the childhood, youth, beliefs and often absurd adventures of a Quixotic, idealistic protagonist against the richly complex backdrop of post-Napoleonic Russian society.

Konstantin Batyushkov was one of the great poets of the Golden Age of Russian literature in the early nineteenth century. His verses, famous for their musicality, earned him the admiration of Aleksandr Pushkin and generations of Russian poets to come. In Writings from the Golden Age of Russian Poetry, Peter France interweaves Batyushkov's life and writings, presenting masterful new translations of his work with the compelling story of Batyushkov's career as a soldier, diplomat, and poet and his tragic decline into mental illness at the age of thirty-four. Little known among non-Russian readers, Batyushkov left a varied body of writing, both in verse and in prose, as well as memorable letters to friends. France nests a substantial selection of his sprightly epistles on love, friendship, and social life, his often tragic elegies, and extracts from his essays and letters within episodes of his remarkable life-particularly appropriate for a poet whose motto was "write as you live, and live as you write." Batyushkov's writing reflects the transition from the urbane sociability of the Enlightenment to the rebellious sensibility of Pushkin and Lermontov; it spans the Napoleonic Wars and the rapid social and literary change from Catherine the Great to Nicholas I. Presenting Batyushkov's poetry of feeling and wit alongside his troubled life, Writings from the Golden Age of Russian Poetry makes his verse accessible to English-speaking readers in a necessary exploration of this transitional moment for Russian literature.

This is a 1992 study of writing of the seventeenth and eighteenth centuries, mainly in France, but also in Britain and Russia. Its focus is on the establishing and questioning of rational, 'civilized' norms of 'politeness', which in the ancien regime meant not just polite manners, but a certain ideal of society and culture. Within this general context, a series of familiar oppositions, between polite and rude, tame and wild, urban(e) and rustic, elite and popular, adult and child, reason and unreason, gives the initial impetus to enquiries which often show how these opposites interpenetrate, how hierarchies are reversed, and how compromises are sought. Polite society, like polite literature, needs and desires its opposite. The ideal is often the meeting of garden and wilderness, where the savage encounters the civilized and gifts are exchanged. Professor France points to the centrality, but also the vulnerability, in classical culture, of the ideal of 'politeness', and his discussion embraces revolutionary eloquence and enlightened primitivism, the value of hyperbole, and the essay as a form of polite sociability.

The tiny, arid Greek island of Patmos is one of the most sacred places in the Christian world, and a place of bewitching power, where people come for a brief summer visit and end up returning, year after year, for the rest of their lives. In A Place of Healing for the Soul, BBC commentator Peter France -- who arrived on the island a hardened skeptic -- tells how he came to change his life perspective. Learning from the island's gregarious inhabitants and its religious eccentrics-hermits, ascetics, monks, and nuns -- he discovered the pleasure and security of living simply and doing without, in a timeless realm where history, myth, and spirituality are endlessly alive.

This is a 1992 study of writing of the seventeenth and eighteenth centuries, mainly in France, but also in Britain and Russia. Its focus is on the establishing and questioning of rational, 'civilized' norms of 'politeness', which in the ancien regime meant not just polite manners, but a certain ideal of society and culture. Within this general context, a series of familiar oppositions, between polite and rude, tame and wild, urban(e) and rustic, elite and popular, adult and child, reason and unreason, gives the initial impetus to enquiries which often show how these opposites interpenetrate, how hierarchies are reversed, and how compromises are sought. Polite society, like polite literature, needs and desires its opposite. The ideal is often the meeting of garden and wilderness, where the savage encounters the civilized and gifts are exchanged. Professor France points to the centrality, but also the vulnerability, in classical culture, of the ideal of 'politeness', and his discussion embraces revolutionary eloquence and enlightened primitivism, the value of hyperbole, and the essay as a form of polite sociability.

This new textbook series is ambitious in scope. It will provide concise and lucid introductions to major works of world literature from classical antiquity to the twentieth century. It is not confined to any single literary tradition or genre, and will cumulatively form a substantial library of textbooks on some of the most important and widely read literary masterpieces. Each book is devoted to a single work and provides a close reading of that text, as well as a full account of its historical, cultural, and intellectual background, a discussion of its influence, and a guide to further reading. The contributors to the series give full consideration to the linguistic issues raised by each text, and, within the overall framework of the series, are given complete freedom in the choice of their critical method. Where the text is written in a language other than English, full account is taken of readers studying the text in English translation. While critical jargon is avoided, important technical terminology is fully explained and thus this series will be genuinely accessible to students at all levels and to general readers.

This groundbreaking five-volume history runs from the Middle Ages to the year 2000. It is a critical history, treating translations wherever appropriate as literary works in their own right, and reveals the vital part played by translators and translation in shaping the literary culture of the English-speaking world, both for writers and readers. It thus offers new and often challenging perspectives on the history of literature in English. As well as examining the translations and their wider impact, it explores the processes by which they came into being and were disseminated, and provides extensive bibliographical and biographical reference material.
In the one hundred and ten years covered by volume four of The Oxford History of Literary Translation in English, what characterized translation was above all the move to encompass what Goethe called "world literature." This occurred, paradoxically, at a time when English literature is often seen as increasingly self-sufficient. In Europe, the culture of Germany was a new source of inspiration, as were the medieval literatures and the popular ballads of many lands, from Spain to Serbia. From the mid-century, the other literatures of the North, both ancient and modern, were extensively translated, and the last third of the century saw the beginning of the Russian vogue. Meanwhile, as the British presence in the East was consolidated, translation helped readers to take possession of "exotic" non-European cultures, from Persian and Arabic to Sanskrit and Chinese.
The thirty-five contributors bring an enormous range of expertise to the exploration of these new developments and of the fascinating debates which reopened old questionsabout the translator's task, as the new literalism, whether scholarly or experimental, vied with established modes of translation. The complex story unfolds in Britain and its empire, but also in the United States, involving not just translators, publishers, and readers, but also institutions such as the universities and the periodical press. Nineteenth-century English literature emerges as more open to the foreign than has been recognized before, with far-reaching effects on its orientation.

Aleksandr Blok (1880-1921) lived thought his country's savage wars and radical traumas, trying to welcome the new order. But there was no space in it for his kind of imagination. His poem "The Twelve" has claims to being the first great poem of the Russian Revolution. It remains enigmatic, the language elevated, the tone celebratory, even mystical. Mayakovsky, bringing Revolution into the very language and form of his poetry, wrote against Blok and the old forms, answering "The Twelve" with "150,000,000". Trotsky wrote "Certainly Blok is not one of us, but he came towards us. And that is what broke him." But for Pasternak and others among his successors, he was a great and unofficial master. In this collection, Jon Stallworthy and Peter France introduce a wide range of Blok's poetry into English, retaining as much as possible his distinctive form and tone. His early poetry is inspired by mystical experience which did not entirely leave him during the Revolution, and the Beautiful lady in his work is less a conceit than a powerful enabler.

'Enlightenment' and 'Emancipation' as separate issues have received much critical attention, but the complicated interaction of these two great shaping forces of modernity has never been scrutinized in-depth. The Enlightenment has been represented in radically opposing ways: on the one hand, as the throwing off of the chains of superstition, custom, and usurped authority; on the other hand, in the Romantic period, but also more recently, as what Michel Foucault termed 'the great confinement, ' in which 'mind-forged manacles' imprison the free and irrational spirit. The debate about the 'Enlightenment project' remains a topical one, which can still arouse fierce passions. This collection of essays by distinguished scholars from various disciplines addresses the central question: 'Was Enlightenment a force for emancipation?' Their responses, working from within, and frequently across the disciplinary lines of history, political science, economics, music, literature, aesthetics, art history, and film, reveal unsuspected connections and divergences even between well-known figures and texts. In their turn, the essays suggest the need for further inquiry in areas that turn out to be very far from closed. The volume considers major writings in unusual juxtaposition; highlights new figures of importance; and demonstrates familiar texts to embody strange implications

This book, written by a team of experts from many countries, provides a comprehensive account of the ways in which translation has brought the major literature of the world into English-speaking culture. Part I discusses theoretical issues and gives an overview of the history of translation into English. Part II, the bulk of the work, arranged by language of origin, offers critical discussions, with bibliographies, of the translation history of specific texts (e.g. the Koran, the Kalevala), authors (e.g. Lucretius, Dostoevsky), genres (e.g. Chinese poetry, twentieth-century Italian prose) and national literatures (e.g. Hungarian, Afrikaans).

The New Oxford Companion to Literature in French is far more than a simple revision of the original Oxford Companion to French Literature, published in 1959, and described by The Listener as the `standard work of reference for English-speaking enquirers into French literature'. As the change in title implies, this completely new work presents an authoritative guide not only to ten centuries of literature produced in the territory now called France, but also to the rich literary output of other French-speaking countries around the world.

The scope of the Companion is deliberately open and inclusive, challenging and extending the traditional canon. Literature is understood in a broad sense, ranging from strip cartoon and pamphlet to tragedy and epic, and particular attention is devoted to francophone writing from outside France. Written by an international team of specialists, entries cover individual authors and works - over 3,000 of them - from the troubadours to Césaire, and from La Princesse de Clèves to La Vie mode d'emploi. Each is discussed in detail within their historical, cultural, and intellectual context.

Among the new features of the Companion are the substantial essay-entries, reflecting up-to-date scholarship and theoretical debates on topics such as: - literary movements and genres - historical subjects such as chivalry, or Occupation and Resistance in wartime France - movements of thought from Scholasticism to feminism - linguistic topics - the sciences - the arts and media, including opera, cinema, and press

As a divertissement for readers, an entry on `Quotations' lists 100 well-known quotations from the canon of French literature.

Adventurous and wide-ranging, The New Oxford Companion to Literature in French will be an indispensable and hugely enjoyable reference work for all scholars, students and general readers.

Half-Light & Other Poems brings together the most important and enduring poems by this neglected writer, one of Russia's great 19th century poets. In a new translation by Peter France, the philosophical, social and literary struggles of Russia under Tsar Nicholas I are brought to vivid life in the verses of a man who felt profoundly and was highly skilled at expressing his emotions and beliefs in dazzling, often fantastical fashion.

For all readers of literature, a fascinating reference book on how writing from all over the world, and from the earliest times to the present, has crossed into the English language, to enrich and influence English-speaking cultures. The opening section gives an overview of the history of translation into English and looks at theoretical issues, followed by a language-by-language history, including critical discussion and bibliographies, of what authors and literary works were translated when, by whom, and with what success.

Mikhail Lermontov (1814 - 41) is best known in the West today as the author of the novel A Hero of Our Time. But at the time of his death, aged only 26, he was widely regarded as Russia's greatest living poet. He achieved almost instant fame in 1837 with 'On the Death of a Poet', his tribute to Pushkin - whose death in a duel foreshadowed Lermontov's own. Over the course of the next four years he went on to write many short poems, both lyric and satirical, and two long verse narratives. He was particularly known for his depictions of the Caucasus, where he was exiled for a time, taking part in battles such as the one described in his poem 'Valerik'. Lermontov traced his ancestry to Scotland, and this book offers a Scottish perspective on the Russian poet. Most of the translators are Scottish or have Scottish connections, and some of the poems are translated into Scots. As Peter France writes in his introduction, this bicentennial volume aims to bring Lermontov's poems to a new readership by enabling them to 'live again' in English and in Scots.

Why biography? This collection of essays on the problems and functions of biography, and particularly the biography of writers, thinkers and artists, investigates a subject of enduring importance for those interested in culture and society. In the last century, it has been a controversial subject, as old models of biographical writing were attacked and superseded, while critics and theorists questioned the once self-evident value of the biography of writers. Yet the genre continues to attract notable authors and is unfailingly popular with readers.
The present volume, while containing essays by practicing biographers, is intended primarily as a stimulus to critical thinking. It focuses on the diverse functions assumed by life-writing in different European countries at different periods, challenging both the notion of a genre with constant characteristics and aims and the view of modern biography as the happy culmination of centuries of progress.

Peter France writes in his foreword: “I have always been conscious that Mandelstam was an outstanding figure, arguably the outstanding Russian poet of the twentieth century. This is a personal selection from the poetry — poems that for one reason or another I wanted to translate. I have tried to make it reasonably representative of different strands and periods in his work, with a certain stress on the brilliant and fragmentary Voronezh poems.”

Gennady Aygi's longtime translator and friend Peter France has compiled this moving collection of tributes dedicated to some of the writers and artists who sustained him while living in the Moscow "underground." Written in a quiet intensely expressive poetic style, Aygi's inventive essays blend autobiography with literary criticism, social commentary, nature writing, and enlightening homage. He addresses such literary masters as Pasternak, Kafka, Mayakovsky, Celan, and Tomas Transtroemer, along with other writers from the Russian avant-garde and his native Chuvashia. Related poems by Aygi are also threaded between the essays. Reminiscent of Mandelstam's elliptical travel musings and Kafka's intensely spiritual jottings in his notebooks, Time of Gratitude glows with the love and humanity of a sacred vocation. "These leaves of paper," Aygi says, 'are swept up by the whirlwind of festivity; everything whirls-from Earth to Heaven-and perhaps the Universe too begins to swirl. Everything flows together in the rainbow colors and lights of the infinite world of Poetry.'

Konstantin Batyushkov was one of the great poets of the Golden Age of Russian literature in the early nineteenth century. His verses, famous for their musicality, earned him the admiration of Aleksandr Pushkin and generations of Russian poets to come. In Writings from the Golden Age of Russian Poetry, Peter France interweaves Batyushkov's life and writings, presenting masterful new translations of his work with the compelling story of Batyushkov's career as a soldier, diplomat, and poet and his tragic decline into mental illness at the age of thirty-four. Little known among non-Russian readers, Batyushkov left a varied body of writing, both in verse and in prose, as well as memorable letters to friends. France nests a substantial selection of his sprightly epistles on love, friendship, and social life, his often tragic elegies, and extracts from his essays and letters within episodes of his remarkable life-particularly appropriate for a poet whose motto was "write as you live, and live as you write." Batyushkov's writing reflects the transition from the urbane sociability of the Enlightenment to the rebellious sensibility of Pushkin and Lermontov; it spans the Napoleonic Wars and the rapid social and literary change from Catherine the Great to Nicholas I. Presenting Batyushkov's poetry of feeling and wit alongside his troubled life, Writings from the Golden Age of Russian Poetry makes his verse accessible to English-speaking readers in a necessary exploration of this transitional moment for Russian literature.

Ten meditations written in the two years before Rousseau's death in 1778 provide an excellent introduction to the thinker's complex world, expressing in its full force the agony of isolation and alienation.