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By Brian James Baer

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1988. The Art of the Novel. Trans. Linda Asher. New York: Harper & Row. –—. 1991. Žert. Brno: Atlantis. –—. 2007. The Curtain. Trans. Linda Asher. New York: Harper Collins. Lainé, Pascal. 1982. Si j’ose dire: Entretiens avec Jérôme Garcin. Paris: Mercure. Misurella, Fred. 1993. Understanding Milan Kundera: Public Events, Private Affairs. : University of South Carolina Press. Neumann, Iver. 2004. Uses of the Other: The “East” in European Identity Formation. Minneapolis: University of Minnesota Press.

One of Kundera’s key arguments in “The Tragedy of Central Europe” is that Russians were historically seen by Central Europeans as “barbaric,” supporting his argument that the latter are actually Western. In the French original, he quotes Czesław Miłosz as calling Russians “barbarians,” but in the English version he softens this statement by shortening the paragraph (the bold highlighting, added for emphasis below, shows the lines cut from the original): Czeslav [sic] Milosz en parle dans son livre Une autre Europe: aux XVIe et XVIIe siècles, les Moscovites apparaissent aux Polonais comme “des barbares contre qui on guerroyait sur les frontières lointaines.

The text that began the history of modern vernacular Ukrainian literature was Ivan Kotliarevs’kyi’s Eneïda, a travestied translation of Virgil’s Aeneid. The first three parts of this work were published in 1798, and therefore a translation, albeit an unusual one, came to be the foundation of modern standard Ukrainian language and Ukrainian literature. Kotliarevs’kyi’s work has remained one of the most influential texts of Ukrainian literature, much loved by multiple generations of readers for its lucidity and humor, as well as for the richness of its vocabulary.

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