Helena Duffy
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Some material included in this book has previously appeared in the form of articles, essays and book chapters.

Parts of Chapter 3 have been published as ‘The Veteran’s Wounded Body Before the Mirror: the Dialectic of Wholeness and Disintegration in Andreï Makine’s Prose’, Journal of War and Culture Studies, 1.2 (2008), 175–88; and as ‘Long Live the Kommunalka! The Tension between Postmodern Poetics and Post-Soviet Nostalgia in the Work of Andreï Makine’, Twentieth Century Communism: A Journal of International History, 11 (Autumn 2016), 97–113.

Parts of Chapter 4 have been included in the book chapter ‘The Jew as St Christopher: The Holocaust and the Participation of Soviet Jews in Russia’s Great Patriotic War Effort in the Oeuvre of Andreï Makine’, in Mnemosyne and Mars: Artistic and Cultural Representations of Twentieth-Century Europe at War, ed. by Peter Tame, Dominique Jeanerrod and Manuel Bragança (Cambridge: Cambridge Scholars Publishing, 2014), pp. 343–60.

Parts of Chapter 5 have appeared in ‘On connaît la musique: La vie culturelle au temps du siège de Leningrad dans La Vie d’un homme inconnu d’Andreï Makine’, Lublin Studies in Modern Languages and Literature, 39.1 (2015), 142–62.

Finally, some of the ideas included in Chapter 1 have already been explored in ‘Une histoire vraie: La Terre et le ciel de Jacques Dorme d’Andreï Makine comme exemple de métafiction historiographique’, Romanica Wratislaviensia, 61 (2014), 121–38, and ‘A False Document: Andreï Makine’s Le Testament français and the Postmodern Theory of History’, Irish Journal of French Studies, 14.1 (2014), 137–59.

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