000			03341cam a2200373Ii 4500
001			on1062395679
003			OCoLC
005			20240726105114.0
008			181112t20182018maua ob 001 0 eng d
040			_aNT _beng _erda _epn _cNT _dNT _dEBLCP _dYDX _dUEJ _dOCL _dWAU _dIDB _dDEGRU _dOSU _dUKAHL _dOCLCQ _dJSTOR
020			_a9780674989771 _q((electronic)l(electronic)ctronic)
043			_ae-ur--- _axd-----
050	0	4	_aDK276 _b.T674 2018
049			_aMAIN
100	1		_aGilburd, Eleonory, _e1
245	1	0	_aTo see Paris and die : _bthe Soviet lives of Western culture / _cEleonory Gilburd
260			_aCambridge, Massachusetts : _bThe Belknap Press of Harvard University Press, _c(c)2018.
300			_a1 online resource (ix, 458 pages) : _billustrations
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_adata file _2rda
520	0		_aThe Soviet Union was a notoriously closed society until Stalin's death in 1953. Then, in the mid-1950s, a torrent of Western novels, films, and paintings invaded Soviet streets and homes, acquiring heightened emotional significance. To See Paris and Die is a history of this momentous opening to the West. At the heart of this story is a process of translation, in which Western figures took on Soviet roles: Pablo Picasso as a political rabble-rouser; Rockwell Kent as a quintessential American painter; Erich Maria Remarque and Ernest Hemingway as teachers of love and courage under fire; J.D. Salinger and Giuseppe De Santis as saviors from Soviet clichés. Imported novels challenged fundamental tenets of Soviet ethics, while modernist paintings tested deep-seated notions of culture. Western films were eroticized even before viewers took their seats. The drama of cultural exchange and translation encompassed discovery as well as loss. Eleonory Gilburd explores the pleasure, longing, humiliation, and anger that Soviet citizens felt as they found themselves in the midst of this cross-cultural encounter. The main protagonists of To See Paris and Die are small-town teachers daydreaming of faraway places, college students vicariously discovering a wider world, and factory engineers striving for self-improvement. They invested Western imports with political and personal significance, transforming foreign texts into intimate possessions. With the end of the Soviet Union, the Soviet West disappeared from the cultural map. Gilburd's history reveals how domesticated Western imports defined the last three decades of the Soviet Union, as well as its death and afterlife.-- _cProvided by publisher
504			_a1 and index
505	0	0	_aSoviet internationalism -- _tThe Tower of Babel -- _tBooks about us -- _tCinema without an accent -- _tBarbarians in the temple of art -- _tBooks and borders -- _tEpilogue: Exit
530			_a2 _ub
650		0	_aPublic opinion _zSoviet Union.
650		0	_aSoviets (People) _xAttitudes.
655		1	_aElectronic Books.
856	4	0	_uhttps://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=1931228&site=eds-live&custid=s3260518 _zClick to access digital title | log in using your CIU ID number and my.ciu.edu password
942			_cOB _D _eEB _hDK _m2018 _QOL _R _x _8NFIC _2LOC
994			_a92 _bNT
999			_c89195 _d89195
902			_a1 _bCynthia Snell _c1 _dCynthia Snell