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А Б В Г Д Е Ж З И Й К Л М Н О П Р С Т У Ф Х Ц Ч Ш Щ Э Ю Я
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1. Интервью Набокова на английском языке. Wisconsin Studies, 1967 г.
Входимость: 5. Размер: 63кб.
2. Lolita. Part One. Chapters 18 - 22
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3. Lolita. Part One. Chapters 9 - 11
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4. Lolita. Part Two. Chapters 9 - 16
Входимость: 4. Размер: 59кб.
5. Lolita. Part One. Chapters 28 - 33
Входимость: 4. Размер: 42кб.
6. Lolita. Part Two. Chapters 17 - 21
Входимость: 3. Размер: 52кб.
7. Интервью Набокова на английском языке. Novel, 1970 г.
Входимость: 3. Размер: 30кб.
8. Маликова М.: "Первое стихотворение" В. Набокова. Перевод и комментарий
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9. Эссе о драматургии ("Playwriting", на английском языке)
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10. Интервью Набокова на английском языке. The Paris Review, 1967 г.
Входимость: 2. Размер: 29кб.
11. Nabokov: from lepidopterology to "Lolita"
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12. Lolita. Part Two. Chapters 22 - 26
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13. Интервью Набокова на английском языке. The Sunday Times, 1969 г.
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14. Интервью Набокова на английском языке. Anonymous, 1972 г.
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15. Шадурский В.В.: Интертекст русской классики в прозе Владимира Набокова. Примечания
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16. Шадурский В.В.: Интертекст русской классики в прозе Владимира Набокова. Список литературы
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17. Токер Л.: Набоков и этика камуфляжа
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18. Здесь говорят по-русски (перевод С. Сакуна)
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19. Ада, или Радости страсти. Семейная хроника. (Часть 2, глава 5)
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20. Lolita. Part Two. Chapters 3 - 8
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21. Anniversary notes
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22. Савельева В.В.: Художественная гипнология и онейропоэтика русских писателей. Приложение
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23. Eugene Onegin. A Novel in Verse by Aleksandr Pushkin. Chapter five
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24. The Song of Igor's Campaign, Igor son of Svyatoslav and grandson of Oleg (перевод Набокова)
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25. Набоков Дмитрий: Отцовские бабочки. Интервью данное Брайеном Бойдом журналу BOMB Magazine
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26. Карпов Н.А.: Романтические контексты Набокова. Избранная библиография
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27. Роупер Р: Набоков в Америке. По дороге к «Лолите». Библиография
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28. Карпов Н.А.: Романтические контексты Набокова. Примечания
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29. Интервью Набокова на английском языке. The New York Times Book Review, 1968 г.
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30. Интервью Набокова на английском языке. BBC-2, 1969 г.
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31. Интервью Набокова на английском языке. Anonymous, 1962 г.
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32. Интервью Набокова на английском языке. Time, 1969 г.
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33. Комментарий к роману "Евгений Онегин". Отрывки из "Путешествия Онегина"
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34. Чарльз Кинбот: Серебристый свет. Подлинная жизнь Владимира Набокова. Chapter Seven. King, Queen, Knave
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35. Набоков Дмитрий: Отцовские бабочки. Отцовские бабочки. Father's Butterflies (английский язык)
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36. Ада, или Радости страсти. Семейная хроника. (Примечания)
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37. Lolita. Part Two. Chapters 27 - 31
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38. Review by Brian Boyd, Robert Michael Pyle
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39. Интервью Набокова на английском языке. Playboy, 1964 г.
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40. Чарльз Кинбот: Серебристый свет. Подлинная жизнь Владимира Набокова. Chapter Five. Kafka
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41. Интервью Набокова на английском языке. Life, 1964 г.
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Примерный текст на первых найденных страницах

1. Интервью Набокова на английском языке. Wisconsin Studies, 1967 г.
Входимость: 5. Размер: 63кб.
Часть текста: of their small balcony. Since Mr. Nabokov does not like to talk off the cuff (or "Off the Nabocuff," as he said) no tape recorder was used. Mr. Nabokov ei! ther wrote out his answers to the questions or dictated them to the interviewer; in some instances, notes from the conversation were later recast as formal questions-and-answers. The interviewer was Nabokov's student at Cornell University in 1954, and the references are to Literature 311-312 (MWF, 12), a course on the Masterpieces of European Fiction (Jane Austen, Gogol, Dickens, Flaubert, Tolstoy, Stevenson, Kafka, Joyce, and Proust). Its enrollment had reached four hundred by the time of Nabokov's resignation in 1959. The footnotes to the interview, except where indicated, are provided by the interviewer, Alfred Appel, Jr. For years bibliographers and literary journalists didn't know whether to group you under "Russian" or "American. "Now that you're living in Switzerland there seems to be complete agreement that you're American. Do you find this kind of distinction at all important regarding your identity as a writer? I have always maintained, even as a schoolboy in Russia, that the ...
2. Lolita. Part One. Chapters 18 - 22
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Часть текста: matter-of-fact and gregarious. Moreover, I discovered that although she could not control her heart or her cries, she was a woman of principle. Immediately after she had become more or less my mistress (despite the stimulants, her “nervous, eager chri  a heroic chri   !  had some initial trouble, for which, however, he amply compensated her by a fantastic display of old-world endearments), good Charlotte interviewed me about my relations with God. I could have answered that on that score my mind was open; I said, insteadpaying my tribute to a pious platitudethat I believed in a cosmic spirit. Looking down at her fingernails, she also asked me had I not in my family a certain strange strain. I countered by inquiring whether she would still want to marry me if my father’s maternal grandfather had been, say, a Turk. She said it did not matter a bit; but that, if she ever found out I did not believe in Our Christian God, she would commit suicide. She said it so solemnly that it gave me the creeps. It was then I knew she was a woman of principle. Oh, she was very genteel: she said “excuse me” whenever a slight burp interrupted her flowing speech, called an envelope and ahnvelope, and when talking to her lady-friends referred to me as Mr. Humbert. I thought it would please her if I entered the community trailing some glamour after me. On the day of our wedding a little interview with me appeared in the Society Column of the Ramsdale...
3. Lolita. Part One. Chapters 9 - 11
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Часть текста: tidily into ample light and narrow shade: the light pertaining to the solace of research in palatial libraries, the shade to my excruciating desires and insomnias of which enough has been said. Knowing me by now, the reader can easily imagine how dusty and hot I got, trying to catch a glimpse of nymphets (alas, always remote) playing in Central Park, and how repulsed I was by the glitter of deodorized career girls that a gay dog in one of the offices kept unloading upon me. Let us skip all that. A dreadful breakdown sent me to a sanatorium for more than a year; I went back to my workonly to be hospitalized again. Robust outdoor life seemed to promise me some relief. One of my favorite doctors, a charming cynical chap with a little brown beard, had a brother, and this brother was about to lead an expedition into arctic Canada. I was attached to it as a “recorder of psychic reactions.” With two young botanists and an old carpenter I shared now and then (never very successfully) the favors of ...
4. Lolita. Part Two. Chapters 9 - 16
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Часть текста: mistress, had obviously long ceased to be a nymphet, if she ever had been one. Eva Rosen, a displaced little person from France, was on the other hand a good example of a not strikingly beautiful child revealing to the perspicacious amateur some of the basic elements of nymphet charm, such as a perfect pubescent figure and lingering eyes and high cheekbones. Her glossy copper hair had Lolita’s silkiness, and the features of her delicate milky-white face with pink lips and silverfish eyelashes were less foxy than those of her likesthe great clan of intra-racial redheads; nor did she sport their green uniform but wore, as I remember her, a lot of black or cherry darka very smart black pullover, for instance, and high-heeled black shoes, and garnet-red fingernail polish. I spoke French to her (much to Lo’s disgust). The child’s tonalities were still admirably pure, but for school words and play words she resorted to current American and then a slight Brooklyn accent would crop up in her speech, which was amusing in a little Parisian who went to a select New England school with phoney British aspirations. Unfortunately, despite “that French kid’s uncle” being “a millionaire,” Lo dropped Eva for some reason before I had had time to enjoy in my modest way her fragrant presence in the Humbert open house. The reader knows what importance I attached to having a bevy of page girls, consolation prize nymphets, around my Lolita. For a while, I endeavored to interest my senses in Mona Dahl who was a good deal around, especially during the spring term when Lo and she got...
5. Lolita. Part One. Chapters 28 - 33
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Часть текста: I had locked inafter satisfying myself that the door carried no inside bolt. The key, with its numbered dangler of carved wood, became forthwith the weighty sesame to a rapturous and formidable future. It was mine, it was part of my hot hairy fist. In a few minutessay, twenty, say half-an-hour, sicher its sicher   as my uncle Gustave used to sayI would let myself into that “342” and find my nymphet, my beauty and bride, imprisoned in her crystal sleep. Jurors! If my happiness could have talked, it would have filled that genteel hotel with a deafening roar. And my only regret today is that I did not quietly deposit key “342” at the office, and leave the town, the country, the continent, the hemisphere,indeed, the globethat very same night. Let me explain. I was not unduly disturbed by her self-accusatory innuendoes. I was still firmly resolved to pursue my policy of sparing her purity by operating only in the stealth of night, only upon a completely anesthetized little nude. Restraint and reverence were still my motto-even if that “purity” (incidentally, thoroughly debunked by modern science) had been slightly damaged through some juvenile erotic experience, no doubt homosexual, at that accursed camp of hers. Of course, in my old-fashioned, old-world way, I, Jean-Jacques Humbert, had taken for granted, when I first met her, that she was as unravished as the stereotypical notion of “normal child” had been since the lamented end of the Ancient World B. C. and its fascinating practices. We are not surrounded in our enlighted era by little slave flowers that can be casually plucked between business and bath as they used to be in the days of the Romans; and we do not, as dignified Orientals did in still more luxurious times, use tiny entertainers fore and aft between the...
6. Lolita. Part Two. Chapters 17 - 21
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Часть текста: up at four in the morning, I ascertained that Lo was still sound asleep (mouth open, in a kind of dull amazement at the curiously inane life we all had rigged up for her) and satisfied myself that the precious contents of the “luizetta” were safe. There, snugly wrapped in a white woolen scarf, lay a pocket automatic: caliber. 32, capacity of magazine 8 cartridges, length a little under one ninth of Lolita’s length, stock checked walnut, finish full blued. I had inherited it from the late Harold Haze, with a 1938 catalog which cheerily said in part: “Particularly well adapted for use in the home and car as well as on the person.” There it lay, ready for instant service on the person or persons, loaded and fully cocked with the slide lock in safety position, thus precluding any accidental discharge. We must remember that a pistol is the Freudian symbol of the Ur-father’s central forelimb. I was now glad I had it with meand even more glad that I had learned to use it two years before, in the pine forest around my and Charlotte’s glass lake. Farlow, with whom I had roamed those remote woods, was an admirable marksman, and with his. 38 actually managed to hit a hummingbird, though I must say ...
7. Интервью Набокова на английском языке. Novel, 1970 г.
Входимость: 3. Размер: 30кб.
Часть текста: your oeuvre is growing at both ends. Now that your first novel has appeared (Mashenka, 1926), it seems appropriate that, as we sail into the future, even earlier works should adhere to this elegant formula and make their quantum leap into English. Yes, my forthcoming Poems and Problems [McGraw-Hill] will offer several examples of the verse of my early youth, including "The Rain Has Flown," which was composed in the park of our country place, Vyra, in May 1917, the last spring my family was to live there. This "new" volume consists of three sections: a selection of thirty-six Russian poems, presented in the original and in translation; fourteen poems which I wrote directly in English, after 1940 and my arrival in America (all of which were published in The New Yorker), and eighteen chess problems, all but two of which were composed in recent years (the chess manuscripts of the 1940-1960 period have been mislaid and the earlier unpublished jottings are not worth printing). These Russian poems constitute no more than one percent of the mass of verse which I exuded with monstrous regularity during my youth. Do the components of that monstrous mass fall into any discernible periods or stages of development? What can be called rather grandly my European period of verse-making seems to show several distinctive stages: an initial one of passionate and commonplace love verse (not represented in Poems and Problems)-, a period reflecting...
8. Маликова М.: "Первое стихотворение" В. Набокова. Перевод и комментарий
Входимость: 2. Размер: 81кб.
Часть текста: впрочем, она висит в отдалении, чуть барочная, но в ладу с красивыми деревьями, темной елью и светлой березой, сок которых когда-то бежал в ее бревнах. Винно-красные, бутылочно-зеленые и темно-синие ромбы цветного стекла придавали решетчатым конструкциям ее створных окон вид часовни. Она точно такая, как во времена моего детства — крепкое старое деревянное строение над заросшим папоротником оврагом в старой, приречной части нашего вырского парка. Точно такая, или немного более совершенная. В реальной беседке не хватало нескольких стекол, внутрь нанесло ветром опавших листьев. Узкий мостик, изогнувшийся над самой глубокой частью оврага, посередине которого, точно сгустившаяся радуга, поднималась беседка, был таким скользким после приступа дождя, как будто его покрыли какой-то темной и в некотором смысле волшебной мазью. Этимологически беседка (pavilion) и бабочка (papilio) тесно связаны. Внутри не было ничего из мебели, кроме складного стола, прикрепленного ржавыми петлями к стене под восточным окном, сквозь два или три пустых или простых ромба которого, среди надменных голубых и хмельных красных, можно было на мгновение увидеть реку. На полу у моей ноги лежал на спинке мертвый слепень рядом с коричневыми остатками березовой сережки. А пятна осыпавшейся штукатурки на внутренней стороне двери использовались различными нарушителями для надписей типа «Здесь были Даша, Тамара и Лена» или «Долой Австрию!» Гроза быстро прошла. Ливень, хлеставший потоками, в которых деревья качались и клонились, сократился в одно мгновение до косых линий тихого золота, вспыхивавших короткими и длинными штрихами на фоне утихающего растительного волнения. Заливы роскошного голубого разрастались среди огромных облаков: горы ярко белого...
9. Эссе о драматургии ("Playwriting", на английском языке)
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Часть текста: to accompany Nabokov's plays because they embody, in concentrated form, many of his principal guidelines for writing, reading, and performing plays. The reader is urged to bear in mind, however, that, later in life, Father might have expressed certain thoughts differently. The lectures were partly in typescript and partly in manuscript, replete with Nabokov's corrections, additions, deletions, occasional slips of the pen, and references to previous and subsequent installments of the course. I have limited myself to what editing seemed necessary for the presentation of the lectures in essay form. If Nabokov had been alive, he might perhaps have performed more radical surgery. He might also have added that the gruesome throes of realistic suicide he finds unacceptable onstage (in "The Tragedy of Tragedy") are now everyday fare on kiddies' TV, while "adult" entertainment has long since outdone all the goriness of the Grand Guignol. He might have observed that the aberrations of theatrical method wherein the illusion of a barrier between stage and audience is shattered - a phenomenon he considered "freakish" - are now commonplace: actors wander and mix; the audience is invited to participate; it is then applauded by the players in a curious reversal of roles made chic by Soviet performers ordered to emulate the mise-en-sce´ne of party congresses; and the term "happening" has already...
10. Интервью Набокова на английском языке. The Paris Review, 1967 г.
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Часть текста: teens or early twenties have no bearing on Lolita whatever. Humbert was fond of "little girls"-- not simply "young girls." Nymphets are girl-children, not starlets and "sex kittens." Lolita was twelve, not eighteen, when Humbert met her. You may remember that by the time she is fourteen, he refers to her as his "aging mistress." One critic has said about you that "his feelings are like no one else's. " Does this make sense to you? Or does it mean that you know your feelings better than others know theirs? Or that you have discovered yourself at other levels? Or simply that your history is unique? I do not recall that article; but if a critic makes such a statement, it must surely mean that he has explored the feelings of literally millions of people, in at least three countries, before reaching his conclusion. If so, lama rare fowl indeed. If, on the other hand, he has merely limited himself to quizzing members of his family or club, his statement cannot be discussed seriously. Another critic has written that your "worlds are static. They may become tense with obsession, but they do not break apart like the worlds of everyday reality. " Do you agree? Is there a static quality in your view of things? Whose "reality"? "Everyday" where? Let me suggest that the very term "everyday reality" is utterly static since it presupposes a situation that is permanently observable, essentially objective, and universally known. I suspect you have invented that expert on "everyday reality." Neither exists. He does (names him). A third critic has said that you "diminish" your characters "to the point where they become ciphers in a cosmic farce. " I disagree; Humbert, while comic, retains a touching and insistent quality-- that of the spoiled artist. I would put it...