Поиск по творчеству и критике
Cлово "MUSIC"

Часть текста: a pal, not even a person at all, but just two eyes and a foot of engorged brawnto mention only mentionable matters. There was the day when having withdrawn the functional promise I had made her on the eve (whatever she had set her funny little heart ona roller rink with some special plastic floor or a movie matinee to which she wanted to go alone), I happened to glimpse from the bathroom, through a chance combination of mirror aslant and door ajar, a look on her face… that look I cannot exactly describe… an expression of helplessness so perfect that it seemed to grade into one of rather comfortable inanity just because this was the very limit of injustice and frustrationand every limit presupposes something beyond ithence the neutral illumination. And when you bear in mind that these were the raised eyebrows and parted lips of a child, you may better appreciate what depths of calculated carnality, what reflected despair, restrained me from falling at her dear feet and dissolving in human tears, and sacrificing my jealousy to whatever pleasure Lolita might hope to derive from mixing with dirty and dangerous children in an outside world that was real to her. And I have still other smothered memories, now unfolding themselves into limbless monsters of pain. Once, in a sunset-ending street of Beardsley, she turned to little Eva Rosen (I was taking both nymphets to a concert...

2. Интервью Набокова на английском языке. Playboy, 1964 г.

Входимость: 8. Размер: 53кб.

Часть текста: the literary cognoscenti-- which you bad enjoyed for more than 30 years-- to both acclaim and abuse as the world-renowned author of a sensational bestseller. In the aftermath of this cause celebre, do you ever regret having written Lolita? On the contrary, I shudder retrospectively when I recall that there was a moment, in 1950, and again in 1951, when I was on the point of burning Humbert Humbert's little black diary. No, I shall never regret Lolita. She was like the composition of a beautiful puzzle-- its composition and its solution at the same time, since one is a mirror view of the other, depending on the way you look. Of course she completely eclipsed my other works-- at least those I wrote in English: The Real Life of Sebastian Knight, Bend Sinister, my short stories, my book of recollections; but I cannot grudge her this. There is a queer, tender charm about that mythical nymphet. Though many readers and reviewers would disagree that her charm is tender, few would deny that it is queer-- so much so that when director Stanley Kubrick proposed his plan to make a movie of...

3. Lolita. Part Two. Chapters 9 - 16

Входимость: 3. Размер: 59кб.

Часть текста: 9 - 16 9 Her girlfriends, whom I looked forward to meet, proved on the whole disappointing. There was Opal Something, and Linda Hall, and Avis Chapman, and Eva Rosen, and Mona Dahl (save one, all these names are approximations, of course). Opal was a bashful, formless, bespectacled, bepimpled creature who doted on Dolly who bullied her. With Linda Hall the school tennis champion, Dolly played singles at least twice a week: I suspect Linda was a true nymphet, but for some unknown reason she did not comewas perhaps not allowed to cometo our house; so I recall her only as a flash of natural sunshine on an indoor court. Of the rest, none had any claims to nymphetry except Eva Rosen. Avis ws a plump lateral child with hairy legs, while Mona, though handsome in a coarse sensual way and only a year older than my aging 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...

4. Интервью Набокова на английском языке. Novel, 1970 г.

Входимость: 3. Размер: 30кб.

Часть текста: 1970 г. Novel [1970] During a visit in the last week of August, 1970, Alfred Appel interviewed me again. The result was printed, from our careful jottings, in the spring, 1971, issue of Novel, A Forum on Fiction, Brown University, Providence, Rhode Island. In the twelve years since the American publication of Lolita, you've published twenty-two or so books-- new American or Antiterran novels, old Russian works in English, Lolita in Russian-- giving one the impression that, as someone has said-- John Updike, I think-- 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 ...

5. Эссе о драматургии ("Playwriting", на английском языке)

Входимость: 3. Размер: 59кб.

Часть текста: 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 managed to grow obsolescent. He might have commented that the quest for originality for its own sake has led to ludicrous excesses and things have taken their helter-skelter course in random theatre as they have in random music and in random painting. Yet Nabokov's own plays demonstrate that it is possible to respect the rules of drama and still be original, just as one can write original poetry without neglecting the basic...

6. Афанасьев О.И.: Интертекстуальные связи музыкальных мотивов в рассказе В.В. Набокова "Музыка"

Входимость: 3. Размер: 19кб.

Часть текста: МОТИВОВ В РАССКАЗЕ В. В. НАБОКОВА Целью настоящей статьи является исследование межтекстовых связей музыкальных мотивов в рассказе В. В. Набокова «Музыка». Литературоведческий анализ музыкальных мотивов в рассказе позволяет выявить их идейно-художественную функцию, эксплицировать глубинный смысл рассказа, осмыслить «эффект обманутого ожидания» читателя. В процессе создания своего рассказа В. В. Набоков ориентировался на влиятельную модель, заданную в данном случае Л. Н. Толстым и А. П. Чеховым, чтобы через ее обновление и трансформацию вступить в полемику со своими великими предшественниками и тем самым адекватно выразить свою художественную позицию. Ключевые слова и фразы : интертекстуальность; аллюзия; реминисценция; ирония; историко-культурная память; музыка чувств; межтекстовая солидарность. Северо-Осетинский государственный университет имени К. Л. Хетагурова yasha64@bk.ru Рассказ «Музыка» был написан В. В. Набоковым в начале 1932 года. Тематически и композиционно он примыкает к ранней истории «Бахман» [8, c. 799], написанной в 1925 году. Несмотря на незначительный объем, рассказ «Музыка» обнаруживает довольно богатые интертекстуальные связи с музыкальными мотивами как произведений самого В. В. Набокова, так и с произведениями других авторов. Согласно теории интертекстуальности, любой художественный текст «не существует изолированно, вне связи с другими. Он часто возникает как отклик на уже существующее литературное произведение, как реакция на него, ответная “реплика” в диалоге текстов; он включает и преобразует “чужое” слово, приобретая при этом смысловую множественность» [10, c. 223], а также смысловую полноту, что является следствием его соотнесенности с иными текстами «в общем межтекстовом пространстве культуры», в котором текст предстает в виде «мозаики цитат» [6, c. 5-6], своеобразной «эхокамеры» [1, c. 88]. Ю. Кристева даже утверждает: «Любой текст есть продукт впитывания и трансформации какого-нибудь другого текста......

7. Lolita. Part Two. Chapters 1 - 2

Входимость: 2. Размер: 49кб.

Часть текста: Two 1 It was then that began our extensive travels all over the States. To any other type of tourist accommodation I soon grew to prefer the Functional Motelclean, neat, safe nooks, ideal places for sleep, argument, reconciliation, insatiable illicit love. At first, in my dread of arousing suspicion, I would eagerly pay for both sections of one double unit, each containing a double bed. I wondered what type of foursome this arrangement was even intended for, since only a pharisaic parody of privacy could be attained by means of the incomplete partition dividing the cabin or room into two communicating love nests. By and by, the very possibilities that such honest promiscuity suggested (two young couples merrily swapping mates or a child shamming sleep to earwitness primal sonorities) made me bolder, and every now and then I would take a bed-and-cot or twin-bed cabin, a prison cell or paradise, with yellow window shades pulled down to create a morning illusion of Venice and sunshine when actually it was Pennsylvania and rain. We came to know nous connmes, to use a Flaubertian intonationthe stone cottages under enormous Chateaubriandesque trees, the brick unit, the adobe...

8. Брайан Бойд. Владимир Набоков: русские годы. Глава 22. В поисках выхода: Франция, 1939–1940

Входимость: 2. Размер: 70кб.

Часть текста: за большой письменный стол красного дерева и работали ежедневно несколько часов кряду. Именно за этим столом на протяжении двенадцати лет Поль Леон работал с Джойсом над «Поминками по Финнегану» — апостольская преемственность на современный лад! Обычно я читала вслух предложение и проверяла, как оно звучит. Большинство предложений звучали на удивление гладко. Время от времени приходилось заменять какое-нибудь слово или подыскивать более подходящий синоним. Иногда два слова мы заменяли одним. Мы обсуждали то или иное место, и случалось, я снимала свое возражение, а бывало — капитулировал он. Потом он обычно еще раз читал — своим глубоким баритоном — то же самое предложение, а я слушала. Некоторые пассажи вызывали затруднения, однако автор точно знал, как именно он хочет выразить свою мысль. Чаще всего трудностей не было вовсе. Сама магия этой книги настолько меня захватила, что мне не терпелось узнать, чем же все кончится. Каждый вечер я пересказывала прочитанное мужу 2 . Однажды в начале февраля, когда эти ежедневные чтения все еще продолжались, чета Леонов пригласила Набоковых отобедать с их друзьями, Джеймсом Джойсом и издателями авангардистского журнала «Transition» Юджином и Марией Джолас. Леоны были разочарованы тем, что Набоков за обедом не смог блеснуть остроумием перед Джойсом, что мадам Леон объяснила робостью. Читая ее мемуары тридцать лет спустя, Набоков с улыбкой заметил, что впервые его упрекают в застенчивости, а не в заносчивости: …соответствуют ли ее впечатления действительности? Она изображает меня робким молодым художником; на самом же деле мне уже было сорок лет, и я достаточно ясно представлял свой вклад в русскую литературу, чтобы не испытывать страха в присутствии любого писателя. (Если бы госпожа Леон чаще встречала меня на приемах, она бы знала, что я вообще малоинтересный гость, не ...

9. Eugene Onegin. A Novel in Verse by Aleksandr Pushkin. Chapter five

Входимость: 2. Размер: 54кб.

Часть текста: Tatiana from the window saw at morn the whitened yard, 8 flower beds, roofs, and fence; delicate patterns on the panes; the trees in winter silver, gay magpies outside, 12 and the hills softly overspread with winter's brilliant carpeting. All's bright, all's white around. II Winter! The peasant, celebrating, in a flat sledge inaugurates the track; his naggy, having sensed the snow, 4 shambles at something like a trot. Plowing up fluffy furrows, a bold kibitka flies: the driver sits upon his box 8 in sheepskin coat, red-sashed. Here runs about a household lad, upon a hand sled having seated “blackie,” having transformed himself into the steed; 12 the scamp already has frozen a finger. He finds it both painful and funny — while his mother, from the window, threatens him... III But, maybe, pictures of this kind will not attract you; all this is lowly nature; 4 there is not much refinement here. Warmed by the god of inspiration, another poet in luxurious language for us has painted the first snow 8 and all the shades of winter's delectations. 27 He'll captivate you, I am sure of it, when he depicts in flaming verses secret promenades in sleigh; 12 but I have no intention of contending either with him at present or with you, singer of the young Finnish Maid! 28 IV Tatiana (being Russian at heart, herself not knowing why) loved, in all its cold beauty, 4 a Russian winter: rime in...

10. Интервью Набокова на английском языке. BBC-2, 1969 г.

Входимость: 2. Размер: 22кб.

Часть текста: that you explored time's prison and have found no way out. Are you still exploring, and is it inevitably a solitary excursion, from which one returns to the solace of others? I'm a very poor speaker. I hope our audience won't mind my using notes. My exploration of time's prison as described in the first chapter of Speak, Memory was only a stylistic device meant to introduce my subject. Memory often presents a life broken into episodes, more or less perfectly recalled. Do you see any themes working through from one episode to another? Everyone can sort out convenient patterns of related themes in the past development of his life. Here again I had to provide pegs and echoes when furnishing my reception halls. Is the strongest tie between men this common captivity in time? Let us not generalize. The common captivity in time is felt differently by different people, and some people may not feel it at all. Generalizations are full of loopholes and traps. I know elderly men for whom "time" only means "timepiece." What distinguishes us from animals?...

Поиск по творчеству и критикеCлово "MUSIC"

Поиск по творчеству и критике
Cлово "MUSIC"