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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
0-9 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
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1. Lolita. Part Two. Chapters 32 - 36
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2. Эссе о драматургии ("Playwriting", на английском языке)
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3. Lolita. Part Two. Chapters 1 - 2
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4. Интервью Набокова на английском языке. Life, 1964 г.
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5. Lolita. Part One. Chapters 23 - 27
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6. Lolita. Part Two. Chapters 9 - 16
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7. Интервью Набокова на английском языке. TV-13 NY, 1965 г.
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8. Интервью Набокова на английском языке. BBC-2, 1969 г.
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9. Интервью Набокова на английском языке. Wisconsin Studies, 1967 г.
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10. Интервью Набокова на английском языке. Novel, 1970 г.
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11. Набоков Дмитрий: Отцовские бабочки. Интервью данное Брайеном Бойдом журналу BOMB Magazine
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12. Lolita. Part One. Chapters 18 - 22
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13. Eugene Onegin. A Novel in Verse by Aleksandr Pushkin. Chapter one
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14. Интервью Набокова на английском языке. Time, 1969 г.
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15. Anniversary notes
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16. Интервью Набокова на английском языке. Swiss Broadcast, 1972 ? г.
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17. Lolita. Part Two. Chapters 17 - 21
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18. Савельева В.В.: Художественная гипнология и онейропоэтика русских писателей. Приложение
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19. Lolita. Part Two. Chapters 27 - 31
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20. Интервью Набокова на английском языке. The Paris Review, 1967 г.
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21. Питцер А.: Тайная история Владимира Набокова. Глава четырнадцатая. В ожидании Солженицына
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22. Интервью Набокова на английском языке. Playboy, 1964 г.
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23. Интервью Набокова на английском языке. The New York Times Book Review, 1968 г.
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24. Интервью Набокова на английском языке. BBC Television, 1962 г.
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25. Eugene Onegin. A Novel in Verse by Aleksandr Pushkin. Chapter four
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26. Lolita. Part One. Chapters 28 - 33
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27. Утгоф Г.М.: «Audiatur et altera pars» - к проблеме «Набоков и Лоуэлл»
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28. Безродный М.: Супруги Комаровы. Заметка на полях "Пнина"
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29. Брайан Бойд. Владимир Набоков: американские годы. Библиография
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30. Интервью Набокова на английском языке. Vogue, 1972 г.
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31. Lolita. Part One. Chapters 9 - 11
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32. Eugene Onegin. A Novel in Verse by Aleksandr Pushkin. Chapter two
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33. Долинин Александр: Комментарий к роману Владимира Набокова «Дар». Литература
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34. Eugene Onegin. A Novel in Verse by Aleksandr Pushkin. Notes to Eugene Onegin
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35. Eugene Onegin. A Novel in Verse by Aleksandr Pushkin. Chapter eight
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36. Eugene Onegin. A Novel in Verse by Aleksandr Pushkin. Fragments of Onegin's journey
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37. Зелински Ян: Лебеди крупнее лодок (Набоков и Марко Поло)
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38. Lolita. Foreword
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39. Вне Лолиты: Вновь открывая Набокова. (Проект CNN, 1999 г.). His Legacy
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40. Мельников Н. Г.: О Набокове и прочем. Несовершенное творение, или стрельба дуплетом
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41. Ада, или Радости страсти. Семейная хроника. (Часть 1, глава 29)
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42. Чарльз Кинбот: Серебристый свет. Подлинная жизнь Владимира Набокова. Chapter One. On Visiting Nabokov's Tomb
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43. Ада, или Радости страсти. Семейная хроника. (Часть 5)
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44. Йожа Д. З.: Мифологические подтексты романа "Король, дама, валет"
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45. Мельников Н.: Портрет без сходства (ознакомительный фрагмент). 1970-е годы
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46. Грейсон Джейн: Французский связной - Набоков и Альфред де Мюссе. Идеи и опыты перевода
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47. Inspiration
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48. Шифф Стейси: Вера (Миссис Владимир Набоков). 2. Романтический век
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49. The Song of Igor's Campaign, Igor son of Svyatoslav and grandson of Oleg (перевод Набокова)
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50. Ада, или Эротиада (перевод О. М. Кириченко). Часть первая. Глава 29
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1. Lolita. Part Two. Chapters 32 - 36
Входимость: 10. Размер: 58кб.
Часть текста: 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 and walking behind them so close as almost to touch them with my person), she turned to Eva, and so very serenely and seriously, in answer to something the other had said about its being better to die than hear Milton Pinski, some local schoolboy she knew, talk about music, my Lolita remarked: “You know, what’s so dreadful about dying is that you are completely on your own”; and it...
2. Эссе о драматургии ("Playwriting", на английском языке)
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Часть текста: brief guest appearances, this was Father's first lecturing engagement at an American university. The Stanford course also included a discussion of some American plays, a survey of Soviet theatre, and an analysis of commentary on drama by several American critics. The two lectures presented here have been selected 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...
3. Lolita. Part Two. Chapters 1 - 2
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Часть текста: 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 unit, the stucco court, on what the Tour Book of the Automobile Association describes as “shaded” or “spacious” or “landscaped” grounds. The log kind, finished in knotty pine, reminded Lo, by its golden-brown glaze, of friend-chicken bones. We held in contempt the plain whitewashed clapboard Kabins, with their faint sewerish smell or some other gloomy self-conscious stench and nothing to boast of (except “good beds”), and an unsmiling landlady always prepared to have her gift (“…well, I could give you…”) turned down. Nous connmes   (this is royal fun) the would-be enticements of their repetitious namesall those Sunset Motels, U-Beam Cottages, Hillcrest Courts, Pine View Courts, Mountain View Courts, Skyline...
4. Интервью Набокова на английском языке. Life, 1964 г.
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Часть текста: of my replies. In mid-September she arrived in Montreux with the photographer Henry Grossman. Text and pictures appeared in the November 20 issue of Life. What writers and persons and places have influenced you most? In my boyhood I was an extraordinarily avid reader. By the age of 14 or 15 I had read or re-read all Tolstoy in Russian, all Shakespeare in English, and all Flaubert in French-- besides hundreds of other books. Today I can always tell when a sentence I compose happens to resemble in cut and intonation that of any of the writers I loved or detested half a century ago; but I do not believe that any particular writer has had any definite influence upon me. As to the influence of places and persons, I owe many metaphors and sensuous associations to the North Russian landscape of my boyhood, and I am also aware that my father was responsible for my appreciating very early in life the thrill of a great poem. Have you ever seriously contemplated a career other than in letters?...
5. Lolita. Part One. Chapters 23 - 27
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Часть текста: (where a tartan laprobe had dropped in a heap), and stood there, shining in the sun, its doors open like wings, its front wheels deep in evergreen shrubbery. To the anatomical right of this car, on the trim turn of the lawn-slope, an old gentleman with a white mustache, well-dresseddouble-breasted gray suit, polka-dotted bow-tielay supine, his long legs together, like a death-size wax figure. I have to put the impact of an instantaneous vision into a sequence of words; their physical accumulation in the page impairs the actual flash, the sharp unity of impression: Rug-heap, car, old man-doll, Miss O.’s nurse running with a rustle, a half-empty tumbler in her hand, back to the screened porchwhere the propped-up, imprisoned, decrepit lady herself may be imagined screeching, but not loud enough to drown the rhythmical yaps of the Junk setter walking from group to groupfrom a bunch of neighbors already collected on the sidewalk, near the bit of checked stuff, and back to the car which he had finally run to earth, and then to another group on the lawn, consisting of Leslie, two policemen and a sturdy man with tortoise shell glasses. At this point, I should explain that the prompt appearance of the patrolmen, hardly more than a minute after the accident, was due to their having been ticketing the illegally parked cars in a cross lane two blocks down the grade; that the fellow with the glasses was Frederick Beale, Jr., driver of the Packard; that his 79-year-old father, whom the nurse had just watered on the green bank where he laya banked banker so to speakwas not in a dead faint, but was comfortably and methodically recovering from a mild heart attack or its possibility; and, finally, that the laprobe on the sidewalk (where she had so often pointed out to me with disapproval the crooked green cracks) concealed the mangled remains of Charlotte Humbert...
6. Lolita. Part Two. Chapters 9 - 16
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Часть текста: 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 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....
7. Интервью Набокова на английском языке. TV-13 NY, 1965 г.
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Часть текста: the eye tends to regard the "a" of the first syllable as a misprint and then tries to restore the symmetrical sequence by triplicating the "o"-- filling up the row of circles, so to speak, as in a game of crosses and naughts. No-bow-cough. How ugly, how wrong. Every author whose name is fairly often mentioned in periodicals develops a bird-watcher's or caterpillar-picker's knack when scanning an article. But in my case I always get caught by the word "nobody" when capitalized at the beginning of a sentence. As to pronunciation, Frenchmen of course say Nabokoff, with the accent on the last syllable. Englishmen say Nabokov, accent on the first, and Italians say Nabokov, accent in the middle, as Russians also do. Na- bo -kov. A heavy open "o" as in "Knickerbocker". My New England ear is not offended by the long elegant middle "o" of Nabokov as delivered in American academies. The awful "Na-bah-kov" is a despicable gutterism. Well, you can make your choice now. Incidentallv, the first name is pronounced Vladeemer-- rhyming with "redeemer"-- not Vladimir rhyming with Faddimere (a place in England, I think). How about the name of your extraordinary creature. Professor P-N-I-N? The "p" is sounded, that's all. But since the "p" is mute in English words starting w-ith "pn", one is prone to insert a supporting "uh" sound-- "Puh-- nin"-- which is wrong. To get the "pn" right, try the combination "Up North", or still better "Up, Nina!", leaving out the initial "u". Pnorth, Pnina, Pmn. Can you do that? . . . That's fine. You 're responsible for brilliant summaries of the lives...
8. Интервью Набокова на английском языке. BBC-2, 1969 г.
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Часть текста: 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? Being aware of being aware of being. In other words, if I not only know that I am but also know that I know it, then I belong to the human species. All the rest follows-- the glory of thought, poetry, a vision of the universe. In that respect, the gap between ape and man is immeasurably greater than the one between amoeba and ape. The difference between an ape's memory and human memory is the difference between an ampersand and the British Museum library. Judging from your own awakening consciousness as a child, do you think that the capacity to use language, syntax, relate ideas, is something we learn from adults, as if we were computers being programed, or do we begin to use a unique, built-in capability of our own-- call it imagination? The stupidest person in the world is an all-round genius compared to the cleverest computer. How we learn to imagine and express things is a riddle with premises impossible to express and a solution impossible to imagine. In your acute scrutiny of your past,...
9. Интервью Набокова на английском языке. Wisconsin Studies, 1967 г.
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Часть текста: (published in Wisconsin Studies in Contemporary Literature, vol. VIII, no. 2, spring 1967) was conducted on September 25, 27, 28, 29, 1966, at Montreux, Switzerland. Mr. Nabokov and his wife have for the last six years lived in an opulent hotel built in 1835, which still retains its nineteenth-century atmosphere. Their suite of rooms is on the sixth floor, overlooking Lake Geneva, and the sounds of the lake are audible through the open doors 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...
10. Интервью Набокова на английском языке. Novel, 1970 г.
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Часть текста: 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 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 ...