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Cлово "POWER"

Часть текста: Mountaineering, no. 12 (May 1955). Alexander, Victoria N. “Nabokov, Teleology, and Insect Mimicry. ” Nabokov Studies 7 (2002-2003): 177-213. Alexandrov, Vladimir E. “Nabokov and Bely.” In Alexandrov. Garland Companion. Alexandrov, Vladimir E. Nabokov’s Otherworld. Princeton, N. J.: Princeton University Press, 1991. Alexandrov, Vladimir E., ed. The Garland Companion to Vladimir Nabokov. New York: Garland, 1995. Altschuler, Glenn, Kramnick, Isaac. “«Red Cornell»: Cornell in the Cold War, ” part 1. Cornell Alumni Magazine, July 2010. Amis, Martin. “Divine Levity: The Reputation of Vladimir Nabokov Is High and Growing Higher and There Is Much More Work Still to Come.” Times Literary Supplement, December 23 and 30, 2011, 3-5. Amis, Martin. “The Sublime and the Ridiculous: Nabokov’s Black Farces”. In Quennell. Vladimir Nabokov, His Life. Amis, Martin. Visiting Mrs. Nabokov and Other Excursions. New York: Vintage International, 1995. Appel, Alfred, Jr. “The Road to Lolita, or the Americanization of an Emigre.” Journal of Modern Literature 4 (1974): 3-31. Appel, Alfred, Jr. Nabokov’s Dark Cinema . New York: Oxford University Press, 1974. Appel, Alfred, Jr., ed. The Annotated Lolita. New York: McGraw-Hill, 1970. Appel, Alfred, Jr., Newman, Charles, eds. Nabokov: Criticism,...

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

Входимость: 4. Размер: 59кб.

Часть текста: 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:...

3. Lolita. Part Two. Chapters 1 - 2

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Часть текста: 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 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 Courts, Park Plaza Courts, Green Acres, Mac’s Courts. There was sometimes a special line in the write-up, such as “Children welcome, pets allowed” ( You are welcome, you are allowed). The baths were mostly tiled showers, with an endless variety of spouting mechanisms, but with one definitely non-Laodicean characteristic in common, a propensity, while in use, to turn instantly beastly hot or blindingly cold upon you, depending on whether your neighbor turned on his cold or his hot to deprive you of a necessary complement in the shower you had so...

4. Интервью Набокова на английском языке. The New York Times Book Review, 1972 г.

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Часть текста: answers were accurately reproduced in The New York Times Book Review, January 9, 1972. Their presentation would have been perfect had they not been interspersed with unnecessary embellishment (chitchat about living writers, for instance). What do you do to prepare yourself for the ordeals of life? Shave every morning before bath and breakfast so as to be ready to fly far at short notice. What are the literary virtues you seek to attain-- and how? Mustering the best words, with every available lexical, associative, and rhythmic assistance, to express as closely as possible what one wants to express. What are the literary sins for which you could be answerable some day-- and bow would you defend yourself? Of having spared in my books too many political fools and intellectual frauds among my acquaintances. Of having been too fastidious in choosing my targets. What is your position in the world of letters? Jolly good view from up here. What problems are posed for you by the existence of ego? A linguistic problem: the singular act of mimetic evolution to which we owe the fact that in Russian the word ego means "his," "him." What struggles these days for pride of place in your mind? Meadows. A meadow with Scarce Heath butterflies in North Russia, another with Grinnell's Blue in Southern California. That sort of thing. What are your views about man's upward climb from slime? A truly remarkable performance. Pity, though, that some of the slime still sticks to drugged brains. What should we think about death? "Leave me alone, says dreary Death" (bogus inscription on empty tomb). What kinds of power do you favor, and which do you oppose? To play safe, I prefer to accept only one type of power: the power of art over trash, the triumph of magic over the brute. What are the large issues that you can't get interested in, and what are you most concerned with? The larger the issue the less it interests me. Some of my best concerns...

5. Интервью Набокова на английском языке. Bayerischer Rundfunk, 1971-72 г.

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Часть текста: time, measurable illusions of time, are useful for the purposes of historians or physicists, they do not interest me, and they did not interest my creature Van Veen in Part Four of my Ada. He and I in that book attempt to examine the essence of Time, not its lapse. Van mentions the possibility of being "an amateur of Time, an epicure of duration," of being able to delight sensually in the texture of time, "in its stuff and spread, in the fall of its folds, in the very impalpability of its grayish gauze, in the coolness of its continuum." He also is aware that "Time is a fluid medium for the culture of metaphors." Time, though akin to rhythm, is not simply rhythm, which would imply motion-- and Time does not move. Van's greatest discovery is his perception of Time as the dim hollow between two rhythmic beats, the narrow and bottomless silence between the beats, not the beats themselves, which only embar Time. In this sense human life is not a pulsating heart but the missed heartbeat. PERSONAL PAST Pure Time, Perceptual Time, Tangible Time, Time free of content and context, this, then, is the kind of Time described by my creature under my sympathetic direction. The Past is also part of the tissue, part of the present, but it looks somewhat out of focus. The Past is a constant accumulation of images, but our brain is not an ideal organ for constant retrospection and the best we can do is to pick out and try to retain those patches of rainbow light flitting through memory. The act of...

6. Чарльз Кинбот: Серебристый свет. Подлинная жизнь Владимира Набокова. Chapter Three. Mashen'ka

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Часть текста: of future greatness that the prose of a first novel allows. After having considered and discarded one by one a series of clever but clumsy titles for this chapter I settled on the pedestrian choice above. Engaging in verbal legerdemain while speaking of Nabokov is a perilous and perhaps foolhardy undertaking, given his own multilingual mastery over words--one might compare it to beginning a talk on Nijinsky by stepping from behind the lectern to attempt a jeté or two. While much, indeed too much, has been written about Nabokov's English novels, much less has been said about his earliest Russian fiction. It is to this I must now turn. My editor has chided me for diverging too frequently and too widely from my subject--but what is a life if not a series of diversions from some hidden, ineffable theme? Mashen'ka opens with the tongue-twisting name and patronymic of the protagonist Ganin, Lev Glebovich, which, complains the character Alferov, "iazyk vyzvikhnut' mozhno" (7). Instantly we are made aware of the potential...

7. Eugene Onegin. A Novel in Verse by Aleksandr Pushkin. Chapter eight

Входимость: 2. Размер: 71кб.

Часть текста: in those days, in mysterious valleys, in springtime, to the calls of swans, near waters shining in the stillness, 8 the Muse began to visit me. My student cell was all at once radiant with light: in it the Muse opened a banquet of young fancies, 12 sang childish gaieties, and glory of our ancientry, and the heart's tremulous dreams. II And with a smile the world received her; the first success provided us with wings; the aged Derzhavin noticed us — and blessed us 4 as he descended to the grave. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . III And I, setting myself for law only the arbitrary will of passions, sharing emotions with the crowd, 4 I led my frisky Muse into...

8. Мейер Присцилла. "Бледный огонь" Владимира Набокова. 3. Англосаксы: король Альфред Великий

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Часть текста: each worshipping star; And through Thy great power, the sun from the night Drags darkness away by the might of her light. The moon, at Thy word, with his pale-shining rays Softens and shadows the stars as they blaze, And even the sun of her brightness bereaves Whenever upon her too closely he cleaves. ( King Alfred. A Psalm to God) [107] Если в поисках истоков своего русского наследства Набоков обращается к самому началу русской литературы — созданному в XII веке «Слову о полку Игореве», то свои английские культурные корни он локализует в кругу сочинений короля Альфреда. В конце IX века Альфред Великий, «родоначальник английской прозы» [108] , перевел наиболее значительные произведения своего времени на англосаксонский язык, заложив тем самым основу британской литературы. В «Бледном огне» этот материал также предстает отраженным в кривом зеркале Чарльза Кинбота. Не обнаружив в поэме Шейда истории своего бегства от земблянской революции, разочарованный Кинбот сетует в комментарии на то, что во время одной из прогулок поэт отвертелся от разговоров с ним обидным анекдотом о короле Альфреде, который, как говорят, любил рассказы своего норвежского приближенного, но прогонял его, когда бывал занят другими делами. «Ну, вот и вы [Oh, there you are], — говаривал неучтивый Альфред кроткому норвежцу, пришедшему...

9. Интервью Набокова на английском языке. Wisconsin Studies, 1967 г.

Входимость: 1. Размер: 63кб.

Часть текста: 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 of distinction at all important regarding your identity as a writer? I have always maintained,...

10. Интервью Набокова на английском языке. Vogue, 1969 г.

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Часть текста: more than an insect's sleight-of-wing. A wit might say that it protects me from half-wits. A grateful spectator is content to applaud the grace with which the masked performer melts into Nature's background. In your autobiography. Speak, Memory, you describe a series of concurrent, insignificant events around the world "forming an instantaneous and transparent organism of events, " of which the poet (sitting in a lawn chair at lthaca. New York) is the nucleus. How does this open out on your larger belief in the precedence of the imagination over the mind? The simultaneousness of these random events, and indeed the fact of their occurring at all as described by the central percipient, would only then conform to "reality" if he had at his disposal the apparatus to reproduce those events optically within the frame of one screen; but the central figure in the passage you quote is not equipped with any kind of video attached to his lawn chair and must therefore rely on the power of pure imagination. Incidentally, I tend more and more to regard the objective existence of all events as a form of impure imagination-- hence my inverted commas around "reality." Whatever the mind grasps, it does so with the assistance of creative fancy, that drop of water on a glass slide which gives distinctness and relief to the observed organism. 1969 marks the fiftieth anniversary of your first publication. What do that first book and your latest, Ada, have in common? What of your intention and technique has changed, what has remained? My first publication, a collection of love poems, appeared not fifty, but fifty-three years ago. Several copies of it still lurk in my native country. The versification is fair, the lack of originality complete. Ten years later, in...

Поиск по творчеству и критикеCлово "POWER"

Поиск по творчеству и критике
Cлово "POWER"