Владимир Набоков: Поиск по текстам произведений автора и критике. Cлово "REMARK". Классическая русская литература.

Примерный текст на первых найденных страницах

Входимость: 4. Размер: 63кб.

Часть текста: 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, even as a schoolboy in Russia, that the nationality of a worthwhile writer is of secondary importance. The more distinctive an insect's aspect, the less apt the taxonomist is to glance first of all at the locality label under the pinned specimen in order to decide which of several vaguely described races it should be assigned to. The writer's art is his real passport. His identity should be immediately recognized by a special pattern or unique coloration. His habitat may confirm the correctness of the determination but should not lead to it. Locality ...

Входимость: 3. Размер: 30кб.

Часть текста: 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 ...

Входимость: 2. Размер: 39кб.

Часть текста: может быть названа полигенетической, поскольку в подобном случае в порождении данного сегмента участвует не один, а большее количество источников. Наши рассуждения иллюстрируются примерами из русско- и англоязычной прозы Владимира Набокова. В случае существования двуязычного варианта приводятся оба, так как в английские переводы своих написанных первоначально на русском языке текстов Набоков вводил много изменений, которые также существенны в аспекте изучаемой нами проблемы. В качестве гипотезы мы утверждаем, что несмотря на то, что полигенетические связи никоим образом не характеризуют исключительно Набокова — или, более широко, модернизм вообще, — тем не менее можно в том необыкновенно систематическом методе, посредством которого этот автор применяет многочисленные подтексты, усмотреть особенности модернизма, к выделению которых в стиле Набокова мы и стремимся. В заключительной части мы вкратце коснемся вопроса родового сходства Набокова с некоторыми из его собратьев — русских модернистов. 2. Сначала следует определить, что мы понимаем в контексте данной работы под понятием подтекст. Обратимся с этой целью к роману Набокова «Дар» (1937–8, 1952), переведенному затем им самим на английский язык под заглавием «The Gift» (1963). В этом романе в основной текст вставлен другой текст. И вставленный текст, предположительно написанный героем романа, в свою очередь рецензируется критиком из романа, рецензия которого цитируется ниже. Критик, по имени Линев, пишет следующее: The author writes in a language having little in common with...

Входимость: 2. Размер: 61кб.

Часть текста: восходит к утверждению самого Набокова, сказавшего в интервью: “Меня, как и Пушкина, завораживают роковые даты” (SO, 75). В своем комментарии к “Евгению Онегину” Набоков касается попыток Пушкина предсказать дату собственной смерти, замечая, что “суеверность поэта была почти болезненной” (ЕО2, 128). Отсылка здесь — среди прочих возможных подтекстов — к стихотворению Пушкина 1829 года “Брожу ли я вдоль улиц шумных”[3], реминисценции которого часто возникают в прозе Набокова. Герой “Пнина” рассказывает своим американским студентам, что Пушкин имел “всегдашнюю несчастную привычку <...> тщательно исследовать каждый прожитый день, пытаясь угадать в его тайном значении некую “грядущую годовщину”: день и месяц, которые где-нибудь, когда-нибудь появятся на его надгробном камне” (Pnin, 68; Пнин, 65), и строки из этого пушкинского стихотворения несколько раз повторяются по ходу романа (см. Pnin, 67-68, 73, 82; Пнин, 65-66, 71, 79). В рассказе 1931 года “Занятой человек” Набоков дает пародийный вариант подобных попыток, когда его герой пытается предсказать, в каком возрасте он умрет: “... я, скажем. брожу по улицам... В бою ли, в странствии, в волнах. Или соседняя долина...” (DS, 167; Соглядатай, 160)[4]. Этот же подтекст возникает снова, когда герой пытается представить себе свой будущий некролог: “... вокруг некролога будет сиять равнодушная газетная природа” (DS,170; Соглядатай, 163)[5]. Типология Далее я перехожу к исследованию текстуальных проявлений набоковского внимания к датам, роковым и прочим. В пионерской статье Минц акцент был сделан на фактических датировках стихов Блока, но это только одна сторона вопроса.[6] Я постараюсь доказать, что даты (и соответствующие им цифры) могут функционировать у Набокова на нескольких уровнях текста. а). Прежде всего,...

Входимость: 2. Размер: 33кб.

Часть текста: to show me any plum or crumb before publication. BUTTERFLIES Butterflies are among the most thoughtful and touching contributions to this volume. The old-fashioned engraving of a Catagramma- like insect is delightfully reproduced twelve times so as to suggest a double series or "block" of specimens in a cabinet case; and there is a beautiful photograph of a Red Admirable (but "Nymphalidae" is the family to which it belongs, not its genus, which is Vanessa-- my first bit of carping). ALFRED APPEL, JR. Mr. Appel, guest co-editor, writes about my two main works of fiction. His essay "Backgrounds of Lolita" is a superb example of the rare case where art and erudition meet in a shining ridge of specific information (the highest and to me most acceptable function of literary criticism). I would have liked to say more about his findings but modesty (a virtue that the average reviewer especially appreciates in authors) denies me that pleasure. His other piece in this precious collection is "Ada Described." I planted three blunders, meant to ridicule mistranslations of Russian classics, in the first paragraph of my Ada: the opening sentence of Anna Karenin (no additional "a," printer, she was not a ballerina) is turned inside out; Anna Arkadievna's patronymic is given a grotesque masculine ending; and the title of Tolstoy's family chronicle has been botched by the invented Stoner or Lower (I must have received at least a dozen letters with clarifications and corrections from indignant or puzzled readers, some of them of Russian origin, who never...

Входимость: 2. Размер: 21кб.

Часть текста: both work along similar lines? The more gifted and talkative one's characters are, the greater the chances of their resembling the author in tone or tint of mind. It is a familiar embarrassment that I face with very faint qualms, particularly since I am not really aware of any special similarities-- just as one is not aware of sharing mannerisms with a detestable kinsman. I loathe Van Veen. The following two quotations seem closely related: "I confess I do not believe in time. I like to fold my magic carpet, after use, in such a way as to superimpose one part of the pattern upon another. " (Speak, Memory) and "pure time, perceptual time, tangible time, time free of content, context and running commentary-- this is my time and theme. All the rest is numerical symbol or some aspect of space. " (Ada). Will you give me a lift on your magic carpet to point out bow time is animated in the story of Van and Ada? In his study of time my creature distinguishes between text and texture, between the contents of time and its almost tangible essence. I ignored that distinction in my Speak, Memory and was mainly concerned with being faithful to the patterns of my past. I suspect that Van Veen, having less control over his imagination than I, novelized in his indulgent old age many images of his youth. You have spoken in the past of your indifference to music, but in Ada you describe time as "rhythm, the tender intervals between Stresses. " Are these rhythms musical, aural, physical, cerebral,...

Входимость: 2. Размер: 6кб.

Часть текста: He not only collected them obsessively but invented techniques to make their classification more precise. This volume brings together technical papers and butterfly-themed passages from his work. The closest comparable case of a major author having world eminence in another expertise would be A. E. Housman, who emended corrupt classical texts with the same analytical exquisiteness that Nabokov used to revise the classification of butterflies, according to the details of their dissected genitals. Classical philology is hardly a more popular or accessible pursuit than lepidoptery, but the volume (edited by Christopher Ricks), which includes passages from Housman's technical writings as well as the poems, is an outstanding success. The advantages of that book over this one were that it was wieldy, that it never left the domain of culture and that it showed a side of the writer absent from his verse. The slyly fatalistic persona of the poet made a fascinating contrast with the professor of Latin, who was a doughty if not brutal scrapper, and never split a hair in argument if there was a chance of splitting the person to whom it was attached. When Nabokov wrote in 1947 that his scientific papers 'have no interest whatever for the layman', he was expressing pride as much as melancholy. Any reader would enjoy the passage reprinted here from his novel, The Gift, about the living arrangements of those large blues which have 'concluded a barbaric pact' with ants: 'I...

Входимость: 2. Размер: 46кб.

Часть текста: fell through the glass upon an alien handwriting had twisted it into a semblance of Lolita’s script causing me almost to collapse as I leant against an adjacent urn, almost my own. Whenever that happenedwhenever her lovely, childish scrawl was horribly transformed into the dull hand of one of my few correspondentsI used to recollect, with anguished amusement, the times in my trustful, pre-dolorian past when I would be misled by a jewel-bright window opposite wherein my lurking eye, the ever alert periscope of my shameful vice, would make out from afar a half-naked nymphet stilled in the act of combing her Alice-in-Wonderland hair. There was in the fiery phantasm a perfection which made my wild delight also perfect, just because the vision was out of reach, with no possibility of attainment to spoil it by the awareness of an appended taboo; indeed, it may well be that the very attraction immaturity has for me lies not so much in the limpidity of pure young forbidden fairy child beauty as in the security of a situation where infinite perfections fill the gap between the little given and the great promisedthe great rosegray never-to-be-had. Mes fentres! Hanging above blotched sunset and welling night, grinding my teeth, I would crowd all the demons of my desire against the railing of a throbbing balcony: it would be ready to take off in the apricot and black humid evening; did take offwhereupon the lighted image would move and Even would revert to a rib, and there would be nothing in the window but an obese partly clad man reading the paper. Since I sometimes won the race between my fancy and nature’s reality, the deception was bearable. Unbearable pain began when chance entered the fray and deprived me of the smile meant...

Входимость: 1. Размер: 43кб.

Часть текста: was more afraid of Lo’s deriving some pleasure from me than of my enjoying Lo). The passion I had developed for that nymphetfor the first nymphet in my life that could be reached at last by my awkward, aching, timid clawswould have certainly landed me again in a sanatorium, had not the devil realized that I was to be granted some relief if he wanted to have me as a plaything for some time longer. The reader has also marked the curious Mirage of the Lake. It would have been logical on the part of Aubrey McFate (as I would like to dub that devil of mine) to arrange a small treat for me on the promised beach, in the presumed forest. Actually, the promise Mrs. Haze had made was a fraudulent one: she had not told me that Mary Rose Hamilton (a dark little beauty in her own right) was to come too, and that the two nymphets would be whispering apart, and playing apart, and having a good time all by themselves, while Mrs. Haze and her handsome lodger conversed sedately in the seminude, far from prying eyes. Incidentally, eyes did pry and tongues did wag. How queer...

Входимость: 1. Размер: 53кб.

Часть текста: in Playboy for January, 1964. Great trouble was taken on both sides to achieve the illusion of a spontaneous conversation. Actually, my contribution as printed conforms meticulously to the answers, every word of which I had written in longhand before having them typed for submission to Toffler when he came to Montreux in mid-March, 1963. The present text takes into account the order of my interviewer's questions as well as the fact that a couple of consecutive pages of my typescript were apparently lost in transit. Egreto perambis doribus! With the American publication of Lolita in 1958, your fame and fortune mushroomed almost overnight from high repute among 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...

Поиск по творчеству и критикеCлово "REMARK"

Поиск по творчеству и критике
Cлово "REMARK"