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Часть текста: стишки Гумберта, письмо Лолиты, а в некотором смысле и книга Вивиан Даркблум [3] «My Cue», [4] и т. д. — вставлены в гумбертовское повествование. Одних этих элементов достаточно, чтобы не осталось сомнения в необходимости различить каждый отдельный голос в нарративной структуре произведения, а также определить то, в каких отношениях между собой находятся все его действующие лица. Неожиданна тенденция в исследованиях, посвященных текстам Набокова, воспринимать нарративную структуру романа «Лолита» номинативно, видя в нем исповедальный текст с пародийным предисловием пародийного психолога. Не менее странно предположение многих критиков (часто неосознанное) о надежности повествователей «Лолиты». [5] Надежность Джона Рэя как «рассказчика» предисловия фактически не рассматривается. Многочисленные случаи применения к нему критиками слов «пародия» и «пародийный» к тому же указывают на общее мнение, что и Рэя, и его текст даже не следует воспринимать всерьез. [6] Что касается Гумберта Гумберта, то о нем говорят часто как о самом архетипе ненадежного повествователя [7] — а все равно на практике самый его статус повествователя ни у кого не вызывает сомнения и, следовательно, не изучается. Другими словами, предполагают, что текст, который следует за предисловием Рэя — это исповедь, написанная Гумбертом, и что в ней описываются события, произошедшие в жизни самого Гумберта (о которых он рассказывает с большей или меньшей надежностью). [8] Если в Гумберте-повествователе и сомневаются, то по мотивам скорее психологическим, чем литературным: в его тексте можно обнаружить обстоятельства и события, которых он сам не видит. Суть не в том, что в статьях утверждается...

2. Lolita. Part Two. Chapters 1 - 2

Входимость: 6. Размер: 49кб.

Часть текста: 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 unit, the stucco court, on what the Tour Book of the Automobile Association describes as “shaded” or “spacious” or...

3. Савельева В.В.: Художественная гипнология и онейропоэтика русских писателей. Приложение

Входимость: 6. Размер: 39кб.

Часть текста: «Цели такого исследования состоят не в том, чтобы методами психологии анализировать литературный материал, но в том, чтобы методами филологии анализировать то психологическое явление, которое описано литературным материалом» (“The purposes of such studies are not to use the psychological methods for the literary analysis, but to use the literary methods in order to analyze the psychological phenomenon, which is described in the literary text”) [20, с.9]. These studies are interdisciplinary, for they are situated on the boundaries of different academic fields, such as physiology, medicine, philosophy, psychology, literary and cultural studies, and semiotics. V.M.Kovalzon, The Doctor of Biology and a member of the International Association for the Study of Dreams, defines the process of sleeping as “...особое генетически детерминированное состояние организма человека и других теплокровных животных (т.е. млекопитающих и птиц), характеризующееся закономерной последовательной сменой определенных полиграфических картин в виде циклов, фаз и стадий» (“.a special, genetically determined state of the human body and the body of other warm-blooded animals (mammals and birds), which is characterized by the logical succession of certain multi-graphic pictures in the form of cycles, phases and stages” ) [6, с.311]. The process of sleeping is inevitably accompanied by the phases of dreams, which some scholars describe as the period of paradoxical sleeping. According to J.M. Lotman, a dream is «семиотическое зеркало, и каждый видит в нем отражение своего языка» (“.a semiotic mirror, and everyone beholds in it the reflection of his or her ...

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

Входимость: 6. Размер: 53кб.

Часть текста: 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 would deny that it is queer-- so much so that when director Stanley Kubrick proposed his plan to make a movie of Lolita, you were quoted as saying, "Of course they'll have to change the plot. Perhaps they will make Lolita a dwarfess. Or they will make her 16 and Humbert 26. " Though you finally wrote the screenplay yourself, several reviewers...

5. Lolita. Part Two. Chapters 9 - 16

Входимость: 6. Размер: 59кб.

Часть текста: 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 so enthusiastic about dramatics. I have often wondered what secrets outrageously treacherous Dolores Haze had imparted to Mona while blurting out to me by urgent and well-paid request various really incredible details...

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

Входимость: 5. Размер: 63кб.

Часть текста: 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, 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...

7. Здесь говорят по-русски (перевод С. Сакуна)

Входимость: 4. Размер: 43кб.

Часть текста: чем общие воспоминания. У Мартына была тайна, и я участвовал в этой тайне. “Ну, всё как обычно?” Спрашивал я шёпотом, и он, глянув поверх плеча, отвечал так же тихо, “да, слава богу, всё спокойно”. Эта тайна была совершенно необычайной. Я вспомнил, как уезжал в Париж и как за день до отъезда просидел до вечера у Мартына. Душу человека можно сравнить с универсальным магазином, а его глаза с двумя витринными окнами. Прицениваясь к глазам Мартына, отметим, что тёпло-коричневые тона были в моде. Судя по глазам, товар в этой душе был отменного качества. А какая пышная борода довольно поблёскивала здоровой русской сединой. А его плечи, его рост, его выражение лица. ... Одно время даже говорили, что он мог разрубить платок мечём, - один из подвигов Ричарда Львиное Сердце. И теперь ещё всякий эмигрант мог бы сказать с завистью, “Этот не сдастся”. Его жена была пухлой, тихой пожилой женщиной с родинкой у левой ноздри. Со времён революционных испытаний её лица коснулся тик: она бросала быстрый взгляд искоса вверх, к небу. Петя имел такое же внушительное тело, как и его отец. Мне нравились его спокойные манеры, сумрачный и неожиданный юмор. У него было большое вялое лицо (о котором его отец говорил, “морда - в три дня не объедешь”) и красновато-коричневые, постоянно взъерошенные волосы. Пете принадлежал крошечный синематограф в скудно населённой части города, который приносил очень скромный доход. И там же жила вся семья. Тот день перед отъездом я провёл сидя за прилавком, и наблюдая как Мартын обслуживал своих клиентов - сначала, опершись двумя пальцами на прилавок и слегка наклонившись, а затем, шагнув к полкам, представлял покупателю коробку с цветными завитушками, и спрашивал, открывая её ногтем большого пальца, “Еinеn Rauchen?” - Этот день я запомнил по особой причине: неожиданно с улицы вошёл Петя,...

8. Интервью Набокова на английском языке. BBC Television, 1962 г.

Входимость: 3. Размер: 20кб.

Часть текста: other hours of the day were devoted to the reproduction of the interview proper. It eventually appeared on the Bookstand program and was published in The Listener (November 22, 1962). I have mislaid the cards on which I had written my answers. I suspect that the published text was taken straight from the tape for it teems with inaccuracies. These I have tried to weed out ten years later but was forced to strike out a few sentences here and there when memory refused to restore the sense flawed by defective or improperly mended speech. The poem I quote (with metrical accents added) will be found translated into English in Chapter Two of The Gift, G. P. Putnam's Sons, New York, 1963. Would you ever go back to Russia? I will never go back, for the simple reason that all the Russia I need is always with me: literature, language, and my own Russian childhood. I will never return. I will never surrender. And anyway, the grotesque shadow of a police state will not be dispelled in my lifetime. I don't think they know my works there-- oh, perhaps a number of readers exist there in my special secret service, but let us not forget that Russia has grown tremendously...

9. Шифф Стейси: Вера (Миссис Владимир Набоков). Библиографический указатель

Входимость: 3. Размер: 13кб.

Часть текста: Charles Newman, eds. Triquarterly 17 (1970). Reprinted as Nabokov: Criticism, Reminiscences, Translations and Tributes. Evanston, III.: Northwestern University Press, 1970. Appel, Alfred. Nabokov's Dark Cinema. New York: Oxford University Press, 1974. — «Nabokov’s Puppet Show». The New Republic. January 14 and 21, 1967. L’Arc 24 (Spring 1964). Special Nabokov issue. Aix-en-Provence. Barabtarlo, Gennady. Aerial View: Essays on Nabokov’s Art and Metaphysics. New York: Peter Lang, 1993. Billington, James H. The Icon and the Axe. New York: Vintage, 1970. Blake, Patricia. Introduction to Writers in Russia 1917–78, by Max Hayward. New York: Harcourt Brace Jovanovich, 1983. Boyd, Brian. Vladimir Nabokov: The American Years. Princeton: Princeton University Press, 1991. — Vladimir Nabokov: The Russian Years. Princeton: Princeton University Press, 1990. Brenner, Conrad. «Nabokov: The Art of the Perverse». The New Republic. June 23, 1958, 18–21. Buhks, Nora, ed. Vladimir Nabokov et l'émigration. Cahiers de l’emigration russe, 2. Paris: L’Institut d’études slaves, 1993. Davis, Linda H. Onward and Upward: A Biography of Katharine S. White. New York: Harper & Row, 1987. Desanti, Dominique. Vladimir Nabokov: essais et rêves. Paris: Julliard, 1994. Diment, Galya. Pniniad: Vladimir Nabokov and Marc Szeftel. Seattle: University of Washington Press, 1997. Ehrenburg, Ilya. Memoirs 1921–1941. Translated by Tatiana Shebunina. Cleveland: World Publishing,...

10. Интервью Набокова на английском языке. The Sunday Times, 1969 г.

Входимость: 3. Размер: 11кб.

Часть текста: Answers may be rearranged in whatever order the interviewer car the editor wishes: for example, they may be split, with insertion of the questioner's comments or bits of descriptive matter (but none of the latter material may be ascribed to me). Unprepared remarks, quips, etc., may come from me during the actual colloquy but may nut be published without my approval. The article will be shown to me before publication so as to avoid factual errors {e. g., in names, dates, etc.). Mr. Oakes' article appeared in The Sunday Times on June 22, 1969. As a distinguished entomologist and novelist do you find that your two main preoccupations condition, restrict, or refine your view of the world? What world? Whose world? If we mean the average world of the average newspaper reader in Liverpool, Livorno, or Vilno, then we are dealing in trivial generalities. If, on the other hand, an artist invents his own world, as I think I do, then how can he be said to influence his own understanding of what he has created himself? As soon as we start defining such terms as "the writer," "the world," "the novel," and so on, we slip into a solipsismal abyss where general ideas dissolve. As to butterflies-- well, my taxonomic papers on lepidoptera were published mainly in the nineteen forties, and can be of interest to only a few specialists in certain groups of American butterflies. In itself, an aurelian's passion is not a particularly unusual sickness; but it stands outside the limits of a novelist's world, and I can prove this by the fact that whenever I allude to butterflies in my novels, no matter how diligently I rework the stuff, it remains pale and false and does not really express what I want it to express-- what, indeed, it can only express in the special ...

Поиск по творчеству и критикеCлово "SPECIAL"

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Cлово "SPECIAL"