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Часть текста: of that milk bar I visited a moment ago? It was, of all things, The Frigid Queen. Smiling a little sadly, I dubbed her My Frigid Princess. She did not see the wistful joke. Oh, d not scowl at me, reader, I do not intend to convey the impressin that I did not manage to be happy. Readeer must understand that in the possession and thralldom of a nymphet the enchanted traveler stands, as it were, beyond happiness. For there is no other bliss on earth comparable to that of fondling a nymphet. It is hors concours , that bliss, it belongs to another class, another plane of sensitivity. Despite our tiffs, despite her nastiness, despite all the fuss and faces she made, and the vulgarity, and the danger, and the horrible hopelessness of it all, I still dwelled deep in my elected paradisea paradise whose skies were the color of hell-flamesbut still a paradise. The able psychiatrist who studies my caseand whom by now Dr. Humbert has plunged, I trust, into a state of leporine fascinationis no doubt anxious to have me take Lolita to the seaside and have me find there, at last, the “gratification” of a lifetime urge, and release from the “subconscious” obsession of an incomplete childhood romance with the initial little Miss Lee. Well, comrade, let me tell you that I did look for a beach, though I also have to confess that by the time we reached its mirage of gray water, so many delights had already been granted me by my traveling...

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

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Часть текста: 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 took the film to task for watering down the central relationship. Were you satisfied with the final product? I thought the movie was absolutely first-rate. The four main actors deserve the very highest praise. Sue Lyon bringing that breakfast tray or childishly pulling on her sweater in the car-- these are moments of unforgettable acting and directing....

3. Lolita. Part Two. Chapters 17 - 21

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Часть текста: Gaston, in his prissy way, had liked to make presentspresents just a prissy wee bit out of the ordinary, or so he prissily thought. Noticing one night that my box of chessmen was broken, he sent me next morning, with a little lad of his, a copper case: it had an elaborate Oriental design over the lid and could be securely locked. Once glance sufficed to assure me that it was one of those cheap money boxes called for some reason “luizettas” that you buy in Algiers and elsewhere, and wonder what to do with afterwards. It turned out to be much too flat for holding my bulky chessmen, but I kept itusing it for a totally different purpose. In order to break some pattern of fate in which I obscurely felt myself being enmeshed, I had decideddespite Lo’s visible annoyanceto spend another night at Chestnut Court; definitely waking up at four in the morning, I ascertained that Lo was still sound asleep (mouth open, in a kind of dull amazement at the curiously inane life we all had rigged up for her) and satisfied myself that the precious contents of the “luizetta” were safe. There, snugly wrapped in a white woolen scarf, lay a pocket automatic: caliber....

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

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Часть текста: 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 labels are known to have been faked by unscrupulous insect dealers. Apart from these considerations I think of myself today as an American writer who has once been a Russian o! ne. The Russian writers you have translated and written about all...

5. Inspiration

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Часть текста: achievement. Webster, Second Ed., unabridged, 1957 The enthusiasm that sweeps away (entraine) poets. Also a term of physiology (insufflation): ". . . wolves and dogs howl only by inspiration; one can easily ascertain this by causing a little dog to howl close to one's face (Buffon)." Littre. ed. integrate, 1963 The enthusiasm, concentration, and unusual manifestation of the mental faculties (umstvennyh sil). Dal, Revised Ed., St. Petersburg, 1904 A creative upsurge. [Examples: ] Inspired poet. Inspired socialistic work. Ozhegov, Russian dictionary, Moscow, 1960 A special study, which I do not plan to conduct, would reveal, probably, that inspiration is seldom dwelt upon nowadays even by the worst reviewers of our best prose. I say "our" and I say "prose" because I am thinking of American works of fiction, including my own stuff. It would seem that this reticence is somehow linked up with a sense of decorum. Conformists suspect that to speak of "inspiration" is as tasteless and old-fashioned as to stand up for the Ivory Tower. Yet inspiration exists as do towers and tusks. One can distinguish several types of inspiration, which intergrade, as all things do in this fluid and interesting world of ours, while yielding gracefully to a semblance of classification. A prefatory glow, not unlike some benign variety of the aura before an epileptic attack, is something the artist learns to perceive very early in life. This feeling of tickly well-being branches through him like the red and the blue in the picture of a skinned man under Circulation. As it spreads, it banishes all awareness of physical discomfort-- youth's toothache as well as the neuralgia of old age. The beauty of it is that, while completely intelligible (as if it were connected with a known gland or led to an expected climax), it has neither source nor object....

6. Набоков Дмитрий: Отцовские бабочки. Интервью данное Брайеном Бойдом журналу BOMB Magazine

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Часть текста: BRIAN BOYD by Thomas Bolt From a specially-bound set of Nabokov's early Russian poems, inscribed by Nabokov for his wife Vera. Image from Vera's Butterflies (NY: Glenn Horowitz Bookseller, 1999). Courtesy the Estate of Vladimir Nabokov. A commentator from a distant southern land that begins with Z composes an outlandish elucidation of another man's masterpiece. His startling, perhaps outrageous claims upset certain entrenched academic specialists, and he must flee (a world tour, a centenary), and undergo the ordeals of exile before coming to rest, in some almost successful disguise—as a professor of English at the University of Auckland, New Zealand. An unlikely plot, but the real story is no less exceptional: Brian Boyd, author of the prize-winning two-volume biography, Vladimir Nabokov: The Russian Years and Vladimir Nabokov: The American Years, and of Nabokov's Ada: The Place of Consciousness and the just-released Nabokov's Pale Fire: The Magic of Artistic Discovery, is a scholar who changed his mind. Writing in The New York Observer on...

7. Брайан Бойд. Владимир Набоков: американские годы. Библиография

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Часть текста: с неопубликованными материалами из его архива в Монтрё. Однако представляется важным перечислить и другие оказавшиеся полезными источники. С этой целью в библиографии приведены все письменные источники, к которым я обращался в поисках фактов из жизни Набокова и его предков при подготовке обоих томов — «Владимир Набоков: Русские годы» и «Владимир Набоков: Американские годы», а также все посвященные набоковским произведениям критические работы, на которые я ссылаюсь. В Разделе I перечислены архивные, библиотечные и музейные собрания, к которым я обращался; в Разделе II — периодические издания, использованные в ходе работы; в Разделе III — книги и статьи, содержащие информацию о членах семьи Набокова, в особенности о его отце, Владимире Дмитриевиче Набокове, и деде, Дмитрии Николаевиче Набокове; в Разделе IV перечислены произведения Набокова; в Разделе V — книги и статьи, имеющие касательство к биографии Набокова либо цитировавшиеся при анализе его произведений. Дефинитивной библиографией произведений Набокова является работа Майкла Джулиара «Владимир Набоков: описательная библиография» (Vladimir Nabokov: A Descriptive Bibliography. New York: Garland, 1986), к которой журнал «The Nabokovian» ежегодно публикует приложения и дополнения. В том же журнале печатаются дополнения к куда менее подробной библиографии Сэмюэля Шумана, посвященной набоковедческой критике (S. Schuman. Vladimir Nabokov: A Reference Guide. Boston: G. K. Hall, 1979). Новая аннотированная библиография набоковедческой критики Стивена Яна Паркера...

8. Проффер Карл: Ключи к "Лолите". 3. Стиль

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Часть текста: положиться на убийцу в отношении затейливости прозы. "Лолита" 1 Многие считают Набокова самым блестящим стилистом, пишущим сегодня на английском языке. Единственным писателем, кто хоть как-то приблизился к свершению подобного подвига, был Конрад (Джозеф, а не Удо), однако его идеи и стиль (не говоря о том, что он не оставил следа в польской литературе) куда менее значительны, чем у Набокова. Тот любопытный факт, что Набоков научился читать по-английски раньше, чем по-русски, предполагает его внутреннюю расположенность к языку, используя который он добился совершенства и завоевал славу. Сам Набоков не раз извинялся за свой английский, утверждая, что русской прозой он владеет гораздо лучше {108}. Думается, эти извинения не вполне искренни. Ясность (порой обманчивая), простота и благозвучие его английского не идут ни в какое сравнение с языком его русской прозы. В «Даре» его повествовательные предложения настолько перегружены причастными оборотами, заключенными в скобки пояснениями и утомительным обилием точек с запятой, что читателю приходится с трудом продираться сквозь эти нагромождения {109}. Контраст между его кристально чистым английским и округлым русским...

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Часть текста: Sinister: Романы. СПб.: Северо-Запад, 1993. - С. 302 - 493. 4. Набоков, В. Под знаком незаконнорожденных / Пер. с англ. С.Ильина // В.В. Набоков. Американский период. Собрание сочинений. В 5 томах. СПб.: Симпозиум, 1999. -T.I.-C.192- 399. 5. Набоков, В. Пнин / Пер. с англ. Г.Барабтарло при участии В.Е. Набоковой // Иностранная литература. -1989. № 2. - С. 3 - 87. 6. Набоков, В. Пнин / Пер. с англ. С. Ильина // В. Набоков. Bend Sinister: Романы.- СПб.: Северо-Запад, 1993. С. 158 - 301. 7. Набоков, В. Быль и убыль: Рассказы / Пер. с англ. Г.Барабтарло. СПб.: Амфора, 2001.-302с. 8. Набоков, В. Рассказы / Пер. с англ. С. Ильина // В.В. Набоков. Американский период. Собрание сочинений. В 5 томах. СПб.: Симпозиум, 1999. - Т. Ш. - С.175 -293. 9. Набоков, В. Со дна коробки: Рассказы /Пер. с англ. Д.Чекалова. М.: Независимая Газета, 2001. -192 с. 10. Набоков, В. Забытый поэт: Рассказ /Пер. с англ. ШБреус // Книжное обозрение.- 1988. 2 сентября. - № 36. - С. 8 - 9. 11. Набоков, В. Условные знаки: Рассказ /Пер. с англ. и предисл. В.Харитонова 12. Литературная Россия. -1988. 25 ноября. - № 347. - С. 23. 13. Набоков, В. «Что как-то раз в Алеппо.»: Рассказ /Пер. с англ. и предисл. М.Мейлаха // Родник. -1988. № 11. - С. 18 - 22. 14. Набоков, В. Как-то раз в Алеппо.: Рассказ / Пер. с англ. А.Колотова // Простор. -1991.-№ 4.-С. 32-37. 15. Набоков, В. Второй режиссер: Рассказ /Пер. с англ. И.Бернштейн // Иностранная литература. -1993. № 12. - С. 108 -116. 16. Набоков, В. Ланселот / Пер. с англ. и послеслов. АГорянина и М.Мейлаха // Звезда.-1994.- № 1.-С.7-15. 17. Набоков, В. Образчик разговора, 1945 /Пер. с англ. Д.Чекалова // Новый мир. 1995.- №9. - С. 109-116. 18. Набоков, В. Сестры Вейн: Рассказ /Пер. с англ. Г.Барабтарло // Иностранная ...

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

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Часть текста: русских писателей Приложение Приложение The door as a communicative symbol in the dreams of literary characters The studies of dreams in fictional literature form a special area of the literary theory, which is called “literary hypnology” or “oineropoetics.” Scholars try to define the specifics of literary dreams and distinguish them from the reality of life. «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 ...

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