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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 17 - 21
Входимость: 1. Размер: 52кб.
2. Eugene Onegin. A Novel in Verse by Aleksandr Pushkin. Chapter four
Входимость: 1. Размер: 54кб.
3. Чарльз Кинбот: Серебристый свет. Подлинная жизнь Владимира Набокова. Chapter Four. Night Roams the Fields
Входимость: 1. Размер: 6кб.
4. Найман Эрик: Извращения в «Пнине» (Набоков наоборот). Глава 3
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1. Lolita. Part Two. Chapters 17 - 21
Входимость: 1. Размер: 52кб.
Часть текста: 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. 32, capacity of magazine 8 cartridges, length a little under one ninth of Lolita’s length, stock checked walnut, finish full blued. I had inherited it from the late Harold Haze, with a 1938 catalog which cheerily said in part: “Particularly well adapted for use in the home and car as well as on the person.” There it lay, ready for instant service on the person or persons, loaded and fully cocked with the slide lock in safety position, thus precluding any accidental discharge. We must remember that a pistol is the Freudian symbol of the Ur-father’s central forelimb. I was now glad I had it with meand even more glad that I had learned to use it two years before, in the pine forest around my and Charlotte’s glass lake. Farlow, with whom I had roamed those remote woods, was an admirable marksman, and with his. 38 actually managed to hit a hummingbird, though I must say not much of it could be retrieved for proofonly a little iridescent fluff. A burley ex-policeman called Krestovski, who in the twenties had shot and killed two escaped...
2. Eugene Onegin. A Novel in Verse by Aleksandr Pushkin. Chapter four
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Часть текста:   and thus more surely we undo her   4  among bewitching toils.   Time was when cool debauch   was lauded as the art of love,   trumpeting everywhere about itself,   8  taking its pleasure without loving.   But that grand game   is worthy of old sapajous   of our forefathers' vaunted times; 12  the fame of Lovelaces has faded   with the fame of red heels   and of majestic periwigs. VIII   Who does not find it tedious to dissemble;   diversely to repeat the same;   try gravely to convince one   4  of what all have been long convinced;   to hear the same objections,   annihilate the prejudices   which never had and hasn't   8  a little girl of thirteen years!   Who will not grow weary of threats,   entreaties, vows, feigned fear,   notes running to six pages, 12  betrayals, gossiping, rings, tears,   surveillances of aunts, of mothers,   and the onerous friendship of husbands! IX   Exactly thus my Eugene thought.   In his first youth   he had been victim of tempestuous errings   4  and of unbridled passions.   Spoiled by a habitude of life,   with one thing for a while   enchanted, disenchanted with another,   8  irked slowly by desire,   irked, too, by volatile success,   hearkening in the hubbub and the hush   to the eternal mutter of his soul, 12  smothering yawns with laughter:   this was the way he killed eight years,   having lost life's best bloom. X   With belles no longer did he fall in love,   but dangled after them just anyhow;   when they refused, he solaced in a twinkle;   4  when they betrayed, was...
3. Чарльз Кинбот: Серебристый свет. Подлинная жизнь Владимира Набокова. Chapter Four. Night Roams the Fields
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Часть текста: shepherds, or a bald and paunchy wise man sitting serenely under a Bo tree, an afterlife is humanly impossible to disbelieve. Even avowed atheists, I suspect, know, intuitively, implicitly, that there is something more. Whether or not there is Bog with a capital B, the possibility that human existence, with its stomach-sucking abyss of laughter and tears, tea leaves and tree bark, fleeting smiles and fleecy clouds, ineffable bliss and inconsolable despair, ends, once and for all, merely as a consequence of the sudden cessation of a small series of mechanical events (beating heart, expanding lungs) is purely and simply unthinkable--in the literal sense of that term. As a late friend of mine liked to say when confronted by a particularly short-sighted variety of seize-the-day hedonist: Life is not a dress rehearsal, true; but neither is it the final act. Ladies and Gentlemen, I have a confession to make: since beginning this book, I have been haunted. By this I do not mean obsessed by my subject, nor beguiled by a dim whiff of literary fame, nor even the victim of an id?e fixe . I mean haunted, from the Old Zemblan heimte : to bring home, pull, fetch, claim. Someone or something has been haunting me: dogging my mental steps, hiding my pencils and note cards, tapping a disembodied...
4. Найман Эрик: Извращения в «Пнине» (Набоков наоборот). Глава 3
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Часть текста: в день своего рождения, «ясноглазый» («infantine-eyed», т. е. «с глазами младенца») (Pnin. 179) Пнин забывает теорию Лизиного ментора о том, что «рождение представляет собою акт самоубийства со стороны младенца» («theory of birth being an act of suicide on the part of the infant») (Pnin. 183) [663]. Однако степени поражения бывают разные — Пнину удалось бежать из одного сюжета в другой, из мира просто извращенного в мир поэтический. Удалось ли?.. У Набокова оппозиция между перверсией и поэзией постоянно подвергается деконструкции: существование одной и другой может быть обосновано — более того, обусловлено — только отражением одной в другой. Когда Пнина-лектора представляют аудитории, его фамилию произносят как «Professor Pun-neen» (Pnin. 26), и можно подумать, что он — воплощение каламбура («pun»). Ведь что есть каламбур, как не вербальный взгляд искоса, искажение смысла посредством наложения двух смыслов — текста и теневого текста? Каламбур — это поэзия (и зачастую плохая поэзия) в миниатюре; фамилия героя обнаруживает существенную, неразрывную связь с исследованием искусства — и извращения, без которого искусство невозможно; извращения как главной метатворческой темы романа. Взаимосвязь между поэзией и перверсией с особой силой выражена в отношении к искусству Виктора — и к его, Виктора, влиянию на повествование о жизни Пнина. Дочитав роман до конца, мы в состоянии увидеть, что именно в момент вторжения Виктора в...