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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. Eugene Onegin. A Novel in Verse by Aleksandr Pushkin. Chapter eight
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2. Эссе о драматургии ("Playwriting", на английском языке)
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3. Eugene Onegin. A Novel in Verse by Aleksandr Pushkin. Chapter four
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4. Eugene Onegin. A Novel in Verse by Aleksandr Pushkin. Chapter two
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5. Lolita. Part Two. Chapters 9 - 16
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6. Интервью Набокова на английском языке. Wisconsin Studies, 1967 г.
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7. Lolita. Part One. Chapters 12 - 17
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8. Набоков Дмитрий: Отцовские бабочки. Интервью данное Брайеном Бойдом журналу BOMB Magazine
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9. Lolita. Part One. Chapters 9 - 11
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10. Интервью Набокова на английском языке. Playboy, 1964 г.
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11. Lolita. Part Two. Chapters 3 - 8
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12. Lolita. Part One. Chapters 18 - 22
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13. Eugene Onegin. A Novel in Verse by Aleksandr Pushkin. Chapter three
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14. Eugene Onegin. A Novel in Verse by Aleksandr Pushkin. Chapter one
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15. The Song of Igor's Campaign, Igor son of Svyatoslav and grandson of Oleg (перевод Набокова)
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16. Lolita. Part Two. Chapters 22 - 26
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17. Интервью Набокова на английском языке. The New York Times Book Review, 1968 г.
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18. Чарльз Кинбот: Серебристый свет. Подлинная жизнь Владимира Набокова. Chapter Three. Mashen'ka
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19. Lolita. Part One. Chapters 1 - 8
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20. Lolita. Part Two. Chapters 32 - 36
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21. Eugene Onegin. A Novel in Verse by Aleksandr Pushkin. Notes to Eugene Onegin
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22. Eugene Onegin. A Novel in Verse by Aleksandr Pushkin. Chapter six
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23. Eugene Onegin. A Novel in Verse by Aleksandr Pushkin. Chapter seven
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24. Здесь говорят по-русски (перевод С. Сакуна)
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25. Интервью Набокова на английском языке. Novel, 1970 г.
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26. Интервью Набокова на английском языке. Vogue, 1969 г.
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27. Lolita. Part One. Chapters 23 - 27
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28. Lolita. Part Two. Chapters 27 - 31
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29. Левинтон Г. А.: The Importance of Being Russian или Les allusions perdues
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30. Anniversary notes
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31. Розенгрант Дж.: Владимир Набоков и этика изображения. Двуязычная практика
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32. Lolita. Part Two. Chapters 17 - 21
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33. Жаккар Жан-Филипп: От Набокова к Пушкину. Наказание без преступления (Хармс и Достоевский)
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34. Чарльз Кинбот: Серебристый свет. Подлинная жизнь Владимира Набокова. Chapter Six. This Hovering Honeyed Mist
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35. Чарльз Кинбот: Серебристый свет. Подлинная жизнь Владимира Набокова. Chapter Seven. King, Queen, Knave
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36. Комментарий к роману "Евгений Онегин". Глава первая. Пункты XVII - XXIV
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37. Интервью Набокова на английском языке. The Paris Review, 1967 г.
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38. Интервью Набокова на английском языке. BBC-2, 1968 г.
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39. Найман Эрик: Извращения в «Пнине» (Набоков наоборот). Глава 3
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40. Интервью Набокова на английском языке. The Sunday Times, 1969 г.
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41. Интервью Набокова на английском языке. The New York Times, 1969 г.
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42. Интервью Набокова на английском языке. Life, 1964 г.
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43. Lolita. Foreword
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44. Review by Brian Boyd, Robert Michael Pyle
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45. Роупер Р: Набоков в Америке. По дороге к «Лолите». Глава 13
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46. Набоков Дмитрий: Отцовские бабочки. Отцовские бабочки. Father's Butterflies (английский язык)
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47. Inspiration
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48. Давыдов С. С.: "Тексты-матрёшки" Владимира Набокова. Глава третья. Гностическая исповедь в романе ("Приглашение на казнь"). 2. Поэтика
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49. Маликова М.: "Первое стихотворение" В. Набокова. Перевод и комментарий
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50. Полищук В.: Жизнь приема у Набокова
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1. Eugene Onegin. A Novel in Verse by Aleksandr Pushkin. Chapter eight
Входимость: 18. 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 the hubbub   of feasts and turbulent discussions —   the terror of midnight patrols;   and to them, in mad feasts,   8  she brought her gifts,   and like a little bacchante frisked,   over the bowl sang for the guests;   and the young people...
2. Эссе о драматургии ("Playwriting", на английском языке)
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Часть текста: guest appearances, this was Father's first lecturing engagement at an American university. The Stanford course also included a discussion of some American plays, a survey of Soviet theatre, and an analysis of commentary on drama by several American critics. The two lectures presented here have been selected to accompany Nabokov's plays because they embody, in 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...
3. Eugene Onegin. A Novel in Verse by Aleksandr Pushkin. Chapter four
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Часть текста: 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 ...
4. Eugene Onegin. A Novel in Verse by Aleksandr Pushkin. Chapter two
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Часть текста: a friend of innocent delights   4  might have blessed heaven there.   The manor house, secluded,   screened from the winds by a hill, stood   above a river; in the distance,   8  before it, freaked and flowered, lay   meadows and golden grainfields;   one could glimpse hamlets here and there;   herds roamed the meadows; 12  and its dense coverts spread   a huge neglected garden, the retreat   of pensive dryads. II   The venerable castle   was built as castles should be built:   excellent strong and comfortable   4  in the taste of sensible ancientry.   Tall chambers everywhere,   hangings of damask in the drawing room,   portraits of grandsires on the walls,   8  and stoves with varicolored tiles.   All this today is obsolete,   I really don't know why;   and anyway it was a matter 12  of very little moment to my friend,   since he yawned equally amidst   modish and olden halls. III   He settled in that chamber where the rural   old-timer had for forty years or so   squabbled with his housekeeper,   4  looked through the window, and squashed flies.   It all was plain: a floor of oak, two cupboards,   a table, a divan of down,   and not an ink speck anywhere. Onegin   8  opened the cupboards; found in one   a notebook of expenses and in the other   a whole array of fruit liqueurs,   pitchers of eau-de-pomme, 12  and the calendar for eighteen-eight:   having a lot to do, the old man never   looked into any...
5. Lolita. Part Two. Chapters 9 - 16
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Часть текста: I looked forward to meet, proved on the whole disappointing. There was Opal Something, and Linda Hall, and Avis Chapman, and Eva Rosen, and Mona Dahl (save one, all these names are approximations, of course). Opal was a bashful, formless, bespectacled, bepimpled creature who doted on Dolly who bullied her. With Linda Hall the school tennis champion, Dolly played singles at least twice a week: I suspect Linda was a true nymphet, but for some unknown reason she did not comewas perhaps not allowed to cometo our house; so I recall her only as a flash of natural sunshine on an indoor court. Of the rest, none had any claims to nymphetry except Eva Rosen. Avis ws a plump lateral child with hairy legs, while Mona, though handsome in a coarse sensual way and only a year older than my aging mistress, had obviously long ceased to be a nymphet, if she ever had been one. Eva Rosen, a displaced 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, ...
6. Интервью Набокова на английском языке. Wisconsin Studies, 1967 г.
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Часть текста: 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 precede the so-called "age of realism, " which is more celebrated by English and American readers than is the earlier period. Would you say something about your temperamental or artistic affinities with the...
7. Lolita. Part One. Chapters 12 - 17
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Часть текста: dappled nymphets in parks; had wedged my wary and bestial way into the hottest, most crowded corner of a city bus full of straphanging school children. But for almost three weeks I had been interrupted in all my pathetic machinations. The agent of these interruptions was usually the Haze woman (who, as the reader will mark, 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 life is! We hasten to alienate the very fates we intended to woo. Before my actual arrival, my landlady had planned to have an old spinster, a Miss Phalen, whose mother had been cook in Mrs. Haze’s family, come to stay in the...
8. Набоков Дмитрий: Отцовские бабочки. Интервью данное Брайеном Бойдом журналу BOMB Magazine
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Часть текста: 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 Boyd's 'remarkable, obsessive, delirious, devotional study, Nabokov's Pale Fire,' Ron Rosenbaum called him 'an ornament of the accidents and possibilities of Nabokov scholarship' and praised him 'for having the courage and humility to retract an earlier conjecture and the imaginative daring' to (as Boyd himself might put it) re-re-reread Pale Fire. Nabokov's 1962 novel takes the form of an introduction by a scholar named Charles Kinbote; a lucid 999-line poem by an American poet named John Shade; and a commentary and index by Kinbote, whose attention veers continually from the poem to his own unsatisfactory life, from John Shade's...
9. Lolita. Part One. Chapters 9 - 11
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Часть текста: my comparative history of French literature for English-speaking students. The first volume took me a couple of years during which I put in seldom less than fifteen hours of work daily. As I look back on those days, I see them divided tidily into ample light and narrow shade: the light pertaining to the solace of research in palatial libraries, the shade to my excruciating desires and insomnias of which enough has been said. Knowing me by now, the reader can easily imagine how dusty and hot I got, trying to catch a glimpse of nymphets (alas, always remote) playing in Central Park, and how repulsed I was by the glitter of deodorized career girls that a gay dog in one of the offices kept unloading upon me. Let us skip all that. A dreadful breakdown sent me to a sanatorium for more than a year; I went back to my workonly to be hospitalized again. Robust outdoor life seemed to promise me some relief. One of my favorite doctors, a charming cynical chap with a little brown beard, had a brother, and this brother was about to lead an expedition into arctic Canada. I was attached to it as a “recorder of psychic reactions.” With two young botanists and an old carpenter I shared now and then (never very successfully) the favors of one of our nutritionists, a Dr. Anita Johnsonwho was soon flown back, I am glad to say. I had little notion of what object the expedition was pursuing. Judging by the number of meteorologists upon it, we may have been tracking to its lair (somewhere on Prince of Wales’ Island, I understand) the wandering and wobbly north magnetic pole. One group, jointly with the Canadians, established a weather station on Pierre Point in Melville Sound. Another group, equally misguided, collected plankton. A third studied tuberculosis in the tundra. Bert, a film photographeran insecure fellow with whom at one time I was made to partake in a...
10. Интервью Набокова на английском языке. Playboy, 1964 г.
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Часть текста: 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 would deny that it is queer-- so much so that when director Stanley Kubrick proposed his ...