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

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Часть текста: I was urged by a war-time university in New York to complete 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...

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Часть текста: но при этом вещественного и зримого мира; во-вторых, учитывать именно эволюционный, развивающий уже присутствующие в ранних произведениях мотивы, темы и ситуации, путь развития художника, направленный на большее и подробное раскрытие, расширение создаваемого им в слове мира. Поскольку изолированный анализ лирики художника исключается феноменом целостности, единства набоковского мира, целесообразно анализ первого произведения представить стратифицированно по нескольким позициям: первого стихотворения, первого романа, а также первого перевода, позиционирующего те же принципиальные основы и приемы поэтики художника, как стихотворение и роман. Поскольку первые драмы Набокова трудно доступны , а также на том основании, что драма в отличие от лирики не находит продолжения в англоязычном творчестве писателя, а кроме того и потому, что сам феномен театральности и театрализации мира своих книг был в полной мере развернут в эпосе В. Набокова 32 33 34 , мы представим анализ драматургии писателя в целом. 2.1. СТИХОТВОРЕНИЕ «ДОЖДЬ ПРОЛЕТЕЛ» Поэтическое наследие В.В. Набокова, по справедливому замечанию Н.Анастасьева может стать объектом самостоятельного исследования, но только как одна из граней сложного единого целого - творчества В.В.Набокова, в контексте создаваемого Набоковым художественного космоса и собственно онтологического и эстетического феномена личности писателя . Хотя уже современники отмечали традиционность набоковской лирики, подчеркивая, что по мастерству она значительно уступает его прозе. «Его современники, - пишет, в частности, Г. Струве, - смотрели на него как на поэтического старовера» 35 36 . Современный писатель и критик, восторженный ценитель дара В. Набокова, А. Битов, сравнивая стихи и прозу мастера, даже...

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Часть текста: overlooking Lake 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...

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Часть текста: melts into Nature's background. In your autobiography. Speak, Memory, you describe a series of concurrent, insignificant events around the world "forming an instantaneous and transparent organism of events, " of which the poet (sitting in a lawn chair at lthaca. New York) is the nucleus. How does this open out on your larger belief in the precedence of the imagination over the mind? The simultaneousness of these random events, and indeed the fact of their occurring at all as described by the central percipient, would only then conform to "reality" if he had at his disposal the apparatus to reproduce those events optically within the frame of one screen; but the central figure in the passage you quote is not equipped with any kind of video attached to his lawn chair and must therefore rely on the power of pure imagination. Incidentally, I tend more and more to regard the objective existence of all events as a form of impure imagination-- hence my inverted commas around "reality." Whatever the mind grasps, it does so with the assistance of creative fancy, that drop of water on a glass slide which gives distinctness and relief to the observed organism. 1969 marks the fiftieth anniversary of your first publication. What do that first book and your latest, Ada, have in common? What of...

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Часть текста: confusion about the pronunciation of your last name. How does one pronounce it correctly? It is indeed a tricky name. It is often misspelt, because the eye tends to regard the "a" of the first syllable as a misprint and then tries to restore the symmetrical sequence by triplicating the "o"-- filling up the row of circles, so to speak, as in a game of crosses and naughts. No-bow-cough. How ugly, how wrong. Every author whose name is fairly often mentioned in periodicals develops a bird-watcher's or caterpillar-picker's knack when scanning an article. But in my case I always get caught by the word "nobody" when capitalized at the beginning of a sentence. As to pronunciation, Frenchmen of course say Nabokoff, with the accent on the last syllable. Englishmen say Nabokov, accent on the first, and Italians say Nabokov, accent in the middle, as Russians also do. Na- bo -kov. A heavy open "o" as in "Knickerbocker". My New England ear is not offended by the long elegant middle "o" of Nabokov as delivered in American academies. The awful "Na-bah-kov" is a despicable gutterism. Well, you can make your choice now. Incidentallv, the first name is pronounced Vladeemer-- rhyming with "redeemer"-- not Vladimir rhyming with Faddimere (a place in England, I think). How about the name of your extraordinary creature. Professor P-N-I-N? The "p" is sounded, that's all. But since the...

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Часть текста: were awaiting them when they arrived, whereupon they added a dozen more, of which I answered seven. Some of the lot were quoted in the May 23, 1969, issue-- the one with my face on the cover. There seem to be similarities in the rhythm and tone of Speak, Memory and Ada, and in the way you and Van retrieve the past in images. Do you 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...

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Часть текста: titles for this chapter I settled on the pedestrian choice above. Engaging in verbal legerdemain while speaking of Nabokov is a perilous and perhaps foolhardy undertaking, given his own multilingual mastery over words--one might compare it to beginning a talk on Nijinsky by stepping from behind the lectern to attempt a jeté or two. While much, indeed too much, has been written about Nabokov's English novels, much less has been said about his earliest Russian fiction. It is to this I must now turn. My editor has chided me for diverging too frequently and too widely from my subject--but what is a life if not a series of diversions from some hidden, ineffable theme? Mashen'ka opens with the tongue-twisting name and patronymic of the protagonist Ganin, Lev Glebovich, which, complains the character Alferov, "iazyk vyzvikhnut' mozhno" (7). Instantly we are made aware of the potential treachery of words. With Alferov's statement a few paragraphs later that "vsiakoe imia obiazyvaet," we are also reminded of their power. The first stylistic glimmer of the mature Nabokov, which comes after the brief dialogue between Ganin and Alferov of which chapter one wholly consists, is the sequence "i bubliki, i brilliantin i prosto brillianty" (17-18) a harbinger of such later alliterative lists as "the brook and the boughs and the beauty of the...

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Часть текста: 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 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...

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Часть текста: suite d'un sentiment de supériorité, peut-être imaginaire. Tiré d'une lettre particulière Not thinking to amuse the haughty world, having grown fond of friendship's heed, I wish I could present you with a gage 4 that would be worthier of you — be worthier of a fine soul full of a holy dream, of live and limpid poetry, 8 of high thoughts and simplicity. But so be it. With partial hand take this collection of pied chapters: half droll, half sad, 12 plain-folk, ideal, the careless fruit of my amusements, insomnias, light inspirations, unripe and withered years, 16 the intellect's cold observations, and the heart's sorrowful remarks. CHAPTER ONE To live it hurries and to feel it hastes. Prince Vyazemski I “My uncle has most honest principles: when he was taken gravely ill, he forced one to respect him 4 and nothing better could invent. To others his example is a lesson; but, good God, what a bore to sit by a sick person day and night, not stirring 8 a step away! What base perfidiousness to entertain one half-alive, adjust for him his pillows, 12 sadly serve him his medicine, sigh — and think inwardly when will...

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Часть текста: order to enjoy my phantasms in peace I firmly decided to ignore what I could not help perceiving, the fact that I was to her not a boy friend, not a glamour man, not a pal, not even a person at all, but just two eyes and a foot of engorged brawnto mention only mentionable matters. There was the day when having withdrawn the functional promise I had made her on the eve (whatever she had set her funny little heart ona roller rink with some special plastic floor or a movie matinee to which she wanted to go alone), I happened to glimpse from the bathroom, through a chance combination of mirror aslant and door ajar, a look on her face… that look I cannot exactly describe… an expression of helplessness so perfect that it seemed to grade into one of rather comfortable inanity just because this was the very limit of injustice and frustrationand every limit presupposes something beyond ithence the neutral illumination. And when you bear in mind that these were the raised eyebrows and parted lips of a child, you may better appreciate what depths of calculated carnality, what reflected despair, restrained me from falling at her dear feet and dissolving in human tears,...

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