Поиск по творчеству и критике
Cлово "FACTION"
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Часть текста: (" le curieux, " as the honnкtes gens used to put it in judicious France, " the aurelian, " as the poets said in grove-rich England, the "fly doctor," as they wisecracked in advanced Russian circles) who wished to acquire from books a general notion of the fauna of Europe, including Russia, was compelled to scrabble for his crumbs of information in entomological journals in six languages and in multivolume, hard-to-find editions such as the Oberthьr books or those of Grand Duke Nikolai Mikhailovich. The absence or utter inadequacy of "references" in the atlases ad usum Delphini, the tedious perusal of the index of names enclosed with an annual volume of a monthly journal, the sheer number of these journals and volumes (in my father's library there were more than a thousand of the latter alone, representing a good hundred journals) - all this had to be overcome in order to hunt down the necessary reference, if it existed at all. Nonetheless, even in my exceptionally propitious situation things were not easy: Russia, particularly in the north, dwelt in a mist, while the local lists, scattered through the journals, totally haphazard, scanty, and cruelly inaccurate in nomenclature, only maddened me when at last I ferreted them out. My father was the preeminent entomologist of his time, and very well off to boot, but the ordinary amateur, unable to dispatch his scouts throughout Russia, and denied the opportunity - or not knowing how - to gain access to specialized collections and libraries (and an accidental boon, the hasty inspection of collections at a lepidopterological society or in the cellar of some museum, does not satisfy the true enthusiast, who needs to have the boon always at hand), had no choice but to hope for a miracle. And that miracle dawned in 1912 with the appearance of my father's four-volume work The Butterflies and Moths of...
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Часть текста: 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 задается вопросом: «... почему он не переставал их (стихи) писать, пусть и более слабые» . Думается, в первую очередь потому, что неповторимый дар В. В. Набокова обладал удивительным единством, глубинной целостностью, стихи и драмы выступают в мире творчества Набокова иногда прологами, а иногда - продолжениями романов. В сборник «Poems and...
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Часть текста: The combined set appeared in The Paris Review of October, 1967. Good morning. Let me ask forty-odd questions. Good morning. I am ready. Your sense of the immorality of the relationship between Humbert Humbert and Lolita is very strong. In Hollywood and New York, however, relationships are frequent between men of forty and girls very little older than Lolita. They marry-- to no particular public outrage; rather, public cooing. No, it is not my sense of the immorality of the Humbert Humbert-Lolita relationship that is strong; it is Humbert's sense. He cares, I do not. I do not give a damn for public morals, in America or elsewhere. And, anyway, cases of men in their forties marrying girls in their teens or early twenties have no bearing on Lolita whatever. Humbert was fond of "little girls"-- not simply "young girls." Nymphets are girl-children, not starlets and "sex kittens." Lolita was twelve, not eighteen, when Humbert met her. You may remember that by the time she is fourteen, he refers to her as his "aging mistress." One critic has said about you that "his feelings are like no one else's. " Does this make sense to you? Or does it mean that you know your feelings better than others know theirs? Or that you have discovered yourself at other levels? Or simply that your history is unique? I do not recall that article; but if a critic makes such a statement, it must surely mean that he has explored the feelings of literally millions of people, in at least three countries, before reaching his conclusion. If so, lama rare fowl indeed. If, on the other hand, he has merely limited himself to quizzing members of his family or club, his statement cannot be discussed seriously. Another critic has written that your "worlds are static. They may become tense with obsession, but they do not break apart like the worlds of everyday reality. " Do you...
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