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

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Часть текста: Вместе с тем, скоро, пожалуй, покажется странным, если персонаж современного романа никак не будет связан с рекламой: в последней книге Анатолия Королева «Стоп, коса!» (2008), например, героя отвлекают от проблем бессмертия смс-сообщения шефа с заданиями по адаптации западной рекламы к сознанию российского потребителя. Пусть в случае Королева это и пародия - не то на Пелевина, не то на Бегбедера, но массовая продукция современных писателей свидетельствует о том, что литература и реклама связаны сегодня весьма прочно. Взаимодействие рекламных и литературных текстов очевидно и в прозрачных случаях product placement , как в романах Дарьи Донцовой или бекмамбетовских «Дозорах» (где реклама кофе или самого фильма подана с одинаково веселой прямотой), и в текстах, где реклама проникает глубже: становится предметом изображения, образует фабульный, сюжетный уровни повествования, как у Виктора Пелевина. Ролан Барт в «Мифологиях» и «Системе моды» описал рекламу как превращение акта потребления в акт культуры: «…касаясь товара языком рекламы, люди придают ему осмысленность и тем самым превращают простое пользование им в духовный опыт»[1]. Это суждение, кажется, прошло проверку практикой: описанное Бартом превращение уже произошло, рекламные тексты становятся частью культуры, литература охотно включает рекламу в собственный словарь. Более того, отношения рекламы и литературы на...

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Часть текста: lectures, critical reviews, and nonfiction works. He also wrote a screenplay for the 1962 movie version of "Lolita," directed by Stanley Kubrick. In short, he was obsessed with words and was not intimidated by genre. He spent his working life trying to capture the perfect style and structure on the page, in the same way he netted a butterfly that fluttered in his path. Nabokov, known as VN, first gained acclaim in Berlin, writing in his native Russian language and developing a following with fellow émigrés. In 1923, shortly after his graduation from Cambridge, Nabokov was busy with work - he published four plays (including "Death" and "The Grandfather") and two books of poetry ("The Empyrean Path" and "The Cluster"). His first book, "Mary," was published in 1926. The story details a young émigré's longing for the love he left behind in Russia, the battle between what is memory and what is real, and the inevitable disappointment of facing both. The book received little initial attention. Nabokov working on "The Defense" at a hotel in Le Boulou, East Pyrenees, February 1929 That's not to say Nabokov was an unknown. He continued to write, publishing the novels "King, Queen, Knave" (1928), "The Defense" (1930), and...

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Часть текста: 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, and sacrificing my jealousy to whatever pleasure Lolita might hope to derive from mixing with dirty and dangerous children in an outside world that was real to her. And I have still other smothered memories, now unfolding themselves into limbless monsters of pain. Once, in a sunset-ending street of Beardsley, she turned to little Eva Rosen (I was taking both nymphets to a concert and walking behind them so close as almost to touch them with my person), she turned to Eva, and so very serenely and seriously, in answer to something the other...

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Часть текста: the discretion in all matters pertaining to the preparation of “Lolita” for print. Mr. Clark’s decision may have been influenced by the fact that the editor of his choice had just been awarded the Poling Prize for a modest work (“Do the Senses make Sense?”) wherein certain morbid states and perversions had been discussed. My task proved simpler than either of us had anticipated. Save for the correction of obvious solecisms and a careful suppression of a few tenacious details that despite “H. H.”‘s own efforts still subsisted in his text as signposts and tombstones (indicative of places or persons that taste would conceal and compassion spare), this remarkable memoir is presented intact. Its author’s bizarre cognomen is his own invention; and, of course, this maskthrough which two hypnotic eyes seem to glowhad to remain unlifted in accordance with its wearer’s wish. While “Haze” only rhymes with the heroine’s real surname, her first name is too closely interwound with the inmost fiber of the book to allow one to alter it; nor (as the reader will perceive for himself) is there...

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Часть текста: Program in New York. At our initial meetings I read from prepared cards, and this part of the interview is given below. The rest, represented by some fifty pages typed from the tape, is too colloquial and rambling to suit the scheme of the present book. As with Gogol and even James Agйe, there is occasionally 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...

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Часть текста: 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...

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Часть текста: with a creditable reputation as an insect taxonomist. In butterfly circles, Nabokov was a monarch. Butterflies and literature were Nabokov's twin passions. He started in 1906, aged seven, when he caught his first specimen on his family estate. A few years later, Nabokov was precocious enough to think he had found a new species, only to have his dreams dashed. Undaunted, he set out on a life of butterfly hunting, interspersed with equally passionate forays into fiction. Nabokov not only realised his dream of finding a new species; he had several named after him. He became an authority on the taxonomy of a family known as the "Blues". "It is not improbable," he said, "that had there been no revolution in Russia, I would have devoted myself entirely to lepidopterology." To him, butterflies represented a form of immortality, whereby the asexual, shuffling caterpillar transmogrified after "death" into an aerial acrobat with the sexual potency to impart a physical presence to future generations. Although not avowedly religious, Nabokov suspected a conscious design to the world and thought it likely, according to his biographer, Brian Boyd, that there was some transformation of human consciousness beyond death. The astounding metamorphosis of ugly bug into beautiful, if ephemeral, butterfly epitomised this magical passage of the upwardly mobile soul. "We are the caterpillars of angels," he wrote. At Trinity College, Cambridge, Nabokov switched from natural sciences to French and Russian literature. Writing became his spouse, but lepidoptery was his mistress, with whom he spent summers in the montane regions of Europe and America. Nabokov's contribution to taxonomy is...

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Часть текста: to show me any plum or crumb before publication. BUTTERFLIES Butterflies are among the most thoughtful and touching contributions to this volume. The old-fashioned engraving of a Catagramma- like insect is delightfully reproduced twelve times so as to suggest a double series or "block" of specimens in a cabinet case; and there is a beautiful photograph of a Red Admirable (but "Nymphalidae" is the family to which it belongs, not its genus, which is Vanessa-- my first bit of carping). ALFRED APPEL, JR. Mr. Appel, guest co-editor, writes about my two main works of fiction. His essay "Backgrounds of Lolita" is a superb example of the rare case where art and erudition meet in a shining ridge of specific information (the highest and to me most acceptable function of literary criticism). I would have liked to say more about his findings but modesty (a virtue that the average reviewer especially appreciates in authors) denies me that pleasure. His other piece in this precious collection is "Ada Described." I planted three blunders, meant to ridicule mistranslations of Russian classics, in the first paragraph of my Ada: the opening sentence of Anna Karenin (no additional "a," printer, she was not a ballerina) is turned inside out; Anna Arkadievna's patronymic is ...

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Часть текста: 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 other books. IV Alone midst his possessions, merely to while away the time, at first conceived the plan our Eugene 4 of instituting a new system. In his backwoods a solitary sage, the ancient corvée 's yoke by the light quitrent he replaced; 8 the muzhik blessed fate, while in his corner went into a huff, therein perceiving dreadful harm, ...

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Часть текста: ("Отчаяние" В. Набокова) Публикуется впервые. От футуризма - к формализму: В. Шкловский в 1913 году ("Воскрешение слова") Впервые: Du futurisme au formalisme: Chklovski en 1913: La résurrection du mot // Europe (Paris). 2005. № 911. P. 37–54. На русском языке публикуется впервые. Велимир I - поэт становлянин (А. Туфанов и В. Хлебников) Впервые под заглавием: Futurisme, futurianisme ou devenirianisme?: Velimir Hlebnikov et Aleksandr Tufanov // Contributions suisses au XIV congrès mondial des slavistes à Ohrid, septembre 2008 / P. Sériot (éd.). Bern: Peter Lang, 2008. P. 109–122. На русском языке: Velimir Xlebnikov, poète futurien. Велимир Хлебников, будетлянский поэт // Modernités russes 8 / J. -C. Lanne (éd.). Lyon: CESAL, 2009. P. 437–448. Кризис "текучести" в конце Серебряного века (О Леониде Липавском и его поколении) Впервые под заглавием: La crise de la "fluidité" à la fin de l’Age d’argent: (Quelques mots sur Leonid Lipavski et sa génération) // L’Age d’argent dans la culture russe / J. -C. Lanne (éd.). Lyon: CESAL, 2007. P. 375–396 (Modernités russes 7). На русском языке публикуется впервые. И течет "великая река" (Заметки о "Реквиеме" Анны Ахматовой) Впервые: Pietroburgo, capitale della cultura russa/ Петербург, столица русской культуры / A d’Amelia (ed.) // Europa Orientalis (Salerno). 2004. № 5/2. P. 163–176. "Оптический обман" в русском авангарде (О расширенном смотрении)...

Поиск по творчеству и критикеCлово "GENERATION"

Поиск по творчеству и критике
Cлово "GENERATION"