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

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Часть текста: годы», а также все посвященные набоковским произведениям критические работы, на которые я ссылаюсь. В Разделе I перечислены архивные, библиотечные и музейные собрания, к которым я обращался; в Разделе II — периодические издания, использованные в ходе работы; в Разделе III — книги и статьи, содержащие информацию о членах семьи Набокова, в особенности о его отце, Владимире Дмитриевиче Набокове, и деде, Дмитрии Николаевиче Набокове; в Разделе IV перечислены произведения Набокова; в Разделе V — книги и статьи, имеющие касательство к биографии Набокова либо цитировавшиеся при анализе его произведений. Дефинитивной библиографией произведений Набокова является работа Майкла Джулиара «Владимир Набоков: описательная библиография» (Vladimir Nabokov: A Descriptive Bibliography. New York: Garland, 1986), к которой журнал «The Nabokovian» ежегодно публикует приложения и дополнения. В том же журнале печатаются дополнения к куда менее подробной библиографии...

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Часть текста: to reread what he has already written but so attuned to a particular frequency of inspiration that revision and successive drafts are superfluous: the tale can be extruded in a single, extremely long, growing ever longer, parti-colored stream, like the endless rope of silk handkerchiefs a conjuror extracts with mock amazement from his black satin sleeve, or, for that matter, from the mouth of a compliant, if somewhat sheepish, volunteer. But Nabokov's death still comes as an unpleasant shock, an absurdly anomalous element at the end of the series, as if the final section of the streamer were not one last, particularly colorful piece of silk, but a live worm, a rotting plum, or some other equally strange bit of inexplicable detritus. Thank you, Madam, you may return to your seat. That Nabokov did not die of natural causes is only now beginning to be publicly acknowledged. His "mysterious" death, variously attributed to a fall, a viral infection, pneumonia, or mundane cardiac arrest, is now known to have been caused, or at least hastened along, by a special, nearly untraceable poison whose unpronounceable name I will not reveal here for fear that some unbalanced individual bearing a grudge against a family member, former love, noisy neighbor, or ...

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Часть текста: тексте «Laughter in the Dark» [153] оно заключено в коротком абзаце: «Once upon a time there lived in Berlin, Germany, a man called Albinus. He was rich, respectable, happy; one day he abandoned his wife for the sake of the youthful mistress; he loved; was not loved; and his life ended in disaster. This is the whole of the story…» [154] Первый абзац, понимаемый как графически не выделенный эпиграф к роману [155], линеарно воспроизводит развитие сюжета от любовного ослепления к трагедии полной слепоты. Условно говоря, действие движется от света к тьме, от зримого к его полной утрате. Моторной силой движения становится любовь. Исходное положение, видимый мир, осознается героем как бесцветная, тихая, «нежная, мягкая жизнь», в которой мимо в виде молодых женщин, «невероятных, сладких, головокружительных» [156] ощущений, снов, мечтаний проходит страстная красота, вызывающая «ощущение невыносимой утраты» (с. 10). Приход любви подобен вспышке молнии [157], мистическому освещению, при котором появляется самый эмоционально насыщенный цвет — цвет страсти [158]. Освещенная таким образом жизнь делается яркой и динамичной [159]. Но по мере развития сюжета освещение оказывается ослеплением и трансформируется в полную слепоту. Погружение в темноту происходит также внезапно: «…мелькнула в глазах растопыренная рука Магды, и волшебный фонарь мгновенно потух» (с. 165). Темнота изолирует героя, лишает его возлюбленной, действие фактически возвращается к исходному: «… от Магды остался только голос… она как бы вернулась в ту...

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Часть текста: ends. Now that your first novel has appeared (Mashenka, 1926), it seems appropriate that, as we sail into the future, even earlier works should adhere to this elegant formula and make their quantum leap into English. Yes, my forthcoming Poems and Problems [McGraw-Hill] will offer several examples of the verse of my early youth, including "The Rain Has Flown," which was composed in the park of our country place, Vyra, in May 1917, the last spring my family was to live there. This "new" volume consists of three sections: a selection of thirty-six Russian poems, presented in the original and in translation; fourteen poems which I wrote directly in English, after 1940 and my arrival in America (all of which were published in The New Yorker), and eighteen chess problems, all but two of which were composed in recent years (the chess manuscripts of the 1940-1960 period have been mislaid and the earlier unpublished jottings are not worth printing). These Russian poems constitute no more than one percent of the mass of verse which I exuded with monstrous regularity during my youth. Do the components of that monstrous mass fall into any discernible periods or stages of development? What can be called rather grandly my European period of verse-making seems to show several distinctive stages: an initial one of passionate and commonplace love verse (not represented in Poems and Problems)-, a period reflecting utter distrust of the so-called October Revolution; a period (reaching well into the nineteen-twenties) of a kind of private curatorship, aimed at preserving nostalgic retrospections and developing Byzantine imagery (this has been mistaken by some readers for an interest in "religion" which, beyond literary ...

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Часть текста: taken on both sides to achieve the illusion of a spontaneous conversation. Actually, my contribution as printed conforms meticulously to the answers, every word of which I had written in longhand before having them typed 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...

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Часть текста: m. EDT (2136 GMT) Nabokov in Berlin in 1936. This was his favorite picture of himself. (CNN) - Vladimir Nabokov's relationship with words began at a young age - he wrote his first poem at the age of 15. Before leaving the Tenishev school, he had privately published two books of poetry. By the time of his death in 1977, he had published 18 novels, eight books of short stories, along with seven books of poetry and nine plays. In his spare time (when he wasn't collecting, studying and writing about butterflies), Nabokov invented crosswords, translated texts as encompassing as "Alice in Wonderland," wrote academic papers and 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...

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Часть текста: же образом глумятся над Пниным. Однако содержание набоковского романа отнюдь не исчерпывается аналогией между Пниным и неким его прототипом из Шекспира. Нет, этот текст идет дальше: он доказывает, что перверсия — фундаментальный элемент искусства. Чтобы добраться до ядра перверсии в «Пнине», нужно покинуть филологическую раздевалку и обратиться… к белке. Центральная роль этого животного в романе не требует доказательств: белка появляется там неоднократно и в ключевые моменты. Этимологически слово «squirrel» (белка), как мы узнаем из открытки, отправленной Пниным Виктору, означает «shadow tail» («тенехвостая»); благодаря очевидной игре слов — tail / tale (хвост / рассказ) — этот зверек становится образом романа в целом, с его призрачными, как тени, повествователями и метатворческим сюжетом. Р. Олтер и Г. Барабтарло утверждали, что белка служит всего лишь репрезентацией принципа мотивного повторения, без которого, по Набокову, немыслим никакой литературный текст. «Имеет ли ...

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Часть текста: notes My first intention was to write an elaborate paper on this TriQuarterly number (17, Winter 1970, Northwestern University, Evanston, Illinois) which is dedicated to me on the occasion of my seventieth birthday. I soon realized, however, that I might find myself discussing critical studies of my fiction, something I have always avoided doing. True, a festschrift is a very special and rare occasion for that kind of sport, but I did not wish to create even the shadow of a precedent and therefore decided simply to publish the rough jottings I made as an objective reader anxious to eliminate slight factual errors of which such a marvelous gift must be free; for I knew what pains the editors, Charles Newman and Alfred Appel, had taken to prepare it and remembered how firmly the guest co-editor, when collecting the ingredients of this great feast, refused 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...

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Часть текста: moped was a charming nook; 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...

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Часть текста: from early poems to 'Speak, Memory', focusing on a concept of the executioner as a despicable actor, the main figure in the low taste histrionics of totalitarian and revolutionary states. It pinpoints some hitherto unknown historical and literary sources of the concept and discusses its symbolism, in particular sartorial and ritualistic images. Key words: V. V. Nabokov, V. D. Nabokov, Pushkin, death penalty, executioner, masquerade, suit, platitude. Статья посвящена развитию темы смертной казни в произведениях Набокова - от ранних стихотворений до ‘Speak, Memory’. Особое внимание уделяется палачу как вызывающему презрение персонажу, главной фигуре в “отвратительной театральщине” тоталитарных и революционных государств. В статье рассматривается ранее неизвестные исторические и литературные источники концепта палача и обсуждается его символика. В особенности, в центре внимания в статье оказываются одеяние палача и его изображения. Ключевые слова: В.В. Набоков, В.Д. Набоков, Пушкин, смертная казнь, палач,...

Поиск по творчеству и критикеCлово "GERMANY"

Поиск по творчеству и критике
Cлово "GERMANY"