Поиск по творчеству и критике
Cлово "MOVE"

Часть текста: is true to the original with the exception of two references to Zembla that the author, or the translator, or an unnamed editor, or an inattentive typesetter, chose to remove, or happened to remove inadvertantly, from Chapters Two and Five. Zashchita Luzhina is a book about chess, "a game of skill played by two persons, each having sixteen pieces to move in different ways, on a board divided into 64 squares, alternately light and dark." (I owe this pithy definition to Webster.) If the reader does not know, or has forgotten, the rules to the game, he or she is invited to consult one of the many pamphlets devoted to chess that must surely exist in every language written and read in the civilized world. The word chess derives from Middle English ches or chesse , thence from Old French eschec (francophones will hear here an echo of the French word for failure, a not irrelevant observation for the case under discussion), or echac ,2 thence from Persian shah , a king, the most important piece in the game. Luzhin, the eponymous hero, is our king: He...

2. Эссе о драматургии ("Playwriting", на английском языке)

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Часть текста: in America in May of 1940; except for some brief 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...

3. Набоков Дмитрий: Отцовские бабочки. Интервью данное Брайеном Бойдом журналу BOMB Magazine

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Часть текста: 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 homely metaphysics and painful autobiography to what must be his own entirely irrelevant fantasy—unless he really is Charles the Beloved, the deposed King of Zembla; and that unless unlocks only the first in a series of secret passages. From the dedication copy of Pale Fire, inscribed...

4. Интервью Набокова на английском языке. BBC Television, 1962 г.

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Часть текста: [1962] In mid-July, 1962, Peter Duval-Smith and Christopher Burstall came for a BBC television interview to Zermatt where I happened to be collecting that summer. The lepidoptera lived up to the occasion, so did the weather. My visitors and their crew had never paid much attention to those insects and I was touched and flattered by the childish wonderment with which they viewed the crowds of butterflies imbibing moisture on brookside mud at various spots of the mountain trail. Pictures were taken of the swarms that arose at my passage, and other hours of the day were devoted to the reproduction of the interview proper. It eventually appeared on the Bookstand program and was published in The Listener (November 22, 1962). I have mislaid the cards on which I had written my answers. I suspect that the published text was taken straight from the tape for it teems with inaccuracies. These I have tried to weed out ten years later but was forced to strike out a few sentences here and there when memory refused to restore the sense flawed by defective or improperly mended speech. The poem I quote (with metrical accents added) will be found translated into English in Chapter Two of The Gift, G. P. Putnam's Sons, New York, 1963. Would you ever go back to Russia? I will never go back, for the simple reason that all the Russia I need is always with me: literature, language, and my own Russian childhood. I will never return. I will never surrender. And anyway, the grotesque shadow of a police state will not be dispelled in my lifetime. I don't think they know my works there-- oh, perhaps a number of readers exist there in my special secret service, but let us not forget that Russia has grown tremendously provincial during these forty years, apart from the fact that people there are told what to read, what to think. In America I'm happier...

5. Савельева В.В.: Художественная гипнология и онейропоэтика русских писателей. Приложение

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Часть текста: 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 reflection of his or her own language”) [9, с.124]. V. N. Toporov, while chronologically cataloguing literary dreams from the texts of I. S. Turgenev, proposed to classify them according to their themes and to distinguish their repeating motifs and archetypes [21]. But the recurrence of similar images and situations of literary...

6. Боги (перевод С. В. Сакуна)

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Часть текста: узких аллей, где журчит и шелестит ночной дождь. Улыбнись мне. Почему ты смотришь на меня так пасмурно и мрачно. Теперь утро. Всю ночь звёзды пронзительно кричали детскими голосами, и, кто-то на крыше терзал и ласкал скрипку острым смычком. Смотри, солнце перевалилось через стену, словно сияющий парусник. Ты выдыхаешь туманом всё обволакивающий дым. Пылинки начинают кружиться в твоих глазах, миллионы золотых миров. Ты улыбнулась! Мы выходим на балкон. Весна. Внизу, посреди улицы, жёлто-кудрявый малыш быстро-быстро рисует бога. Бог растянулся от одной стороны улицы до другой. Малыш сжимает в руке кусок мела, маленький кусок белого угольного карандаша, и сидя на корточках, поворачивается, вычерчивая широкую линию. У этого белого бога большие белые пуговицы и развёрнутые наружу ступни. Распятый на асфальте он смотрит в небеса круглыми глазами. Белой дугой рот. Бревно-образная сигара появилась у него во рту. Винтовыми толчками малыш изображает спиралевидный дым. Руки в боки, он созерцает свою работу. Добавляет ещё одну пуговицу. Громыхнула оконная рама через дорогу; женский голос, огромный и счастливый позвал его. Малыш зафутболил подальше мел и помчался домой. На фиолетовом асфальте остался белый, геометрический бог, вглядывающийся в небо. Твой взгляд опять мрачнеет. Я знаю, конечно, что тебе припоминается. В углу нашей спальни, под иконой, цветной резиновый мячик. Иногда он мягко и печально прыгает со стола и тихо катится по полу. Положи его на место, под икону, и потом, почему бы нам не прогуляться? Весенний воздух....

7. Интервью Набокова на английском языке. Wisconsin Studies, 1967 г.

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Часть текста: 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 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...

8. Интервью Набокова на английском языке. The Paris Review, 1967 г.

Входимость: 2. Размер: 29кб.

Часть текста: 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 agree? Is there a static quality in your view of things? Whose "reality"? "Everyday" where? Let me suggest that the very term "everyday reality" is utterly static since it presupposes a situation that is permanently observable, essentially objective, and universally known. I suspect you have invented that expert on "everyday reality." Neither exists. He does (names him). A third critic has said that you "diminish" your characters "to the point where they become ciphers in a cosmic...

9. Lolita. Part One. Chapters 28 - 33

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Часть текста: to sayI would let myself into that “342” and find my nymphet, my beauty and bride, imprisoned in her crystal sleep. Jurors! If my happiness could have talked, it would have filled that genteel hotel with a deafening roar. And my only regret today is that I did not quietly deposit key “342” at the office, and leave the town, the country, the continent, the hemisphere,indeed, the globethat very same night. Let me explain. I was not unduly disturbed by her self-accusatory innuendoes. I was still firmly resolved to pursue my policy of sparing her purity by operating only in the stealth of night, only upon a completely anesthetized little nude. Restraint and reverence were still my motto-even if that “purity” (incidentally, thoroughly debunked by modern science) had been slightly damaged through some juvenile erotic experience, no doubt homosexual, at that accursed camp of hers. Of course, in my old-fashioned, old-world way, I, Jean-Jacques Humbert, had taken for granted, when I first met her, that she was as unravished as the stereotypical notion of “normal child” had been since the lamented end of the Ancient World B. C. and its fascinating practices. We are not surrounded in our enlighted era by little slave flowers that can be casually plucked between business and bath as they used to be in the days of the Romans; and we do not, as dignified Orientals did in still more luxurious times, use tiny entertainers fore and aft between the mutton and the rose sherbet. The whole point is that the old link between the adult world and the child world has...

10. Lolita. Part Two. Chapters 3 - 8

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Часть текста: the most cloying fudge. To think that between a Hamburger and a Humburger, she wouldinvariably, with icy precisionplump for the former. There is nothing more atrociously cruel than an adored child. Did I mention the name of that milk bar I visited a moment ago? It was, of all things, The Frigid Queen. Smiling a little sadly, I dubbed her My Frigid Princess. She did not see the wistful joke. Oh, d not scowl at me, reader, I do not intend to convey the impressin that I did not manage to be happy. Readeer must understand that in the possession and thralldom of a nymphet the enchanted traveler stands, as it were, beyond happiness. For there is no other bliss on earth comparable to that of fondling a nymphet. It is hors concours , that bliss, it belongs to another class, another plane of sensitivity. Despite our tiffs, despite her nastiness, despite all the fuss and faces she made, and the vulgarity, and the danger, and the horrible hopelessness of it all, I still dwelled deep in my elected paradisea paradise whose skies were the color of hell-flamesbut still a paradise. The able psychiatrist who studies my caseand whom by now Dr. Humbert has plunged, I trust, into a state of leporine fascinationis no doubt anxious to have me take Lolita to the seaside and have me find there, at last, the “gratification” of a lifetime urge, and release from the...

Поиск по творчеству и критикеCлово "MOVE"

Поиск по творчеству и критике
Cлово "MOVE"