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Часть текста: 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 "adult" entertainment has long since outdone all the goriness of the Grand Guignol. He might have observed that the aberrations of theatrical method wherein the illusion of a barrier between stage and audience is shattered - a phenomenon he considered "freakish" - are now commonplace: actors wander and mix; the audience is invited to participate; it is then applauded by the players in a curious reversal of roles made chic by Soviet performers ordered to emulate the mise-en-sce´ne of party congresses; and the term "happening" has already managed to grow obsolescent. He might have commented that the quest for originality for its own sake has led to ludicrous excesses and things have taken their helter-skelter course in random theatre as they have in random music and in random painting. Yet Nabokov's own plays demonstrate that it is possible to respect the rules of drama and still be original,...

2. Интервью Набокова на английском языке. BBC-2, 1968 г.

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Часть текста: 3, 1968, Nicholas Garnham interviewed me at the Montreux Palace for Release, BBC-2. The interview was faithfully reproduced in The Listener, October 10, of the same year: a neat and quick job. I have used its title for the present collection. You have mid your novels have 'no social purpose, no moral message. ' What is the function of your novels in particular and of the novel in general? One of the functions of all my novels is to prove that the novel in general does not exist. The book I make is a subjective and specific affair. I have no purpose at all when composing my stuff except to compose it. I work hard, I work long, on a body of words until it grants me complete possession and pleasure. If the reader has to work in his turn-- so much the better. Art is difficult. Easy art is what you see at modern exhibitions of things and doodles. In your prefaces you constantly mock Freud, the Viennese witchdoctor. Why should I tolerate a perfect stranger at the bedside of my mind? I may have aired this before but I'd like to repeat that I detest not one but four doctors: Dr. Freud, Dr. Zhivago, Dr. Schweitzer, and Dr. Castro. Of course, the first takes the fig, as the fellows say in the dissecting-room. I've no intention to dream the drab middle-class dreams of an Austrian crank with a shabby umbrella. I also suggest that the Freudian faith leads to dangerous ethical consequences, such as when a filthy murderer with the brain of a tapeworm is given a lighter sentence because his mother spanked him too much ...

3. Интервью Набокова на английском языке. Novel, 1970 г.

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Часть текста: 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 stylization, never meant anything to me); a period lasting another decade or so during which I set myself to illustrate the principle of making a short poem contain a plot and tell a story (this in a way expressed my impatience with the dreary drone of the anйmie "Paris School" of emigre poetry); and finally, in the late thirties, and especially in the...

4. Вне Лолиты: Вновь открывая Набокова. (Проект CNN, 1999 г.). His Legacy

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Часть текста: открывая Набокова. (Проект CNN, 1999 г.) His Legacy His Legacy April 9, 1999 Web posted at: 5: 35 p. m. EDT (2135 GMT) "He's very much a writer's writer and for that he will be remembered," says Galya Diment, Professor of Russian at University of Washington (CNN) - Scholars say Vladimir Nabokov will go down as one of the greatest original writers ever. He is the man who penned the most controversial novel of the 20th century, a book that has been termed both "the only convincing love story of our century" and "pornography," and still causes controversy 50 years after its release. But he also created a startling breadth of quality work that supports, matches and even surpasses the heights of talent he reached with the novel "Lolita." "He will be increasingly appreciated," says Jeff Edmunds, editor of Zembla, the Web site dedicated to Nabokov and his work. "He crosses national boundaries... he's not considered a modernist, or post-modernist... He's simply Nabokov." D. Barton Johnson, Professor Emeritus at University of California - Santa Barbara and former president of the International Vladimir Nabokov Society, agrees. "There can, I think, be no question that Nabokov is and will remain a prominent figure in the 20th Century canon - at least in American and Russian literature," Johnson says. "Nabokov is one of the rare figures who, at the end of the century, enjoys both a wide...

5. Роупер Р: Набоков в Америке. По дороге к «Лолите». Библиография

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Часть текста: Anthology of English Literature , vol. 2, 4th ed. New York: W.W. Norton and Co., 1979. Adkins, Lynn. “Jesse L. Nusbaum and the Painted Desert in San Diego.” Journal of San Diego History 29, no. 2 (Spring 1983). Agee, James. “The Great American Roadside.” Fortune 10 (September 1934): 53-63, 172, 174, 177. Ahuja, Nitin. “Nabokov’s Case Against Natural Selection.” Tract, 2012. http:// www.hcs.harvard.edu/tract/nabokov. html. Alden, Peter D. “H.M. C. Climbing Camp, 1953.” Harvard Mountaineering, no. 12 (May 1955). Alexander, Victoria N. “Nabokov, Teleology, and Insect Mimicry. ” Nabokov Studies 7 (2002-2003): 177-213. Alexandrov, Vladimir E. “Nabokov and Bely.” In Alexandrov. Garland Companion. Alexandrov, Vladimir E. Nabokov’s Otherworld. Princeton, N. J.: Princeton University Press, 1991. Alexandrov, Vladimir E., ed. The Garland Companion to Vladimir Nabokov. New York: Garland, 1995. Altschuler, Glenn, Kramnick, Isaac. “«Red Cornell»: Cornell in the Cold War, ” part 1. Cornell Alumni Magazine, July 2010. Amis, Martin. “Divine Levity: The Reputation of Vladimir Nabokov Is High and Growing Higher and There Is Much More Work Still to Come.” Times Literary Supplement, December 23 and 30, 2011, 3-5. Amis, Martin. “The Sublime and the Ridiculous: Nabokov’s Black Farces”. In Quennell. Vladimir Nabokov, His Life. Amis, Martin. Visiting Mrs. Nabokov and Other Excursions. New York: Vintage International, 1995. Appel, Alfred, Jr. “The Road to Lolita, or the Americanization of an...

6. Lolita. Part One. Chapters 23 - 27

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Часть текста: a half-empty tumbler in her hand, back to the screened porchwhere the propped-up, imprisoned, decrepit lady herself may be imagined screeching, but not loud enough to drown the rhythmical yaps of the Junk setter walking from group to groupfrom a bunch of neighbors already collected on the sidewalk, near the bit of checked stuff, and back to the car which he had finally run to earth, and then to another group on the lawn, consisting of Leslie, two policemen and a sturdy man with tortoise shell glasses. At this point, I should explain that the prompt appearance of the patrolmen, hardly more than a minute after the accident, was due to their having been ticketing the illegally parked cars in a cross lane two blocks down the grade; that the fellow with the glasses was Frederick Beale, Jr., driver of the Packard; that his 79-year-old father, whom the nurse had just watered on the green bank where he laya banked banker so to speakwas not in a dead faint, but was comfortably and methodically recovering from a mild heart attack or its possibility; and, finally, that the laprobe on the sidewalk (where she had so often pointed out to me with disapproval...

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

Входимость: 2. Размер: 63кб.

Часть текста: 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....

8. Комментарии к "Евгению Онегину" Александра Пушкина. Глава вторая. Пункты XXVII - XL

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Часть текста: Про вести города, про моды 4 Беседы съ нею не вела. И были детскiя проказы Ей чужды; странные расказы Зимою, въ темноте ночей, 8 Пленяли больше сердце ей. Когда же няня собирала Для Ольги, на широкiй лугъ, Всехъ маленькихъ ея подругъ, 12 Она въ горелки не играла, Ей скученъ былъ и звонкiй смехъ, И шумъ ихъ ветренныхъ утехъ. 6 страшные. В издании 1837 г. «странные», что бессмысленно и, очевидно, опечатка. В ранних изданиях — «страшные». 7 Ради рифмы и ритма Пушкин употребляет «темнота» (как здесь) либо «тьма», «потемки». Другие синонимы — «сумрак», «мрак» и «мгла». Последнее в точном смысле означает более темное и туманное, чем чаще встречающаяся поэтическая «темнота», подразумеваемая понятиями «сумрак» и «мрак». Прилагательные «темный», «сумрачный» и «мрачный» обычны в сочинениях Пушкина. Для иных русских «сумрак» мягче, чем «мрак», очевидно, из-за слова «сумерки». 12 горелки. Игра, сходная с шотландским и английским барли-брейком («барли» — крик о перерыве в игре), деревенской игрой в салки. Горелки — языческого происхождения, и во времена Пушкина еще связывались крестьянами со встречей весны. Само слово происходит от «гореть», употребляемого в игре в особом значении. Любопытное различие между шотландским барли-брейком и горелками в том, что в первом «салка» стоит в середине, «в аду», где «горит» как грешник, тогда как в горелках он «горит» весенней жаждой и любовным огнем под светлыми березами на залитом солнцем холме. (Отметим в зачеркнутой черновой...

9. Интервью Набокова на английском языке. The New York Times, 1969 г.

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Часть текста: г. The New York Times [1969] In April, 1969, Alden Whitman sent me these questions and came to Montreux for a merry interview shortly before my seventieth birthday. His piece appeared in The New York Times, April 19, 1969, with only two or three of my answers retained. The rest are to be used, I suppose, as "Special to The New York Times" at some later date by A. W., if he survives, or by his successor. I transcribe some of our exchanges. You have called yourself "an American writer, born in Russia and educated in England. " How does this make you an American writer? An American writer means, in the present case, a writer who has been an American citizen for a quarter of a century. It means, moreover, that all my works appear first in America. It also means that America is the only country where I feel mentally and emotionally at home. Rightly or wrongly, I am not one of those perfectionists who by dint of hypercriticizing America find themselves wallowing in the same muddy camp with indigenous rascals and envious foreign observers. My admiration for this adopted country of mine can easily survive the jolts and flaws that: , indeed, are nothing in comparison to the abyss of evil in the history of Russia, not to speak of other, more exotic, countries. In the poem "To My Soul, "you wrote, possibly of yourself, as "a provincial naturalist, an eccentric lost in paradise. " This appears to link your interest in butterflies to other aspects of your life, writing, for instance. Do you feel that you are "an eccentric lost in paradise"? An eccentric is a person whose mind and senses are excited by things that the average citizen does not even notice. And, per contra, the average...

10. Мельников Н. Г.: О Набокове и прочем. «Детектив, воспринятый всерьез…»

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Часть текста: в последующих интервью: «Я ненавижу детективный роман» (интервью Пьеру Домергу) 80; «За крайне небольшими исключениями, детективная литература представляет собой некий коллаж более или менее оригинальных загадок и шаблонной литературщины» (интервью 1969 года журналу «Тайм») 81. Трудно вообразить что-либо более далекое друг от друга, нежели Набоков и «шаблонная литературщина», хотя, если верить автору «Других берегов», в детстве он зачитывался произведениями корифея детективной литературы Артура Конан Дойля. Главный герой бесконечной конан-дойлевской эпопеи – неутомимый борец со злом Шерлок Холмс, «придававший логике прелесть грезы, <…> составивший монографию о пепле всех видов сигар, и с этим пеплом, как с талисманом, пробирающийся сквозь хрустальный лабиринт возможных дедукций к единственно сияющему выбору», – не только поразил воображение маленького Лужина, но и покорил сердце юного Набокова. О том, что автор «Записок о Шерлоке Холмсе» был одним из его любимых писателей, Набоков признался и в интервью Альфреду Аппелю, выпускнику Корнеллского университета, впоследствии ставшему исследователем и пропагандистом набоковского творчества, с которым позволял себе быть более откровенным, чем с другими интервьюерами: « – Кто-то назвал новый роман “детективом, воспринятым всерьез” <…>. Пародируя...

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