Поиск по творчеству и критике
Cлово "QUOT"
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Часть текста: Набокова на английском языке. Playboy, 1964 г. Playboy [1964] This exchange with Alvin Toffler appeared in Playboy for January, 1964. Great trouble was 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...
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Часть текста: unforeseen afteraffects of my visit to Madame Fat and the mysterious events pursuant thereto, I shall now discuss matters more literary, less metaphysical, partly in the interest of the maintenance of my own mental equilibrium, partly in response to what an impartial observer would certainly characterize as the overly vociferous behest of my good, but sometimes impatient, editor, who enjoined me, in a fax sent to the seedy but comfortable hotel in Villefranche-sur-Mer where I was recovering from recent scholarly labors, to "get on with it." (Incidentally, the sea softly plashing against the sandy edge of this charming townlet is, at noon, a deep azure hue, recalling a certain lake in my homeland, a distant northern land. And at night, I have noticed on my insomniac rambles, the moon casts slivers of silvery light upon the ink-black waters. Do remind me to say more of this later.) The original contract for this book (signed three years ago with a then noticeably more solicitous publisher whose name I am legally bound not to mention) stipulated that the text be comprised not only of biography proper (of which the reader has already enjoyed, I trust, a taste) but also of criticism of each of Nabokov's books. In lieu of any sensible reason not to proceed in any but a chronological,...
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Часть текста: the author in tone or tint of mind. It is a familiar embarrassment that I face with very faint qualms, particularly since I am not really aware of any special similarities-- just as one is not aware of sharing mannerisms with a detestable kinsman. I loathe Van Veen. The following two quotations seem closely related: "I confess I do not believe in time. I like to fold my magic carpet, after use, in such a way as to superimpose one part of the pattern upon another. " (Speak, Memory) and "pure time, perceptual time, tangible time, time free of content, context and running commentary-- this is my time and theme. All the rest is numerical symbol or some aspect of space. " (Ada). Will you give me a lift on your magic carpet to point out bow time is animated in the story of Van and Ada? In his study of time my creature distinguishes between text and texture, between the contents of time and its almost tangible essence. I ignored that distinction in my Speak, Memory and was mainly concerned with being faithful to the patterns of my past. I suspect that Van Veen, having less control over his imagination than I, novelized in his indulgent old age many images of his youth. You have spoken in the past of your indifference to music, but in Ada you describe time as "rhythm, the tender intervals between Stresses. " Are these ...
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Часть текста: happens to resemble in cut and intonation that of any of the writers I loved or detested half a century ago; but I do not believe that any particular writer has had any definite influence upon me. As to the influence of places and persons, I owe many metaphors and sensuous associations to the North Russian landscape of my boyhood, and I am also aware that my father was responsible for my appreciating very early in life the thrill of a great poem. Have you ever seriously contemplated a career other than in letters? Frankly, I never thought of letters as a career. Writing has always been for me a blend of dejection and high spirits, a torture and a pastime-- but I never expected it to be a source of income. On the other hand, I have often dreamt of a long and exciting career as an obscure curator of lepidoptera in a great museum. Which of your writings has pleased you most? I would say that of all my books Lolita has left me with the most pleasurable afterglow-- perhaps because it is the purest of all, the most abstract and carefully contrived. I am probably responsible for the odd fact that people don't seem to name their daughters Lolita any more. I have heard of young female poodles being given that name since 1956, but of no human beings. Well-wishers have tried to translate Lolita ...
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Часть текста: the other hand, a good reader is bound to make fierce efforts when wrestling wdth a difficult author, but those efforts can be most rewarding after the bright dust has settled. What is your particular clash? Well, that's the clash I am generally faced with. In many of your writings, you have conceived what {consider to be an Alice-in-Wonderland world of unreality and illusion. What is the connection with your real struggle with the world? Alice in Wonderland is a specific book by a definite author with its own quaintness, its own quirks, its own quiddity. If read very carefully, it will be seen to imply, by humorous juxtaposition, the presence of a quite solid, and rather sentimental, world, behind the semi-detached dream. Moreover, Lewis Carroll liked little girls. I don't. The mixture of unreality and illusion may have led some people to consider you mystifying and your writing full of puzzles. What is your answer to people who say you are just plain obscure? To stick to the crossword puzzle in their Sunday paper. Do you make a point of puzzling people and playing games with...
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Часть текста: (or "Off the Nabocuff," as he said) no tape recorder 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...
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Часть текста: «жизни», «смерти», и «воскресения» шахматной фигуры – Чёрного Коня. "Быстро все превращается в человеке; не успеешь оглянуться, как уже вырос внутри страшный червь, самовластно обративший к себе все жизненные соки. И не раз только широкая страсть, но ничтожная страстишка к чему-нибудь мелкому разрасталась в рожденном на лучшие подвиги, заставляла его позабывать великие и святые обязанности и в ничтожных побрякушках видеть великое и святое. Бесчисленны, как морские пески, человеческие страсти, и все непохожи одна на другую, и все они, низкие и прекрасные, вначале покорны человеку и потом уже становятся страшными властелинами его " Гоголь Н. В. «Мертвые души»[1] Роман В. Набокова «Защита Лужина» поднимает целый пласт проблем психологического характера. Веером раскрывающиеся темы психологии творчества, детской психологии, психологии личности, психологии конфликтной деятельности в шахматах, психопатологии сходятся в одной точке, в акте самоубийства главного героя. Этот неизбежный финал выражает авторскую оценку всего этого спектра проблем и представляет собой итог художественными...
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Часть текста: even intended for, since only a pharisaic parody of privacy could be attained by means of the incomplete partition dividing the cabin or room into two communicating love nests. By and by, the very possibilities that such honest promiscuity suggested (two young couples merrily swapping mates or a child shamming sleep to earwitness primal sonorities) made me bolder, and every now and then I would take a bed-and-cot or twin-bed cabin, a prison cell or paradise, with yellow window shades pulled down to create a morning illusion of Venice and sunshine when actually it was Pennsylvania and rain. We came to know nous connmes, to use a Flaubertian intonationthe stone cottages under enormous Chateaubriandesque trees, the brick unit, the adobe unit, the stucco court, on what the Tour Book of the Automobile Association describes as “shaded” or “spacious” or “landscaped” grounds. The log kind, finished in knotty pine, reminded Lo, by its golden-brown glaze, of friend-chicken bones. We held in contempt the plain whitewashed clapboard Kabins, with their faint sewerish smell or some other gloomy self-conscious stench and nothing to boast of (except “good beds”),...
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Часть текста: когда в отдельном сегменте текста актуализируется не один только подтекст (или один литературный источник), а целое множество источников. В этом смысле интертекстуальная связь между первичным текстом и его подтекстом может быть названа полигенетической, поскольку в подобном случае в порождении данного сегмента участвует не один, а большее количество источников. Наши рассуждения иллюстрируются примерами из русско- и англоязычной прозы Владимира Набокова. В случае существования двуязычного варианта приводятся оба, так как в английские переводы своих написанных первоначально на русском языке текстов Набоков вводил много изменений, которые также существенны в аспекте изучаемой нами проблемы. В качестве гипотезы мы утверждаем, что несмотря на то, что полигенетические связи никоим образом не характеризуют исключительно Набокова — или, более широко, модернизм вообще, — тем не менее можно в том необыкновенно систематическом методе, посредством которого этот автор применяет многочисленные подтексты, усмотреть особенности модернизма, к выделению которых в стиле Набокова мы и стремимся. В заключительной части мы вкратце коснемся вопроса родового сходства Набокова с некоторыми из его собратьев — русских модернистов. 2. Сначала следует определить, что мы понимаем в контексте данной работы под понятием подтекст. Обратимся с этой целью к роману Набокова «Дар» (1937–8, 1952), переведенному затем им самим на английский язык под заглавием «The Gift» (1963). В этом романе в основной текст вставлен другой текст. И вставленный текст, предположительно написанный героем романа, в свою очередь рецензируется критиком из романа, рецензия которого цитируется ниже. Критик, по имени Линев, пишет следующее: The author writes in a language having little in common...
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Часть текста: ascertain this by causing a little dog to howl close to one's face (Buffon)." Littre. ed. integrate, 1963 The enthusiasm, concentration, and unusual manifestation of the mental faculties (umstvennyh sil). Dal, Revised Ed., St. Petersburg, 1904 A creative upsurge. [Examples: ] Inspired poet. Inspired socialistic work. Ozhegov, Russian dictionary, Moscow, 1960 A special study, which I do not plan to conduct, would reveal, probably, that inspiration is seldom dwelt upon nowadays even by the worst reviewers of our best prose. I say "our" and I say "prose" because I am thinking of American works of fiction, including my own stuff. It would seem that this reticence is somehow linked up with a sense of decorum. Conformists suspect that to speak of "inspiration" is as tasteless and old-fashioned as to stand up for the Ivory Tower. Yet inspiration exists as do towers and tusks. One can distinguish several types of inspiration, which intergrade, as all things do in this fluid and interesting world of ours, while yielding gracefully to a semblance of classification. A prefatory glow, not unlike some benign variety of the aura before an epileptic attack, is something the artist learns to perceive very early in life. This feeling of tickly well-being branches through him like the red and the blue in the picture of a skinned man under Circulation. As it spreads, it banishes all awareness of physical discomfort-- youth's toothache as well as the neuralgia of old age. The beauty of it...