Nabokov Studies最新文献_第5页

Nabokov Studies Pub Date : 2018-02-21 DOI: 10.1353/NAB.2017.0008

M. Couturier

引用次数: 0

“A Variety of Forms”: Reading Bodies in Nabokov “多种形式”:纳博科夫的阅读身体

Nabokov Studies Pub Date : 2017-01-19 DOI: 10.1353/NAB.2016.0002

C. Kitzinger

{"title":"“A Variety of Forms”: Reading Bodies in Nabokov","authors":"C. Kitzinger","doi":"10.1353/NAB.2016.0002","DOIUrl":"https://doi.org/10.1353/NAB.2016.0002","url":null,"abstract":"Abstract: This article offers an account of Vladimir Nabokov’s peculiar approach to character and characterization in the novel, on the basis of readings of Lolita, Pnin, and other texts. I argue that the mimetic figural character is more important to Nabokov’s aesthetics than has previously been recognized. Both in his novels and in his writings about literature, Nabokov most often treats the character not as a valued and person-like other, but as a key device for drawing readers into the impersonal thrill of a structural pattern. In what Nabokov called a “good” reading, characters thus serve to open the author’s imaginative vision to a reader, bringing about a shared “telltale tingle” of aesthetic pleasure. But to feel this pleasure is at least momentarily to occupy a kind of figural, characterological body: to stand apart from one’s emotional interests in the story and one’s own life, at the dead center from which the work’s pattern can be seen. Figural character is, in this sense, both the instrument of and the model for the sensation of “beauty plus pity” that Nabokov associated with the experience of art. Exploring this Nabokovian intersection between the novelistic illusion of embodied characters, and the embodied aesthetic experience of reading, I aim to bring a new perspective to the ongoing discussion of his uses of fictional character.","PeriodicalId":110136,"journal":{"name":"Nabokov Studies","volume":"430 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-01-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115948885","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

Lolita reading Lolita: Rhetoric of Reader Participation 《洛丽塔:读者参与的修辞》

Nabokov Studies Pub Date : 2017-01-19 DOI: 10.1353/NAB.2016.0004

Kate Kokinova

引用次数: 1

Letters to Véra ed. by Vladimir Nabokov (review) 弗拉基米尔·纳博科夫主编的《给维萨伊的信》(书评)

Nabokov Studies Pub Date : 2017-01-19 DOI: 10.1353/nab.2016.0011

Thomas Karshan

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On a Translation Entitled Lolita 论《洛丽塔》的翻译

Nabokov Studies Pub Date : 2017-01-19 DOI: 10.1353/NAB.2016.0006

Didier Maleuvre

引用次数: 0

Taking Room and Giving Room: Displacement, Generous Spaces, and Impossibility of Existence in Nabokov’s “Cloud, Castle, Lake” 占有空间与给予空间:纳博科夫《云、城堡、湖》中的位移、宽厚空间与不可能存在

Nabokov Studies Pub Date : 2017-01-19 DOI: 10.1353/NAB.2016.0003

Sabine Metzger

{"title":"Taking Room and Giving Room: Displacement, Generous Spaces, and Impossibility of Existence in Nabokov’s “Cloud, Castle, Lake”","authors":"Sabine Metzger","doi":"10.1353/NAB.2016.0003","DOIUrl":"https://doi.org/10.1353/NAB.2016.0003","url":null,"abstract":"Abstract: “Cloud, Castle, Lake” can be read as an inquiry into the spatiality of pressure and coercion. The story examines pressure in its literal implications; its emphasis on narrow rooms and rooms made narrow by heavy and bulky objects and bodies indicates that pressure cannot be divorced from the notion of space and that pressure always goes hand in hand with a taking up room or displacement. Each of the Germans’ coercions that Vasiliy Ivanovich has to comply with entails a displacement: an intrusion upon his existence in terms of Ludwig Binswanger’s notion of “impressionability” which curtails what could be called with Max Scheler the protagonist’s “sphere of power and volition” and thus finally denies him the possibility to exist. Nabokov’s story contrasts these displacements by spaces giving or granting room, or, to borrow an expression from Rilke’s Duino Elegies, “generous spaces.” The term “generous space” will be used in the following for spaces giving existence room in the sense of Heidegger’s einräumen; i.e. for spaces giving existence room to unfold and to dwell. Such a space is the enigmatic landscape at the story’s center which constitutes what Jean-Louis Chrétien calls a “joyous space”—a space engendering itself in the experience of joy. Nabokov’s protagonist is denied generous spaces by his German tormentors. However, set in Germany in “1936 or in 1937,” the story points beyond itself. For it is not only in “Cloud, Castle, Lake” that room is taken up and existence is made impossible. Room to exist and to dwell was made rare and taken, above all, in Nazi Germany, where taking up room—pressuring, the curtailing of personal liberties, the erosion of civil rights, an aggressive territorial expansion—was a political objective that prepared the ground for the genocide. The existential thus becomes a metaphor for the political.","PeriodicalId":110136,"journal":{"name":"Nabokov Studies","volume":"118 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-01-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133196496","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Can You Hear Me Now?: Monologue, Dialogue, and the Other Voices in Lolita’s Sexual History 你现在能听到我吗?《洛丽塔的性史》中的独白、对话和其他声音

Nabokov Studies Pub Date : 2017-01-19 DOI: 10.1353/NAB.2016.0005

Eric A. Goldman

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Finding the Beauty in the “butcher’s carcasses”: Vladimir Nabokov’s Sense of Memory 在“屠夫的尸体”中寻找美:弗拉基米尔·纳博科夫的记忆感

Nabokov Studies Pub Date : 2017-01-19 DOI: 10.1353/NAB.2016.0007

A. Tedesco

引用次数: 0

Mimicry in Lolita 《洛丽塔》中的模仿

Nabokov Studies Pub Date : 2017-01-19 DOI: 10.1353/NAB.2016.0009

J. Meyers

{"title":"Mimicry in Lolita","authors":"J. Meyers","doi":"10.1353/NAB.2016.0009","DOIUrl":"https://doi.org/10.1353/NAB.2016.0009","url":null,"abstract":"In his study of butterflies Vladimir Nabokov was fascinated by mimicry, the techniques of camouflage and defense that the prey uses to protect itself from the predator. Writing to a publisher on Nabokov’s behalf in 1952, his wife Véra confirmed his longstanding interest in this subject: “the question of mimicry is one that has passionately interested him all his life, and one of his pet projects has always been the compilation of a work that would comprise all the known examples of mimicry in the animal kingdom.” In Lolita (1955), Nabokov creates a world where the characters employ human variants of insect strategies. They adopt masks and mirrors, personae and pretense, imitation and illusion to disguise and deceive. Despite the elaborate strategies of protective mimicry, all the characters in Lolita, like insects, have brief lives that end abruptly. Humbert’s mother had been struck by a thunderbolt: “picnic, lightning.” His childhood love, Annabel Lee, had died of typhus in Corfu. His first wife, Valeria, had died in childbirth. All four principal characters are doomed and at the end of the novel they are all dead. Charlotte is hit by a car, Lolita (like Valeria) dies giving birth to a child. In a protracted and vengeful scenario, Humbert murders Quilty, is condemned to death and dies of a heart attack in prison. Uniting lepidoptery and art with consummate style and wit, Nabokov wrote the greatest novel by any writer trained in science.","PeriodicalId":110136,"journal":{"name":"Nabokov Studies","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-01-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132610815","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

Vladimir Nabokov’s Translations 弗拉基米尔·纳博科夫的翻译

Nabokov Studies Pub Date : 2017-01-19 DOI: 10.1353/NAB.2016.0008

Sven Spieker

引用次数: 0