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From the Editor 来自编辑
Nabokov Studies Pub Date : 2016-02-14 DOI: 10.1353/nab.2014.0002
Z. Kuzmanovich
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引用次数: 0
A Rich and Fertile Allusive World of Style: Cracking the Barrier of Nabokov’s “Indeterminacy” 丰富而丰饶的风格暗示世界:破解纳博科夫“不确定性”的屏障
Nabokov Studies Pub Date : 2016-02-14 DOI: 10.1353/NAB.2014.0005
Geoffrey Green
{"title":"A Rich and Fertile Allusive World of Style: Cracking the Barrier of Nabokov’s “Indeterminacy”","authors":"Geoffrey Green","doi":"10.1353/NAB.2014.0005","DOIUrl":"https://doi.org/10.1353/NAB.2014.0005","url":null,"abstract":"Since Nabokov’s death in 1977, scholars grappled with the seemingly omnipresent “signature” of the author. A feature in nearly all of his novels, Nabokov’s signature—his cameo appearances in anagrammatic or descriptive form; along with his unique stylistic mastery and his characteristic themes—prompted discussions and debates as to the “approved” or “official” interpretive version of the novels. Comments from the author—in the form of forewords, interviews, afterwords, and the like—reinforced the sense of a modernist determinacy applying to his fiction. In the cases of novels such as Pale Fire, Lolita, The Real Life of Sebastian Knight, and Pnin, for example, scholars gathered in interpretive “camps,” challenging opposing interpretive visions. I counter such approaches with the claim that the author’s achievement transcends the particulars of his critical approach or individual interpretive preference. When explored from this perspective, the apparently daunting indeterminacy of Nabokov’s novels becomes an inviting world of illusions, illuminating by Nabokov’s stylistic brilliance, but opening out into a dynamic that allows readers to collaborate in devising multiply plausible and satisfying interpretive readings. Such a perspective, I propose, provides a progress, out of debate and into exploration—of the seemingly innumerable interpretive possibilities that open up by means of a collaborative model of Nabokov’s metaphor network and intertextual allusions. Using Pale Fire, Lolita, The Real Life of Sebastian Knight, and Pnin as brief examples, I will focus on multiple readings of the stories, “Signs and Symbols,” “’That in Aleppo Once,’” and “Scenes from the Life of a Double Monster.” The result I propose is a Nabokov for the 21st century, an author whose unique body of work is both a product of its time, place, influences, and circumstances, but also a transcendence of these elements.","PeriodicalId":110136,"journal":{"name":"Nabokov Studies","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128305867","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
Free At Last: the Heroic Escape of Timofey Pnin 终于自由了:蒂莫菲·普宁的英勇逃脱
Nabokov Studies Pub Date : 2016-02-14 DOI: 10.1353/NAB.2014.0001
Irina V. Rodimtseva
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引用次数: 0
Lolita: Nabokov’s Rewriting of Dostoevski’s The Brothers Karamazov 洛丽塔:纳博科夫对陀思妥耶夫斯基《卡拉马佐夫兄弟》的改写
Nabokov Studies Pub Date : 2016-02-14 DOI: 10.1353/NAB.2014.0008
Dana Dragunoiu
{"title":"Lolita: Nabokov’s Rewriting of Dostoevski’s The Brothers Karamazov","authors":"Dana Dragunoiu","doi":"10.1353/NAB.2014.0008","DOIUrl":"https://doi.org/10.1353/NAB.2014.0008","url":null,"abstract":"The essay takes its cue from an early hint in The Gift that Nabokov conceived the plot of Lolita as “a kind of Dostoevskian tragedy.” Indeed, the essay argues that Nabokov is deliberately rewriting The Brothers Karamazov in Lolita by revisiting the central philosophical dilemmas that organize Ivan Karamazov’s twin claims that “One really cannot expect eloquence from a murderer,” and that “everything is permitted” in a world without God and immortality.","PeriodicalId":110136,"journal":{"name":"Nabokov Studies","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132622590","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
A Reader’s Beheading: Nabokov’s Invitation and Authorial Utopia 读者的斩首:纳博科夫的邀请与作者的乌托邦
Nabokov Studies Pub Date : 2016-02-14 DOI: 10.1353/NAB.2014.0010
Aaron Botwick
{"title":"A Reader’s Beheading: Nabokov’s Invitation and Authorial Utopia","authors":"Aaron Botwick","doi":"10.1353/NAB.2014.0010","DOIUrl":"https://doi.org/10.1353/NAB.2014.0010","url":null,"abstract":"“A Reader’s Beheading: Nabokov’s Invitation and Authorial Utopia” argues that Invitation to a Beheading polemically outlines Nabokov’s position on the relationship between reader and writer: in other words, that writing and reading are difficult, elite pursuits whose meanings should necessarily be available only to those willing to face and surmount the magician’s challenges. Narratively, it operates as a kind of roman à clef in which Cincinnatus C. follows a trajectory towards artistic freedom (or authorial utopia) where he is liberated from the constraints of poor readers—among them literalists and Freudians—while Nabokov, ever the unaccommodating creator, frustrates that progression with the help of a haphazard narrator. The novel is ultimately a statement of artistic intent, one that grants the pleasures of the author’s puzzles to a select few. Nabokov, it seems, would rather be a “violin in a void” than a popular author misused and abused by his audience.","PeriodicalId":110136,"journal":{"name":"Nabokov Studies","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134111844","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
Nabokov’s Switzerlands: Discovery, Recovery, and Ayn Rand’s Atlantis 纳博科夫的《瑞士:发现与恢复》和安·兰德的《亚特兰蒂斯》
Nabokov Studies Pub Date : 2016-02-14 DOI: 10.1353/NAB.2014.0003
S. Knapp
{"title":"Nabokov’s Switzerlands: Discovery, Recovery, and Ayn Rand’s Atlantis","authors":"S. Knapp","doi":"10.1353/NAB.2014.0003","DOIUrl":"https://doi.org/10.1353/NAB.2014.0003","url":null,"abstract":"In the essay “On a Book Entitled Lolita,” Vladimir Nabokov singles out as one of the “nerves of the novel” Humbert Humbert’s recollection of an epiphany. Looking down from a mountain trail at a small mining town and hearing the sounds of children at play, Humbert had realized: “then I knew that the hopelessly poignant thing was not Lolita’s absence from my side, but the absence of her voice from that concord.” The setting of this scene was inspired not only by a specific lepidopterological expedition, but by Nabokov’s memory of Switzerland’s scenery and by his observation of an American equivalent.","PeriodicalId":110136,"journal":{"name":"Nabokov Studies","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121417203","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
Aggressive Tendencies: Lolita and the Conscripted Reader 侵略性倾向:洛丽塔和被征召的读者
Nabokov Studies Pub Date : 2016-02-14 DOI: 10.1353/NAB.2014.0006
Keith Wilhite
{"title":"Aggressive Tendencies: Lolita and the Conscripted Reader","authors":"Keith Wilhite","doi":"10.1353/NAB.2014.0006","DOIUrl":"https://doi.org/10.1353/NAB.2014.0006","url":null,"abstract":"This essay reads Lolita within the broader context of midcentury advice literature intended to manage marriage, parenting, and sexuality. Moving away from critiques that read the novel as a parody of the prescriptive genre, Wilhite argues that Humbert’s narrative and what Nabokov calls the “aesthetic bliss” of his novel are consistent with a cultural incitement to classify sexual practices and identities for an uneasy readership. Devotees of parenting guides and marriage manuals turn to such works in search of answers, and Humbert knows that readers of his confessional narrative are also on a quest for information—to learn the salacious details of his affair with Lolita. In similar ways, Lolita and prescriptive literature depend on the presence of a curious and conscripted reader, and from John Ray Jr.’s Foreword to Nabokov’s “On a Book Entitled Lolita,” the novel sustains a hyper-vigilant awareness of, and apprehension about, its audience. This balancing act between curiosity and control suggests a new framework for understanding how Lolita exercises power over, and exhibits aggressive tendencies toward, its sexually inquisitive and anxious readers.","PeriodicalId":110136,"journal":{"name":"Nabokov Studies","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116049619","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: 2
Nabokov’s Index Puzzle: Life and Art Transcendent in Speak, Memory 纳博科夫的索引谜题:生活与艺术在言语、记忆中的超越
Nabokov Studies Pub Date : 2016-02-14 DOI: 10.1353/NAB.2014.0007
M. García
{"title":"Nabokov’s Index Puzzle: Life and Art Transcendent in Speak, Memory","authors":"M. García","doi":"10.1353/NAB.2014.0007","DOIUrl":"https://doi.org/10.1353/NAB.2014.0007","url":null,"abstract":"Vladimir Nabokov’s autobiography, Speak, Memory, begins with a riddle. For fifty years the riddle-poem posed by Nabokov to his readers in the 1966 Foreword of the book has stood as an unsolved mystery. Certainly, there has been much commentary on the mysterious riddle-poem over the years, but as a quintessentially Nabokovian riddle—one that makes a fairly direct allusion of some sort, despite possibly first sending the reader off on a “wild goose chase”—it remains unsolved. This essay offers a possible solution to the riddle-poem, arguing (spoiler alert) that the rose of the poem refers to Nabokov’s translation of Pushkin’s Eugene Onegin and, more abstractly, to the possibility of transcendence through art. The transcendence of art—and of mortality through art—is one of Nabokov’s most persistent themes, one found throughout his oeuvre and, aptly, emerging as the central trope of his autobiography. The autobiography, by its very nature as life-transmuted-into-art, attempts to do just that: to transcend time, space, and mortality by converting the author's life into a work of art. By pointing readers to the spiral pattern (Nabokov’s metaphor for transcendence), rainbow metaphor, and metamorphosis themes found in the index, the riddle-poem further reinforces the theme of transcendence.","PeriodicalId":110136,"journal":{"name":"Nabokov Studies","volume":"51 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122177871","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: 2
The MLA Approaches to Teaching Nabokov’s Lolita edited by Zoran Kuzmanovich and Galya Diment (review) 《洛丽塔》的MLA教学方法(Zoran Kuzmanovich, Galya Diment编辑)
Nabokov Studies Pub Date : 2013-10-25 DOI: 10.1353/NAB.2009.0003
David Rampton
{"title":"The MLA Approaches to Teaching Nabokov’s Lolita edited by Zoran Kuzmanovich and Galya Diment (review)","authors":"David Rampton","doi":"10.1353/NAB.2009.0003","DOIUrl":"https://doi.org/10.1353/NAB.2009.0003","url":null,"abstract":"","PeriodicalId":110136,"journal":{"name":"Nabokov Studies","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2013-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127957934","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
Nabokov’s Mermaid: “Spring in Fialta” 纳博科夫的美人鱼:《意大利的春天》
Nabokov Studies Pub Date : 2013-10-25 DOI: 10.1353/NAB.2009.0011
Elena Sommers
{"title":"Nabokov’s Mermaid: “Spring in Fialta”","authors":"Elena Sommers","doi":"10.1353/NAB.2009.0011","DOIUrl":"https://doi.org/10.1353/NAB.2009.0011","url":null,"abstract":"Presented through the nostalgic prism of her absence, Nabokov's heroine is a poetic vessel of a male character’s journey. Barely trusted with any lines, not to mention internal monologues, she is essentially mute. In the best tradition of the Russian mermaid fairy-tales and films, she seems to have traded her voice for human form in order to be close to her beloved, but, misunderstood and unable to fit in his world of mortals, she ends up leaving forever, as he mourns the loss of his one chance at happiness. As if in return for such an arrangement of circumstances, Nabokov’s mermaid-like woman is granted a brief access to the otherworldly dimension, which she in turn feminizes and charges with her presence. This magical, if hardly fair, exchange can be observed in \"Spring in Fialta.” The first part of the article traces the русалка -mermaid watermark through Nabokov's creative work. The second reads “Spring in Fialta” through the lens of the русалка belief and the Russian folk wedding lamentation ritual (“свадебное причитание”) -two intertwining motives, each carrying funereal overtones, which so far have been left unexamined by the critical literature.","PeriodicalId":110136,"journal":{"name":"Nabokov Studies","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2013-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124116854","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
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