Nabokov StudiesPub Date : 2013-10-25DOI: 10.1353/NAB.2009.0000
G. Shapiro
{"title":"Henry Cumming—Vladimir Nabokov’s First Drawing Master","authors":"G. Shapiro","doi":"10.1353/NAB.2009.0000","DOIUrl":"https://doi.org/10.1353/NAB.2009.0000","url":null,"abstract":"The article discusses Henry Cumming’s impact on Nabokov’s artistic development. It shows that, although not a distinguished painter, Cumming was a gifted pedagogue. He instructed Nabokov the boy into the basic laws and rules of draftsmanship and inculcated in his young charge an early fascination with and emotional attachment to painting. When Nabokov turned from the brush to the quill, he did not forget his lessons with Cumming and channeled his penchant for painting, specifically landscape, into his fiction.","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":"130461177","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}
Nabokov StudiesPub Date : 2013-10-25DOI: 10.1353/nab.2009.0012
Monica Manolescu-Oancea
{"title":"Transitional Nabokov edited by Will Norman & Duncan White (review)","authors":"Monica Manolescu-Oancea","doi":"10.1353/nab.2009.0012","DOIUrl":"https://doi.org/10.1353/nab.2009.0012","url":null,"abstract":"Transitional Nabokov grew out of a conference organized by Will Norman and Duncan White at the University of Oxford in July 2007. Its major achievement is that it offers Nabokov readers and critics the opportunity to witness emerging topics and debates in Nabokov studies. Reading Transitional Nabokov allows one to understand the mutations of the field: older trends of Nabokov criticism are reassessed, reshaped or left behind, new directions become manifest. The volume definitely proves the vitality of Nabokov criticism in an international context. Academics and critics working in the United Kingdom, the United States, France, New Zealand and Canada gathered around the main topic of the volume, “transitional Nabokov”. The adjective has plethoric meanings, thus allowing one to explore various facets of Nabokov’s work and personality: frontiers between art and science, between the verbal and non verbal, between the arts, betweeen biography and fiction, extending its meaning to the act of writing and the act of reading alike. The choice of such a topic, both vast and relevant, invites one to contemplate the hybridities, interferences, passages, and ultimately the fundamental dynamism that characterizes Nabokov’s work and the critical reception of his work.","PeriodicalId":110136,"journal":{"name":"Nabokov Studies","volume":" 3","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2013-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132123444","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}
Nabokov StudiesPub Date : 2013-10-25DOI: 10.1353/nab.2009.0001
Gene H. Bell-Villada
{"title":"The Secret History of Vladimir Nabokov by Andrea Pitzer (review)","authors":"Gene H. Bell-Villada","doi":"10.1353/nab.2009.0001","DOIUrl":"https://doi.org/10.1353/nab.2009.0001","url":null,"abstract":"change and whose power never fluctuates. Ronald Bush (“Tennis by the Book : Lolita and the Game of Modernist Fiction”) concentrates on a particular scene in Lolita (Humbert watching Lolita play tennis) and reads it against the grain of earlier criticism, which contended that this fragment provides a literary manifesto about the disinterestedness of art and that Humbert reaches a state of grace. Not only does Bush underline the ironies of the passage (the sexual imagery, Lolita’s feigned passiveness), but he also points to larger concerns about the collusion between art and depravity and places his interpretation in the context of modernist literature. Zoran Kuzmanovich offers a reading of “The Vane Sisters” which does not follow the path of otherworldly or ghostly readings. Instead, he is interested in the short story’s ability to project the narrator and the readers into another psychological dimension, where we are in contact with other minds, with their ecstasies and torments. This kind of expansion and transition is both psychological and aesthetic, since we experience it through reading “one of those rarely realized telepathic conditions” (301).","PeriodicalId":110136,"journal":{"name":"Nabokov Studies","volume":"19 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":"126516902","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}
Nabokov StudiesPub Date : 2013-10-25DOI: 10.1353/NAB.2009.0009
Thomas Karshan
{"title":"Nabokov’s ‘Homework in Paris’: Stéphane Mallarmé, Bend Sinister, and the Death of the Author","authors":"Thomas Karshan","doi":"10.1353/NAB.2009.0009","DOIUrl":"https://doi.org/10.1353/NAB.2009.0009","url":null,"abstract":"In Nabokov’s final work, Look at the Harlequins!, Vadim, discussing the reviews of Bend Sinister (reincarnated as Esmerelda and her Parandrus), says that his “homework in Paris had never received its due.” In the period Nabokov spent in Paris from 1937 to 1940, he seems to have read and been influence by a number of French authors, especially Stéphane Mallarmé. Mallarmé’s theory of a poetic language from which the Author has resigned sovereignty, which anticipates post-structuralism, seems to have been of particular importance to Nabokov. Like other pieces of Nabokov’s writings of the late 1930s and early 1940s, and indeed like Joyce’s and Borges’s writing of the same period, Bend Sinister dramatises this Mallarméan ‘death of the author’, and by a series of detailed allusions to Mallarmé, Bend Sinister, like Nabokov’s later American novels, signals that it is following Mallarmé’s conclusions about the implications of this evacuation of textual authority. In Bend Sinister’s Mallarméan poetic, art and life are governed by nothingness, doubt, and ambivalence. Experiences which language usually holds apart, such as grief and desire, come into a perverse unity. The transcendence towards which art traditionally aspired is placed in question, and the substance of the world itself, and even the artwork, is replaced by a nothingness or “néant” which, as in post-structuralism, is both present and absent. In Bend Sinister, as in Mallarmé, language is torn towards two extremes of punning and austerity, nonsense and silence, which for Nabokov would be represented by the antithetical modernist examples of Joyce’s Finnegans Wake and Eliot’s Four Quartets.","PeriodicalId":110136,"journal":{"name":"Nabokov Studies","volume":"18 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":"115008224","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}
Nabokov StudiesPub Date : 2013-10-25DOI: 10.1353/NAB.2009.0002
Christopher A. Link
{"title":"Recourse to Eden: Tracing the Roots of Nabokov’s Adamic Themes","authors":"Christopher A. Link","doi":"10.1353/NAB.2009.0002","DOIUrl":"https://doi.org/10.1353/NAB.2009.0002","url":null,"abstract":"This essay examines both the breadth and the depth of Nabokov's engagement with the biblical myth of Eden and its many resonant, interrelated themes: divine creation, Adamic man, paradisal love, diabolic temptation, exile and loss, the persistence of memory, and the desire to regain—either in this world or the next—one form or another of Edenic bliss. While focusing principally on the \"roots\" of Nabokov's Adamic and Edenic themes as they appear in several early poems and short stories, in the autobiography, Speak, Memory, and in his first novel, Mary, this essay also argues more broadly that the biblical myth of a lost paradise (and the subsequent echoes of this biblical tradition in later representational art and literature) continued to influence and inform Nabokov's writings significantly throughout his entire career, particularly in such later masterworks as Lolita and Ada. Since the author regularly dismissed all claims of \"influence\" upon his works, this essay aims chiefly at establishing and exploring, with fresh appreciation, Nabokov's substantial understanding of, and sustained intertextual reliance upon, biblical narrative and the extended tradition (Dante, Milton, Marvell, etc.) of Edenic paradise and Adamic fall.","PeriodicalId":110136,"journal":{"name":"Nabokov Studies","volume":"47 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":"125264160","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}
Nabokov StudiesPub Date : 2013-10-25DOI: 10.1353/NAB.2009.0008
Andrea Pitzer
{"title":"Memory Speaks: History and Witnessing in Nabokov’s Pale Fire","authors":"Andrea Pitzer","doi":"10.1353/NAB.2009.0008","DOIUrl":"https://doi.org/10.1353/NAB.2009.0008","url":null,"abstract":"In Nabokov’s final work, Look at the Harlequins!, Vadim, discussing the reviews of Bend Sinister (reincarnated as Esmerelda and her Parandrus), says that his “homework in Paris had never received its due.” In the period Nabokov spent in Paris from 1937 to 1940, he seems to have read and been influence by a number of French authors, especially Stéphane Mallarmé. Mallarmé’s theory of a poetic language from which the Author has resigned sovereignty, which anticipates post-structuralism, seems to have been of particular importance to Nabokov. Like other pieces of Nabokov’s writings of the late 1930s and early 1940s, and indeed like Joyce’s and Borges’s writing of the same period, Bend Sinister dramatises this Mallarméan ‘death of the author’, and by a series of detailed allusions to Mallarmé, Bend Sinister, like Nabokov’s later American novels, signals that it is following Mallarmé’s conclusions about the implications of this evacuation of textual authority. In Bend Sinister’s Mallarméan poetic, art and life are governed by nothingness, doubt, and ambivalence. Experiences which language usually holds apart, such as grief and desire, come into a perverse unity. The transcendence towards which art traditionally aspired is placed in question, and the substance of the world itself, and even the artwork, is replaced by a nothingness or “néant” which, as in post-structuralism, is both present and absent. In Bend Sinister, as in Mallarmé, language is torn towards two extremes of punning and austerity, nonsense and silence, which for Nabokov would be represented by the antithetical modernist examples of Joyce’s Finnegans Wake and Eliot’s Four Quartets.","PeriodicalId":110136,"journal":{"name":"Nabokov Studies","volume":"46 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":"127508619","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}
Nabokov StudiesPub Date : 2013-10-25DOI: 10.1353/nab.2009.0005
Thomas Karshan, Elena Sommers, G. Shapiro, Christopher A. Link, Michael McGehee, Tim Harte, Andrea Pitzer, Z. Kuzmanovich, Monica Manolescu-Oancea, Gene H. Bell-Villada, David Rampton
{"title":"From the Editor","authors":"Thomas Karshan, Elena Sommers, G. Shapiro, Christopher A. Link, Michael McGehee, Tim Harte, Andrea Pitzer, Z. Kuzmanovich, Monica Manolescu-Oancea, Gene H. Bell-Villada, David Rampton","doi":"10.1353/nab.2009.0005","DOIUrl":"https://doi.org/10.1353/nab.2009.0005","url":null,"abstract":"In Nabokov’s final work, Look at the Harlequins!, Vadim, discussing the reviews of Bend Sinister (reincarnated as Esmerelda and her Parandrus), says that his “homework in Paris had never received its due.” In the period Nabokov spent in Paris from 1937 to 1940, he seems to have read and been influence by a number of French authors, especially Stéphane Mallarmé. Mallarmé’s theory of a poetic language from which the Author has resigned sovereignty, which anticipates post-structuralism, seems to have been of particular importance to Nabokov. Like other pieces of Nabokov’s writings of the late 1930s and early 1940s, and indeed like Joyce’s and Borges’s writing of the same period, Bend Sinister dramatises this Mallarméan ‘death of the author’, and by a series of detailed allusions to Mallarmé, Bend Sinister, like Nabokov’s later American novels, signals that it is following Mallarmé’s conclusions about the implications of this evacuation of textual authority. In Bend Sinister’s Mallarméan poetic, art and life are governed by nothingness, doubt, and ambivalence. Experiences which language usually holds apart, such as grief and desire, come into a perverse unity. The transcendence towards which art traditionally aspired is placed in question, and the substance of the world itself, and even the artwork, is replaced by a nothingness or “néant” which, as in post-structuralism, is both present and absent. In Bend Sinister, as in Mallarmé, language is torn towards two extremes of punning and austerity, nonsense and silence, which for Nabokov would be represented by the antithetical modernist examples of Joyce’s Finnegans Wake and Eliot’s Four Quartets.","PeriodicalId":110136,"journal":{"name":"Nabokov Studies","volume":"7 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":"115842931","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}
Nabokov StudiesPub Date : 2013-10-25DOI: 10.1353/NAB.2009.0006
Tim Harte
{"title":"Athletic Inspiration: Vladimir Nabokov and the Aesthetic Thrill of Sports","authors":"Tim Harte","doi":"10.1353/NAB.2009.0006","DOIUrl":"https://doi.org/10.1353/NAB.2009.0006","url":null,"abstract":"“Athletic Inspiration: Vladimir Nabokov and the Aesthetic Thrill of Sports” addresses Nabokov’s propensity for highlighting in his fiction, poetry, and other writings the theme of athletics and, in particular, the act of observing athletes in action. Expanding upon an early Berlin essay Nabokov wrote about boxing, competition, and sports spectatorship, this article focuses on the prominence of sports in Glory, Lolita, Pnin, and a number of poems, among other works.Through literature, Nabokov celebrated the tendency for sports to stir the imagination and transform ordinary, physical reality into an active, joyful, and ultimately revelatory experience for athletes, spectators, and, it follows, writers and readers.","PeriodicalId":110136,"journal":{"name":"Nabokov Studies","volume":"7 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":"122337158","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}
Nabokov StudiesPub Date : 2013-10-25DOI: 10.1353/NAB.2009.0004
Michael McGehee
{"title":"Lolita and Transatlantic Family Structures","authors":"Michael McGehee","doi":"10.1353/NAB.2009.0004","DOIUrl":"https://doi.org/10.1353/NAB.2009.0004","url":null,"abstract":"This essay examines how contrasting family configurations play into the repression, development, and expression of Humbert Humbert's pedophiliac desires in Nabokov's Lolita. Drawing upon Alexis de Tocqueville's distinctions between the hierarchical families of France and the comparatively egalitarian families of the United States, the essay advances three interrelated claims: first, the traditional European family's rigid boundaries, supported by patriarchy and economic interest, keep nymphets inaccessible to Humbert as long as he lives in France; second, Humbert is able to carry out his desires for nymphets only in America, where the egalitarian family allows for the parent-child antagonism that isolates Lolita from her mother and makes her sexually available to her adult pursuer; third, to protect and prolong his relationship with Lolita, Humbert works to implement in America his own reconstruction of the traditional European family, an attempt finally doomed by the strength of his passion for the nymphet. These lines of argument together suggest that the development of plot and character in Nabokov's novel depends in large part on his representation of family structures on both sides of the Atlantic.","PeriodicalId":110136,"journal":{"name":"Nabokov Studies","volume":"9 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":"116840382","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}