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Journal articles on the topic 'Nabokov'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Drozdova, Anastasiia O. "Reduction of the Poetic Text in a Critical Essay by V. Nabokov Vladislav Khodasevich. Collected Verse." Vestnik NSU. Series: History and Philology 19, no. 2 (2020): 99–110. http://dx.doi.org/10.25205/1818-7919-2020-19-2-99-110.

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The highlighting of Nabokov’s interpretational strategies in other literary texts is a relevant problem for Russian and European Nabokov studies. The goal of the article is to scrutinize the methods of reduction of a poetic text used by Nabokov in his early essay Vladislav Khodasevich. Collected Verse. The approach developed by receptive poetics allows author to describe Nabokov’s practices of reading and writing as an experience of creative game with literature of his contemporaries and predecessors. The narrative analysis is productive to characterize the point of view, to highlight the role

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2

Grygiel, Monika. "Vladimir Nabokov – purysta językowy." Language, Culture, Politics. International Journal 1 (December 9, 2021): 153–60. http://dx.doi.org/10.54515/lcp.2021.1.153-160.

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Vladimir Nabokov rosyjsko-amerykański pisarz piszący w dwóch językach: rosyjskim i angielskim należy do najwybitniejszych prozaików XX wieku. Bilingwizm Nabokova stanowi o sukcesie pisarza, niniejszy artykuł próbuje odpowiedzieć na pytanie, czy jest on źródłem puryzmu językowego autora Lolity? Wychowany w anglofilskiej rodzinie, płynnie posługujący się dwoma językami Nabokov musiał dążyć do perfekcji językowej, która była zarówno wyrazem jego talentu, jak i wytężonej pracy z językiem, doświadczenia translatorskiego. Doskonalenie języka literackiego, mistrzostwo stylu wyrażonego w aluzjach, kry

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3

GYÖNGYI, MIKOLA. "„AZON A BOLDOG NAPON...” A boldogság konstrukciója és a költői megnyilatkozás problémája Nabokov Hangok című elbeszélésében." Tanulmányok, no. 2 (April 14, 2016): 21. http://dx.doi.org/10.19090/tm.2015.2.21-32.

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<p>A tanulmány Nabokov korai korszakának egyik legmeghatározóbb költői kategóri- ájával, a boldogsággal foglalkozik. Nabokov <em>Hangok </em>című elbeszélésének elemzésé- vel azt vizsgálja, hogyan jelentkezik először a boldogság témamotívuma Nabokov prózájában. A szöveg szoros olvasása mellett kitér azokra a narratológai eljárásokra, melyek a későbbiekben is meghatározóak lesznek a nabokovi prózában. Az elem- zés során feltárul a bonyolult összefüggés a boldogság tudatállapota, a felfokozott percepció és az alkotás között, nem függetlenül a fiatal Nabokov pszichológiai stúdiu

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4

Kasymova, K. "V. Nabokov about his status of “an American writer” (based on interviews of the 1950s- 1970s)." Philology and Culture, no. 2 (June 24, 2024): 134–39. http://dx.doi.org/10.26907/2782-4756-2024-76-2-134-139.

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Nabokov is known as one of the unique phenomena in 20th century world literary history not only because of the unconditional significance of his creative legacy, but also because everything he wrote belongs equally to the history of two national literatures, Russian and American. So, researchers’ discussions about which of the national-literary paradigms V. Nabokov belongs to a greater extent are completely justified. As for our study, its aim is to analyze V. Nabokov’s public statements concerning his personal perception of one of the sides of his creative self, namely the status of “an Ameri

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5

Proudchenko, Elena, Ludmila Melnikoa, and Anna Kryzhanovskaja. "Metaphysical Language Game and the Word-play Modality in V.Nabokov’s Novelism and Poetry." SHS Web of Conferences 69 (2019): 00091. http://dx.doi.org/10.1051/shsconf/20196900091.

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This article discusses the unique linguistic consciousness of V. Nabokov, formed in a multilingual environment. The method of philosophical interpretation of the text was used in V. Nabokov’s works analysis. It is revealed that in the multicultural environment V. Nabokov created an artful, nonstandard language by means of the original language game and word making and affecting, perhaps unconsciously, the logical and philosophical concept of Wittgenstein’s “language game”. The language of V. Nabokov’s poetry is defined as a way to destroy the experienced, but unwittingly resurrected, i.e., wha

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6

Stepanova, Alla. "Narrative strategies in the stories by Vladimir Nabokov in the 1920s." World of the Russian Word, no. 1 (2023): 47–54. http://dx.doi.org/10.21638/spbu30.2023.106.

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The author argues that the features of the narrative structure in the stories by Vladimir Nabokov have repeatedly become the subject of researchers’ attention, both literary critics and linguists. Scholars have highlighted some features specific to the modernist narrative in the analyzes of particular Nabokov works and in the scholarly articles devoted to Nabokov in general. One of the most prominent feature is the uncertainty of the “deictic modus of the text” (Mikhail Dymarsky). However, in the early Nabokov works, when his individual style was just being formed, one can find examples of a c

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7

Strygin, Artyom. "Sensory Imagery in Rupert Brooke’s Poems Translated by Vladimir Nabokov: Synesthesia and Metaphysics." Izvestia of Smolensk State University, no. 4 (56) (January 26, 2022): 62–74. http://dx.doi.org/10.35785/2072-9464-2021-56-4-62-74.

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The goal of the research paper is a comparative analysis of Rupert Brooke’s twelve poems and their translations by Vladimir Nabokov. The article deals with biographical, stylistic, metaphysical and intertextual details connecting two writers and their works. The research underlines the following artistic features of translations with reference to Nabokov’s perception of Brooke’s creative personality: 1) Nabokov emphasizes the «other-world» concept in Brooke’s poetry; subsequently this topic has been continually conceptualized in Nabokov’s later prose; 2) Nabokov’s analysis of Brook

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8

Meng, Elvin. "4˝ × 6˝ Time Machines: Nabokovian Mnemotechnics and Interwar Psychical Research." Modernism/modernity 31, no. 2 (2024): 213–33. https://doi.org/10.1353/mod.2024.a947730.

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abstract: Taking the recently published records of Vladimir Nabokov's 1964 dream experiments as a point of departure, this article considers media affinities between transatlantic interwar psychical research—taking John William Dunne's 1927 An Experiment with Time , which inspired the novelist's experiments, as a focal point—and Nabokov's idiosyncratic conception of narrative fiction as a spatial (rather than temporal) medium. I suggest that, instead of modernity's better-known time media, both Dunne and Nabokov appropriated the media logic of older inscription technologies in their respective

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9

Nicol, Charles. "Nabokov and Science Fiction: “Lance”." Science Fiction Studies 14, Part 1 (1987): 9–20. https://doi.org/10.1525/sfs.14.1.0009.

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On the surface, Vladimir Nabokov’s attitude towards SF appears self-contradictory: he frequently disparaged the genre, but admired H.G. Wells and other SF authors: moreover, a number of his own works appear to be SF. “Lance” is typical: although including a harsh criticism of SF, this story of the first landing on Mars is itself demonstrably S-F. However, it is also a retelling of a medieval romance and a description of mountain-climbing. The inspiration for the story appears to be Nabokov’s son’s actual mountaineering, which Nabokov regarded with admiration and fear. The conclusion which all

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Kolmakov, Igor. "Nabokov and Freud: Solus Rex vs Oedipus Rex." American Imago 81, no. 2 (2024): 213–41. http://dx.doi.org/10.1353/aim.2024.a932378.

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Abstract: The enigma of Nabokov's lifelong enmity with Freud perpetually attracts research attention. In this article, the author analyzes the Russian-American writer Vladimir Nabokov's demonization of Freud by surveying previous explanations of this phenomenon and proposing an alternative explanation of Nabokov perceiving Freud not as a "father figure" or a "precursor," but as a dangerous and influential rival within the field of psychology as opposed to literature. The author asserts that Nabokov's feud with Freud is centered on the question of the soul. In particular, Nabokov strives to pos

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11

Skonetchnaïa, Olga. "Vladimir Nabokov et le thème du Juif errant." Slovo 22, no. 1 (1999): 133–47. https://doi.org/10.3406/slovo.1999.1177.

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"Vladimir Nabokov and the Theme of the Wandering Jew". The theme of the wandering Jew is central in Nabokov's work. It exemplifies the conflict between freedom and servitude. The author traces this theme through many of Nabokov's works, the first being the prologue to the libretto written in 1923 for a symphony of V. Jakobson. We find some traces of this theme in works like The Way to Execution or The Gift in which the character of the wandering Jew acts as questioning for the assurance of his protagonists. He personifies the doubt which questions the belief that art is the supreme value -a be

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12

Makhankov, Eugene. "(Un)uttered mystery of existence in V. Nabokov’ short stories “The Word” and “The Thunderstorm”." 89, no. 89 (December 13, 2021): 54–58. http://dx.doi.org/10.26565/2227-1864-2021-89-09.

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The article is devoted to identifying the poetological and semantic features of V. Nabokov’ short stories “The Word” and “The Thunderstorm”. The analysis of the first of them is directly connected with the theme of verbal art, important to Nabokov, which in this case acts as the semantic center of the work and is realized through the comparison of two contrastive plans set, on the one hand, by the motif of the hero’s verbal weakness, and on the other, by the motif of “shining”, explanatory divine word. The content of these two plans is shaded by the theme of the otherworldly, a double-world, w

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Tian, Jianing. "The dark side of genius: Researching Nabokov’s short stories in China." Philology. Issues of Theory and Practice 17, no. 5 (2024): 1626–32. http://dx.doi.org/10.30853/phil20240235.

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The purpose of this paper is to reveal the characteristics of reception, on the one hand, and philological study, on the other hand, of the short stories of V. V. Nabokov in China. The article discusses such aspects of the topic as research on the works of V. V. Nabokov in the world scientific community; the reasons for the low degree of study of the stories of V. V. Nabokov in Chinese philological science; the current state of scientific research in the field of the Russian writer’s work in China; the problems of studying Nabokov’s stories in China. The paper notes that over the centuries-old

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14

Drozdova, A. O. "‘Best Known Example of Relativity in Literature’: Personal Supertext of L.N. Tolstoy in V.V. Nabokov’s Novel “Pnin”." Nauchnyi dialog 13, no. 3 (2024): 215–32. http://dx.doi.org/10.24224/2227-1295-2024-13-3-215-232.

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This article addresses the issue of interpreting the work and biographical myth of L.N. Tolstoy in V.V. Nabokov’s novel “Pnin.” The aim of the study is to examine how through the reconstruction of Tolstoy’s personal supertext, Nabokov conveys his philosophy of time. This question is relevant in the context of studying Nabokov’s historiosophy and the writer’s reflection on his own literary genealogy. The analysis reveals that in Nabokov’s reception, Tolstoy is a national genius who was able to recreate the effect of natural time flow. Explicit references to Tolstoy and his biography allow for c

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Grygiel, Monika. "V. Nabokov wobec II wojny światowej – twórcza recepcja i moralna ocena." Language, Culture, Politics. International Journal 1 (October 21, 2022): 159–67. http://dx.doi.org/10.54515/lcp.2022.1.159-167.

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Vladimir Nabokov rosyjski i amerykański pisarz jest autorem dwóch powieściowych antyutopii: Zaproszenie na egzekucję i Nieprawe godło, w których dał wyraz swym politycznym poglądom, mimo iż deklarował się zwykle jako pisarz apolityczny. W obu utworach autor obnaża mechanizmy działania komunizmu i faszyzmu niemieckiego, ostrzega czytelników przed zniewoleniem ideologii totalitarnej, przed biernością wobec przemocy i manipulacji. Kategoryczne polityczne poglądy Nabokova wynikają z faktu, iż doświadczył konsekwencji rewolucji rosyjskiej 1917 roku oraz II wojny światowej, w wyniku których musiał u

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Rogacheva, Natalia A., and Anastasiia O. Drozdova. "Optical aberrations in the lyrics of V. Nabokov’s French period." Sibirskiy filologicheskiy zhurnal, no. 2 (2024): 86–98. http://dx.doi.org/10.17223/18137083/87/8.

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The paper considers the poems of Vladimir Nabokov from the late 1930s. The lyrics reflect the writer’s experiments with the possibilities of language to convey the subjective experience of the artist. These texts referred to the French period are characterized by objectively “clear” optics. The poems “Oko” (“Oculus”) and “Chto za noch’ s pamyat’yu sluchilos’” (“What happened overnight”) utilize apophatic definitions and interrogative sentences to indicate the possibility of verbalizing the supersensual experience without linguistic constraints. The endeavor to express transcendental sensations

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Arutyunov, G. G., E. V. Latyeva, and N. E. Nazarova. "V.V. Nabokov and F.I. Tyutchev: Double Being." Concept: philosophy, religion, culture, no. 3 (November 17, 2019): 189–200. http://dx.doi.org/10.24833/2541-8831-2019-3-11-189-200.

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The article attempts to find common ground between the artistic systems divided by a century – the lyrics of the Russian poet and philosopher F. I. Tyutchev and prose of the outstanding Russian-American writer V. V. Nabokov. The first part of the article deals with the ideas of domestic and foreign researchers of the peculiarity of the Nabokov’s aesthetic system. Nabokov did not write a special article and did not publish a single lecture on Tyutchev’s lyrics, although he repeatedly turned to the work of the poet, in particular, while teaching in America, left excellent translations of his poe

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Trufanova, Irina V. "V. A. ZHUKOVSKY AND V. V. NABOKOV ABOUT THE GENIUS OF PURE BEAUTY." Theoretical and Applied Linguistics, no. 3 (2019): 200–214. http://dx.doi.org/10.22250/2410-7190_2019_5_3_200_214.

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The present paper aims to trace the history of the expression “the genius of pure beauty” introduced by V. A. Zhukovsky and its use in V. V. Nabokov’s lyrics. The method of intertextual analysis is used to reveal how V. V. Nabokov developed the concept created by V. A. Zhukovsky. In his verses, the expression “pure beauty” appears once in the meaning of deity. Among all features of “the genius of pure beauty” concept and attributes accompanying this phenomenon in Zhukovsky’s lyrics, for Nabokov, the wings and the flight in the sky turn out the most relevant ones. Other features were subjected

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Gyimesi, Brigitta. "The Nonidentical Twin: The Possible Worlds of Nabokov’s Speak, Memory and Look at the Harlequins!" Hungarian Journal of English and American Studies 29, no. 1 (2023): 143–63. http://dx.doi.org/10.30608/hjeas/2023/29/1/8.

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Abstract The article examines how Vladimir Nabokov probes the boundaries between autobiography and fiction in his autobiography, Speak, Memory, and his last finished novel, Look at the Harlequins! Both autobiographies and first-person novels project possible worlds, that is, alternative perspectives on empirical reality. The Nabokov of Speak, Memory and V.V. in Look at the Harlequins! are both focalizers in possible worlds derived from the historical Nabokov’s empirical reality. The common origin that binds them together opens up a multi-directional channel between the worlds, allowing the rea

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Kotin, Andrey. "The Motif of Sinful Passion and Marital Infidelity in the Novels King, Queen, Knave and Camera Obscura by V. Nabokov." Проблемы исторической поэтики 19, no. 3 (2021): 255–75. http://dx.doi.org/10.15393/j9.art.2021.9322.

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The article examines the artistic depiction of vicious passion in Vladimir Nabokov’s Russian-language novels King, Queen, Knave and Camera Obscura. The purpose of this work is to describe the stylistic and narrative mechanisms used by Nabokov to examine the roots, development and final reign of the forbidden passion that enslaves a human soul. Contrary to the common stereotype of Nabokov as a predominantly “aesthetic” writer, the texts of his works reveal a profound moral dimension. Moreover, Nabokov’s approach to the concepts of sin and virtue, ethics and aesthetics often echoes, and sometime

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Olšovský, Miroslav. "Křemenitá stezka paměti Vladimira Nabokova." Slavia 93, no. 3 (2024): 302–15. http://dx.doi.org/10.58377/slav.2024.3.04.

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Lermontov’s verse “Through the mist, the road gleams with stone” from his poem I come out to the path, alone appears as a motif of a quartz path in Nabokov’s novella Glory. This motif also makes a connection between Lermontov’s poem and Nabokov’s memoir Speak, Memory and novel The Gift. In this last work written in Russian, Nabokov subscribes to the romantic tradition and symbolist poetics, which highlighted the crystal as the ideal of a work of art. The basic property of the crystal is transparency, which also appears in the poems of Vyacheslav Ivanov and Osip Mandelstam as a symbol of the pu

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Wu, Juan. "The Othering Biological Poetics: Evolution, Speciation and Lepidoptery in Nabokov's The Gift and "Father's Butterflies"." Nabokov Studies 18, no. 1 (2022): 129–47. http://dx.doi.org/10.1353/nab.2022.a901983.

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Abstract: Nabokov was a great writer and a professional biologist with an intense interest in evolutionary theory, and it seems sensible to conclude that his literary creations were heavily influenced by his scientific research. This paper examines how Nabokov's lepidopterological research sheds significant light on his artistic works, including the novel The Gift and its rejected addendum, " Father's Butterflies ," and explores how these works embody Nabokov's views on nature, art, and natural selection. It also investigates how Nabokov adopts narrative strategies of parodies, allusions, symb

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Babikov, Andrei. "Ada’s Penmanship To the publication of an excerpt from the Russian translation of Nabokov’s novel." Literary Fact, no. 16 (2020): 8–67. http://dx.doi.org/10.22455/2541-8297-2020-16-8-67.

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The material offered to the readers is a translation into Russian, with extensive notes, of an excerpt from the First Part of Vladimir Nabokov’s novel Ada, or Ardor: A Family Chronicle (1969). The published material consists of a translator’s Preface, five chapters from the novel, notes by V.V. Nabokov and the translator’s annotations. The Preface to the publication describes the creative and biographical circumstances of the creation of one of the most significant and controversial novels of the twentieth century, and indicates the sources of its conception, which goes back to the English sho

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Palamar Olga, Palamar Olga. "FEATURES OF THE FORMATION OF KINOPOETICS IN THE FICTION DISCOURSE OF VLADIMIR NABOKOV." Fìlologìčnì traktati 14, no. 2 (2022): 99–104. http://dx.doi.org/10.21272/ftrk.2022.14(2)-10.

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The article considers the manifestation of cinematography in V. Nabokov's fiction discourse. The analysis of the peculiarities of the origin and functioning of cinematography in the fiction discourse of V. Nabokov is important for understanding the place and role of cinema in the author's novel work and, in particular, for understanding some semantic, ideological and plot aspects. The analysis is based on the analysis of the author's English-language novels: «Laughter in the Dark», «Lolita», «Pale Fire» and «The Original of Laura». The article also aims to continue the research of cinema poeti

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Meyer, Priscilla. "The Hidden Nabokov." Nabokov Studies 19, no. 1 (2023): 67–80. http://dx.doi.org/10.1353/nab.2023.a937383.

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Abstract: Not simple autobiography or mere camouflage, the relationship of Nabokov's fiction to his life shows his conscious process of misdirection. We can identify some autobiographical material that Nabokov hid, and why. Jane Grayson concluded that "in his later production Nabokov's personal experience appears in a less recognizable form. There it is digested, sometimes even parodied." She finds increasing self-consciousness, irony and detachment, and "a developing preoccupation with pattern and artifice" in the later work. The Gift, Invitation to a Beheading, Speak, Memory and Pale Fire co

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Wyllie, Barbara. "Nabokov's Cinematic Sensibility and Film Strategy in The Defense." Slavonic and East European Review 101, no. 4 (2023): 626–69. http://dx.doi.org/10.1353/see.2023.a923982.

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Abstract: This article attempts to address two overlooked aspects concerning Nabokov's treatment of cinema in his work and his relationship to the medium. First, it considers the impact of film on Nabokov during his time in pre-revolutionary Russia, arguing that his cinematic sensibility was formed long before his arrival in émigré Berlin and that these early experiences were foundational to an interaction with cinema that continued throughout his career. Secondly, by way of Nabokov's 1928 poem, 'Kinematograf', the article focuses on his third novel, The Defense (Zashchita Luzhina) , a work th

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Zborowska, Anna, and Arkadiusz Mański. "Twórczość Vladimira Nabokova – krajobrazy w zwierciadle synestezji." Inność, Różnorodność, Inkluzja, no. 1/2023 (January 22, 2024): 87–99. http://dx.doi.org/10.36575/2657-4209/1.2023.05.

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The text presented below contains an analysis of selected stories written by the famous Russian writer Vladimir Nabokov from the perspective of the phenomenon of synesthesia that he experienced throughout his life. Nabokov’s prose radiates colors, showing the writer’s extraordinary sensitivity to the often-complex effects of the influence of light on various surfaces. The intention of the authors of the article is primarily to direct the reader’s attention to the synesthetic moments of Nabokov’s prose and to scientific sources describing and explaining their dynamics, function and origin. Like

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Drozdova, Anastasiia O., and Margarita A. Semenova. "The reception of the artistic world and biographical myth of Ivan Turgenev in Vladimir Nabokov’s The Real Life of Sebastian Knight." Vestnik Tomskogo gosudarstvennogo universiteta, no. 498 (2024): 19–26. https://doi.org/10.17223/15617793/498/3.

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The research aim is to determine forms of the reception of Ivan Turgenev’s oeuvre in Vladimir Nabokov’s first novel in English, The Real Life of Sebastian Knight. Until now, Turgenev’s supertext in the novel has not been the object of a separate study, although researchers note the world-forming function of allusions to Russian and European classics. The study emphasizes the fact that the reception of Turgenev’s work is present on the levels of plot and imagery: (1) Turgenev’s plot about the character being obsessed with a femme fatale; (2) the mystical images of Turgenev and the principles of

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Rogacheva, Natalia A., and Anastasiia O. Drozdova. "NABOKOV’S REFLECTION ON HIS OWN AND OTHERS’ WORKS IN THE SHORT NOVEL “VASILIY SHISHKOV” AND POEM “THE POETS”." Tyumen State University Herald. Humanities Research. Humanitates 6, no. 2 (2020): 64–78. http://dx.doi.org/10.21684/2411-197x-2020-6-2-64-78.

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The problem of Nabokov’s artistic identity is relevant for contemporary literature studies. The researchers interpret writer’s estimation of his Russian works differently: in his American years, Nabokov (1) created a new artistic identity (A. Dolinin) and started a new career (N. Cornwell) or (2) developed his general themes (B. Boyd), targeted at English readers. The unique status of the texts written in French is defined by their “phantom” nature (M. Malikova) and the “final work with the literature legacy” (A. Babikov). In our research, the problem of Nabokov’s identity is analyzed for the

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Louyest, Anna. "L’esthétique de l’Orient dans Le Don de Nabokov." Slavica Occitania 35, no. 1 (2012): 161–73. https://doi.org/10.3406/slaoc.2012.2599.

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The Aesthetic of Orient in Nabokov’s novel The Gift This article analyses the aesthetic function of the Orient in Vladimir Nabokov’s final Russian novel The Gift (1938). The Orient that Nabokov very authentically describes has a particular role in shaping the concepts of imagination and fiction. The play on the narrator’s status lets the author explore with polyphony the Orient. This article shows how the author’s aesthetic researches condense in this original theme.

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NORMAN, WILL. "Nabokov's Dystopia: Bend Sinister, America and Mass Culture." Journal of American Studies 43, no. 1 (2009): 49–69. http://dx.doi.org/10.1017/s0021875809006549.

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“I am as American as April in Arizona,” Nabokov claimed in a 1966 interview. Although he repeatedly emphasized his American citizenship and the affection he held for his adopted nation, my argument is that his 1947 novel, Bend Sinister, offers us an opportunity to interrogate the received narrative of Nabokov's unproblematic arrival and assimilation into the United States. In examining the engagement with mass culture in this dystopian novel, my intention is to restore some of the political valence denied the novel by both Nabokov and his readers, and to suggest how it functions as a critique

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Shulyatieva, D. V. "Cinematography in V. Nabokov’s novellas from <i>The Return of Chorb</i> [<i>Vozvrashchenie Chorba</i>] cycle." Voprosy literatury, no. 4 (August 9, 2023): 26–39. http://dx.doi.org/10.31425/0042-8795-2023-4-26-39.

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The image of a motion picture emerges in Nabokov’s early works collected under the title The Return of Chorb [Vozvrashchenie Chorba], years before his major ‘cinematographic’ novels. The article considers cinematography as a theme of three novellas in the collection and explores its functions. It argues that, as well as integrating the image of a film in his characteristic system of reflections and refractions, Nabokov employs it to create metatextual self-reflection: in Nabokov’s view, literature has cinematographic potential for conjuring up optical illusions and plunging the reader into a h

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Kuzmina, E. V. "“Island of the Dead” by A. Beklin in V.V. Nabokov's novels “Mary” and “Despair”." Voprosy kul'turologii (Issues of Cultural Studies), no. 6 (June 3, 2025): 487–97. https://doi.org/10.33920/nik-01-2506-01.

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This article is devoted to the analysis of the functioning of the famous painting by the Swiss painter Arnold Becklin “Island of the Dead” (1880–1886; 1901) in the space of two novels by V.V. Nabokov of the Berlin period of creativity — “Mary” and “Despair”. On the pages of Nabokov's works, we find the names of many artists (the writer himself studied painting with M.V. Dobuzhinsky), the images and plots of their canvases intrude into his narrative. We take into account that Nabokov spoke negatively about the painting “Island of the Dead”, considering it an “illustration of vulgarity”, but rea

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Zhu, Pinfan. "Nabokov’s Art of Translation: Effective Means to Attract a Wide Readership." International Journal of Linguistics, Literature and Translation 3, no. 12 (2020): 172–80. http://dx.doi.org/10.32996/ijllt.2020.3.12.21.

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Vladimir Vladimirovich Nabokov was a great writer who could write in both English and Russian. His novel Lolita shocked the world but still received many praises by critics because of its humor and literary style. However, this article will not discuss his writing talent; instead, it will discuss his art of translation, for Nabokov was also a great translator. Specifically, the article will discuss Nabokov’s translation doctrine, translation approaches, and translation tactics (specific ways of tackling translation problems); and how he used them to increase readership. The article focuses on

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Kibalnik, S. A. "ON THE CONCEPT OF “THE LITERARY DUEL” (“duel” between G. Gazdanov and V. Nabokov)." Culture and Text, no. 52 (2023): 51–62. http://dx.doi.org/10.37386/2305-4077-2023-1-51-62.

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The article puts forward the concept of “literary duel”. What is at issue is an exchange of personal attacks - usually partly open, partly hidden - on the part of two writers, in which a kind of “exchange of shots” takes place. Sometimes after that the exchange of shots continues. As an example, the article describes a kind of “literary duel”, which, to a certain extent, is based on a hidden intertextual polemic between Gazdanov and Nabokov. In particular, in the character of Vladimir Volf in Gazdanov’s novel “The Ghost of Alexander Volf”, there are features of Nabokov, and a parody of Gazdano

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Litavrina, Marina. "La Mouette de Tchékhov (Saint-Pétersbourg , 1896) et L'Événement de Nabokov (Paris, 1938) ou la similitude paradoxale." Slovo 22, no. 1 (1999): 121–31. https://doi.org/10.3406/slovo.1999.1176.

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"A paradoxical Ressemblance, Chekhov and Nabokov". The author presents a comparative study of two episodes of the story of Russian theater : the staging of The Seagull at the Alexandrinsky Theater in Saint Petersburg in 1896 and the staging of The Event of Nabokov in 1938 in Paris. The author analyses the intertextual relationship between the two works to conclude that the misunderstanding caused by the two plays had a common cause. Nabokov's Parisian critics reproach the playwright for violating the common rules of theatrical composition. But perhaps the real raison for the rejection of these

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Lang, Mengchen. "Fictional Worlds Theory Problematized: Global Logical Impossibilities in Vladimir Nabokov’s Novels." Style 56, no. 3 (2022): 258–79. http://dx.doi.org/10.5325/style.56.3.0258.

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ABSTRACT Confronting fictional worlds theory with three novels by Vladimir Nabokov (The Real Life of Sebastian Knight, Pale Fire, and Look at the Harlequins!), the author argues that the theory is problematized by Nabokov’s employment of global logical impossibilities. All three novels elicit fluid, fragmentary imaginations of “fictional worlds”; however, by requiring readers to juggle between several logically incompatible interpretations of characters and plots without reaching any synthesis, Nabokov refuses to let these imaginations of “worlds” solidify into fictional worlds in the theoreti

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Baicoianu, Anca. "Translating Nabokov." Journal of World Literature 1, no. 3 (2016): 412–25. http://dx.doi.org/10.1163/24056480-00103008.

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In 2008, the Romanian publishing house Polirom issued the first books in the newly established “Vladimir Nabokov author series.” During the next seven years, seventeen more titles have been added to the series, thus turning it into one of the most daring, costly and time-consuming local projects in the field of foreign literature in translation. Written from the perspective of a scholar, an editor and a translator, this article aims at retracing the history of the project against the background of earlier translations. Special emphasis will be placed on the changes in Nabokov’s reception due t

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Kozłowska, Zuzanna. "Synestezyjna poetyka lektury i przekładu: Barthes – Nabokov – Robinson." Forum Poetyki, no. 14 (March 31, 2019): 54–61. http://dx.doi.org/10.14746/fp.2018.14.26827.

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Opisując przyjemności oraz rozkosze czytania i pisania, Roland Barthes żongluje wielomodalnymi metaforami sensualnymi, angażując oraz splatając zmysły w synestezyjnym uścisku: słowa smakują, dotykają, przyprawiają o mdłości, rumienią się, podniecają. Tekst jest ciałem i czytanie jest cielesne. Doskonałym exemplum tak pojmowanej synestetycznej wrażliwości tekstu jest intersensualna proza Vladimira Nabokova. W krytyce oraz praktyce przekładu Nabokova, podobnie jak w translatologicznej koncepcji Douglasa Robinsona (The Somatics of Translation), to właśnie synestetycznie odczuwana materialność jęz

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Ziwei, Zhu. "“Urban Text” in Nabokov’s 1920s Works: St. Petersburg vs Berlin." Russian Studies in Philology, no. 3 (February 29, 2024): 121–30. https://doi.org/10.18384/2949-5008-2024-3-121-130.

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Aim. To analyse the poetics of the “urban text” in V. V. Nabokov's poetic and prose works in the 1920s..Methodology. The main content is consideration of the “metageographic” aspects of Nabokov’s poetry and short prose, in which images of St. Petersburg and / or Berlin appear. The research uses biographical, comparative, cultural-historical methods of analysis.Results. The analysis showed that in the first half of the 1920s Nabokov’s Petersburg not only appears in artistically reinterpreted memories in images associated with real toponymy, but also receives a metaphysical dimension. In the sam

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Laletina, O. S., and E. V. Khvorostjanova. "“Conservative” Verse by V. V. Nabokov: Specifics of Constructing Verse Vertical." Nauchnyi dialog 11, no. 9 (2022): 196–211. http://dx.doi.org/10.24224/2227-1295-2022-11-9-196-211.

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The article deals with the problem of experimenting by V. V. Nabokov the poet. The novelty and relevance of the study are due to the fact that the poet’s work, taken in the most complete volume to date (578 works, 18470 lines), is not the material of a traditional level-by-level poetic description, but a correlation analysis that takes into account the parameters of the formation of the verse vertical (poetic meter, strophic structure, clause, rhyme). The proposed method made it possible to reconsider the established idea of the conservatism of Nabokov the poet and to identify specific strateg

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Zaitseva, Elena V. "The Reception of Crime and Punishment in the Works of Vladimir Nabokov." Dostoevsky and World Culture. Philological journal, no. 1 (29) (2025): 244–65. https://doi.org/10.22455/2619-0311-2025-1-244-265.

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The article examines the presence of Fyodor Dostoevsky in the novels of Vladimir Nabokov. The points of intersection of the artistic world of the author of Lolita with Dostoevsky’s works are identified; the peculiarities of the reception of Crime and Punishment in the novels The Defense of Luzhin, Invitation to Execution, Despair are explored. The attitude of Vladimir Nabokov to the works of Fyodor Dostoevsky is ambiguous and requires careful and deep analysis. At the same time, one should rely not on the writer’s loud statements, given his love of hoaxes and penchant for shocking, but on his

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Guseinova, E. R. "Game strategies in V. Nabokov’s Lectures on Literature." Izvestiya of Saratov University. Philology. Journalism 10, no. 2 (2010): 74–77. http://dx.doi.org/10.18500/1817-7115-2010-10-2-74-77.

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The article analyzes the literary game and narrative strategies in V. Nabokov’s Lecture Discourse. The results allow us to believe that Nabokov has used the fictional methods in his Lectures. The correlation of Subject and Object of creativity allows us to speak about Lecture Discourse as an artistic integrity.

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Berezhnov, Denis A., and Alexander V. Ledevev. "Restoration of time: Henry Bergson and Vladimir Nabokov." RUDN Journal of Studies in Literature and Journalism 28, no. 3 (2023): 530–39. http://dx.doi.org/10.22363/2312-9220-2023-28-3-530-539.

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The purpose of the study is to interpret the idea of “restoring time”, common to the texts of the Russian writer Vladimir Nabokov and the French intuitionist philosopher Henri Bergson. The concept of “restoration of time” in Vladimir Nabokov’s texts, viewing it through the lens of Henri Bergson’s philosophy is explored. According to Nabokov “time is essentially memory in the process of its unfolding”. Moreover, that memory itself is a dynamic and never-changing process. Therefore, the conventional notion that restoring the past is simply about retrieving previous “moments” does not hold true i

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Astvatsaturov, Andrey A. "“An Occurrence at Owl Creek Bridge” by Ambrose Bierce and “Details of A Sunset” by Vladimir Nabokov: The problem of influence." Vestnik of Saint Petersburg University. Language and Literature 20, no. 3 (2023): 429–45. http://dx.doi.org/10.21638/spbu09.2023.302.

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The article is dedicated to the problem of the influence of the American writer Ambrose Bierce on the early work of Vladimir Nabokov. This influence can be traced back to several Nabokov’s texts (“Details of A Sunset”, “The Aurelian”, “Perfection”, “The Eye”), where one can detect plot lines, motives, and images borrowed from Bierce’s paradigmatic story “An Occurrence at Owl Creek Bridge.” The article focuses on Vladimir Nabokov’s short story “Details of A Sunset” (“Catastrophe”), where the influence of Ambrose Bierce is unquestionable. This influence was pointed out by a number of researchers

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Polishchuk, Vera. "Гиперболоид инженера Вальса: Набоков и советская фантастика 1910-х – 1920-х гг. [Engineer Waltz’s Hyperboloid: Vladimir Nabokov and the Soviet Fantastic Literature of the 1910—1920s]". Slavica Revalensia 8 (2021): 94–114. http://dx.doi.org/10.22601/sr.2021.08.05.

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The article is aimed to trace some significant parallels between Nabokov’s Russian prose and drama, and a number of Soviet fantastical novels. A close reading reveals a whole network of allusions to Alexander Grin’s The Glittering World (Blistaiushchii mir, 1924) in Invitation to a Beheading (Priglashenie na kazn’, 1935—36), including the usage of the Romantic hero model, canonic female figures and gnostical imagery, originating from The Invisible Man by H. G. Wells. As for The Waltz Invention (Izobretenie Val’sa, 1938), the tragicomedy gives us compelling evidence that Nabokov deliberately wr

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Marina von Hirsch. "The Presence of Nabokov in Bitov's Fiction and Nonfiction: Bitov and Nabokov, Bitov on Nabokov, Nabokov in Bitov." Nabokov Studies 6, no. 1 (2000): 57–74. http://dx.doi.org/10.1353/nab.2011.0070.

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Vid, Natalija. "The Challenge of Translating Children’s Literature: Alice’s Adventures in Wonderland Translated by Vladimir Nabokov." ELOPE: English Language Overseas Perspectives and Enquiries 5, no. 1-2 (2008): 217–27. http://dx.doi.org/10.4312/elope.5.1-2.217-227.

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In the article the author focuses on Vladimir Nabokov’s translation of Lewis Carroll’s novel Alice’s Adventures in Wonderland, made in 1923. The main intention of the article is to analyze Nabokov’s translation strategies of domestication, realized in the text as substitution and localization, and to explain possible reasons for his decision in favour of almost complete Russification of the original. It is possible that Nabokov considered children’s attitude towards the final result as the most important part of the translation process. Thus, he used domesticated strategies to transfer for Rus

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Strelnikova, Larisa Yu, and Irina I. Tarasova. "Modernist mythologism of Vladimir Nabokov’s creative work (based on the material of the novels “Mary”, “The Gift”, “Invitation to a Beheading”)." Vestnik of Kostroma State University 28, no. 1 (2022): 98–104. http://dx.doi.org/10.34216/1998-0817-2022-28-1-98-104.

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The subject of research in the article is the early prose of Vlaimir Nabokov, the writer of the Russian diaspora, from the point of view of the mythologising of the creative process, which was a characteristic feature of the art of modernism. The study notes that Nabokov builds his texts as artistic mythology, giving art a sacred meaning. Unlike the ontological function of the ancient myth, mythologism in modernist literature is aimed at the aesthetic perception of reality. The writer intentionally mythologises his texts, saturating them with mythological codes, revealed in such writing techni

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Drozdova, Anastasiia O., and Natalia A. Rogacheva. "From V. Nabokov’s Drugie Berega (1954) to Speak, Memory (1966): Allusions to Russian Literature in the Structure of Perceptual Metaphor." Izvestia of the Ural federal university. Series 2. Humanities and Arts 27, no. 1 (2025): 41–55. https://doi.org/10.15826/izv2.2025.27.1.003.

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This article studies the perceptual metaphors introduced as an allusion in V. Nabokov’s autobiographies Drugie Berega (1954) and Speak, Memory (1966). The authors refer to scholarly works devoted to the peculiarities of the representation of sensual feelings in Nabokov’s works in Russian and English. For the first time, they establish that the reader’s associations are evaluated as a natural element of perception. The representation of the reader’s experience depends on the choice of language. In Drugie Berega, perceptual metaphors form reminiscent layers (Pushkin, Tolstoy, Blok) associated wi

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