Nabokov

The article focuses on Nabokov’s understanding Proust’s, Tolstoy’s and Chekhov’s metaphors as a way of passing from an objective to the subjective reality. The analogies with Nabokov’s perception of reality expressed in his art are drawn.

The article considers indirect plot allusions, V. Nabokov’s explicit and disguised references to the topic related to the terrible characters of Dostoyevsky, to the new embodiments of Pushkin’s and Dostoyevsky’s images.

In this article, an attempt is made to compare the modular structure of artistic knowledge with the morphological characteristics of the text, their interpretation in terms of analysis of the principles of style formation. As the grammatically expressed constructive parameter of the text, the author considers the category of deixis in its linguistic and artistic expression.

The article discusses the intertextual connections of Vodolazkin’s novel The Aviator with V. Nabokov’s prose. The article specifically focuses on the function of Nabokov’s intertext in unveiling ideological and philosophical problems: comprehending the phenomenon of time and the creative ability of memory. The role of the word and literature in the struggle against amnesia is considered.

The monograph under review is a continuation of the author’s research in the field of visual poetics of the Russian literature. The ‘optics’ proposed in the book allows to see the medical plots of literary texts in a new way, to comprehend aesthetic and existential experience of the disease.

The following article off ers a theoretical interpretation of Nabokov’s aphorism on Joyce’s inner monologues. Nabokov supposed that thinking is extraverbal and cannot be fully embodied in a word. He assumed that James Joyce was wrong to materialize the stream of inner life in a rigid verbal form. For Nabokov, thinking as an uninterrupted continuum of psychological states, should be opposed to the ‘stream of consciousness’ technique and should be moved towards the lyrical synthetism.