Search Results for nabokov

... is more often than not both Daedalus and Theseus-and we can learn a lot from both of him. ROBERTF. GLECKNER Duke University Nabokov: The Dimensions of Parody. By DABNEYSTUART. Baton Rouge and Lon- don: Louisiana State University Press...

...K. A. Bruffee Copyright © 1973 by Duke University Press 1973 FORM AND MEANING IN NABOKOV’S REAL LIFE OF SEBASTIAN KNIGHT AN EXAMPLE OF ELEGIAC ROMANCE By K. A. BRUFFEE The Real Lzfe ofsebastian Knight is one...

...Dabney Stuart Copyright © 1975 by Duke University Press 1975 THE NOVELIST’S COMPOSURE SPEAK, MEMORY AS FICTION By DABNEYSTUART I am tempted to say that Sppak, Memory is the book on which Vlad- imir Nabokov tias...

... the concept of postmodernism traveled from the United States to western Europe and Russia, with key roles for American critics such as John Barth, Leslie Fiedler, Ihab Hassan, and Matei Calinescu and, in Europe, writers such as Umberto Eco and the reception of Jorge Luis Borges and Vladimir Nabokov...

...Dabney Stuart Copyright © 1968 by Duke University Press 1968 THE REAL LIFE OF SEBASTIAN KNIGHT ANGLES OF PERCEPTION By DABNEYSTUART Vladimir Nabokov’s novel The Real Life of Sebastian Knight is both a game...

..., 1963, pp. 94 f.; translated by Eric Bentley in his edition of Manual of Piety [New York, 19661, pp. 309 f FRANKJONES University of Washington Nabokov’s Deceptive World. By WILLIAMWOODIN KOWE. New York: New York University...

... and Theseus-and we can learn a lot from both of him. ROBERTF. GLECKNER Duke University Nabokov: The Dimensions of Parody. By DABNEYSTUART. Baton Rouge and Lon- don: Louisiana State University Press, 1978. xiv + 191 pp. $1 1.95...

... Crystal Land Patterm of Artifice in Vludimir Nabokov’s English Novels 1 JuliaBader In examining Nabokov’s use of what has become a form of artistic convention-the art novel- MS. Bader provides a textual analysis of his six English novels. She emphasizes the theme...

...” is clumsily cited instead of “autonomy” (168 and elsewhere). It is absurd to try to turn Willa Cather into some antirealist villain ( 137). The most embarrassing howler occurs when Bell-Villada pontificates on the work and views of Vladimir Nabokov (190-6). Again, his ignorance comes through...

...) Vladimir Nabokov’s playful sense of “antic- ipatory memory” (272) and Victor Shklovsky’s “knight’s move” metaphor for an innovative author’s relation to tradition, in which linear prolongation swerves diagonally into new territory (30). Not surprisingly, another source is that locus classicus...

...) Vladimir Nabokov’s playful sense of “antic- ipatory memory” (272) and Victor Shklovsky’s “knight’s move” metaphor for an innovative author’s relation to tradition, in which linear prolongation swerves diagonally into new territory (30). Not surprisingly, another source is that locus classicus...

...) Vladimir Nabokov’s playful sense of “antic- ipatory memory” (272) and Victor Shklovsky’s “knight’s move” metaphor for an innovative author’s relation to tradition, in which linear prolongation swerves diagonally into new territory (30). Not surprisingly, another source is that locus classicus...

...) Vladimir Nabokov’s playful sense of “antic- ipatory memory” (272) and Victor Shklovsky’s “knight’s move” metaphor for an innovative author’s relation to tradition, in which linear prolongation swerves diagonally into new territory (30). Not surprisingly, another source is that locus classicus...

...) Vladimir Nabokov’s playful sense of “antic- ipatory memory” (272) and Victor Shklovsky’s “knight’s move” metaphor for an innovative author’s relation to tradition, in which linear prolongation swerves diagonally into new territory (30). Not surprisingly, another source is that locus classicus...

...) Vladimir Nabokov’s playful sense of “antic- ipatory memory” (272) and Victor Shklovsky’s “knight’s move” metaphor for an innovative author’s relation to tradition, in which linear prolongation swerves diagonally into new territory (30). Not surprisingly, another source is that locus classicus...

... vertically through time” in its “vision which includes in it all times.” “I confess I do not believe in time,” writes Vladimir Nabokov ( 1989 : 139) in an exemplary statement. “I like to fold my magic carpet, after use, in such a way as to superimpose one part of the pattern upon another.” In the Critique...

.... Stuart, Dabney. Nabokov: The Dimensions of Parody. Baton Rouge and London: Louisiana State University Press, 1978. xiv 4- 191 pp. $1 1.95. Thompson, Denys. The Uses of Poetry. Cambridge, London, New York: Cambridge University Press, 1978. viii 4- 238 pp. $26.00, cloth; $9.50, paper...

... than keeping in mind the larger, basic function of meter as a general principle of poetic art. In our own time, the Beliy-inspired prosody of Vladimir Nabokov uses, as its basic unit of metrical significance, the “scud,” roughly describable as a unit of deviation from an expected...

... lovers play chess in The Tempest, how does their game differ from Alice’s? Is Jane Fairfax in Emma a proto-Alice when Frank Churchill forces her into a humiliating word game? Is Albee’s “Get the Guests” a var- iant of snark-hunting, and does Nabokov’s taunting gamester God look like Carroll’s...