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Аноним13 июня 2015 г.No subject would become more uniquely Nabokov's than the preposterous fact that we cannot retain the real past we have lived through. Like Chorb, many of his characters—Humbert, Kinbote, Van Veen, Hugh Person—seek to reimpose a vanished past a changed present and become grotesque or cruel in the process. Only within the mind, through memory and imagination, do characters like Ganin, Cincinnatus, Fyodor, Shade, and, again, Van Veen, cope with the pain of loss.
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Аноним13 июня 2015 г.Mary is a novel about time: about the reality of the past, even though we can only reach it within the present; about the delusive force of our anticipations of the future (Alfyorov's and Ganin's visions of meeting Mary at the station, Podtyagin's of crossing into France); and about the present, where we are free to act and responsible for the choices we make: free enough for Ganin to decide not to see Mary at all.
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Аноним13 июня 2015 г.Time, not space, is Nabokov's real subject: not the Russian Berlin the book renders so well, but the accumulated time of memory that allows Ganin to superimpose the country of his past on the city streets of his present.
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Аноним13 июня 2015 г.Later he might recall Mary as mere nostalgic indulgence, but back in 1925 he had taken great pains to construct a novel of exile. Ganin's yearning for Mary becomes a personalized image of the emigre dream, the hope of reliving and resuming the happiness of remembered Russia. Not that Mary is in any way a symbol: Nabokov knew he could make her live in the imagination only if he kept true to the irrational particulars of the past.
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Аноним13 июня 2015 г.CHAPTER 11
Scenes from Emigre Life: Berlin, 1925-1926EXILE for the Nabokovs was a succession of rented rooms.
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Аноним13 июня 2015 г.In the 1920s Berlin was fabled for the vitality and diversity of its theaters and especially its cabarets. The first and by far the most successful of Berlin's Russian cabarets was Yakov Yuzhny's Sinyaya Ptitsa (Bluebird). Founded at the end of 1921, a descendant of Nikita Baliev's famous Letuchaya mysh' (The Bat) in Moscow, it lasted more than ten years, influenced other Berlin cabarets and theaters, toured frequently throughout Europe and in North America.
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Аноним21 августа 2015 г.CHAPTER 22
Searching for an Exit: France, 1939-1940Dr. Ray's voice: They have all their papers now.They are all set to go.Good-bye, gray Paree! Humbert: Good-bye, gray Paree. Now, my dear,don't lose your passport.—Lolita: A Screenplay
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Аноним18 августа 2015 г.With its characteristic density, The Gift records all aspects of a writer's life and work: tradition and the individual talent; the childhood that underlies the adult work; the slow growth of the writer's mind and art; the mature imagination active in its everyday world; all the stages of composition and publication, from the vague foreglow of a new work to the reviews the finished book receives, and even the writer's own harsh final review as his next work already dawns.
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Аноним18 августа 2015 г.Читать далееThe Gift's special mixture of delay and delight conditions even the texture of the moment, the structure of the sentence. Long before this novel, Nabokov had mastered a fluid, swift style and the knack of modulating it: the elegant economy of The Defense, the spareness of Camera Obscura, the manic energy of Hermann in Despair. He could tell a story rapidly, but he also knew that while from the outside other people's lives might look as if they unwound with the speed of a cinema reel, our own self-awareness in the present extends outward in all directions, a densely furnished space with an almost immobile bulk and depth, in no way resembling a slender ribbon of film unwinding at speed from a spool. In The Gift Nabokov creates the sense of self in the present, the density and stasis of the moment, more directly than he ever has before.
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Аноним8 августа 2015 г.Bunin himself, until now the undisputed master of emigre literature, commented on The Defense: "This kid has snatched a gun and done away with the whole older generation, myself included."
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