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Мотив измены в Защите Лужина Владимира Набокова

100%
Sienkiewicz M.
Studia Wschodniosłowiańskie
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2017
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vol. 17
EN
This paper is devoted to infidelity motif (its function and place in the novel) in one of Russian-language works of V. Nabokov, The Defence. We believe that infidelity motif, each time appearing in a key strategic moments of a story, is a symbol of life deception by a character in favor of chess reality. The world that constantly takes away vital energy, comprehension and makes character a social cripple, subhuman. This motif fulfills supportive function, enriching aesthetic value of main motif (chess), around which whole novel is built. Nabokov masterfully joins both phenomena and silently imply that ideal art does not deny reality, but they tend to coexist in sui generis symbiosis.
2
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Лекции по русской литературе как показатель отношения Владимира Набокова к творчеству Федора Достоевского

100%
Sienkiewicz M.
Studia Wschodniosłowiańskie
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2016
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vol. 16
EN
In this paper we decided to look closer and to analyze Nabokov’s attitude towards Fyodor Dostoyevsky writings, expressed in Lectures on Russian literature. Critical, full of negation and disagreement approach, of immigrant writer, towards classic is visible in many his works. Fragment of Lectures..., denoted to Dostoyevsky works, perfectly and accurately illustrate relations of Nabokov to famous classic writer. It is full of contradictions, illogical expressions and judgments. Nabokov treats works of classic writer very emotionally, which is brightly expressed in his Lectures on Russian literature. Easily detected by a reader, but denied and hated by Russian-American writer connection, surfaces through analysis of each separate work of him, and become a key to interpretation of his own works.
3
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Достоевский в "Отчаянии" Владимира Набокова

100%
Sienkiewicz M.
Studia Wschodniosłowiańskie
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2015
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vol. 15
147-166
EN
This work is an attempt to prove the unwanted connection between Nabokov and Dostoevsky, using Nabokov’s novel "Despair" as an example. Author also tried to show, how strong was Dostoevsky’s influence on Nabokov’s writing. The protagonist of the novel is regarded as a distorted image of Raskolnikov, as well as the combination of everything, that Nabokov denied in Dostoevsky’s heroes: madness, the inability to commit a perfect crime. Moreover, Nabokov was interested in all typical “Dostoevsky’s topics”: crime, punishment, psyche and motivations for a murderer, ambiguity, underground and again, madness. The author compare not only similarities of both writers, but also differences. In the end of the work it is shown, that the biggest hater in his numerous attempts to “debunk” Dostoevsky, becomes the greatest of his fans. As far as an act of absolute devotion and respect is to compare someone’s works with others.
4
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Интерпретации перехода В. Набокова с русского языка на английский, или О метаморфозе литературной музы писателя

86%
Скворцова Н.
Studia Wschodniosłowiańskie
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2015
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vol. 15
445-460
EN
Creativity of bilingual writer Vladimir Nabokov is the subject of this research. The phenomenon of Vladimir Nabokov discussed in several aspects: the literary, linguistic, translation. Particular attention is paid to “language issue” of his creativity. There are several opinions (including Nabokov’s opinions) about the problem of the linguistic transformation of his literary muse in this paper.
5
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Nabokow w masy: Obrona Łużyna na dużym ekranie

58%
Popovich N.
Kultury Wschodniosłowiańskie - Oblicza i Dialog
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2019
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issue 9
113-128
EN
The intellectual prose of Vladimir Nabokov is not easy to be filmed. Thus, filmmakers have made a lot of changes in the original text. The goal of The Luzhin Defence creators’ was to show a completely new interpretation of Nabokov’s novel and present it to the public. This is why they simplified the plot, added some dynamism, made it more epic and attractive (love triangle, Luzhin’s mother’ suicide, erotic scenes, conspiracy, kidnapping, failed wedding). Luzhin’s childhood has been presented as a series of flashbacks. The hierarchy of characters has been changed: two equivalent characters are in the center (Luzhin and Natalia). All other characters have been given their first names and their biography. The film is spiced with feminism: the female character is stronger than in the novel and the story of a chess player (Luzhin) is presented from the feminist director’s point of view. Love story is placed in the center of the plot and it covers the topic of the game of chess. The motif of chess is connected with an extra independent character providing comments about chess to a viewer. Nabokov’s idea about the transcendental nature of arts, madness as the price for being a genius, is not presented in the film. The conflict in the film is not about metaphysics, but about intrigues and envy. Additionally, the plot has been complemented with an epilog to Nabokov’s story. After Luzhin’s suicide Natalia finishes the championship chess match by following his notes about the game and takes a revenge.
6
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Od poetyki tytułu do struktury sensu - o dwóch tytułach jednego opowiadania Vladimira Nabokova

51%
Ułanek M.
Przegląd Rusycystyczny
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2023
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issue 1 (181)
28-49
RU
Предметом анализа в статье является рассказ В. Набокова Катастрофа (1924), который, в процессе перевода на английский язык самим автором, получил новое заглавие – Details of a Sunset. Исходя из поэтики заглавия, рассмотрению подвергаются следующие вопросы: 1. образ влюбленного героя – «полубога» Марка, наделенного светоносными атрибутами, посредством которых он соотносится со сферой мифа (Эрос, Амур), с праначалом (Эдем, тема детства); 2. категория «чуткого повествователя» – со-чувствующего наблюдателя событий; 3. присутствующая в рассказе онирическая сфера, также связанная с мифом и со стремлением человека к высшим ценностям; 4. метафорика и символика заката солнца. Доказывается, что изменение заглавия рассказа и способ описания заката позволили Набокову акцентировать аксиологический аспект произведения и тем самым установить отношение с читателем, постулируя своеобразный «подъем» на иной уровень понимания. Методологической основой рассуждений становится концепция Ролана Барта, который, оценивая слово в дискурсе, указывает на его смыслообразующую функцию.
PL
Przedmiotem analizy w artykule jest opowiadanie V. Nabokova Katastrofa (1924), które w procesie tłumaczenia na język angielski przez samego autora zyskało nowy tytuł – Details of a Sunset. Wychodząc od poetyki tytułu namysłowi poddano następujące kwestie: 1. kreację zakochanego bohatera – „półboga” Marka obdarzonego świetlistymi atrybutami, wiążącymi go ze sferą mityczną (Eros, Amor), z prapoczątkiem (Eden, motyw dzieciństwa); 2. kategorię „czułego narratora” – zaangażowanego obserwatora wydarzeń; 3. sferę oniryczną obecną w opowiadaniu, odsyłającą do mitu, związaną z dążeniem człowieka ku wyższym wartościom, z odwiecznym pragnieniem szczęścia; 4. metaforykę i symbolikę zachodzącego słońca. Wykazano, że sposób deskrypcji zachodu słońca oraz zmiana tytułu opowiadania pozwoliły pisarzowi zaakcentować aksjologiczny wymiar utworu i tym samym ustalić relację z czytelnikiem, postulując swoiste „wzniesienie się” na inny poziom rozumienia. Inspiracje metodologiczne dla prezentowanych rozważań czerpiemy z refleksji Rolanda Barthesa, który wartościując słowo w dyskursie wskazuje na jego sensotwórczą funkcję.
EN
The subject of the analysis in the article is V. Nabokov’s short story Catastrophe which in the proces of authorial translation into English received a new title – Details of a Sunset. Starting from the poetics of the title the following matters were considered: 1. creation of a hero in love – „half-god” Mark endowed with luminous attributes, connecting him with the mythical sphere (Eros, Amor), with the pre-beginning (Eden, the motif of childhood) 2. the category of the „sensitive narrator” – an involved observer of the events; 3. the oneiric sphere present in the short story refering to the myth, connected with the human drive towards higher values, with the eternal desire for happiness; 4. imagery and symbolics of the setting sun. It has been demonstrated that the mode of the sunset description and the alteration of the short story title allowed the author to accentuate axiological dimension of the literary work and thus set the relationship with the reader postulating a particular „elevation” to another level of understanding. Methodological inspirations for the presented considerations were taken from Roland Barthes’ reflections, who by evaluating the word in the discourse points towards its sense-generating function.
7

Vladimir Nabokov jako wykładowca literatury

44%
Grygiel M.
Roczniki Humanistyczne
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2016
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vol. 64
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issue 7: Słowianoznawstwo
137-147
PL
Vladimir Nabokov podjął pracę wykładowcy akademickiego po wyjeździe do Stanów Zjednoczonych, gdzie wykładał na Wellesley College i Uniwersytecie Cornella literaturę europejską i literaturę rosyjską. W swoich wykładach pisarz zaprezentował kategoryczne i kontrowersyjne opinie na temat literatury, podzielił ją na arcydzieła i utwory, jego zdaniem mierne, stworzył hierarchię literacką, wynikającą z osobistych autorskich przekonań i upodobań. W literaturze rosyjskiej zachwalał twórczość M. Gogola, L. Tołstoja i A. Czechowa, negatywnie ocenił dorobek F. Dostojewskiego i M. Gorkiego. Z literatury europejskiej wyróżnił wybrane dzieła M. Prousta, J. Joyce’a i G. Flauberta, w każdym wypadku wskazywał na wartości kluczowe dla swojego dorobku, metody znamienne dla całej swojej prozy. Wykłady Nabokova stanowią nierozerwalną część jego dokonań literackich, są wykładnią literackiej filozofii pisarza.
RU
Владимир Набоков стал преподавателем литературы после переезда в США, где читал лекции в колледже Уэлсли и Корнеллском университете по русской и зарубежной литературах. В своих лекциях писатель представил твердые и спорные суждения на литературу, разделяя ее на шедевры, и, по его мнению, посредственные произведения, сочинил литературную иерархию как результат собственных авторских взглядов и симпатий. В русской литературе восхищался творчеством Н. Гоголя, Л. Толстого и А. Чехова, отрицательно высказывался на тему достижений Ф. Достоевского и М. Горького. В зарубежной европейской литературе подчеркивал значение выбранных произведений М. Пруста, Д. Джойса и Г. Флобера, в каждом случае определяя ключевые ценности и значительные методы для своего прозаического творчества. Лекции Набокова составляют неотделимую часть его творческого наследия, являются интерпретацией литературной философии писателя.
EN
When he arrived to the United States Vladimir Nabokov took a job as the university lecturer at Wellesley College and Cornell University. He taught Russian and European literature. In his lectures he presented a categorical and controversial opinions on literature, he divided it into masterpieces and works. In his opinion he created a hierarchy of literary resulted from his personal beliefs and preferences. In Russian literature, he praised works of M. Gogol, L. Tolstoy and Chekhov. He negatively assessed the achievements of F. Dostoevsky and M. Gorky. In the European literature he singled selected works of Marcel Proust, Joyce J. and G. Flaubert. In any case he pointed to the key values for his Works and methods characteristic of all his prose. Nabokov's lectures are the integral part of his literary achievements and they are writer’s literary philosophy.
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