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NABOKOV A TEXTOVÉ OBRAZY

100%
Vydra A.
Filozofia (Philosophy)
|
2008
|
vol. 63
|
issue 7
611-618
EN
The main line of the paper is putting together several Nabokov's ways of grasping visual images with the help of words, i.e., grasping them within a text. One of Nabokov's ideas is to write analogically to the work of a painter. A textual description seems to him very verbose and tedious. The other model of his creative work imitates optical illusions. Textual mimicries are produced by various anagrams and wordplays. This imitation (a specific form of mimesis) follows from (is related to) Nabokov's literary understanding of the transparency which in fact is not transparent. According to him, we cannot see the essentially unknowable ground of things (and of images, persons, etc.). We only are able to see the surface which changes its shape continuously by imitating rather its background, not its hidden essence. There is nothing interior in his texts, too, everything is surface-like, i.e. everything is visible just like as a painter's painting.
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THREE VARIATIONS OF THE FAUST MYTH IN 20TH-CENTURY LITERATURE (Tri variace faustovskeho mytu v literature 20. stoleti)

86%
Svaton V.
World Literature Studies
|
2010
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vol. 2 (19)
|
issue 3
17-26
EN
The article analyses three novels of the 20th-century (Thomas Mann: Doctor Faustus, Vladimir Nabokov: Luzhin's Defense and Jachym Topol: Night Job) on the basis of their engagement with the Faust myth on various levels. The problem is productive not only in relation to the understanding of the myth as 'an unceasing cosmic dynamics of the multi-layered contingencies and dependencies of all inter-world entities' that guarantees a transcendence of individual consciousness, but also the genre of the novel, which has an ambiguous relationship towards the myth - either it accepts the mythical imagination of the cosmic order, or it accepts the 'world order'. Readings of these three 20th-century novels bring opportunities for their contextualization within the world of myths from these two perspectives.
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