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Cлово "STUDIES"

1. Интервью Набокова на английском языке. Wisconsin Studies, 1967 г.

Сайт: http://nabokov-lit.ru Размер: 63кб.

2. Audubon's butterflies, moths and other studies

Сайт: http://nabokov-lit.ru Размер: 4кб.

1. Интервью Набокова на английском языке. Wisconsin Studies, 1967 г.

Сайт: http://nabokov-lit.ru Размер: 63кб.

Часть текста: overlooking Lake Geneva, and the sounds of the lake are audible through the open doors of their small balcony. Since Mr. Nabokov does not like to talk off the cuff (or "Off the Nabocuff," as he said) no tape recorder was used. Mr. Nabokov ei! ther wrote out his answers to the questions or dictated them to the interviewer; in some instances, notes from the conversation were later recast as formal questions-and-answers. The interviewer was Nabokov's student at Cornell University in 1954, and the references are to Literature 311-312 (MWF, 12), a course on the Masterpieces of European Fiction (Jane Austen, Gogol, Dickens, Flaubert, Tolstoy, Stevenson, Kafka, Joyce, and Proust). Its enrollment had reached four hundred by the time of Nabokov's resignation in 1959. The footnotes to the interview, except where indicated, are provided by the interviewer, Alfred Appel, Jr. For years bibliographers and literary journalists didn't know whether to group you under "Russian" or "American. "Now that you're living in Switzerland there seems to be complete agreement that you're American. Do you find this kind of distinction at all important regarding your identity as a writer? I have always maintained, even as a schoolboy in Russia, that the nationality of a worthwhile writer is of secondary importance. The more distinctive an insect's aspect, the less apt the taxonomist is to glance first of all at the locality label under the pinned specimen in order to decide which of several ...

2. Audubon's butterflies, moths and other studies

Сайт: http://nabokov-lit.ru Размер: 4кб.

Часть текста: padded with additional pictorial odds and ends and an account of Audubon's life. The sketches were made in the 1820s. Most of the lepidoptera which they burlesque came from Europe (Southern France, I suggest). Their scientific names, supplied by Mr. Austin H. Clark, are meticulously correct-- except in the case of one butterfly, p. 20, top, which is not a Hamaeris but a distorted Zerynthia. Their English equivalents, however, reveal some sad editorial blundering: "Cabbage," p. 23, and "Miller," p. 91, should be "Bath White" and "Witch," respectively; and the two moths on p. 64 are emphatically not "Flesh Flies." In an utterly helpless account of the history of entomological illustration, Miss Ford calls Audubon's era "scientifi-cally unsophisticated." The unsophistication is all her own. She might have looked up John Abbot's prodigious representations of North American lepidoptera, 1797, or the splendid plates of eighteenth- and early-nineteenth-century German lepidopterists, or the rich butterflies that enliven the flowers and fruit of the old Dutch Masters. She might have traveled back some thirty-three centuries to the times of Tuthmosis IV or Amenophis III and, instead of the obvious scarab, found there frescoes with a marvelous Egyptian butterfly (subtly combining the pattern of our Painted Lady and the body of an African ally of the Monarch). I cannot...