Поиск по заголовкам произведений. Cлово "TIME". Классическая русская литература.

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Часть текста: journal (November 15), tries to smooth the bad impression produced on public opinion by your very truthful and beautiful correspondence concerning the Russian Universities. He says,—«The two main grievances, of which the students, had to complain at the outset were the abolition of their uniforms, and the imposition of certain tuition fees». The first assertion proves that Mr. Williams did not attentively read your correspondence; the second, that he does not understand the state of things in Russia, in spite of his having travelled in that country. The uniforms were worn by order of the government, and. during the reign of Nicholas the rules regarding them were so stringent that the uniform was for the students rather a subject of hatred than of love. Certainly, they did not much trouble themselves about the abolition of it, though they knew that in the present time it was abolished in order to excuse any aggression of the police against the students, who had the right to claim the protection of the authorities of the University. The tuition fees, however small they may seem to Mr. Williams, are too heavy for poor men in Russia; and, as the instruction in our country was a gratuitous one ever since the establishment of colleges — as the government maintains them with the State's revenues — it had no right at all to withdraw the sums destined for that purpose, and to employ them for other wants. But still the students kept the peace, and formed, in silence, a fund with voluntary contributions to help those who were not rich enough to pay the fees. Now, this fund has been seized by the government, and the new rules submitted the students to a constant system of espionage and police...

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Часть текста: The fifth time of the year, Only the praise of his. Breathe with the final freedom, Because love is this. The sky has flown up high, The objects' contours are light, And the body does not celebrate any longer The anniversary of its plight.

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Часть текста: interspersed with unnecessary embellishment (chitchat about living writers, for instance). What do you do to prepare yourself for the ordeals of life? Shave every morning before bath and breakfast so as to be ready to fly far at short notice. What are the literary virtues you seek to attain-- and how? Mustering the best words, with every available lexical, associative, and rhythmic assistance, to express as closely as possible what one wants to express. What are the literary sins for which you could be answerable some day-- and bow would you defend yourself? Of having spared in my books too many political fools and intellectual frauds among my acquaintances. Of having been too fastidious in choosing my targets. What is your position in the world of letters? Jolly good view from up here. What problems are posed for you by the existence of ego? A linguistic problem: the singular act of mimetic evolution to which we owe the fact that in Russian the word ego means "his," "him." What struggles these days for pride of place in your mind? Meadows. A meadow with Scarce Heath butterflies in North Russia, another with Grinnell's Blue in Southern California. That sort of thing. What are your views about man's upward climb from slime? A truly remarkable performance. Pity, though, that some of the slime still sticks to drugged brains. What should we think about death?...

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Часть текста: The New York Times, 1971 г. The New York Times [1971] A second exchange with Alden Whitman took place in mid-April, 1971, and was reproduced, with misprints and other flaws, in The New York Times, April 23. You, sir, will be seventy-two in a few days, having exceeded the Biblical three score and ten. How does this feat, if it is a feat, impress you? "Three score and ten" sounded, no doubt, very venerable in the days when life expectancy hardly reached one half of that length. Anyway, Petersburgan pediatricians never thought I might perform the feat you mention: a feat of lucky endurance, of paradoxically detached will power, of good work and good wine, of healthy concentration on a rare bug or a rhythmic phrase. Another thing that might have been of some help is the fact that I am subject to the embarrassing qualms of superstition: a number, a dream, a coincidence can affect roe obsessively-- though not in the sense of absurd fears but as fabulous (and on the whole rather bracing) scientific enigmas...

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Часть текста: 1969, Philip Oakes sent me a series o)f questions on behalf of The Sunday Times, London. I happened to be greatly annoyed by the editorial liberties that periodicals in other countries had been taking with material I had supplied. When he arrived on June 15, I gave him my written answers accompanied by the following note. When preparing interviews I invariably write out my replies (and sometimes additional questions) taking great care to make them as concise as possible. My replies represent unpublished material, should be printed verbatim and in toto, and copyrighted in my name. Answers may be rearranged in whatever order the interviewer car the editor wishes: for example, they may be split, with insertion of the questioner's comments or bits of descriptive matter (but none of the latter material may be ascribed to me). Unprepared remarks, quips, etc., may come from me during the actual colloquy but may nut be published without my approval. The article will be shown to me before publication so as to avoid factual errors {e. g., in names, dates, etc.). Mr. Oakes' article appeared in The Sunday Times on June 22, 1969. As a distinguished entomologist and novelist do you find that your two main preoccupations condition, restrict, or refine your view of the world? What world? Whose world? If we mean the average world of the average newspaper reader in Liverpool, Livorno, or Vilno, then we are dealing in trivial generalities. If, on the other hand, an artist invents his own world, as I think I do, then how can he be said to influence his own understanding of what he has created himself? As soon as we start defining such terms as "the writer," "the world," "the novel," and so on, we slip into a solipsismal abyss where general ideas dissolve. As to butterflies-- well, my taxonomic papers on...

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Часть текста: I suppose, as "Special to The New York Times" at some later date by A. W., if he survives, or by his successor. I transcribe some of our exchanges. You have called yourself "an American writer, born in Russia and educated in England. " How does this make you an American writer? An American writer means, in the present case, a writer who has been an American citizen for a quarter of a century. It means, moreover, that all my works appear first in America. It also means that America is the only country where I feel mentally and emotionally at home. Rightly or wrongly, I am not one of those perfectionists who by dint of hypercriticizing America find themselves wallowing in the same muddy camp with indigenous rascals and envious foreign observers. My admiration for this adopted country of mine can easily survive the jolts and flaws that: , indeed, are nothing in comparison to the abyss of evil in the history of Russia, not to speak of other, more exotic, countries. In the poem "To My Soul, "you wrote, possibly of yourself, as "a provincial naturalist, an eccentric lost in paradise. " This appears to link your interest in butterflies to other aspects of your life, writing, for instance. Do you feel that you are "an eccentric lost in paradise"? An eccentric is a person whose mind and senses are excited by things that the average citizen does not even notice. And, per contra, the average eccentric-- for there are many of us, of diffйrent waters and magnitudes-- is utterly baffled and bored by the adjacent tourist who boasts of his business connections. In that sense, I often feel lost; but then, ...

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Часть текста: Рассуждения его по этому предмету весьма интересны, и мы сообщаем их вполне нашим читателям. Дело, по случаю которого рассуждения эти появились в "Times", состояло в следующем. В Лондоне назначена была комиссия для исследования довольно важных злоупотреблений, совершенных одним чиновником при обмундировании английской армии. Редакциям журналов предложено было приостановить свои рассуждения о фактах, открытых комиссиею, и о вопросах, ею поднятых, до тех пор, пока суд будет окончен. "Times" объявила, что на это предложение согласиться не может и что комиссия не имеет права связывать прессу своими условиями, но что она может не впустить людей, принадлежащих к редакциям журналов, в залу прений, -- если только она осмелится сделать это. Комиссия действительно не осмелилась этого сделать и решилась подчиниться требованию свободного журнального рассуждения о деле, провозглашенному "Таймсом". С своей стороны, "Таймс" счел нужным объяснить те причины, по которым он не хотел согласиться на предложение комиссии. Он это сделал, напечатавши следующую статейку: Мы решились не согласиться на сделанное нам приглашение -- не толковать о следствии, производимом теперь, до тех пор, пока оно не будет кончено. Решившись на это, мы считаем себя обязанными относительно нашей страны, прессы вообще и нас самих в особенности оправдать свое решение. Конечно, печатание в Англии совершенно свободно, и мы в этом случае могли быть полными господами своих действий, точно так, как и во всяком другом, но самая эта свобода действий, как и всякое учреждение в народе свободном, должна держаться на сочувствии и одобрении общественном. Мы можем говорить всё, что у нас на душе, когда мы хотим и как хотим, потому что рассудок и опыт показали обществу, что эта свобода слова составляет лучшую гарантию свободы и благосостояния всей...

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Часть текста: came to see me at my hotel in Montreux with the object of conducting an interview for The New York Times Book Review. The following letter awaited him downstairs. "Welcome! I have devoted a lot of pleasurable time to answering in writing the questions sent to me by your London office. I have done so in a concise, stylish, printable form. Could I please ask you to have my answers appear in The New York Times Book Review the way they are prepared here? (Except that you may want to interrupt the longer answers by several inserted questions). That convenient method has been used to mutual satisfaction in interviews with Playboy, The Paris Review, Wisconsin Studies, Le Monde, La Tribune de Genève, etc. Furthermore, I like to see the proofs for checking last-minute misprints or possible little flaws of fact (dates, places). Being an unusually muddled speaker (a poor relative of the writer) I would like the stuff I prepared in typescript to be presented as direct speech on my part, whilst other statements which I may stammer out in the course of our chats, and the gist of which you might want to incorporate in The Profile, should be used, please, obliquely or paraphrastically, without any quotes. Naturally, it is for you to decide whether the background material should be kept separate in its published form from the question-and-answer section. I am leaving the attached material with the concierge because I think you might want to peruse it before we meet. I am very much looking forward to seeing you. Please give me a ring when you are ready." The text given below is that of the typescript. The interview appeared in The New...

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Часть текста: by telex. The answers, neatly typed out, were awaiting them when they arrived, whereupon they added a dozen more, of which I answered seven. Some of the lot were quoted in the May 23, 1969, issue-- the one with my face on the cover. There seem to be similarities in the rhythm and tone of Speak, Memory and Ada, and in the way you and Van retrieve the past in images. Do you both work along similar lines? The more gifted and talkative one's characters are, the greater the chances of their resembling the author in tone or tint of mind. It is a familiar embarrassment that I face with very faint qualms, particularly since I am not really aware of any special similarities-- just as one is not aware of sharing mannerisms with a detestable kinsman. I loathe Van Veen. The following two quotations seem closely related: "I confess I do not believe in time. I like to fold my magic carpet, after use, in such a way as to superimpose one part of the pattern upon another. " (Speak, Memory) and "pure time, perceptual time, tangible time, time free of content, context and running commentary-- this is my time and theme. All the rest is numerical symbol or some aspect of space. " (Ada). Will you give me a lift on your magic carpet to point out bow time is animated in the story of Van and Ada? In his study of time my creature distinguishes between text and texture, between the contents of time and its almost tangible essence. I ignored that distinction...

Поиск по заголовкам произведенийCлово "TIME"

Поиск по заголовкам произведений
Cлово "TIME"