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See Also See Also Aesthetic See Also See Also Fate

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Index Ada, 2n, 6, I7-I8, 34, 38, 4I, 48, 76, Biirger, Gottfried August, 222 77n, I64, I95 Butterflies, 6, 25-26, 94, I38, I66-8, Aesthetic bliss, 2, 4, 5, I98, 202, 229 I7I, I84, 224fi Aesthetic detachment, 3I, 40. See also Aesthetic distance Cancellation of characters, 22-26, Aesthetic distance, 32, 34-3 5, 116-I7, 33-34, 44-46, 64, 80, 98-99, 102-5, I 58, I87. See also Aesthetic I59. I8o, I90, I95-97, 227 detachment Cancellation of the setting, 56, 105, Allegory, I2, I26-27, I36, I55 I90, I95-97 Alliteration, I 34, I 39 Carnival, 6-7, 37, 4m, 46, 59-6o Ambiguity, 43-44, I35-40, I72n, 2I8 Carroll, Lewis, 44, 57, 6I, 128, 22I, Anaesthetic effect, 3 I-3 5, 116-I8, 229 224 Anamorphoscope, I20, 129. See also Catachresis, I30-34, I82 "Nonnons'' Cathartic effect, I98-203 Andersen, Hans Christian, 57 Chance, 9-I I, 8I-84, 2I8; "chance that Arnold, Matthew, I82-83 mimics choice," 9, 54, 84; Assonance, I34. I39 coincidence, 8-I I, 48, 54, 82-84. See Average reality, II, I5-I8, 28, 42, 50, also Fate 77, I20, I2I, I29, I82, I98 Character portrayal, 57-58, I44-48, I86-87, 204-7, 220; characters as "galley slaves," 79, 80, 84, 92, I I9, Balmont, Konstantin, I 5 I I86; characters as "methods of Baltrushaitis, Jurgis, I 5 I composition," 54, 8I, 106, I86, 20I; Baudelaire, Charles, 207, 223n "ghosts," 99, rnm, I73; the typical Belyi, Andrei, I 5 I and the unique, I 4-I 5 Bend Sinister, 3, 7, 17, 53, 64, 66, 73, Chekhov, Anton, II2, II5 82, 84, 86, 89, 99, IOI, 122, I27n, Chernyshevski, N. G., 5, 9, I45. I47. I4I, I6I, I66, I71-97, I99, 228-29 I49. I57. I58, I6on, I6I, I65-66, Bergson, Henri, 8, 48, II8, 122, I55n, I69, I70, I74 I56, I94fi Clemens, Samuel (Mark Twain), 126n Blok, Aleksandr, 103-4, I 5 I Coleridge, Samuel Taylor, IO, 5 I, Borges, Jorge Luis, IO, II, I4fi, 20, 80, I78--'79. I9Q-9I 88, I29, I36, I95. 2II, 2I5 Comedy, 8, 33n, 35, 48, 56, II8-22, Bosch, Hieronymus, 56n 205 Briusov, Valerii, I 5 I Conrad, Joseph, 54fi, 96n Bronte, Charlotte, 75, 104 Control of sympathy, 30-35, 40, 4m, Browning, Robert, 45n 46, 47, 108-9, I II-22, I88-89. See Bunin, Ivan, I5I also Diversionary devices 239 240 Index Creative perception, I I-I2, 42-43, so, Ghost words, 6, I34-3 S I20, I29 Gide, Andre, 78n Gift, The, s. 9, 16-I7, 20, 22, 37n, S3, Daguerre, Jacques, I4, 120 S4. 64, 83, 134-3s, 142-76, I9I, I98, Dar, I3S. IS9. I6S 2I3, 224, 226n Davies, Robertson, SI, s4n Glory, 16, 4I, 5In, 72, 73, 88-I07, I68, Death, s. 7, 9, 30, 98-99, IOS-6, IS4. 17I, I90, 2I3, 224 I84, I86, I94-96, 2IS-I7, 22I-26. Gnosticism, 4-s, I 1, 98, I23, 12s-34, See also Merger 138, I71, I8S. See also Transcendent Defamiliarization, 2, 93n reality Defense, The, I6, 27, 42, 44, 47-48, Gogol, Nikolai, 28, 7on, I04, I 12, 16s, s m, S3. 67-87, 89, 90, I07, I43. I46, I87-88 22I Gumilyov, Nikolai, I96 Despair, I6, s7n, 78n, I08, 113, I42-43, 20I Hailey, Alex, 23, 27. See also Sources Dickens, Charles, 34-3 s, 43n, I86n, 211 (Roots Ill) technique Dickinson, Emily, I8I Hawthorne, Nathaniel, 12n, 14, son, Diversionary devices, 7I-72, 78, S7. 109-IO, 196, 223-24 112-IS, I87-90, I96. See also Control Hegel, G. W. F., I53 of sympathy Heidegger, Martin, 196 Dostoyevski, Fyodor, 37, s7n, I46 Heller, Joseph, 92 Dumas, Alexandre, I 26n Hemingway, Ernest, 226 Dystopia, IO, I6-I7, I23, 126, I39-4I, Hierophany, 133 I4S. I78, I86, I94-97 Holocaust, 30, 32, 69, 12s, I77-78, 183-84 Human interest, 2, S7. 86; "human Eliot, George, 7s, I04 document," 47; "human humidity," Emerson, Ralph Waldo, I2, IS, I77 47, 130; "warmth," 67, 87 Enchanter, The, I99-20I Eugene Onegin, S4, I s2 Iconism, I34-3 S "Escape into Aesthetics," 2, s. 69, 73 Ilf, I., and E. Petrov, 146 Eschatological alertness, 8, IO-I I, 86, Indeterminacy, I 24-4 I; interpretive, 87, 88, IOS, I48, I SO 12s-29; lexical, 129-35. I39; Escher, Maurits, I S9 structural, 13s-40, I 68 Exile, 22, 33, 37, 39, 68-69, 83, 92, "Infinite consciousness," 89, I61, 173, ISS, 223-26. See also Russian 18s-86, I94. 225 emigrants Infinite regression, 78n, 16 I Extended simile, I32-34 Inner agenda (of culture), 13, 68-7I, Eye, The, I9, 40, I02-S, I07, I40, I83 122, I4I, 144 Invitation to a Beheading, 3, s. 6, 7, Fate, 9, S3-SS, 78, 8I-82, 1s2, 222. See 16-17, 22, 37n, 43, 44, S6, 73, S m, also Chance 89, 98, 102, 105, I I6, 120, 123-41, l'euerbach, Ludwig, I6S I43-4S, 163, 169, I72n, I82, I83, Fielding, Henry, s6, 181n 18s-87, 189-90. I9S. 203, 2I7, 2I8 Fitzgerald, F. Scott, 2I6 "Involute abode," 4S, 89, 98-99, 102, Flaubert, Gustave, s7, 81-82 I38-3 9 fucal character, 23, 1s2, I73. 204, 207, Involution, IO, 88-89, 92, 94, IOI-2, 2II. See also Point of view 118, I38, 188, 193-9s furegrounding, I87-88 Irony, I62, I72, 173-74. 177, 181; Freud, Sigmund, 8, 84 dramatic, 116-I7, 204 Index 241 James, Henry, 204 Mise en ablme, 7S, S9, II6, 125-26, 15S, Joyce, James, IO, 41n, 139, 1S9, 21S 190 Mobius strip, SS, 158-61 Kafka, Franz, 123, 1S6, 194 Moliere, 56 Kamera obscura, 107-9, 120 Moore, Marianne, 196, 19S Keats, John, 95-96, I 52 Mystery, 3-4, 6, 8, 58-62, 9S, 164-65, King, Queen, Knave, S, 11, 15-16, 169-70, 175, 1S5 38-39, 42, 45, 47-67, S2, S3, 100, Mysticism, 4-S, 16, 127-28, 130, 10S, 114, 122, 124, 130, 172, 1S6 169-75 Korol', dama, valet, 63 Korolenko, Vladimir, 126n Nazism, IO, 13, 63-66, IOS, 122, 126, Kosinski, Jerzy, 1 1 1 140, 142-43, 177-7S, 1S3-84, 190 Kubrick, Stanley, 2IO Nietzsche, Friedrich, 7, 41n Kuropatkin, Aleksei Nikolaevich, Nikolai Gogol, 39, 154 General, 8-9 "Nonnons," II9-20, 129. See also Anamorphoscope Lafayette, Marie-Madeleine, 57 Novalis, 80-S 1 Laughter in the Dark, S, 14, 16-17, Novel of adultery, 47, 50, 52, 54, 57 I07-22, 1S7n, 223n Lectures on DonQuixote, 121-22 Lectures on Literature, 3, S m, S2, 139, O'Neill, Eugene, 4S 21S Orwell, George, 140 Lectures on Russian Literature, 2Sn, 5S, 62n Pa le Fire, 17, 45, 64, S9, 154n, 159 Lermontov, Mikhail, 45n Paralepsis, 23n, 2Sn Levels of meaning, 15, 40, 125-29, Parody, 2n, 126n, 138, 140, 145, 158, 135-36, 138-39, 221. See also 175, 179-So Indeterminacy Paronomasia. See Wordplay Liar's paradox, 24n Pasternak, Boris, 226 Lolita, 1, 2, 17, 18-19, 21, S2, 90, 108, Patterns, 8-I I, 27n, 35, 36, 3S, 67, 1S7, 191, 198-22S 73-74, 76, So, 85-S7, 150-70, 175, Lolita: A Screenplay, 2IO 193 Look at theHarlequ ins!, 2, 6, 18, 25-26, Percy, Walker; 51 32, 34, 45, 6o, 90, 95-96, 97, IOin, Perepiska s sestroi (Correspondence with 105, 162, 172, 21Sn the sister), 17S, 196 Perspective, 18, II6-1S, 148, 1S6-90, Mandelstam, Osip, 33n 203 . See also Point of view Man from the USSR, The, 97n Pnin, 7, 17-19, 21-35, 37, 63, 64, 66, Mary, 15, 36-46, 48, 64, 71, 96, I05, 80, 94, 98, 99. II5, 121-22, 15on, 143, 145, 187, 21In, 221 175, 1S7, 193n, 201, 21 I, 217, 218, Melville, Herman, 2oon, 203, 204, 220, 224, 226n 223n, 224n Poe, Edgar Allan, 89n, 213, 222-23 Memory, 8, 24, 27, 37-39, 42, 44, 76, Po ems and Problems, 6, 15, 1S, 90, 91, 98, 155-57, 159, 162, 167-68 97n, I05, 226 Merger; 6-7, 46, 98-99, I05, 139, 225 Poetic justice, 111-12, 161, 217 Merimee, Prosper, 216 Point of view, 81; first-person narrative, Metalepsis, 23n, IOin, 13S 23-26, II8, 15on, 200-204, 207-I I, Metaphysical mistake, II, 16-17, 90, 221; the implied author, 202-3; the 92-100, 106, 107-9, III, 200-203, omniscient stance, 23, 81, 89, 15on; 213 third-person narrative, 11S-19, 157, 242 Index 200-20I; unreliable narrator, 23-29, Self referentiality, I8, 33, 35, 46, 47, 48, II3, I7Q-7I, I73. 2I 1. See also Focal 53-57, 64, 84, 86, 88, IOI-2, I27, character I38-40, I48, I52, I58-63, I79-80, Priglashenie na kazn', I37. I39 I84-89, I95-97. See also Cancellation Proust, Marcel, I68n of characters; Cancellation of the Puns, 1)-IO, I34-35, 204. See also setting; Metalepsis; Paralepsis; Point Wordplay of view: unreliable narrator; Sources Pushkin, Aleksandr, 2m, 22n, 30, 45n, (Roots III) technique 95-96, I2I, I50, I5I-52, I54. I58n Semantic transparencies, I 84-87 Sexual eidolon, I6-I7, 95, Io7-8, 2I3 Rabelais, Fran�ois, I74 Shakespeare, William, I4ll, 58-59, 6on, Radiguet, Raymond, 57 97, 112, I78, I88-89 Reader response: entrapment by the Shelley, Percy Bysshe, 94, 107, I14, I94 text, IO-I I, 78n, 79n, 90, I2In, I99. Short stories: 202-?, 2I2-I6; reenactment of the Details of a Sunset: "The Doorbell," characters' experience, II, 78, 90, I39 38; "A Guide to Berlin," 93; Realization of metaphors, I4, 40, 5 I, "Orache," I34n; "The Reunion," 108, I79-80, 2I5 38 Real Lifeof Sebastian Knight, The, Nabokov'sDozen: Thirteen Stories: I6-17, I9, 23, 45, 53n, 54, 8I, 83n, "The Assistant Producer," 45, 103; 105, Io6, I52.
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