DOCSLIB.ORG

Other Voices, Other Arts

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Other Voices, Other Arts OTHER VOICES, OTHER ARTS WHEN “ART OBJECTS” LILIANE LOUVEL University of Poitiers Abstract: By analysing G. Josipovici’s novel, The Goldberg Variations, this paper investigates the validity of a new critical perspective, namely that of applying pictorial language to the analysis of literary texts. The investigation draws on a number of critics, E.M. Forster among them, who have acknowledged the need to borrow terms from other arts to be able to “describe” certain aspects of a literary text when literary criticism is found lacking. Key words: art, E.M. Forster, Josipovici, painting, pictorial language 1. Introduction In this paper, I will start from “une idée de recherché”, as Barthes once put it (Barthes, 1980:35), and will try to propose a new critical stance or position. This, I will argue, is no foolish fancy of mine as it has, in different ways, already been suggested by Forster, Barthes, Marin, Clüver, and Ortel. If we take E.M. Forster for instance, in Aspects of the Novel (1990) he acknowledged the need to borrow terms from other arts to be able to “describe” certain aspects of a literary text, when literary criticism is found lacking. Now we must consider something which springs mainly out of the plot, and to which the characters and any other element present also contribute. For this new aspect there appears to be no literary word. We will borrow from painting first and call it the pattern. Later we will borrow from music and call it rhythm. Forster’s notions of pattern and rhythm – which nicely tie in with the overall project and thematic inclines of the text I will study entitled Goldberg Variations (Josipovici, 2007), in which music and painting play a major role – may help to define literature and its techniques for they need to do so the more the arts develop (Forster, 1990). So, in a way, this intuition and proposal of Forster’s, among other critics, justify the following hypothesis of mine: literature and language have long been used to analyse painting, and painting has duly been assimilated to language. Endlessly, critics such as Barthes, L. Marin, M. Foucault, Hillis Miller, K. Varga, have questioned the relationship between language and painting: “La peinture est-elle langage, peut-on valablement lui appliquer le modèle linguistique?” (Marin, 1971:89). Now I propose to envisage things the other way round, to turn the argument upon its head, and to see to what extent pictura may help to “criticize” poesis, when no “literary word” exists while pictorial parlance or idiom is necessary to “open” the eye of the text. Let it be remembered that krinein means to open, to separate, to judge. At least, this might be a way of envisaging criticism. And perhaps a whole critical system may be grounded on the study of previous literary discourse, realizing this discourse often “defines” literary effects by resorting to pictorial techniques or mores. When critical language falls short of its object, the other arts have come in to the rescue, a practice which runs deep as we shall see. Therefore, let me focus on a particular example of painting-in-text that will help me to prove my point thanks to a case analysis. Then I will see if my critical proposition is valid and, if it is, what the consequences are, what the issues at stake are when the literary text resorts to painting, picture, image, i.e. the visual at large, and does not limit its scope to language about things or about language. In short, when different semiotic systems are put to work together, how can critical theory observe and analyze what happens? Conversely what does the visual do to the text? How does it affect the written dimension and the vision as conveyed in writing? The medieval diptych articulating two painted panels will serve as a model or “pattern” in more ways than one as I will try to show. 2. First panel of the diptych: “Containers” Chapter 11 of G. Josipovici’s novel, Goldberg Variations (2007), is entitled “Containers”. It consists of a sole autonomous section, as it is the case with other chapters, such as “The Sand”. It displays, over 82 lines, a very particular kind of description which finds a brief but significant echo some thirty pages later. The text purports to provide a very detailed description by a heterodiegetic narrator of several objects under the pantonym “containers” as indicated by the title (for this definition and modes of action, see Philippe Hamon, 1981). By the end of the description, in the reader-viewer’s mind, “une image s’est levée” (a picture has arisen), as D. Arasse put it (2000). It evokes the ghost of paintings and in particular of a genre of painting. If this intuition of mine is confirmed (as a consequence of the text “affecting” the reader), conversely the nature of the object must “affect” (I shall come back to the term) the nature of the text and turn it into an ekphrasis, possibly that of an existing painting to be found in our world. The reader-viewer then turns detective, a function in keeping with textual and hermeneutic analysis. This text is particularly interesting as it asks and partially answers some of the critical questions I addressed above as well as a few more such as: What are the stylistic devices which provoke such a vision? What triggers the reader’s feeling that this description is that of a picture and of a particular genre of painting first thanks to textual elements, then to art history? How can a text (after a painting) fool the eye? What are its diegetic and metatextual functions? Its anthropological and phenomenological stakes? 2.1. The art of describing objects: Objects and objectivity “The art of describing” objects is a phrase that obviously alludes to Svetlana Alpers’s seminal book (1990) mostly dedicated to Dutch Painting, which is in keeping with my subject. What strikes one when first reading the eleventh chapter with an “innocent” eye is a kind of obsessive dedication to the location of objects, testifying to a kind of maniac precision or accuracy, to an apparent – although quickly belied – objective point of view, and eventually to the uncovering of an inner yet fruitful contra-diction. Let it be remembered that Josipovici’s first novel was entitled The Inventory (1968) and chapter 11 of Goldberg Variations, truly is one: the repetition of “below”, “above”, “the further edge”, “in the middle”, “in the centre”, “to the left/the right hand side”, “bottom”, “next to”, etc., literally madden the reading eye, making the reader feel she is being made a fool of. The text is replete with terms related to mathematical precision, fractions, and measurements (size, height, width): “within an inch or two”, “a/three quarter(s) of”, “one third of”, “half of”, “a few inches away”, “three reddish-brown threads”, “two containers”. Eleven objects, “two books, a round box, seven bottles and jars, and a fruit”, their sizes, shapes, colours, material, are presented in the mode of an enumeration: “They are disposed in the following fashion : at the bottom, on the left flush with the left hand wall, lies a large book bound in dark leather, its white pages facing us.” The result of this descriptive choice is that objects strongly come to the fore as in a list, in a collection, a catalogue or an inventory, testifying to the mastery of the narrator, for “lists are a form of power” as A.S. Byatt remarked in The Virgin in the Garden (1994:90). The syntactic choice is that of parataxis and juxtaposition: “This one identical to the other, except that it is shut tight, the bolt in place and the key in the hole. A large bunch of keys hangs”, etc. The sentences are often verbless or the verb of the main clause is omitted and action rests on relative clauses: “A shelf in a shallow recess, above which is a cupboard with two small doors, one of which is partially open, but not enough to allow one to see inside, the other firmly shut”; or: “Next to it, a little higher and hanging down just to the right of the lemon, a jar or bottle encased in a yellow wicker basket with a twisted wicker handle attached to the top edge, which is covered with a dark green cloth”. The text displays an obsession with extreme nomination and the desire to focus on a close-up of the viewed objects seized in all their dimensions before any kind of action is taken. The eye takes in the object in its entirety (a bottle) together with its colour, material, then concentrates on smaller details. “God is in the details” Mrs Goldberg quotes (the famous phrase is actually ascribed to Aby Warburg, cf Georges Didi-Huberman (2000:92). Quoted in G. Josipovici, 2007 :107.) It satisfies the scopic urge more than the optic one. This tallies with what an “ob-ject” is, according to the Webster’s Dictionary: “put in the way of some of the senses”. But an object may also turn subject, as the ambiguity of the term testifies and as Barthes acknowledges too (1982: 175). 2.2. YET: the subjective description of objects: there is more to it than meets the eye Although the description under scrutiny purports to be as “objective” as possible moving objects to the fore and insisting on material details, signs of a human presence or of a human gaze soon become identifiable: the precise location of the objects reveals the position of the viewer for everything is located in relation to his/her position: “to the right” (of her gaze), “to the left as one looks at it”.
Load more

Recommended publications
  • Mockings of the Master Illusionist
    Books does not instruct. It is true, of course, tliat "resistance" in a novelist, if unac­ Mockings of the Master Illusionist companied by an instinct for true values, can be simply a show-biz number (mor­ Tyrants Destroyed and sian-language past when he went as "V. ally. Mailer and Updike weigh roughly Other Stories Sirin"; and lo, a foreword apprises us the same). But time and again in Up­ by Vladimir Nabokov that his oeuvre has been accorded a full- dike's stories, you feel an aptitude for McGraw-Hill, 288 pp., $7.95 dress bibliography and reminds us (cryp­ something better than stylized No! in tically) that he also wrote Lolita. The thunder, a capacity for a more active and Reviewed by Hugh Kenner bang-you're-dead reviewer will lower his earnest address to experience, an interest cocked index and think twice before pro­ in playing in other than the sad-song ike Oscar Wilde and Charles Kinbote, nouncing stories so sponsored dismay­ keys, even a trace of moral authority. LI Nabokov plays—has been playing ingly empty, especially as Nabokov has An example: Toward the end of the now for many decades—a game to which more than once slipped in ahead of him, book at hand, Ms. Prynne, keeper of the self-appreciation is intrinsic. His invented anticipating doubts but leaving them rest home. Christian believer, woman of selves even appreciate one another. John equivocal. conscience, commits an exemplary piece Ray, Jr., Ph.D., in his foreword to Lolita, For instance, the fourth story, of kindness in the public ways, when con­ tells us how to admire what Humbert "Music," is called in its headnote "a fronted by a drunken Indian.
    [Show full text]
  • |||GET||| the Stories of Vladimir Nabokov 1St Edition
    THE STORIES OF VLADIMIR NABOKOV 1ST EDITION DOWNLOAD FREE Dmitri Nabokov | 9780679729976 | | | | | [PDF] The Stories of Vladimir Nabokov Book by Vladimir Nabokov Free Download (685 pages) Knopf Doubleday Publishing Group. At night one perceives with a special intensity the immobility of objects—the lamp, the furniture, the framed photographs on one's desk. It's a powerful, moving glimpse into the life of an immigrant couple visit their son in a mental asylum on The Stories of Vladimir Nabokov 1st edition birthday. Very Good. It's similar in my aesthetic tastes, too. Dec 15, Myles rated it really liked it Shelves: short- stories. And beyond the bend, above the sidewalk—how unexpectedly! Payment details. A glass column, full of liquid yellow light, stands at the streetcar stop, and, for some reason, I get such a blissful, melancholy sensation when, late at night, its wheels screeching around the bend, a tram hurtles past, empty. The opening paragraph in Part 3 wonderfully sets the scene: " On the browner and wetter part of the plage, that part which at low tide yielded the best mud for castles, I found myself digging, one day, side by side with a little French girl called Colette. All orders ship within two business days. The first third took me a long time because the stories in this part are very short and each one is l I know and love Nabokov. I think I'd much prefer having single collections of short stories, which are more hit-or-miss for me in general, as a reader. This collection is a must for those who adore Nabokov, but also an interesting introduction to The Stories of Vladimir Nabokov 1st edition for those whose only exposure may be "Lolita'.
    [Show full text]
  • Doktori Disszertáció Világok És Másvilágok Vladimir Nabokov
    DOKTORI DISSZERTÁCIÓ VILÁGOK ÉS MÁSVILÁGOK VLADIMIR NABOKOV MŰVEIBEN SÁRDI RUDOLF 2013 Eötvös Loránd Tudományegyetem Bölcsészettudományi Kar DOKTORI DISSZERTÁCIÓ SÁRDI RUDOLF VILÁGOK ÉS MÁSVILÁGOK VLADIMIR NABOKOV MŰVEIBEN WORLDS AND WORLDS APART IN VLADIMIR NABOKOV’S FICTION Az Irodalomtudományi Iskola vezetője: Dr. Kállay Géza DSc, egyetemi tanár A Modern Angol és Amerikai Irodalom Doktori Program vezetője: Dr. Péter Ágnes DSc, egyetemi tanár A bizottság elnöke: Dr. Hetényi Zsuzsa DSc, egyetemi tanár Hivatalosan felkért bírálók: Dr. Takács Ferenc PhD, egyetemi docens Dr. Pellérdi Márta PhD, egyetemi docens A bizottság további tagjai: Dr. Friedrich Judit CSc, egyetemi docens, a bizottság titkára Dr. Goldmann Márta PhD, főiskolai docens Dr. Kenyeres János CSc, egyetemi docens Dr. Gellért Marcell PhD, főiskolai docens Témavezető: Dr. Farkas Ákos PhD, habilitált főiskolai docens DOCTORAL DISSERTATION by Rudolf Sárdi Worlds and Worlds Apart in Vladimir Nabokov’s Fiction A doctoral dissertation submitted to the Faculty of Humanities of Eötvös Loránd University, Budapest in fulfillment of the requirements for the degree of Doctor of Philosophy by Rudolf Sárdi in 2013 Fall Semester Supervised by Dr. Ákos Farkas, Associate Professor Department of English Studies School of English and American Studies Modern English and American Literature Doctoral Program Doctoral School of Literature Headed by Prof. Dr. Géza Kállay Faculty of Humanities Eötvös Loránd University Budapest, Hungary Certificate of Research I hereby declare that all information in this document has been obtained and presented in accordance with academic rules and ethical conduct. I also declare that, as required by these rules and conduct, I have fully cited and referenced all material and results that are not original to this work.
    [Show full text]
  • Is Like a Novel for Adventure^ Like a Prophecy for Wisdom^ Like A
    THE SATURDAY REVIEW OF LITERATURE, DECEMBER 8, 1928 491 misleading, since the communities observed most to perversion, her own marsh-fire— plans, the misled police affirming the crimes life in his own eyes and the worWs, un­ were selected from only fifteen states, and her indispensability to Michael. to be a murder and a suicide. But Jimmie suspected of being a half-caste. Ill-treated ten of these were in the South; moreover, The story of this bitter, flattering, pos­ thinks otherwise, and makes it his business by his tutor he runs away to Shanghai, and these were for the most part small commu­ sessive woman, would alone fill a novel, but to discover what hidden relationship the there, under the guardianship of an Ameri­ nities which, as Professor Steiner indicates, she shares the stage with all sorts of other abduction of Bobby has to the dual mur­ can consul, friend of his late father, at­ do not represent the ascendant unit in Amer­ people, for one gets also the tale of ders. Jimmie demonstrates the futility of tains youth, distinguishes himself at the ican civilization. The advantage of ana­ Michael's wife in her narrow struggle for entrusting the responsibilities of Sherlock university, becomes a leader of the students' lyzing- the processes of smaller communities personal freedom; the conflict throughout to a fellow of ordinary mental calibre party, agitating against the foreigners, takes is obvious: the forces of control are more childhood and young manhood in Michael's instead of to an intellectual super-man. prominent part in the mass demonstrations.
    [Show full text]
  • 1 LOOKI G THROUGH LOLITA's GLASSES: Intertextual Relations
    1 LOOKIG THROUGH LOLITA’S GLASSES: Intertextual Relations between abokov’s Lolita and Coetzee’s Disgrace BA Thesis English Language and Culture Erde Unal 0269131 Supervisor: P.J.C.M. Franssen Second Reader: David A. Pascoe April 2013 2 Introduction Many critics have suggested that J.M. Coetzee’s novels contain various intertexual references to the likes of Beckett, Kafka, the Classics such as the Aeneid , etc 1. This thesis is mainly motivated by a gap of research in current literature , namely the intertextuality between J.M. Coetzee’s Disgrace (1999) and Vladimir Nabokov’s Lolita (1955). In Doubling the Point (1992), Coetzee says that Nabokov no longer influences him (28). Immediately when reading the first page of Disgrace, however , the reader is struck by memories of Lolita . The more one reads, the more cross-references one notices, which lead up to numerous references per page. From quotes, subjects, diction, tone, mood, style to major themes; there seems to be an echo of Lolita throughout the book. As far as I know, no detailed research has been conducted in this field. This thesis attempts to analyze the intertextuality between Disgrace and Lolita , and to give an explanation for this striking intertextuality. The term intertextuality may be used in several senses; in its broadest meaning the author’s sub-consciousness plays an important role. This abstract sense of intertextuality can mean anything from cultural references, society’s conventions, the public sphere, to spoken words in a café, everything that has been written and other language usage which subconsciously influences a novel or another piece of art.
    [Show full text]
  • Hans Christian Andersen
    Bloom’s Modern Critical Views African American Kate Chopin Henry James Poets: Wheatley– Agatha Christie James Joyce Tolson Samuel Taylor Franz Kafka African American Coleridge John Keats Poets: Hayden– Joseph Conrad Jamaica Kincaid Dove Contemporary Poets Stephen King Edward Albee Julio Cortázar Rudyard Kipling Dante Alighieri Stephen Crane Milan Kundera American and Daniel Defoe Tony Kushner Canadian Women Don DeLillo D.H. Lawrence Poets, 1930– Charles Dickens Doris Lessing present Emily Dickinson Ursula K. Le Guin American Women John Donne and the Sinclair Lewis Poets, 1650–1950 17th-Century Poets Norman Mailer Hans Christian Fyodor Dostoevsky Bernard Malamud Andersen W.E.B. DuBois David Mamet Maya Angelou George Eliot Christopher Marlowe Asian-American T.S. Eliot Gabriel García Writers Ralph Ellison Márquez Margaret Atwood Ralph Waldo Emerson Cormac McCarthy Jane Austen William Faulkner Carson McCullers Paul Auster F. Scott Fitzgerald Herman Melville James Baldwin Sigmund Freud Arthur Miller Honoré de Balzac Robert Frost John Milton Samuel Beckett William Gaddis Molière Saul Bellow Johann Wolfgang von Toni Morrison The Bible Goethe Native-American William Blake George Gordon, Lord Writers Jorge Luis Borges Byron Joyce Carol Oates Ray Bradbury Graham Greene Flannery O’Connor The Brontës Thomas Hardy Eugene O’Neill Gwendolyn Brooks Nathaniel Hawthorne George Orwell Elizabeth Barrett Robert Hayden Octavio Paz Browning Ernest Hemingway Sylvia Plath Robert Browning Hermann Hesse Edgar Allan Poe Italo Calvino Hispanic-American Katherine Anne Albert Camus Writers Porter Truman Capote Homer Marcel Proust Lewis Carroll Langston Hughes Thomas Pynchon Willa Cather Zora Neale Hurston Philip Roth Cervantes Aldous Huxley Salman Rushdie Geoffrey Chaucer Henrik Ibsen J.D.
    [Show full text]
  • David Blamires Telling Tales the Impact of Germany on English Children’S Books 1780-1918 to Access Digital Resources Including: Blog Posts Videos Online Appendices
    David Blamires Telling Tales The Impact of Germany on English Children’s Books 1780-1918 To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/23 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. TELLING TALES David Blamires (University of Manchester) is the author of around 100 arti- cles on a variety of German and English topics and of publications includ- ing Characterization and Individuality in Wolfram’s ‘Parzival’; David Jones: Art- ist and Writer; Herzog Ernst and the Otherworld Journey: a Comparative Study; Happily Ever After: Fairytale Books through the Ages; Margaret Pilkington 1891- 1974; Fortunatus in His Many English Guises; Robin Hood: a Hero for all Times and The Books of Jonah. He also guest-edited a special number of the Bulletin of the John Rylands University Library of Manchester on Children’s Literature. [Christoph von Schmid], The Basket of Flowers; or, Piety and Truth Triumphant (London, [1868]). David Blamires Telling Tales The Impact of Germany on English Children’s Books 1780-1918 Cambridge 2009 40 Devonshire Road, Cambridge, CB1 2BL, United Kingdom http://www.openbookpublishers.com @ 2009 David Blamires Some rights are reserved. This book is made available under the Creative Commons Attribution-Non-Commercial-No Derivative Works 2.0 UK: England & Wales License. This license allows for copying any part of the work for personal and non-commercial use, providing author attribution is clearly stated.
    [Show full text]
  • TCHAIKOVSKY EDITION Liner Notes and Sung Texts
    TCHAIKOVSKY EDITION Liner notes and sung texts Liner notes A RICH, HUMANE LEGACY: THE MUSIC OF PYOTR ILYICH of Mozart’s spirit that he later paid homage in so many works TCHAIKOVSKY which turned out to be neo‐Classical avant la lettre. As Julian Barnes so elegantly demonstrated in his novel Flaubert’s Parrot, you can provide a number of selective, conflicting Even this is to limit the sheer encyclopaedic breadth of biographies around a great creative artist’s life, and any one of Tchaikovsky’s composing genius. He wrote in every medium them will be true. By those standards, one could counter Harold conceivable at the time, and if not every opus can possibly be at C. Schonberg’s thumbnail sketch of Pyotr Ilyich Tchaikovsky as ‘a his highest level of inspiration, there are masterpieces in each nervous, hypochondriacal, unhappy man – unhappy at home, genre: opera, song, symphonic music, occasion‐pieces (which unhappy away from home’, with a portrait of the composer as an includes the ‘1812 Overture’ – much‐maligned, but does what it older man: confident, healthy, a keen traveller, a generous spirit says on the tin), chamber works and choral settings of the who had come to terms with his demons even if they occasionally Russian Orthodox service, which it was then regarded as popped up to haunt him, and a lover of the Russian landscape pioneering to even attempt to promote. who was very much at peace with the natural beauty of the country surroundings he had chosen as his dwelling. His first fully fledged steps in composition contradict one perceived dichotomy: between his association with the Neither image is, of course, the whole story, and it is only slowly Germanically motivated founder‐brothers of Russia’s two that the public is learning, thanks to a wider retrospective on academic institutions – the St Petersburg Conservatoire founded Tchaikovsky’s genius in the round, to balance the tabloidised first by Anton Rubinstein in 1862, and its Moscow counterpart portrait with the less sensationalised second.
    [Show full text]
  • Texto Completo Libro (Pdf)
    EL JUEGO INTELECTUAL Ironía y textualidad en las narraciones breves de Vladimir Nabokov BIBLIOTECA DE INVESTIGACIÓN n.º 35 Asunción Barreras Gómez EL JUEGO INTELECTUAL Ironía y textualidad en las narraciones breves de Vladimir Nabokov UNIVERSIDAD DE LA RIOJA SERVICIO DE PUBLICACIONES 2014 El juego intelectual. Ironía y textualidad en las narraciones breves de Vladimir Nabokov de Asunción Barreras Gómez (publicado por la Universidad de La Rioja) se encuentra bajo una Licencia Creative Commons Reconocimiento-NoComercial-SinObraDerivada 3.0 Unported. Permisos que vayan más allá de lo cubierto por esta licencia pueden solicitarse a los titulares del copyright. © El autor © Universidad de La Rioja, Servicio de Publicaciones, 2014 publicaciones.unirioja.es E-mail: [email protected] ISBN: 978-84-697-0742-5 A Ana María, Santiago y Rufino There are three kinds of novelists —storytellers, teachers and enchanters; a major writer combines all three, but it is the enchanter in him that predominates, and makes him a major writer. Vladimir Nabokov. ÍNDICE 1. Introducción ................................................................................... 11 2. Vladimir Nabokov.......................................................................... 13 2.1. Apuntes biográficos................................................................... 13 2.2. Europa: puente entre la literatura rusa y la estadounidense . 19 2.3. Su obra literaria ......................................................................... 24 2.4. Nabokov y la crítica.................................................................
    [Show full text]
  • “Lolita” Studies in Russian and Slavic Literatures, Cultures and History
    A Reader’s Guide to Nabokov’s “Lolita” Studies in Russian and Slavic Literatures, Cultures and History Series Editor: Lazar Fleishman A Reader’s Guide to Nabokov’s “Lolita” Julian W. CONNOLLY Boston 2009 Library of Congress Cataloging-in-Publication Data Connolly, Julian W. A reader’s guide to Nabokov’s Lolita / Julian W. Connolly. p. cm. — (Studies in Russian and Slavic literatures, cultures and history) Includes bibliographical references and index. ISBN 978-1-934843-65-9 (hardback) — ISBN 978-1-934843-66-6 (pbk.) 1. Nabokov, Vladimir Vladimirovich, 1899-1977. Lolita. I. Title. II. Series: Studies in Russian and Slavic literatures, cultures and history. PS3527.A15.L6325 2009 440’.045—dc22 2009032505 Copyright © 2009 Academic Studies Press All rights reserved ISBN 978-1-934843-65-9 (hardback) ISBN 978-1-934843-66-6 (paperback) Book design by Ivan Grave Published by Academic Studies Press in 2009 28 Montfern Avenue Brighton, MA 02135, USA [email protected] www.academicstudiespress.com iv Effective December 12th, 2017, this book will be subject to a CC-BY-NC license. To view a copy of this license, visit https://creativecommons.org/licenses/by-nc/4.0/. Other than as provided by these licenses, no part of this book may be reproduced, transmitted, or displayed by any electronic or mechanical means without permission from the publisher or as permitted by law. The open access publication of this volume is made possible by: This open access publication is part of a project supported by The Andrew W. Mellon Foundation Humanities Open Book initiative, which includes the open access release of several Academic Studies Press volumes.
    [Show full text]
  • Hans Brinker, by Mary Mapes Dodge
    The Project Gutenberg EBook of Hans Brinker, by Mary Mapes Dodge This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: Hans Brinker or The Silver Skates Author: Mary Mapes Dodge Release Date: November 26, 2009 [EBook #764] Last Updated: November 4, 2016 Language: English Character set encoding: UTF-8 *** START OF THIS PROJECT GUTENBERG EBOOK HANS BRINKER *** Produced by Ng E-Ching, and David Widger HANS BRINKER OR THE SILVER SKATES By Mary Mapes Dodge To my father James J. Mapes this book is dedicated in gratitude and love Preface This little work aims to combine the instructive features of a book of travels with the interest of a domestic tale. Throughout its pages the descriptions of Dutch localities, customs, and general characteristics have been given with scrupulous care. Many of its incidents are drawn from life, and the story of Raff Brinker is founded strictly upon fact. While acknowledging my obligations to many well-known writers on Dutch history, literature, and art, I turn with especial gratitude to those kind Holland friends who, with generous zeal, have taken many a backward glance at their country for my sake, seeing it as it looked twenty years ago, when the Brinker home stood unnoticed in sunlight and shadow. Should this simple narrative serve to give my young readers a just idea of Holland and its resources, or present true pictures of its inhabitants and their every-day life, or free them from certain current prejudices concerning that noble and enterprising people, the leading desire in writing it will have been satisfied.
    [Show full text]
  • Nymphalis Carmen: Nympholepsy in Nabokov's Oeuvre Mo Ibrahim
    Nymphalis carmen: Nympholepsy in Nabokov’s Oeuvre Mo Ibrahim 1 Page Copyright © 2017 by Mo Ibrahim Published by Lad Literature New York, NY www.LadLiterature.com All rights reserved. First Edition 2 Page Page3 Table of Contents Introduction Chapter One: Novels & Novellas Mashen'ka, 1926 (Mary, 1970) Korol' Dama Valet, 1928 (King, Queen, Knave, 1968) Zashchita Luzhina, 1930 (The Defense, 1964) Sogliadatai, 1930 (The Eye, 1965) Podvig, 1932 (Glory, 1971) Kamera Obskura, 1933 (Laughter in the Dark, 1938) Otchayanie, 1934 (Despair, 1965) Priglasheniye na kazn', 1936 (Invitation to a Beheading, 1959) Dar, 1938 (The Gift, 1963) Volshebnik, (written) 1939 (The Enchanter, 1985) The Real Life of Sebastian Knight, 1941 Bend Sinister, 1947 Speak, Memory (1951\1966) Lolita, 1955 Pnin, 1957 Pale Fire, 1962 Ada or Ardor: A Family Chronicle, 1969 Transparent Things, 1972 Look at the Harlequins!, 1974 The Original of Laura, Mid-1970s/2009) 4 Page Chapter Two: A Poem & Short Stories “A Nursery Tale” (1926): A Poem “The Fight” (1925) “Terror” (1926) “Lilith” (1928/1970) “The Aurelian” (1930) “Music” (1930s) “A Dashing Fellow” (1930s) “Perfection” (1932) “The Circle” (1936) “Solus Rex” (1940) Part of a novel. See notes (for all) “Lips to Lips” (1956) “THAT IN ALLEPO ONCE…” (1958) Chapter Three: Was Nabokov a Nympholept? 5 Page Introduction Alfred Appel Jr. wrote in the introduction to The Annotated Lolita that Lolita’s rise to fame and Humbert’s obsession with a nymphet: “moved commentators to search for equivalent situations in Nabokov’s earlier work”.
    [Show full text]