Irena Księżopolska, Mikołaj Wiśniewski/Ирена Ксензопольская, Миколай Висневский (Eds.), Vladimir Nabokov and the Fictions of Memory, SWPS University of Social Sciences and Humanities, Warsaw, 2019:
– Irena Księżopolska, Mikołaj Wiśniewski/Ирена Ксензопольская, Миколай Висневский, « Introduction », p. 7.
– Leona Toker/Леона Токер, « Nabokov’s Factography », p. 21.
– Stephen Blackwell/Стивен Блакуэлл, « Nabokov’s Cryptic Triptych: Grief and Joy in “Sounds,” “The Circle,” And “Lantern Slides” », p. 51.
– Stephen Blackwell/Стивен Блакуэлл, « Nabokov’s Cryptic Triptych: Grief and Joy in “Sounds,” “The Circle,” And “Lantern Slides” », p. 51.
– Péter Tamás/Петер Тамас, « Vision and Memory in Nabokov’s “A Forgotten Poet” », p. 82.
– Dana Dragunoiu/Дана Драгуною (SFVN), « Time, Memory, the General, and the Specific in Lolita and À la recherche du temps perdu », p. 100.
– David Potter/Давид Потер, « Paramnesia, Anticipatory Memory, and Future Recollection in Ada », p. 123.
– Adam Lipszyc/Адам Липщук, « Memory, Image, and Compassion: Nabokov And Benjamin on Childhood », p. 156.
– Dana Dragunoiu/Дана Драгуною (SFVN), « Time, Memory, the General, and the Specific in Lolita and À la recherche du temps perdu », p. 100.
– David Potter/Давид Потер, « Paramnesia, Anticipatory Memory, and Future Recollection in Ada », p. 123.
– Adam Lipszyc/Адам Липщук, « Memory, Image, and Compassion: Nabokov And Benjamin on Childhood », p. 156.
– Gerard de Vries/Герард де Вриз (SFVN), « Memory and Fiction in Nabokov’s Speak, Memory », p. 173.
– Mikołaj Wiśniewski/Миколай Висневский, « Memory’s Invisible Managers: the Case Of Luzhin », p. 184.
– Mikołaj Wiśniewski/Миколай Висневский, « Memory’s Invisible Managers: the Case Of Luzhin », p. 184.
– Andrzej Księżopolski/Анджей Ксензопольский, « Time, History, and other Phantoms in The Real Life of Sebastian Knight », p. 203.
– Irena Księżopolska/Ирена Ксензопольская, « Biographer as Impostor: Banville and Nabokov », p. 226.
– Akiko Nakata/Акико Наката, « Memories Trick – Memories Mix: Transparent Things », p. 254.
– Carlo Comanduccin/Карло Командучин, « Transparent Things, Visible Subjects », p. 274.
– Vyatcheslav Bart/Вячеслав Барт, « Vladimir Nabokov’s Ontological Aestheticism from the Renaissance to Transhumanism », p. 294.
– Olga Dmitrienko/Ольга Дмитриенко, « Reminiscence and Subconscious Sacralisation of the Kin in The Gift », p. 318.
– Carlo Comanduccin/Карло Командучин, « Transparent Things, Visible Subjects », p. 274.
– Vyatcheslav Bart/Вячеслав Барт, « Vladimir Nabokov’s Ontological Aestheticism from the Renaissance to Transhumanism », p. 294.
– Olga Dmitrienko/Ольга Дмитриенко, « Reminiscence and Subconscious Sacralisation of the Kin in The Gift », p. 318.
– Tatiana Ponomareva/Татьяна Пономарева, « Epilogue: The Reality of Fiction in The Vladimir Nabokov Museum », p. 330.
The author of such global bestsellers as Lolita and Pale Fire, Vladimir Nabokov (1899–1977) is also one of the most controversial literary translators and translation theorists of modern time. In Between Rhyme and Reason, Stanislav Shvabrin discloses the complexity, nuance, and contradictions behind Nabokov’s theory and practice of literalism to reveal how and why translation came to matter to Nabokov so much.
Autofiction, or works in which the eponymous author appears as a fictionalized character, represents a significant trend in postwar American literature, when it proliferated to become a kind of postmodern cliché. The Story of “Me”charts the history and development of this genre, analyzing its narratological effects and discussing its cultural implications. By tracing autofiction’s conceptual issues through case studies and an array of texts, Marjorie Worthington sheds light on a number of issues for postwar American writing: the maleness of the postmodern canon—and anxieties created by the supposed waning of male privilege—the relationship between celebrity and authorship, the influence of theory, the angst stemming from claims of the “death of the author,” and the rise of memoir culture.
