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This book offers critical studies of films that adapted works by Vladimir Nabokov. One of the most screened twentieth century authors (with over ten books adapted for cinema), his works are full of quirky and forbidden romance, and his writing is renowned for its cinematic qualities (e.g., frames, stage directions, and descriptions suggesting specific camera positions and movements). Films discussed include Lolita (both Kubrick's 1962 and Lyne's 1997 versions), Richardson's Laughter in the Dark (1969), Skolimowski's King, Queen, Knave (1972), Fassbinder's Despair (1978), Foulon's Mademoiselle O (1994), Kuik's An Affair of Honor (1999), Gorris' The Luzhin Defence (2000), and Rohmer's The Triple Agent (2004). A final chapter discusses similarities between Nabokov and Jean-Luc Godard.

A digital copy of "Nabokov In Motion" by Leving. Download is immediately available upon purchase!

Newly translated works by Nabokov on the twin passions of his life, literature and lepidoptera. A rich array of never-before-seen Nabokovia: novels, stories, poems, autobiography, interviews, diaries, and more, plus scientific and fanciful drawings by Nabokov and photographs of him in the field. The text--the richest and most varied assemblage of Nabokov's writing's available--is arranged chronologically and introduced by Brian Boyd and Robert Michael Pyle

Vladimir Nabokov taught at Cornell University from 1948 to 1959. It was at Cornell that Nabokov composed Lolita and Pnin and conceived Pale Fire. During his Cornell tenure Nabokov also continued his research on lepidoptera, wrote the English and Russian versions of his autobiography, Conclusive Evidence and Drugie Berega, and prepared annotated translations of two pinnacles of Russian literature: The Song of Igor's Campaign and Eugene Onegin. While at Cornell Nabokov also delivered his highly acclaimed lectures on Russian and West European literature. Nabokov at Cornell contains twenty-five chapters by the leading experts on Nabokov. Their subjects range widely from Nabokov's poetry to his prose, from his original fiction to translation and literary scholarship, from literature to visual art, and from the humanities to natural science. The book concludes with a reminiscence of the family's life in Ithaca by Nabokov's son, Dmitri.

Vladimir Nabokov was one of the greatest novelists of the previous century and his mastery of English and Russian prose is unequalled. Nabokov had originally trained to become a painter and shared Marc Chagall’s tutor in Paris. In Nabokov and the Art of Painting the authors demonstrate how the art of painting is interwoven with the narratives. His novels, which refer to over a hundred paintings, show a brilliance of colours and light and dark are in a permanent dialogue with each other. Following the introduction describing the many associations Nabokov made between the literary and visual arts, several of his novels are discussed in detail: Laughter in the Dark, The Real Life of Sebastian Knight, Pnin, Lolita, Pale Fire and Ada. Separate chapters are devoted to Leonardo da Vinci and Hieronymus Bosch, as Nabokov had a special appreciation for both painters. The authors show how the pictorial gave an extra depth to the great themes of love and loss in Nabokov’s work.

Newly translated works by Nabokov on the twin passions of his life, literature and lepidoptera. A rich array of never-before-seen Nabokovia: novels, stories, poems, autobiography, interviews, diaries, and more, plus scientific and fanciful drawings by Nabokov and photographs of him in the field. The text--the richest and most varied assemblage of Nabokov's writing's available--is arranged chronologically and introduced by Brian Boyd and Robert Michael Pyle

Selected with the author's collaboration and with an introduction and critical material by Page Stegner.

Alexandrov, V. E.: Nabokov's Otherworld. Princeton, Nj, 1991, Xiii 270 P. , 635 Gr. Encuadernacion Original. Nuevo. (ni-2-7) 635 Gr.

Nabokov's Ada: The Place of Consciousness explores the relationship between the obvious dazzle of Nabokov's style and the unsuspected depths of his thought before focusing on his richest and most surprising novel. This "stunning," "magnificent" first book by "the great man of Nabokov studies," which "provides not only the best commentary on Ada, but also a brilliant overview of Nabokov's metaphysics," has now been updated with a new preface, four additional chapters and two comprehensive new indexes.

Machenka - Roi, dame, valet. Appendice : Chapitre XIII [Fin de la version russe de 1928]. La Défense Loujine - Le Guetteur - L'Exploit - Rire dans la nuit. Appendice : Chambre obscure. La Méprise - Invitation au supplice.

Field, Andrew, Nabokov: His Life In Part

This book offers critical studies of films that adapted works by Vladimir Nabokov. One of the most screened twentieth century authors (with over ten books adapted for cinema), his works are full of quirky and forbidden romance, and his writing is renowned for its cinematic qualities (e.g., frames, stage directions, and descriptions suggesting specific camera positions and movements). Films discussed include Lolita (both Kubrick's 1962 and Lyne's 1997 versions), Richardson's Laughter in the Dark (1969), Skolimowski's King, Queen, Knave (1972), Fassbinder's Despair (1978), Foulon's Mademoiselle O (1994), Kuik's An Affair of Honor (1999), Gorris' The Luzhin Defence (2000), and Rohmer's The Triple Agent (2004). A final chapter discusses similarities between Nabokov and Jean-Luc Godard.

Two stage plays by the creator of the successful television series Kavanagh QCNabokov's GlovesNick, a successful barrister and devotee of football and pop trivia, is emotionally estranged from his wife while recklessly embroiled with a young, female client - a small-time drug dealer, who may or may not be more than she appears.Nabokov's Gloves premièred at the Hampstead Theatre in May 1998 and won the Pearson Television New Writers Award for Best Play of 1997.Iona RainTwenty-five years after leaving their boarding school in Africa, four friends reunite in a cottage on the small Scottish island of Iona. Each has a secret and their memories join them together in a shared guilt of events in the past. "A slowly probing, tightly written exploration of bonds, aggression and loss, old wounds and exposure, sexuality and crossed lines" (The Times)Iona Rain premièred at the Croydon Warehouse Theatre as winner of the 1995 International Playwriting Festival.

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Using Vladimir Nabokov and Salman Rushdie's work, this study argues that transnational fiction refuses the simple oppositions of postcolonial theory and suggests the possibility of an inclusive global literature.

A baker's dozen of fiction by a modern master that spans the twentieth century from the last days of the Czars, to the Bolshevik Revolution, Nazi Germany, and contemporary middle-class America. Looking back nostalgically to the past and ahead to a future age of scientific miracles, Vladimir Nabokov makes each of the characters in these stories - young lovers, a forgotten poet, a Russian movie producer, a tragic butterfly collector - come vividly alive.

In Nabokov and Indeterminacy, Priscilla Meyer shows how Vladimir Nabokov’s early novel The Real Life of Sebastian Knight illuminates his later work. Meyer first focuses on Sebastian Knight, exploring how Nabokov associates his characters with systems of subtextual references to Russian, British, and American literary and philosophical works. She then turns to Lolita and Pale Fire, applying these insights to show that these later novels clearly differentiate the characters through subtextual references, and that Sebastian Knight’s construction models that of Pale Fire. Meyer argues that the dialogue Nabokov constructs among subtexts explores his central concern: the continued existence of the spirit beyond bodily death. She suggests that because Nabokov’s art was a quest for an unattainable knowledge of the otherworldly, knowledge which can never be conclusive, Nabokov’s novels are never closed in plot, theme, or resolution—they take as their hidden theme the unfinalizability that Bakhtin says characterizes all novels. The conclusions of Nabokov's novels demand a rereading, and each rereading yields a different novel. The reader can never get back to the same beginning, never attain a conclusion, and instead becomes an adept of Nabokov’s quest. Meyer emphasizes that, unlike much postmodern fiction, the contradictions created by Nabokov’s multiple paths do not imply that existence is constructed arbitrarily of pre-existing fragments, but rather that these fragments lead to an ever-deepening approach to the unknowable.

In an original and provocative reading of Vladimir Nabokov's work and the pleasures and perils to which its readers are subjected, Eric Naiman explores the significance and consequences of Nabokov's insistence on bringing the issue of art's essential perversity to the fore. Nabokov's fiction is notorious for the interpretive panic it occasions in its readers, the sense that no matter how hard he or she tries, the reader has not gotten Nabokov "right." At the same time, the fictions abound with characters who might be labeled perverts, and questions of sexuality lurk everywhere. Naiman argues that the sexual and the interpretive are so bound together in Nabokov's stories and novels that the reader confronts the fear that there is no stable line between good reading and overreading, and that reading Nabokov well is beset by the exhilaration and performance anxiety more frequently associated with questions of sexuality than of literature. Nabokov's fictions pervert their readers, obligingly training them to twist and turn the text in order to puzzle out its meanings, so that they become not better people but closer readers, assuming all the impudence and potential for shame that sexually oriented close-looking entails.In Nabokov, Perversely, Naiman traces the connections between sex and interpretation in Lolita (which he reads as a perverse work of Shakespeare scholarship), Pnin, Bend Sinister, and Ada. He examines the roots of perverse reading in The Defense and charts the enhanced attention to the connection between sex and metafiction in works translated from the Russian. He also takes on books by other authors―such as Reading Lolita in Tehran―that misguidedly incorporate Nabokov's writing within frameworks of moral usefulness. In a final, extraordinary chapter, Naiman reads Dostoevsky's The Double with Nabokov-trained eyes, making clear the power a strong writer can exert on readers.