The eye and optical devices: deformation of sight in Vladimir Nabokov's prose (original) (raw)

Short-sightedness as a Gift of Creative Vision in the Novel by A. Remizov With Trimmed Eyes

Izvestiya of Saratov University. New Series. Series: Philology. Journalism, 2018

В статье анализируются различные функции мотива близорукости в автобиографической книге А. Ремизова. Особое внимание уделяется роли данного мотива в философии творчества писателя. Ключевые слова: А. Ремизов, «Подстриженными глазами», визуальная поэтика, мотив близорукости. short-sightedness as a Gift of Creative Vision in the novel by A. Remizov With Trimmed Eyes

V. Shalamov’s aesthetic views evolution and Russian literary development of the 1950s–1970s

Эволюция эстетических взглядов В. Шаламова и русский литературный процесс 1950-х – 70-х годов, 2020

The main and most important works of Varlam Shalamov (1907–1982) were published in the Soviet Union only after his death. The tragedy of the fate of the writer, the scale and exclusivity of his prose have not yet received due recognition. The discussions that take place around the writer's work are largely caused by the one-sided understanding of his place in literature as the “chronicler of Kolyma”, standing aside from the literary and cultural life of the era The concept and the main idea of this work are to review Varlam Shalamov’s vision of literature and culture in the context of different periods of the history of Soviet literature and culture, as well as to turn to the insufficiently studied part of his texts, namely letters, diary entries, publications and drafts of non-fiction writings. The historical and cultural development context of Shalamov’s concept of the “new prose” covers almost the entire twentieth century - from the writer’s appearance in Moscow literary, cultural and political life of the 1920s, to the era of late stagnation of the late 70s.

СЛАВЯНСКАЕ SVĚTЪ 1) ‛LUX’, 2) ‛MUNDUS’ У СВЯТЛЕ АРХАІЧНЫХ УЯЎЛЕННЯЎ АБ ПРЫРОДЗЕ ЗРОКУ (SLAVIC SVĚTЪ 1) ‛LUX’, 2) ‛MUNDUS’ IN VIEW OF ARCHAIC NOTIONS ABOUT THE NATURE OF VISION) (In Belarusian)

The semantic evolution of the Slavic word světъ, which resulted in the specialization of values 1) ‛lux’ and 2) ‛mundus’, is considered in connection with ancient ideas about the nature of vision, presented more “theoretically” in the Plato’s dialog “Timaeus”. It is shown that numerous linguistical data indicate that the process of visual perception was understood as a result of interaction of specific light rays emanating from the eyes with subject rays reflected by objects of the outside world, on the one hand, and with the same rays emanating from the eyes of other members of the naturally formed communicative community, on the other hand. For nomination of a peculiar “visual body”, resulting in this interaction, the Slavs and, very likely, the ancient Indians had used the words, originally designating the radiant energy itself – light – as a necessary condition for visual perception. Keywords: nature of vision, light, world, society, history of concepts, ancient Greek philosophy, ancient Indian philosophy.

Proust’s optics: Photographic vision as luxury [In Russian] / Оптика Пруста: роскошь фотографического зрения

ШАГИ / STEPS, 2017

The article examines references to photography in Marcel Proust’s In Search of Lost Time. In contrast to a well-established view of this medium’s role in the writer’s universe as secondary and purely negative, this article proceeds from the assumption that the invention and proliferation of photography in the 19th century was a major influence on Proust’s artistic vision. Photographs are present in Proust’s novel both as physical objects and as metaphors. As the former they appear mainly in social contexts, where they embody and visualize emotional exchanges, degrees of intimacy, connection and division of various milieus. Proust shows society, especially its elite strata, as operating in a quasi-mechanical way, and the photograph as an automatically produced image echoes this aspect of human relationships. On the other hand, metaphorical references to photography tend to emphasize the “internal” quality of the changes which the film undergoes, as well as their temporal dimension: a pause that lies at the very heart of the ever-increasing pace of modernity. Paradoxically combining the meanings of the serial and the unique, the photograph becomes a site where massified technical reproducibility becomes ‘dislocated’, creating a quintessentially modern experience of luxury.

The image of Chichikov in modern Russian prose

Vestnik Tomskogo gosudarstvennogo universiteta. Filologiya, 2017

В статье рассматривается рецепция образа Чичикова, героя гоголевской поэмы «Мертвые души», в современной русской прозе конца XX-начала XXI в. Привлекаются произведения, в которых важная смыслообразующая роль принадлежит сюжетномотивным и тематическим комплексам, сопутствующим образу Чичикова. Определяются социокультурные причины обращения современных писателей к образу Чичикова. Предлагается рецептивная модель гоголевского чичиковского сюжета в современной прозе, в которой ядро организовано оппозицией образов пророк-трикстер, их архетипическими и модерными характеристиками.

The Phenomenon of Aesthetic Happiness in I. A. Goncharov’s Novel “Oblomov”

Филологические науки. Вопросы теории и практики, 2022

Аннотация. Цель исследования: рассмотреть фелицитарную проблематику романа И. А. Гончарова «Обломов», проанализировав феномен эстетического счастья в качестве важнейшей духовной ценности главного героя. Научная новизна исследования заключается в системном анализе эстетических представлений Обломова о счастье посредством раскрытия важнейших романных характеристикипостасей героя-философ, поэт, актер. В результате доказано, что Обломов показан в романе как герой-эстетик, чья система духовных ценностей, в том числе и представление о «полноте счастья», формируется под влиянием искусства. Поэтичность и театральность становятся культурными кодами, определяющими повседневное существование Обломова, придавая быту бытийное значение.