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Figurations of Exile in Hitchcock and Nabokov by Barbara Straumann Pdf
This book makes an important contribution to cultural analysis by opening up the work of two canonical authors to issues of exile and migration. Barbara Straumann's close reading of selected films and literary texts focuses on Speak, Memory, Lolita, The Real Life of Sebastian Knight, Suspicion, North by Northwest and Shadow of a Doubt and explores the connections between language, imagination and exile. Invoking psychoanalysis as the principal discourse of dislocation, the book not only uses concepts such as 'screen memory', 'family romance', 'fantasy' and 'the uncanny' as hermeneutic foils, it also argues that, in their own ways, the arch-parodists Hitchcock and Nabokov are remarkably in tune with the images and tropes developed by Freud.
Haunted by Vertigo by Sidney Gottlieb,Donal Martin Pdf
When Richard Schickel stated unequivocally in 1972 that "We're living in a Hitchcock world, all right", he did so without even mentioning the film that now stands at the top of the Sight & Sound Greatest Films of All Time poll: Vertigo. That omission needs to be redressed when we think about the Hitchcock world we live in now. Haunted by Vertigo: Hitchcock's Masterpiece Then and Now gathers essays that offer a variety of approaches to what many consider to be Hitchcock's signature film, one that shows him operating at full strength as a cinematic artist portraying some of the defining elements of modern life: romantic exhilaration and anxiety, the attractiveness and elusiveness of love, and the interpenetration of pain, pleasure, life, and death in our psyche and our culture. The pieces in this volume explore numerous aspects of how, broadly speaking, Vertigo is about characters haunted by memories and desires; how the film itself is haunted by numerous literary and cinematic fore- bearers; and how it continues to haunt not only filmmakers but artists working in other media as well. Essays that concentrate on formative or interpretive contexts of the film, including Greek mythology, early German cinema, film noir, an ensemble of (mostly) French writers and filmmakers, andmodern and postmodern art are complemented by others that present close readings of hidden details in the film, its use of multiple gazes that underscore its meaning and drama, the darker sides of even gestures of love and hospitality, and how the film embodies Hitchcock's "late style". Taken together the essays in the volume reinforce how Vertigo is, like the majestic trees visited by the two main characters in the film, sempervirens – an enduring masterpiece of then, now, and, we can safely say, the future.
This volume studies the enigmatic but silent heroines Nabokov brings to the page. Chapter 4, "Nabokov's Mermaid: 'Spring in Fialta'" by Elena Rakhimova-Sommers, is not available in the ebook format due to digital rights restrictions. You can find the earlier version of the chapter in the journal Nabokov Studies.
In Reimagining Nabokov: Pedagogies for the 21st Century, eleven teachers of Vladimir Nabokov describe how and why they teach this notoriously difficult, even problematic, writer to the next generations of students. Contributors offer fresh perspectives and embrace emergent pedagogical methods, detailing how developments in technology, translation and archival studies, and new interpretative models have helped them to address urgent questions of power, authority, and identity. Practical and insightful, this volume features exciting methods through which to reimagine the literature classroom as one of shared agency between students, instructors, and the authors they read together. "It is both timely and refreshing to have an influx of teacher-scholars who engage Nabokov from a variety of perspectives... this volume does justice to the breadth of Nabokov's literary achievements, and it does so with both pedagogical creativity and scholarly integrity."--Dana Dragunoiu, Carleton University "[A] valuable study for any reader, teacher, scholar, or student of Nabokov. Amongst specific and urgent insights on the potential for digital methods, the relevance of Nabokov for students today, and how to reconcile issues of identity with an author who disavowed history and politics, are much wider and timeless questions of authorial control and the ability to access reality."--Anoushka Alexander-Rose, Nabokov Online Journal Reimagining Nabokov takes a holistic approach to the many stumbling blocks in teaching Nabokov today. Especially intriguing about this volume is that through its essays a fresh picture of Nabokov emerges, not as an authoritarian and paranoid world-creator (an image long entrenched in Nabokov scholarship), but as someone who is tentative, hopeful, socially conscious, compassionate, and traumatized by the experience of exile....Reimagining Nabokov models pedagogical concepts that can be applied to teaching any literary text with a social conscience.--Alisa Ballard Lin, Modern Language Review Contributions by Galya Diment, Tim Harte, Robyn Jensen, Sara Karpukhin, Yuri Leving, Roman Utkin, José Vergara, Meghan Vicks, Olga Voronina, Lisa Ryoko Wakamiya, and Matthew Walker.
Nabokov's translation of Pushkin's Eugene Onegin (1964) and its accompanying Commentary, along with Ada, or Ardor (1969), his densely allusive late English language novel, have appeared nearly inscrutable to many interpreters of his work. If not outright failures, they are often considered relatively unsuccessful curiosities. In Bozovic's insightful study, these key texts reveal Nabokov's ambitions to reimagine a canon of nineteenth- and twentieth-century Western masterpieces with Russian literature as a central, rather than marginal, strain. Nabokov's scholarly work, translations, and lectures on literature bear resemblance to New Critical canon reformations; however, Nabokov's canon is pointedly translingual and transnational and serves to legitimize his own literary practice. The new angles and theoretical framework offered by Nabokov's Canon help us to understand why Nabokov's provocative monuments remain powerful source texts for several generations of diverse international writers, as well as richly productive material for visual, cinematic, musical, and other artistic adaptations.
Teckyoung Kwon examines Nabokov’s use of literary devices that draw upon psychology and biology, characters that imitate Freud or Nabokov in behavior or thought, and Jamesian concepts of time, memory, and consciousness in The Defense, Despair, Lolita, Pale Fire, and Ada.
John McGreal's three new books – It’s Abstraction, Concretely, It’s Figuration, Groundly and It’s Representation, Really – continue the ‘It’ Series published by Matador since 2010. They constitute another stage in an artistic journey exploring the visual and audial dialectic of mark, word and image that began over 25 years ago. Emerging out of the first books on the Bibliograph published in 2016, initiated with It’s Nothing, Seriously, these new texts retain some of the same structural features. The Bibliographs contain the same focus on repetition and variation in meaning of their dominant motifs of representation, abstraction and figuration which have framed philosophical discourse on epistemology and ontology in aesthetics; their chance placement in each Bibliograph interspersed with one another displaying and enhancing similarities and differences. At the same time these works constitute a development in the aesthetic form of the Bibliograph. In earlier works on Nothing, Absence and Silence, it was just a question of finding and transferring given textual references from their source to construct their Bibliographs, with the focus being on the strategic position of the latter within each book. In these new works, the concern has been with working on the line and shape of the references themselves, with their enhanced spacial form as well as that of each Bibliograph as a whole. In shaping and spacing the referential images, the place of words and letters became as important as their semantic & syntactical role. Expansion and contraction of whole words was used to enhance this process. Under such detailed attention their breakdown into particles of language, into part-words and single letters was a result. The recombination of elements produced new words in a process of restrangement with new sequences of letters having visual rather than semantic value. The play on prefixes of dominant motifs yielded new words as did tmesis. This concern with the form of referential images does not preclude an equal commitment to their content. The aleatory character of textual entries in each Bibliograph encourage the reader to let his or her mind go; to read in a new way on diverse contemporary issues across conventional boundaries in the arts and sciences at several levels of physical, psychical and social reproduction.
As many as half a million Russians lived in Germany in the 1920s, most of them in Berlin, clustered in and around the Charlottenburg neighborhood to such a degree that it became known as “Charlottengrad.” Traditionally, the Russian émigré community has been understood as one of exiles aligned with Imperial Russia and hostile to the Bolshevik Revolution and the Soviet government that followed. However, Charlottengrad embodied a full range of personal and political positions vis-à-vis the Soviet project, from enthusiastic loyalty to questioning ambivalence and pessimistic alienation. By closely examining the intellectual output of Charlottengrad, Roman Utkin explores how community members balanced their sense of Russianness with their position in a modern Western city charged with artistic, philosophical, and sexual freedom. He highlights how Russian authors abroad engaged with Weimar-era cultural energies while sustaining a distinctly Russian perspective on modernist expression, and follows queer Russian artists and writers who, with their German counterparts, charted a continuous evolution in political and cultural attitudes toward both the Weimar and Soviet states. Utkin provides insight into the exile community in Berlin, which, following the collapse of the tsarist government, was one of the earliest to face and collectively process the peculiarly modern problem of statelessness. Charlottengrad analyzes the cultural praxis of “Russia Abroad” in a dynamic Berlin, investigating how these Russian émigrés and exiles navigated what it meant to be Russian—culturally, politically, and institutionally—when the Russia they knew no longer existed.
Through a combination of case studies and theoretical investigations, the essays in this book address the imaginative power of the threshold as a productive space in literature and art.
In the late nineteenth and early twentieth centuries, modernist writers developed new techniques for depicting characters' thoughts, feelings, and desires that revolutionized the novel form--a revolution novelists and critics are still reckoning with today. Troubling Late Modernism tracks how those techniques have been perversely reinvented by some of the most influential and innovative writers of the postwar period. Chapters on Vladimir Nabokov, Samuel Beckett, Toni Morrison, John Banville, J. M. Coetzee, and Eimear McBride reveal how these writers at once exploit and extend modernist forms of narration to cultivate disquieting affective attachments to protagonists compelled by violent or exploitative sexual desires. By interrogating the expressive power and ethical liabilities of modes of writing that give us intimate access to characters' inner lives, late modernism poses fundamental philosophical questions about emotion and its inseparability from knowledge and ethical deliberation. Whilst other historians of the novel have characterized late modernism's formal innovations as ethically and politically edifying, Troubling Late Modernism highlights their more disquieting potential for lending sympathy and profundity to sentiments deemed inadmissible in our everyday lives. Charting late modernism's characteristic fusion of aesthetic difficulty with emotional and ethical provocation demands an approach attuned to the experience of reading these disturbingly erotic narratives. In dialogue with recent debates about critical method, Troubling Late Modernism presents a new way of closely reading prose fiction that brings together the lessons of formalism and affect theory.
Lolita between Adaptation and Interpretation by Anna Pilińska Pdf
"This book offers a comparative analysis of three versions of Vladimir Nabokov's Lolita: namely, the original novel (1955), the script written by the novelist himself and published as Lolita: A Screenplay (1974), and Stanley Kubrick's film based on Lolita's storyline (1962). Kubrick's final product oscillates between adaptation and interpretation, as it draws from both Nabokov's novel and script, but also uses the improvisational talents of the cast, eventually rendering the director's firm auteurial hand clearly visible throughout the film. The book analyses how various additions and subtractions made first by Nabokov as a screenwriter, and later by Kubrick as a movie director, influence the reception of the four main characters: Lolita, Humbert Humbert, Charlotte Haze, and Clare Quilty. The original novel's multilayered web of intertextual references -- among them the works of Edgar Allan Poe and the typically Nabokovian critique of Freudian theories -- becomes significantly reduced in the script and the film, with Kubrick additionally enriching the film version of the story with cinematic references"--Provided by publisher.
Handbook of Autobiography / Autofiction by Martina Wagner-Egelhaaf Pdf
Autobiographical writings have been a major cultural genre from antiquity to the present time. General questions of the literary as, e.g., the relation between literature and reality, truth and fiction, the dependency of author, narrator, and figure, or issues of individual and cultural styles etc., can be studied preeminently in the autobiographical genre. Yet, the tradition of life-writing has, in the course of literary history, developed manifold types and forms. Especially in the globalized age, where the media and other technological / cultural factors contribute to a rapid transformation of lifestyles, autobiographical writing has maintained, even enhanced, its popularity and importance. By conceiving autobiography in a wide sense that includes memoirs, diaries, self-portraits and autofiction as well as media transformations of the genre, this three-volume handbook offers a comprehensive survey of theoretical approaches, systematic aspects, and historical developments in an international and interdisciplinary perspective. While autobiography is usually considered to be a European tradition, special emphasis is placed on the modes of self-representation in non-Western cultures and on inter- and transcultural perspectives of the genre. The individual contributions are closely interconnected by a system of cross-references. The handbook addresses scholars of cultural and literary studies, students as well as non-academic readers.
Utopian Reality by Christina Lodder,Maria Kokkori,Maria Mileeva Pdf
This collection of essays deals broadly with the visual and cultural manifestation of utopian aspirations in Russia of the 1920s and 1930s, while examining the before- and after-life of such ideas both geographically and chronologically.
Shadow of a Doubt (1943) was British-born Alfred Hitchcock’s sixth American film and the one that he at various times identified as his favourite and his best. It seems likely that one of the reasons he liked Shadow so much is that is an extraordinarily well-ordered narrative system, a meticulous cause and effect chain that melds its various scenes and sequences together to form a unified narrative that is highly effective in building suspense and cultivating identification with characters. This scrupulously organized film operates as a masterclass on principles of narrative design while generating resonant commentary on the nature of family life. This book redresses the deficit of sustained critical attention paid to Shadow even in the large corpus of Hitchcock scholarship. Analysing the film’s narrative system, issues of genre, authorship, social history, homesickness and ‘family values’, Diane Negra shows how the film’s impeccable narrative structure is wedded to radical ideological content, linking the film’s terrors to the punishing effects of looking beyond conventional family and gender roles. This book understands Shadow as an unconventionally female-centred Hitchcock text and a milestone film that marks the director’s emergent engagement with the pathologies of violence in American life and opens a window into the placement of femininity in World War II consensus culture and more broadly into the politics of mid-century gender and family life.
The American Roadside in Émigré Literature, Film, and Photography by Elsa Court Pdf
The American Roadside in Émigré Literature, Film, and Photography: 1955–1985 traces the origin of a postmodern iconography of mobile consumption equating roadside America with an authentic experience of the United States through the postwar road narrative, a narrative which, Elsa Court argues, has been shaped by and through white male émigré narratives of the American road, in both literature and visual culture. While stressing that these narratives are limited in their understanding of the processes of exclusion and unequal flux in experiences of modern automobility, the book works through four case studies in the American works of European-born authors Vladimir Nabokov, Robert Frank, Alfred Hitchcock, and Wim Wenders to unveil an early phenomenology of the postwar American highway, one that anticipates the works of late-twentieth-century spatial theorists Jean Baudrillard, Michel Foucault, and Marc Augé and sketches a postmodern aesthetic of western mobility and consumption that has become synonymous with contemporary America.