Zsuzsa Hetenyi/Жужа Хетени, Сдвиги : Узоры прозы Набокова, Academic Studies Press, 2022, 464 p.
https://www.esterum.com/product.aspx?section=Books&product=1409457
Vladimir Nabokov et la traduction, dir. Julie Loison-Charles et Stanislav Shvabrin, Artois Presses Université, 2021.
La présente publication est un recueil d’articles sur Vladimir Nabokov, auteur multilingue très célèbre mais dont le rôle en tant que traducteur et traductologue est trop peu connu (à l’exception de sa pratique de l’auto-traduction et de sa traduction littéraliste de Pouchkine). Ce volume a pour ambition de combler ce manque.
Les articles explorent les différentes facettes des rapports de Nabokov avec la traduction, notamment la représentation de la traduction dans ses romans, Nabokov traducteur, traductologue ou traduit, ou encore la traduction comme commentaire.
Différentes méthodologies sont convoquées (traduction, littérature comparée, anglistique, slavistique, linguistique) et les approches sont aussi bien théoriques que pratiques, que ce soit dans l’analyse de traductions publiées ou dans des traductions intersémiotiques (adaptation cinématographique ou théâtrale notamment).
Julie Loison-Charles et Stanislav Shvabrin
Sommaire
Introduction……………………………………………………………………………………
Partie 1 : Qu’est-ce que la traduction ?
Christine Raguet
antranou svadi – la traduction, comme encodage. Ou « The road not taken »
Susan Elizabeth Sweeney
Ineffability and Untranslatability in Nabokov
Isabelle Poulin
La ligne traductive de Vladimir Nabokov : une pensée de la trace
Partie 2 : Nabokov aux marges de la traduction
Paul B. Grant
Howlers, Humour, Hubris. Translation and Truth in Nabokov’s Onegin
Léopold Reigner
À propos du Flaubert de Marx : Nabokov et l’art de la correction
Partie 3 : Nabokov traducteur
Stanislav Shvabrin
Dialogic Encounters, Verbal Vestiges: Vladimir Nabokov, Translation—And Dialogue
Julian W. Connolly
Nabokov’s Translations of Lermontov’s Poetry: The “Demon” Tamed
Alexia Gassin
Colas Breugnon versus Nikolka Persik ou Nabokov et l’art de la subjectivité
Partie 4 : Traduire Nabokov, une affaire de famille
Julie Loison-Charles
Traduire les mots étrangers dans Ada : un cas d’étude sur le chapitre 38
Chiara Montini
« Mon livre » – Dmitri Nabokov, The Enchanter et L’incantatore
Lyudmila Razumova
Les traductions de Pale Fire vers le russe
Partie 5 : Traduire Lolita
Stanislas Gauthier
La traduction comme mode de lecture possible : un exemple pris dans Lolita traduit par Éric Kahane
Morgane Allain-Roussel
Des ajouts dans les traductions françaises de Lolita
Marta Arnal Gas
Les jeux linguistiques de Lolita en espagnol et catalan
Partie 6 : Traduction intersémiotique
Yannicke Chupin
Traduire Lolita pour la scène : entretien avec la metteuse en scène Émilie Moreau
Maria Emeliyanova
Intersemiotic Translation as a Fluid text: From Vladimir Nabokov’s Kamera Obskura to Tony Richardson’s Laughter in the Dark
Marie Bouchet
La traduction des objets du quotidien dans Ada : révéler les potentialités créatrices de la « banale réalité »
Partie 7 : La traduction dans les romans de Nabokov
Sophie Bernard-Léger
De Fiodor traducteur à Fiodor traduit, ou les différents plans de traduction dans The Gift
Corinne Scheiner
Brutal Betrayers and Their Evil Translations: The Willful Reshapings of Kinbote and Conmal
Sean DiLeonardi
Nabokov and the Mathematics of Language
Jenny Minton Quigley (edited by). Lolita in the Afterlife: On Beauty, Risk, and Reckoning with the Most Indelible and Shocking Novel of the Twentieth century. Knopf Doubleday Publishing Group, 2021, 456 pp.
Robert Alter. Nabokov and the Real World, Between Appreciation and Defense. Princeton UP, 2021, 248 pp.
https://www.degruyter.com/document/isbn/9780691218663/html
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.
Vladimir Nabokov/Владимир Набоков, Think, Write, Speak: Uncollected Essays, Reviews, Interviews and Letters to the Editor, edited by Brian Boyd and Anastasia Tolstoy, Knopf, 2019.
A rich compilation of the previously uncollected Russian and English prose and interviews of one of the twentieth century’s greatest writers, edited by Nabokov experts Brian Boyd and Anastasia Tolstoy.
La Société Internationale Vladimir Nabokov lance deux appels dont vous trouverez les détails sur le site The Nabokovian.
Le premier est un appel à communication pour la convention annuelle de la Modern Languages Association. La date de limite d’envoi d’un abstract est au 24 mars. Plus de détails ici
Le deuxième appel est un appel à candidature pour les prix de la recherche sur Nabokov. La date limite est fixée au 30 avril. Plus de détails ici
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.
Worthington constructs and contextualizes a bridge between the French literary context, from which the term originated, and the rise of autofiction among various American literary movements, from modernism to New Criticism to New Journalism. The Story of “Me” demonstrates that the burgeoning of autofiction serves as a barometer of American literature, from modernist authorial effacement to postmodern literary self-consciousness.
Link here
The foundational text for the acclaimed New York Times and international best seller Reading Lolita in Tehran
The ruler of a totalitarian state seeks validation from a former schoolmate, now the nation’s foremost thinker, in order to access a cultural cache alien to his regime. A literary critic provides commentary on an unfinished poem that both foretells the poet’s death and announces the critic’s secret identity as the king of a lost country. The greatest of Vladimir Nabokov’s enchanters—Humbert—is lost within the antithesis of a fairy story, in which Lolita does not hold the key to his past but rather imprisons him within the knowledge of his distance from that past.
In this precursor to her international best seller Reading Lolita in Tehran, Azar Nafisi deftly explores the worlds apparently lost to Nabokov’s characters, their portals of access to those worlds, and how other worlds hold a mirror to Nabokov’s experiences of physical, linguistic, and recollective exile. Written before Nafisi left the Islamic Republic of Iran, and now published in English for the first time and with a new introduction by the author, this book evokes the reader’s quintessential journey of discovery and reveals what caused Nabokov to distinctively shape and reshape that journey for the author.
Azar Nafisi has taught at the University of Tehran, the Free Islamic University, Allameh Tabatabi, and Johns Hopkins University’s School of Advanced International Studies. She is the author of Reading Lolita in Tehran: A Memoir in Books, as well as Things I’ve Been Silent About: Memories of a Prodigal Daughter and The Republic of Imagination: America in Three Books.
Link here
« Vladimir Nabokov, bilingual writer of dazzling masterpieces, is a phenomenon that both resists and requires contextualization. This book challenges the myth of Nabokov as a sole genius who worked in isolation from his surroundings, as it seeks to anchor his work firmly within the historical, cultural, intellectual and political contexts of the turbulent twentieth century. Vladimir Nabokov in Context maps the ever-changing sites, people, cultures and ideologies of his itinerant life which shaped the production and reception of his work. Concise and lively essays by leading scholars reveal a complex relationship of mutual influence between Nabokov’s work and his environment. Appealing to a wide community of literary scholars this timely companion to Nabokov’s writing offers new insights and approaches to one of the most important, and yet most elusive writers of modern literature. »