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| 1 | The article gives an analysis of the poetic structure of space in Nabokov’s novel “Despair”. Close attention is paid to the motif of homelessness, not related to the external circumstances of life (the main character in the novel, Herman has an apartment), but to his inner sense about the meaning of existence. This key feature of the character determines his position – in motion. The temporary destinations of the character (the semantics of temporality, non-permanence: hotels, taverns, post offices), and the direction of Herman’s travel (closer to Russia or South-West Europe) are also important in understanding the concept of the novel. The spatial choice reflects also the inner turmoil of the character, his national belonging to two cultures (Russian and German). The character’s choices fluctuate, and this is reflected in his movements: he approaches Russia, then moves away. It is important to note that the specificity of the novel’s poetics of space is revealed in the comparison of forced and desired, real and imaginary moves of the character. Key scenes of the story are correlated with different countries: Herman discovers his twin in the Czech Republic, he commits murder in Germany, writes the text about the idea of murder and substitution (designed to prove his genius) in France, but he plans to transfer the manuscript to writer-emigrant from Russia and dreams that his novel will be known to carriers of Russian culture, including those in Soviet Russia. In addition to these countries, the field of the character’s consciousness the novel includes countries such as Italy and France. Accordingly, the article explores the ways of constructing the image of different countries, cities, some places and reveal how the space perception of the characters contributes to their disclosure. The space-related motif of movement allows us to distinguish the author’s position and the position of the unreliable narrator and specify the artistic methods of disclosure of the selfdetermination and self-identification problem created in the novel. Keywords: russian emigration literature, V. Nabokov, motif of movement, artistic space | 1203 | ||||
| 2 | The year of 2019 is the anniversary of two writers of different eras – A. S. Pushkin (1799–1837) and V. V. Nabokov (1899–1977). This study did not initially include the goal of identifying the “bringing together “of two writers, but an analysis of the wind motive led to results that broadened the ideas about the creative dialogue between Nabokov and Pushkin already established in literature. The aim of the work is to analyse the wind / storm motive in V. Nabokov’s novel “Otchayaniye” (Despair) in relation to cultural tradition. Material and methods. Motive and intertextual analysis based on the work of B. Gasparov, I. Silantyev. For understanding of the functionality and archetypical semantics of the wind / storm motive, the studies of K. Nagina and E. Nikanorova are significant; among the research work on Nabokov, the baseline for this study is, firstly, the article by A. Dolinina, who described the principles of using V. Nabokov to use Pushkin’s intertext in the novel “Otchayaniye” (Despair). Results and discussion. When analyzing “Otchayaniye” (Despair), it was considered that the narrative motive is often implemented in conjunction with an anonymous motive, therefore the focus of research attention was not only the wind motive / storm motive, but also windcalm. It was revealed that the wind motive in the novel is polysemantic and “works” to reveal the main themes and problems in the novel, “involved” in the design of the author’s concept of the work. It is associated primarily with moral and ethical issues: the definition of boundaries and the essence of free will, crime and punishment. It was found that the motive functionally considered in the novel correlates with the archetypal image of the storm, which traditionally embodies above the personal will and trial, the condition of passage of which is the strength of the moral basis of the individual. For the immoral character, who is the central hero of the novel, Herman (a murderer who is not experiencing remorse and torment of conscience), the wind turned into a storm, carries the semantics of punishment (“frightening” wind, “murderous drafts”). The study revealed the use of Nabokov’s method of increasing gradation in the design of the wind motive, which accompanies Hermann’s doubts and moral throwing, turning into a storm at the moment of final despair. Stillness arises at the climax points of the plot (the murder of an imaginary double and Herman reading his own, which must justify, but expose his mediocrity, “story”). If Herman interprets windcalm as the indifference of being to human life, as the absence of God, then at the author’s level “silence of being” emphasizes Nabokov’s idea of free will: nature does not give signs and does not interfere with a person’s moral choice. The analysis of the wind motive made it possible to reveal, the Pushkin’s fairy tale “Skazka o Rybake i Rybke” / About the Fisherman and the Fish as a significant intertext of the novel; the final “Otchayaniye” (Despair) correlates with the outcome of the tale: the character who wished to become a “despot” not only of his own being, but also of the lives of others (to take the place of God), remained “by the broken washtub”. Conclusion. This study made it possible to expand the understanding of the intertextual connections of the novel by V. Nabokov, to clarify the author’s concept of crime and punishment. Keywords: Nabokov, Pushkin, literature of Russian emigration, wind / storm motive, intertextuality | 1074 | ||||
| 3 | Introduction. The appeal to the study of childhood in V. Nabokov’s novel is argued by a number of factors: historical and cultural changes at the beginning of the 20th century, attention to the phenomenon of childhood in humanitarian knowledge, and the significance of childhood in the aesthetics of modernism. Despite the fact that the topic of childhood has repeatedly become the subject of Nabokov’s analysis, it was not considered as part of the sociocultural space in the novel “Gift” (“Dar”). The purpose of the work is to explore the social and cultural features that describe the space of the formation of the personality of the characters; to determine the features of childhood as part of the socio-cultural space of V. Nabokov’s novel “Gift” (“Dar”). Material and methods. The study is based on the material of the novel “Gift” (“Dar”). The theoretical and methodological base of the research is composed of the sociological works of P. Sorokin, his works on the semiotics of the creative space of Y.M. Lotman, E. Farino, Nabokov’s studies of Yu. Levin. Results and discussion. The central character Fyodor Godunov-Cherdyntsev is the subject of understanding childhood as a special socio-cultural space in the novel. He recreates a number of signs (a description of the toys, a specific location of the Godunov mansion in St. Petersburg, a description of the interior of the estate in Leshino, a characteristic of the social relationship of the family, etc.), which make it possible to get an idea of a “successful childhood”. The image of his childhood is fitted by the novice poet into the manor and St. Petersburg’s style of Russian literature and through the association of his nanny with Arina Rodionovna, the spiritual relationship of the Godunov clan with Pushkin is established. The uniqueness of the socio-cultural space of Fyodor’s childhood is in the stereoscopic volume, the fullness of existence, ensured by the inclusion of the Godunov’s family in the natural universe, science, and elite culture. The social well-being of the Godunov-Cherdyntsev’s family is interpreted by Nabokov not like someone’s giving this privilege, but as genuine (internal) aristocracy, which is ensured by internal strength of mind, the ability to fulfill oneself in various fields: social and political (Fyodor’s Grandfather), scientific (Father Konstantin Kirillovich), creative (Fyodor). In contrast to his own childhood, Fyodor describes the childhood of the “great sixties” N. G. Chernyshevsky (Godunov’s best toys and clothes are contrasted with Nicolya’s “trousers”/“nankov’s trousers; Fyodor’s attentiveness and vigilance are contrasted with Nicolas’s shortsightedness; Godunov-Cherdyntsev’s physical dexterity is opposed to Chernyshevsky’s clumsiness, etc.). Finally, the continuity of the views and values of the father by the son in the noble family and the refusal to follow in the footsteps of the father in the family history of the son of the priest, the revolutionary fellow of Chernyshevsky are emphasized. Conclusion. Contrary to the prevailing opinion about Nabokov as a writer who is alien to social issue, the analysis allows us to state that the socio-cultural code is a significant method of revealing the ideological and thematic originality of the novel “Gift” (“Dar”). The socio-cultural space of childhood turns out to be the determining factor for all subsequent life. The socio-cultural space in Nabokov’s novels can be considered in a number of ways: intra-family and clan relations; social and personal status (the question of the correspondence of the inner world of a person to the assumed social role); the relationship of social conditions of existence with education, upbringing, cultural and personal self-determination of a person. Nabokov disputes the idea of aristocrats as people who are afraid of hard physical work and divorced from real life. On the contrary, he contrasts the “short-sightedness” of materialist-raider Chernyshevsky, who knows neither life, nor art, nor native nature, with comprehensive enlightenment and adaptability to life in the most diverse conditions of the Godunov-Cherdyntsevs (grandfather Kirill Ilyich and Fedor in exile, father - in expeditions). Social well-being is interpreted by Nabokov not as a self-worthy good, but as a basis for the freedom of personal and cultural selfdetermination. Keywords: Nabokov, “Gift” (“Dar”), literature of the Russian foreign countries, socio-cultural space, childhood | 1072 | ||||