ࡱ> 1  .DFRTZjl~º$a$gd[$a$gd2aW-DM [$\$gdxgdxºĺƺʺغں޺⫶χ|qcXJh2aWhoA5\mH sH h[5\mH sH h2aWhoA5\mH sH h2aWhoAmH sH h2aWhxmH sH h2aWhx5\mH sH h2aWhxmH sH h2aWhoAmH sH h2aWhmH sH h2aWhzEmH sH h2aWhzE5\mH sH h[mH sH h,U5\mH sH h2aWh[mH sH h?h2aWjh2aW0JU Conference on Vladimir Nabokov: Annotation vs. Interpretation CRELA, University of Nice, France   . University  Nabokov in the Age of the Internet ( ) ,   , ,  Lara ABSTRACTS Ellen Pifer, University of Delaware , Finding the Real Key to Lolita: A Modest Proposal In announcing the topic for this conference, Maurice Couturier pays tribute to the rich benefits Nabokov scholars have reaped from the painstaking efforts of those who have focused on the myriad references (artistic, historical, linguistic) embedded in the authors texts. He goes on to suggest, however, that there may be limits to such an enterprise, although we have no idea what those limits could be. In this essay I shall attempt to identify some of those limits by demonstrating how the annotators approach, even when he disclaims any attempt to interpret the meaning of the text, in this case Lolita--can hamper, if not undermine, the readers potential understanding of its full range of effects: from the subtlest psychological inflection to the cumulative dramatic impact of a crucial scene or encounter. In the course of my discussion I will offer my own rudimentary version of an interpretive strategy for reading Lolita, one that, while it remains open to both the annotators discoveries and to Nabokovs own reflections on art, is confined to neither. My approach is based on a hermeneutics that has grown out of my experience as a reader, and re-reader, of Nabokovs texts. Alexander Dolinin, University of Wisconsin-Madison, Nabokovs Paratexts and the Problem of Authorial Intentional: A Case of Lolita 1. For a long time, the problem of intentionality has been at the center of debates about interpretation of literary texts. A traditional view that the aim of the reader is to find in the text what its author intended to say is generally rejected as nave, obsolete and theoretically untenable. Contemporary critics may disagree about everything but the notion that the text can and should be interpreted independently of the authorial intention. What is debated now is whether the reader has to respect textual coherence and look for underlying signification system, or is free to disregard them and use the text for his/her own purposes. Arguing against the latter theory, Umberto Eco suggested that interpretation should rely on the intention of the text (intentio operi) or its semiotic strategy, which is basically to produce a Model Reader able to make conjectures about it; the initiative of the Model Reader then consists in figuring out a Model Author that, at the end, coincides with the intention of the text (The Limits of Interpretation, 59; Interpretation and Overinterpretation, 64). Though this circular model, in Ecos words, makes the notion of an empirical authors intention radically useless, he admitted that it would be too crude to completely eliminate the poor author as there are cases in which the inference about the intention of the speaker is absolutely important, as this always happens in everyday communications (Interpretation and Overinterpretation, 66). To follow up on this remark, it is possible to surmise that there are such texts, whose very intention (or, semiotic strategy) is to compel the Model Reader to infer the agency of a construed quasi-empirical author. Nabokovs writings, with their focus on patterning and riddling, self-referentiality, and overt idiosyncratic allusiveness, obviously belong to this class of texts. 2. Nabokovs will to intend is often expressed through paratexta fringe or a threshold that, in Gerard Genettes classical definition, is always the conveyor of a commentary that is authorial or more or less legitimated by the author and constitutes a zone between text and off-text, a zone not only of transition but also of transaction: a privileged place of a pragmatics and a strategy, of an influence on the public, an influence that is at the service of a better reception for the text and a more pertinent reading of it (more pertinent, of course, in the eyes of the author) (Paratexts: Thresholds of Interpretation, 2). Nabokovs paratexts are usually constructed in such a way as to make known an authorial intention, to promote a line of interpretation and to give the reader some implicit instructions. In my paper I discuss the paratextual elements of Lolita as conveyors of intentionality that can influence the Model Readers interpretation of the novel. 3. In its final version of 1958 Lolita includes the following paratextual elements besides the title and the authors name on the book cover: a) the dedication to Vra, b) the fictive allographic preface signed by John Ray, Jr., Ph. D., an editorof the subsequent text. Among other things, it contains a second title (The Confession of a White Widowed Male) given to the manuscript by the narrator, which from the very start stipulates a difference between two textsthe single-titled Lolita of the empirical author and the double-titled Lolita of the fictitious one. c) the later authorial postface signed by Vladimir Nabokov and entitled On a Book Entitled Lolita. The very first phrase of Nabokovs postface refers to the fictive preface and defines suave John Ray as the character in his Lolita who is an impersonation of its real author. As the preface, in its turn, contains a reference to Vladimir Nabokov and his best book, the two paratexts form a circular frame for the text proper, mimicking the latters circular structure (Humbert Humberts confession begins and ends with the name of Lolita). 4. According to Gerard Genette, the main function of Nabokovs postface was to defend his book from the charges of pornography, anti-Americanism and immorality (Paratexts: Thresholds of Interpretation, 246). Beside self-defence, however, it provides a program for reading (or, better, re-reading) the novela list of what Nabokov calls the nerves of the novel, the secret points, the subliminal co-ordinates by means of which the book is plotted. This list includes references to nine episodes of Lolita given in a chronological order as well as a puzzling mention of a scene that is not in the text: pale, pregnant, beloved, irretrievable Dolly Schiller dying in Gray Star (the capital town of the book). Quite recently, it was discussed and interpreted in an interesting article by George Ferger (Nabokov Studies, vol.8, 2004, 137198)whose main conclusions, in my view, are questionable. In my paper, I offer a different interpretation of the list as a whole (and a different solution of the problem of Gray Star, in particular) that seems to support a revisionist reading of the novel. Susan Elizabeth Sweeney, Holy Cross College, Had I Come Before Myself: Illegitimate Judgments in Nabokov The title of this paper derives from one of the strangest moments in Lolita (1955), near the very end of Humbert Humberts confession, when he imagines how he would have judged his own criminal case: Had I come before myself, I would have given Humbert thirty-five years for rape, and dismissed the rest of the charges (308). It would have been logically impossible for Humbert to come before [him]self, of course, as indicated by his clumsy use of the subjunctive mood and awkward shift in pronouns. By means of this statement, however, he finallyif obliquelyadmits that he is guilty of raping Dolores Haze. Humberts attempt to determine his culpability or innocence in a criminal case (which completes the imaginary trial that he has conducted throughout the preceding narrative) coincides with his equally suspect attempt to evaluate the artistic merits of his own confession, which he has just read. The novels moral and aesthetic design depends, in fact, on the futility of Humberts efforts to become his own criminal judge and his own critical reviewer. In this sense, Lolita presents a more sophisticated version of a stratagem that Nabokov had already employed in Despair (1934) twenty years earlier: Hermann, too, at the very end of that novel, tries to pronounce judgment on both his crime and the narrative he has written about it. Hermann and Humbert are similar, of course, to many of Nabokovs other unreliable narratorsincluding Smurov in The Eye, V. in The Real Life of Sebastian Knight, and Kinbote in Pale Firewho try in vain to escape the contingencies of their own lives through fiction. Like those other narrators, Hermann and Humbert ultimately fail because they are, after all, only narrators and not the author himself. Nevertheless, their efforts to judge the moral and aesthetic significance of their confessions cannot help but recall Nabokovs own propensity for pronouncing definitive and authoritative judgment on the moral worth and artistic accomplishment of his works. To what extent do Nabokovs self-appraisals present a similarly impossible situation, in which he too attempts to come before [him]self as his own editor, critic, reviewer, and reader? In order to tease out the implications of this parallel, I will compare Nabokovs evaluation of both Lolitain On a Book Entitled Lolita (1956)and Despairin his foreword to the English translation (1965)to the respective narrators comments on their own criminal confessions within those two novels Tatyana Ponomareva, Nabokov Museum, The Nabokov Museum: Present and Future Jeff Edmunds, Pennsylvania State, Nabokov lge dinternet Vladimir Nabokov l'ge d'Internet The Internet and the World Wide Web have had a profound impact on virtually all aspects of modern life. Scholarly discourse is not exempt from their effects. Twenty years ago, communication between academics was largely effected through the medium of scholarly journals, conferences, and personal correspondence. As a result, the exchange of information was slow and almost completely invisible to the general public. Now, thanks to the Internet and the World Wide Web, communication between scholars widely separated in space can take place almost instantaneously. Research, in the form of text, images, and audio-visual presentations in digital format, can be exchanged quickly. Thanks to the transparency of the World Wide Web, interested amateurs can participate in the exchange of information from outside the halls of academia. NABOKV-L, the Electronic Nabokov Discussion Forum, was founded in 1993 by D. Barton Johnson. In the thirteen years of its existence, the list has provided a forum for Nabokov enthusiasts from all over the world. ZEMBLA, a Web site devoted to Nabokov's life and works, was founded in 1995. Both NABOKV-L and ZEMBLA have had a profound impact on Nabokov studies, allowing the rapid, collegial, sometimes contentious exchange of information by specialists, students, and non-academic readers of Nabokov. Jeff Edmunds will discuss how he, a non-academic, discovered Nabokov's works, how NABOKV-L introduced him to the world of Nabokov studies, and how ZEMBLA, the Web site he created and now oversees, grew from an idea in 1994 into a Web site visited by tens of thousands of Nabokov enthusiasts every year. Brian Boyd, University of Auckland, Lolita: What We Know and What We Dont (Lolita de Nabokov: Evidences et enigmas) Nabokov plays games with our knowledge and ignorance, as Humbert doeswith Lolita, and with Charlotte, and with us as readers, and as Valeria, Charlotte, Lolita and Clare Quilty do in their turn with Humbert. On a first reading Nabokov places us in a position of knowing some crucial information denied to other characters, but then of not knowing other crucial information until even after the characters concerned all know. On a rereading he then allows us todiscover much more, so that for instance the obscure rival becomes Clare from the first. But I suspect Nabokov has hidden still more under our noses, if we keep re-rereading. Where has he planted his clues, and where might they lead? Galya Diment, University of Washington in Seattle, Vladimir Nabokov and Early Silent Film Since the release of Kubricks Lolita in 1962 and the publication of Alfred Appels Nabokovs Dark Cinema in 1974, Nabokov and Cinema and, more narrowly, Lolita and Cinema, have been common topics in both Nabokov scholarship and in teaching Nabokov courses. My interest, however, is in Nabokov and a different kind of cinema, about which very little has yet been said or written in relation to Nabokov to date. It is the pre-revolutionary Russian cinema, and, in particular, Evgenii Bauer (1865-1917), the most popular and prolific director of Nabokovs youth, who made more than eighty films (many of which did not survive) in less than five years, from 1913 until his sudden death between the two revolutions of 1917. These days, given students, as well as my own, increasing interest in film, I teach early Russian and Soviet cinema pretty much every year. I never fail to mention to those who are familiar with Nabokov how often Nabokovs oeuvre, including Lolita, appears to echo Bauers films. Teaching Nabokovs Lolita and Bauers films side by side furthers the exploration of Nabokovs very deep Russian roots, and demonstrates how crucial his formative experiences with Russian art and culture were not just for his Russian but also his American works. It also brings a new angle into the discussion of cinematographic elements in Nabokovs prose and thus serves as a helpful sequel to Nabokovs Dark Cinema, as mapped out by Appel. D. Barton Johnson, University of California in Santa Barbara, Vans Last Tango in Ada: A Song and two Films Vans brief stage career as a maniambulist concludes with a London performance in which he dances a tango with a female partner fromthe Crimea. The unnamed song to which they dance, mostly widely knownas The Last Tango, is one that was very popular in Europe in the period before and after WWI. The Russian version, Poslednee Tango, supplied the plot for a 1918 Russian film adaptation starring Vera Xolodnaya whose work was well known to both VN and his Tamara from their furtive afternoon trysts in wintry Sankt-Peterburg cinemas. Circumstantial evidence suggests that Nabokovheard the song in his Crimean stay (if not before), and likely saw the film. Nor was this VNs only filmic experience in the Crimea. In Drugie berega, he describes a bizarre encounter with the leading movie star of the dayIvan Mozzhukhinin what is described as a rehearsal scene for a movie loosely based on Tolstoys Hadji Murad, later released under the title Der Weiss Teufel. The paper examines the role of these musical and cinematic elements as they are interwoven into Ada and Speak Memory. The talk is accompanied bya recording of The Last Tango and fragments of the eponymous film, as well as the Mozzhukin feature. Geoffrey Green, San Francisco State University, The Man in the Mirror: Considering Alfred Hitchcock as a Model toward resolving the Vertigo (1958) of Annotation vs. Interpretation in Nabokov's Lolita (1955)" Hitchcock and Nabokov were born in the same year; they admired each other's work and Hitchcock attempted to persuade Nabokov to write him a screenplay. Both were fastidious and detached artists who thought in images and whose work was passionate, profound, and multi-layered. Nevertheless, the critical reception of Hitchcock's body of work has proceeded in a direction that is markedly different than the critical response to Nabokov. A comparison between Lolita and Vertigo may provide some elucidation as to the challenges we face. Whereas both are highly passionate texts and both pose temptations toward either annotation or interpretation and both explore deep psychic regions and dark recesses, in the case of Hitchcock we have managed to integrate a measure of interpretation with our annotation. The similarities between Hitchcock and James Stewart's character in Vertigo do not distract us from entering into an engagement with the film that manages to bridge the interpretive/annotative gap. With Nabokov on the other hand, it is as if we are still struggling in Lolita with the sign of the father, still grappling with oedipal issues that may have been called into play (in part) by Nabokov's self creation as a fictive Author of Olympian heights and tyrannically strong opinions. Hitchcock however modified his own autocratic legacy by engaging in some fierce self- criticism in conversation with Truffaut. By finding fault with himself, Hitchcock opened the door for his critics to follow in his example--leading to a play of interpretive signification that does not preclude annotative and archival research and discovery. By opting to preserve the privacy of his own self-image, Nabokov obscured the road to discovery by placing his specter in the path. And now he is gone but his works remain. Perhaps in a sense they are today at a crossroads--but it is no longer Nabokov who is under scrutiny: it is his readership. Delage-Toriel, University of Strasbourg, Disclosures under Seal: Nabokov, Secrecy and the Reader Secrecy is one of the staple ingredients of any good story. The very term for 'plot' in French is 'intrigue'. Indeed, the fabric of a narrative is by essence a complex and dynamic interweaving of information disclosed and information withheld, which, when successful, will sufficiently intrigue the reader to draw him wholeheartedly into the world of fiction. One of the traditional roles of the critic is to 'explain', that is, unravel this complex interplay of warp and weft by observing the 'underside of the weave,' to borrow a Nabokovian phrase. Nabokov is one of those writers who is not only particularly aware of this underside, but is also particularly fond of making the reader aware of it too, and thus invites his readers to engage in the story from a critical stance which will bring them into close contact with creativity itself. Secrecy lies at the heart of this relationship between Nabokov and his reader: Humbert's journal is perhaps the most eloquent example of this process whereby the author seduces us into penetrating the heart of secrecy, where such intimacy would appear repugnant if viewed from a greater distance. Besides the moral issues raised by such a stance complicity vs. detachment , we may notice that secrecy hinges upon a dynamics of exclusion and inclusion, a dynamics which is not only very present in the reader/character relationship, as is here the case (we are included in a privileged circle, from which Charlotte Haze and her daughter are excluded), but also the reader/narrator relationship, as when Vadim claims he and his beloved, 'You,' share secrets nobody else will ever penetrate. In this case, the reader is most conspicuously excluded, the secret vibrantly flaunted in order to maintain its very existence, its 'raison d'tre,' one might say. Once more, this might be interpreted as a basic narrative ploy. Yet Zembla's crown jewels or the shadow behind Pnin's heart are not merely riddles to which the reader may find 'elegant solutions' after a thorough study of the novel. Or so it may appear. How far, indeed, does the experience of reading Nabokov challenge the critic's position as riddle solver, or explainer? In other words, what limits to 'explanation' may such secrecy point to? What is the critic's legitimacy in such instances, whether he chooses to explain through annotation or interpretation (both attitudes denoting after all a faith in the critic's capacity to unravel fiction's mysteries)? Are some secrets best left undisturbed, while others seem suitable to decipherment? Would such typologies make any sense, considering Nabokov's aesthetic creeds? These are some of the many questions that shine through Nabokov's 'translucent undertones'. Gerard de Vries, "Nabokov's Pale Fire and the last works of J.S.Bach". I am sure this will strike you as a most surprising subject, but there is, as I see it, ample and sound evidence for this connection. The evidence is solid enough to argue that Pale Fire's structure can/should be seen in the light of a fugue by Bach: a theme repeated in variegated forms. For example, in the Musical Offering (an elaboration of the royal theme given by Frederick the Great to Bach, and as difficult to recognize as Kinbote's theme in Shade's poem) one single melody results in a fugue of which the different voices are allotted to a flute, a violin and a harpsichord. Likewise is the theme of Pale Fire given to three "voices", Shade, Kinbote and Gradus. The implication of this is that it doesn't make much sense to look for a hierarchy between these voices, in other words selecting Kinbote or Shade as the author of the whole is in vain. This in agreement with your Cambridge paper in which you concluded that Nabokov and not Kinbote or Botkin has the last word. This assertion is treated in a framework in which Nabokov's interest in Bach is presented and examples of the fugal structure in Pale Fire are shown. I am now rewriting the draft into a text which can be published in Cycnos. Apart from this I will prepare a text to be read for the audience, in which I can present the arguments as clear as is in my command. Because I will prepare two papers (texts to be read have different qualities than those to be spoken) I can make the duration of my presentation according to your wishes. I would prefer to speak about 15 minutes, but, if desirable, I can confine my story to ten minutes as well. Will this make it easier for you to find a spot where you can insert me somewhere in the program? Gene Barabtarlo, University of Missouri, "A Good Knight -- for Nothing" While most Nabokov's books present diegetic problems (identity of the narrator, narrative tiers, unmarked transposition of the first and third person narration etc.), his first English novel contains a special narratological difficulty which defined the narrative system he employed in the subsequent series of English writings. A plausible resolution, or at least a correct definition, of that difficulty - whose first trace can be seen, I argue, in TRLSK's title and whose tail flashes so alluringly at the exit point - is of principal urgency, comparable only to that of Pale Fire. My observations will attempt to describe the problem as I see it and offer a possible solution. John Burt Foster, George Mason University, "Framing Nabokov: Modernism, Multiculturalism, World Literature" Notoriously resistant to being contextualized, Nabokov would probably have regarded all three of the cross-cultural terms in my subtitle as misleading simplifications or even distortions ?- as frames not in the honorific sense of adding luster to his career but in the negative one of deliberate falsification. Yet in fact are they any more misleading than the widely used epithets "Russian" and "American," which in effect extend the two main languages in which he wrote into larger claims of cultural identity? After briefly considering the annotation versus interpretation issue as applied to Nabokovs affiliations with international modernism, this paper will examine these two more recent attempts to place him in cross-cultural frameworks. Neither multiculturalism nor world literature is rooted as explicitly as modernism in Nabokovs own presentation of his work, nor is their definition as firmly established. It is doubtful, for example, that either term means quite the same thing in the United States and Europe. But in recent years, apart from the commentary surrounding the Lolita anniversary, the reception that Nabokov has received in the U.S. in such venues as book reviews, literature anthologies, and op-ed pieces suggests an attempt to see him in one of these two ways. Can either attempt be justified or even amplified? Monica Manolescu, University of Paris 7, Verbal Adventures in the Inky Jungle: Marco Polo and Mandeville in Vladimir Nabokovs The Gift This paper seeks to examine a particular facet of Nabokovs authorial presence, namely the kinship between the figures of the author and the explorer. The act of exploration emerges as a powerful topos in Nabokovs fiction and drama, generally triggered by the fascination for the blank spot that still awaits a name. Mirroring the foundational gesture of the explorer, the author draws the cartography of a new fictional world and endows it with a nominal identity. I would like to argue that one of the possible sources for the unstable pronominal behavior typical of The Gift can be found in Marco Polos Description of the World, a text produced jointly by Marco Polo and a professional scribe, Rusticello di Pisa. John Mandevilles Travels, with their source appropriation and mystification, also seem to provide a relevant textual model. Jenefer Coates, Middlesex University, London, Translating Old Bokes: Nabokov's Medieval Perspectives How does historicity shape Nabokov's art and our response to it? Nabokov's debt to medieval literature has been largely unexamined, yet- as will be shown - he drew liberally, if discreetly, on the entire early canon, from the great cycles of French and English courtly Romance to the encyclopaedic works of Chaucer and his contemporaries. Set in this long perspective, Nabokov's oeuvre clearly borrows certain contours and characteristics from medieval traditions as a whole. But close scrutiny also reveals deep and significant affinities with specific old bokes (books), their co-presence in each creation, in a secret constellation of signs, mapping a distinct, coherent narrative. Could this be the second story that is woven into, or placed behind, the superficial semi transparent one? A double narrative - one old, one new, thematically conjoined - offers readerly challenges. Doubleness invites comparison: it delineates a critical perspective with a genealogy from the mythic to the mimetic. Perspective, however, like parody, is governed by tricks of distortion, and those are everywhere at work: giving old tales his usual playful twist, Nabokov consistently centres his restagings on some modern variant of the Fool, in a life-long reappraisal of that ancient tradition as well. Not translation in a strict sense, then, but transformation curiously akin to that performed by medieval text-makers themselves. Andrey Babikov, On Germination of Nabokovs Main Theme in his story Natasha On the basis of a first reading of yet unpublished Nabokovs story Natasha (1921) and its juxtaposition to other important Nabokovs compositions of 1921, this paper will consider the question of the genesis of Nabokovs main theme (hereafter) in its interconnections with his original poetics. David Rampton, University of Ottawa,  SEQ CHAPTER \h \r 1"Nabokov and The Passions of Reading" The topic as formulated invites us to think about how the work of those who write on Nabokov divides up, about annotation vs. interpretation, the respective challenges that inevitably await those who undertake such activities, and the cross-overs and sub-categories they imply. Since participants have been generously given "ample latitude to speak on any subject" related to this theme, this paper will explore some of the further divisions that occurred to me when I began to think about the subject, namely admiration and adoration, and their dark doubles, denigration and detestation. The justification for this way of dividing up readers in Nabokov's world is at least fourfold. First, it reminds us of the passionate ways he read his precursors and contemporaries. Second, it helps us understand better some of his most interesting characters, characters as different as Fyodor and Kinbote. They are both readers who annotate and interpret, certainly, but they stay in our minds because they burn with the love of their subjects, and are conversely animated by a passionate antipathy for those whom they view as obstacles to the realization of their respective goals. Third, such a division casts light on some of the cultural assumptions at work in the responses to Nabokov's fiction. Finally, it can assist a new generation of readers in orienting themselves when exchanges about Nabokov's work become particularly heated. Identifying the shifting criteria at work in this play of responses and describing the ways that literary and historical context have acted to redefine the terms at issue will help shed new light on why Nabokov criticism has assumed its current shape. Julian W. Connolly, University of Virginia, The Challenge of Interpreting and Decoding Nabokovs Works: Strategies and Suggestions Every writer's work poses certain challenges to the reader. When the writer speaks three languages fluently, has a vast knowledge of European literature, is an accomplished lepidopterist, and compares the relationship between the author and the reader to that between the composer of chess problems and the solver of those problems, this challenge takes on unusual dimensions. This paper will examine the kinds of challenges presented by Nabokov's work, and it will offer strategies and suggestions for surmounting them. While general observations on how to read Nabokov are well-known (beginning with Nabokov's own one cannot read a book, one can only reread it), specific guidelines are still lacking. To map out a workable blueprint for the interpretation for Nabokov's art, this paper will look at several individual components of his art, from the smallest building blocks to the largest questions of interpretation. In discussing these elements, we shall analyze ways to increase the likelihood of arriving at plausible interpretations and to minimize the chances of erroneous or overreaching speculation. Among the elements to be considered are Nabokov's use of anagrams and coded messages; the multiple roles played by literary allusion; the presence of traps set by the author for the unwary reader; the thorny issue of intentionality and authorial control; and finally, the issue of ultimate interpretation: are certain of Nabokov's texts genuinely open-ended, or are do all the puzzles he sets have one, and only one, correct interpretation. If time permits, we will discuss how one might approach The Real Life of Sebastian Knight using the principles outlined in this paper. Zoran Kuzmanovich, Davidson College, "Legitimizing belief and critical practice, or, reading Nabokov as if differences mattered" Nabokov studies is now a sufficiently mature scholarly field that it can withstand much more critically informed disagreement than it has borne so far. I would like to propose and examine certain forms of unforced communal critical practice, forms that avoid ad hominem attacks yet presume neither the common ground of some ideal starting point nor the desirability of an agreement or even consensus. Since I like having and keeping friends, to tease out the potential advantages and pitfalls of such critical practices, I'll start with unflattering descriptions of my own work: "Kuzmanovich's reading could be used in this respect as a test case of Nabokov's 'creating wit in others'-like Falstaff-in an area of proxemics and unvoiced intuition. Kuzmanovich's [work] shows that this critic is subliminally aware of their importance, although that awareness never rises to the surface of critical discussion in explicit theoretical formulation." I do not intend to use my time to answer this or any other critic of my work. I do intend, however, to start from the proposition that Nabokov's creating wit in others may have been both a boon for and a brake on Nabokov studies. I then wish to treat a set of critical statements, culled from Nabokov and others, as nodes in a network of more heterogeneous possibilities for reading Nabokov. Priscilla Meyer, Wesleyan University, "Life as Annotation" Annotation bridges and differentiates the interpenetrating realms of life and art. A literary character may suffer from referential mania, while his author is prey to the obverse; assaulted by references to literature at every step, he is persecuted by the omnipresence of others' words. Nabokov's art demands annotation. Without it, his four-dimensional tic-tac-toe game is invisible and the reader becomes Mr. Goodman failing to recognize the substitution of Hamlet's biography for Sebastian's. But who is Goodman, and what does his name signify? Annotation reveals yet another, personal, layer of dialogue between literature and life, one that Nabokov probably wanted to go undetected by all but one reader. Michael Wood, Princeton University, The Figure in the Crypt A character in Henry James story The Figure in the Carpet answers a friend who is sceptical about his pursuit of an authors hidden meaning by saying that if we had had Shakespeares own word for his being cryptic he would at once have accepted it. We do have Nabokovs word for his being cryptic, notably in The Vane Sisters. And even without his word, his fiction is haunted by a sense of riddle and game, of the problem as we understand it in the context of chess. What are we to do with this haunting? Do we seek to solve the riddle or do we see the unsolved riddle as a literary form in its own right? Is the author cryptic or chronically absent? What difference does it make? This paper will explore both possibilities, and ask what the consequences are for reading and commentary of our accepting either view. The obvious test case is Pale Fire, and I do not wish to ignore the wonderful ongoing discussion of this novel. But in the hope of being a little less obvious, or not only obvious, I shall concentrate mainly on Bend Sinister. David Lodge, novelist, Nabokov and the Campus Novel Vladmir Nabokov's Pnin, (1955) is, in one of its many aspects, a very early example of the "campus novel", written and published before that subgenre of modern literary fiction was identified and named. In Pale Fire (1962) Nabokov returned to the university campus for the principal location of his story. I will try to identify the specific nature of Nabokov's contribution to the evolution of the campus novel and his possible influence on other practitioners of this kind of fiction. ./LSg    pnxyGaGM- 1 w !˽˽˯}}}}}}}}}h[mH sH hh[6]mH sH hh[mH sH  hh[56\]mH sH hh[5\mH sH hh[6]mH sH hh[mH sH  hh[56\]mH sH hMw5\mH sH hh[5\mH sH 1  /gh   P!! " "u$X'(+++,,,m,n,gd[ $`a$gd[ $a$gd[$a$gd[$a$gd[J!!! " "Q"W"L&R&&&'''' ((++0+6+C+J++,,k,m,n,,2#3)3*3L3S3v3w3266ٿzlahh[mH sH h[56\]mH sH  hh[56\]mH sH hAh[B*mH phsH h[h[B*mH phsH h[h[mH sH h[5\mH sH hh[5\mH sH hh[6mH sH hh[5\mH sH hh[mH sH hh[6]mH sH &n,,/1222w306162666;<<<<wAxAyAJBII?JTTgd[$a$gd[d-DM gd[$d-DM a$gd[66666,737V:\:::<<<<<??>@J@j@z@@@@@xAyAAB;BABJBDDD&DEE}FFI?JJJTT)UٽzhRh[5\mH sH h[mH sH  hh[56\]mH sH hh[5\mH sH hh[6]mH sH hh[mH sH  hh[56\]mH sH hh[5\mH sH hh[6]mH sH hh[mH sH .T*U+UY[[+\,\^^^D_0bddeef^h_hh iknoo\]伪zllaah[5\mH sH hh[6]mH sH hh[B* mH phsH #hh[6B*]mH phsH hh[B*mH phsH #hh[5B*\mH phsH hh[mH sH #jhh[5U\mH sH hh[mH sH hh[5\mH sH hh[5\mH sH $ LWMusic must have featured quite frequently during Nabokov's life as a topic for discussion as he was surrounded in his family by ardent music lovers: his parents, his brother Sergey, his cousin, the composer Nicholas Nabokov, and his son Dmitri. His research on his ancestor, the composer Carl Heinrich Graun, must have led him to J.S.Bach, Graun's most famous contemporary. His story "Bachmann" and his novel Pale Fire indicate a special interest in Bach's fugal art. In his Lectures on Literature he explores the similarities between the harmony in polyphonic music and the harmony created by Flaubert and Joyce in their main novels. Pale Fire's structure can be elucidated by its parallels with a fugue by Bach, especially some of the fugues of his &(*FHJL~$a$gd[$a$gd2aW-DM [$\$gdxgdxJL0ɾ׏yk`RDh2aWh2aW5\mH sH h2aWhoA5\mH sH h[5\mH sH h2aWhoA5\mH sH h2aWhoAmH sH h2aWhxmH sH h2aWhx5\mH sH h2aWhxmH sH h2aWhoAmH sH h2aWhmH sH h2aWhzEmH sH h2aWhzE5\mH sH h[mH sH  h65|6]h65|h,U5\mH sH h2aWh[mH sH  Conference on Vladimir Nabokov: Annotation vs. Interpretation CRELA, University of Nice, France In announcing the topic for this conference, Maurice Couturier pays tribute to the rich benefits Nabokov scholars have reaped from the painstaking efforts of those who have focused on the myriad references artistic, historical, linguistic embedded in the author s texts. He goes on to suggest, however, that  there may be limits to such an enterprise, although  we have no idea what those limits could be. This essay is an attempt to identify some of those limits and to show how annotations can implicitly or inadvertently shape the reader s understanding of a text, even when the annotator disclaims any attempt at interpretation. In Lolita s case, specifically, the annotator striving to  solve the novel s puzzles is liable, in the process, to undermine some of its crucial effects ranging from the subtlest verbal inflection to the cumulative impact of a passage or scene. In the course of my discussion I will offer my own rudimentary version of an interpretive strategy for reading Lolita. While remaining open to both the annotator s discoveries and Nabokov s own reflections on art, it is confined to neither. My approach is based on a hermeneutics that has grown out of my experience as a reader, and re-reader, of Nabokov s texts.   . University  Nabokov in the Age of the Internet ( ) Many of Nabokov s novels revolve around problems of knowledge, from Ganin s awareness and Alfyorov s ignorance that the latter s wife is the former s first love, through Dreyer s blithe blindness to his wife s infidelity, or The Eye s compulsive quest for the real Smurov, or Kretschmar s failure to see Axel Rex s dark role in his life, or Fyodor s attempt to uncover the secrets of his father s death or Chernyshevsky s life or fate s pattern in his own life, or V. s inquiry into his brother s life and death, or Krug s search for ultimate questions while overlooking more urgent evidence of the dangers closing in on him, or the inner secrets of Pnin s life strangely privy to his fellow-migr narrator, or the multiple mysteries of Pale Fire, or the arcana of Ada, or the haunting enigma of Transparent Things, to Vadim Vadimych s quest to understand the riddles of space, time and self. Lolita s subject matter and its emotional intensity make us less likely to think of Nabokov s most famous novel in these terms. I want to link Lolita to the epistemological concerns of Nabokov s other work, to show how he does this through the novel s subject matter and its emotional intensity, and to consider some of the riddles that still remain unsolved. ,   , ,  Lara LWMusic must have featured quite frequently during Nabokov's life as a topic for discussion as he was surrounded in his family by ardent music lovers: his parents, his brother Sergey, his cousin, the composer Nicholas Nabokov, and his son Dmitri. His research on his ancestor, the composer Carl Heinrich Graun, must have led him to J.S.Bach, Graun's most famous contemporary. His story "Bachmann" and his novel Pale Fire indicate a special interest in Bach's fugal art. In his Lectures on Literature he explores the similarities between the harmony in polyphonic music and the harmony created by Flaubert and Joyce in their main novels. Pale Fire's structure can be elucidated by its parallels with a fugue by Bach, especially some of the fugues of his later works, The Musical Offering and The Art of Fugue. This might explain this novel's harmony without relying on a single internal authorship. he Real Life of Sebastian Knight  The Amazing Music of Truth:om, , Denis Diderot   This paper seeks to examine a particular facet of Nabokov s authorial presence, namely the kinship between the figures of the author and the explorer. The act of exploration emerges as a powerful topos in Nabokov s fiction and drama, generally triggered by the fascination for the blank spot that still awaits a name. Mirroring the foundational gesture of the explorer who discovers a new geographic world, the author draws the cartography of a new fictional world and endows it with a shape, with an identity, with a story. More specifically, I would like to argue that one of the possible sources for the unstable pronominal behaviour typical of The Gift can be found in Marco Polo s Description of the World, a text produced jointly by Marco Polo and a professional scribe, Rusticello di Pisa. John Mandeville s Travels, with their source appropriation and mystification, also seem to provide a relevant textual model. In an article published in 2003 in Nabokov Studies, Sabine Hartmann and Dieter E. Zimmer draw the impressive list of Nabokov s sources for Godunov Cherdyntsev s Asian travels in chapter 2 of The Gift (Sabine Hartmann and Dieter E. Zimmer,  The Amazing Music of Truth: Nabokov s Sources for Godunov s Central Asian Travels in The Gift, Nabokov Studies 7, 2003). Starting from their annotations, I would like to propose an interpretation of how intertextual strategies function in the case of Marco Polo and Mandeville. t BCPRDM S K      PAGE 10 ~6JLNP"(-DM [$\$gd2aW-DM [$\$`gd-hgdx$a$gd[0246BHJLNP vx(NTP\p|"0 "(:<ʻ䒌{mbZh[mH sH h2aWh-hmH sH h2aWh-h5\mH sH h[mH sH h65|0J6] h65|0Jh2aWh[5\mH sH h-hB*mH phsH h2aWh[B*mH phsH h2aWh2aWB*mH phsH h2aWhoAB*mH phsH h2aWh[mH sH h2aWh2aW5\mH sH h2aWhx5\mH sH  later works, The Musical Offering and The Art of Fugue. This might explain this novel's harmony without relying on a single internal authorship. he Real Life of Sebastian Knight   BCPRDM S K      PAGE 10 ºĺƺȺʺںp-DM [$\$gd2aW-DM [$\$`gd-hgdxjlnp|лһԻʻqf^PE7h2aWh}H5\mH sH h2aWh}HmH sH h2aWh-h5\mH sH h[mH sH h2aWh-hmH sH h2aWh-h5\mH sH h[mH sH h2aWh-hmH sH h2aWh[5\mH sH h-hB*mH phsH h2aWh[B*mH phsH h2aWh2aWB*mH phsH h2aWhoAB*mH phsH h2aWh[mH sH h2aWhx5\mH sH h2aWh2aW5\mH sH һԻֻ&(*prt`gdc [$\$gdWgdxԻ RTfؿڿ,DLNnp$&(*,lƻ~~~wi^Rh2aWhc6mH sH h2aWhcmH sH h2aWhW5\mH sH  h2aWhWh2aWhW6]^Jh2aWhW]^Jh2aWhW]h2aWhW^Jh2aWhW5\mH sH h[mH sH h2aWhWmH sH h2aWh}HmH sH h2aWh}H5\mH sH h2aWh2aW5\mH sH h[mH sH h2aWh}HmH sH lnprt~üꮣwi^SKhJmH sH h2aWh[mH sH h2aWhJmH sH h2aWhJ5\mH sH h2aWh,U5\mH sH hJ5\mH sH h2aWh,UmH sH hcmH sH h2aWhcmH sH h2aWhc5\mH sH  h2aWhch2aWhcmH sH h2aWh[5\mH sH h2aWhc5\mH sH h[mH sH h2aWhc6]mH sH Oh+'0 $ @ L Xdlt| ABSTRACTS BSTMaurice CouturierdauraurNormal Preferred Customer8efMicrosoft Word 10.0@ @(6y@ }Is $&(.0<>BDFJȽȪwi_Y_N_JFh11h2aWh,U0JmHnHu h2aW0Jjh2aW0JUh2aWh5\mH sH h2aWhmH sH h2aWh5\mH sH h2aWhB* mH phsH h2aWhmH sH h2aWhJmH sH h[mH sH h2aWhJmH sH h2aWhJ5\mH sH h[mH sH h2aWhJB*mH phsH #h2aWhJ5B*\mH phsH ՜.+,0 hp|   AE:  ABSTRACTS TitleNormal Preferred Customer8efMicrosoft Word 10.0@ @(6y@ }Is@@@ [NormalCJ_HaJmH sH tH DA@D Default Paragraph FontRi@R  Table Normal4 l4a (k@(No List8O8 $Style1$da$CJJOJ $ Citationsdxx^5\VC@V [Body Text Indent$`a$ mH sH tH B^@"B [ Normal (Web)dd[$\$4@24 2aWHeader  !4 @B4 2aWFooter  !.)@Q. 2aW Page Number؂ Iklxyze f >?_`B!2$3$4$W$$$$$$$<(5*e+f+g++++......444455999:::NBOBPB}BBBdMeMfMvMMM/Q0Q1QYQxQyQ@TATBTlTTTWYYYZ~ZZU\]]]]7^8^y^Xacccc"d#dNeOePeteeeLlMlNlylllwsxsyssss:y;y_B!2$$$<(5*g++....44599:NBPBBdMfMvMMM/Q1QxQyQ@TBTTWYY~ZZU\]]7^y^Xa"dNeeeNllwsyssE||ق@0@0@0@0@0@0@0@0,1h. A!"#$%    . University  Nabokov in the Age of the Internet ( ) ,   ,,  Lara LWMusic must have featured quite frequently during Nabokov's life as a topic for discussion as he was surrounded in his family by ardent music lovers: his parents, his brother Sergey, his cousin, the composer Nicholas Nabokov, and his son Dmitri. His research on his ancestor, the composer Carl Heinrich Graun, must have led him to J.S.Bach, Graun's most famous contemporary. His story "Bachmann" and his novel Pale Fire indicate a special interest in Bach's fugal art. In his Lectures on Literature he explores the similarities between the harmony in polyphonic music and the harmony created by Flaubert and Joyce in their main novels. Pale Fire's structure can be elucidated by its parallels with a fugue by Bach, especially some of the fugues of his later works, The Musical Offering and The Art of Fugue. 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