NABOKV-L post 0001405, Sun, 3 Nov 1996 16:30:48 -0800

VN Bibliography
EDITOR'S COMMENT. Apart from The State University in Zagreb (Croatia) I can
think of no university that boasts two active Nabokovians.
Magdalena Medaric, author of the first book-length study of Nabokov (see
review in NABOKOV STUDIES #1), and Irena Luksic, an editor of the journal
_Knijizevna smotra_ (The Literary Review) have both written extensively
about Nabokov. Their latest publications are listed below.
Both of the following articles appear in _Autotematizacija u
Knjizevnosti_, ed. Magdalena Medaric (Zagreb: Zavod za znanost o
knjizevnosti, 1966)

Magdalena Medaric, "_Druge Obale_ Vladimira Nabokova kao Autometapoetski
Tekst: S posebnim obzirom na ulogu igre u nego stvaralastu" (pp.185-220)

The article examines those aspects of Nabokov's autobiography
that are auto-commentaries on his fate as "The Text of his
Life." Simultaneously examined are those apects of "Drugie berega"'s
(_Speak, Memory!'s)
poetics which attest that the author considered all of his works a single
artistic Text. "Other Shores", notwithstanding its documentary nature,
(set by its genre) must also be perceived as a rigorously structured
literary work into which an arabesque of the themes and motifs of all of
VN's earlier (pre-1954) writings is artfully and intricately interwoven.
The article particularly focuses on themes and motifs connected with
games. Nabokov's autobiography is also a source (both implicit and
explicit) of Nabokov opinions about the meaning and essence of art. The
author of the article devotes special atention to the problem of the
relationship of game and art in Nabokov's artistic philosophy.

Irena Luksic, "_Slava_ Vladimira Nabokova: O funkciji autometaopisa u
ruskoj emigrantskoj poeziji," pp. 221-235.


VN is an author oriented toward a text that is oriented toward
another text. His 1942 poem "Fame" displays the characteristics of Acmeist
poetry. A single linguistic element bears diverse meanings, functions, and
relationships. The poem's semantic structure places particular emphasis on
quotations, reminiscences, auto-quotations, and allusions--all presented
through the poet's dialogue with a multi-voiced Someone/Something. In
addition to the phenomena of citation and autocitation, the poem displays
another crucial Acmeist feature--metapoetic commentary which implies that
the author introduces into his poem a level of formal analysis of the very
same text. The effect of the autometadescription is a consequence of the
identification of various temporal and spatial parameters of the poetic
text, i.e., the time of the reader's reception. Such a semantic
organization of the text is an instrument of the author's approach to the
cultural paradigm with a clearly distinct historical task in the vertical
and horizontal realization of a literary work. The function of metapoetic
commentary in the poem "Fame" is above all an attempt to set the author's
entire oeuvre in the context of his absolute cultural dislocation, i.e.,