«LITERARY DIARY» OF Z.N. GIPPIUS IN THE SATIRICAL REFLECTION OF THE NOVEL «THE GIFT» BY V.V. NABOKOV

Philologos ◽  
2019 ◽  
Vol 42 (3) ◽  
pp. 68-74
Author(s):  
E.A. Obuchova ◽  
Keyword(s):  
The Novel ◽  
The Gift

METAPHORIC REPRESENTATION OF THE CONCEPT “CREATIVE PROCESS” IN V. NABOKOV’S NOVEL “THE GIFT”

2020 ◽  
Author(s):  
Yuliya Golovnyova ◽  
Albina Novikova
Keyword(s):  
Creative Process ◽  
Theoretical Basis ◽  
The Novel ◽  
Artistic Creation ◽  
The Gift

Descriptions of the process of artistic creation take an outstanding place in V. Nabokov’s works and abound both in conventional and creative metaphors. In this article we analyze metaphoric representation of the concept “creative process” in V. Nabokov’s novel “The Gift”. The theoretical basis of research is the descriptor theory of metaphor by A.N. Baranov. The article reveals the most frequent metaphorical models of creative process in the novel and the areas of its metaphoric conceptualization.

scholarly journals The Russian China in the Last D. A. Prigov’s Novel

2020 ◽  
Vol 15 (1) ◽  
pp. 146-165
Author(s):  
E. V. Kapinos
Keyword(s):  
Far East ◽  
Main Task ◽  
The Novel ◽  
Main Character ◽  
The Far East ◽  
The People ◽  
The Gift ◽  
Pass Through ◽  
John Wilkins

The article relates to the last novel by D. A. Prigov “Katya the Chinese” (published in 2007), based on the memories of the writer’s wife, N. G. Burova from Harbin, who was born and grew up in the Russian China and left it in 1950s. The main task of the article is to show what stylistic techniques, plots, motives, subtexts allow to recreate the atmosphere of the Russian China and the generalized image of the East. The narration synthesizes the memories of the people of Harbin and recognizable storylines of D. A. Prigov’s work (such, for example, as a fantastic bestiary). In the subtext of the novel the following works are found: feuilleton by I. Ilf and E. Petrov “Nikudykin the Commtied”, pro- totyped by the “futurist of life” V. Goltsshmidt, who traveled in 1918–1920s with lectures on Siberia and the Far East, V. Nabokov’s novel “The Gift” with his father’s Asian journey (the plot about his father in “The Gift” influenced the plot about the girl’s father in “Katya the Chinese”), the “Chinese” stories by J. L. Borges “The Garden of Forking Paths” and “The Analytical language of John Wilkins”, etc. In Prigov’s narrative, a particular role is played by an autobiographical excerpt about the Tashkent artist A. N. Volkov and an insertion novel about the “Monastery of Flying Cats”, in- tentionally inaccurately stylized by Prigov as a Chinese legend. Many motifs and subtexts of the novel pass through the prism of the child’s consciousness (the “girl’s”, who is the main character of the novel), which gives the image of the Russian East, along with documentary, fantastic features.

Bellow's “Indian Givers”: Humboldt's Gift

1981 ◽  
Vol 15 (2) ◽  
pp. 231-238
Author(s):  
Judie Newman
Keyword(s):  
American Indians ◽  
Gift Exchange ◽  
The Novel ◽  
Sociological Analysis ◽  
Gift Giving ◽  
Loss Of Face ◽  
North West ◽  
The North ◽  
Central Activity ◽  
The Gift

Emerson's essay on “Gifts” perceptively highlights the ambivalence felt in gift-giving or receiving, an ambivalence which lies at the heart of Saul Bellow's most recent novel, Humboldt's Gift. The importance of literal gift-giving has been insufficiently recognised as a factor which governs the action of the novel, our understanding of which is enhanced by an examination and application of the sociological analysis of gift-exchange.Gift-exchange has been most extensively studied in relation to the North-West Coast American Indians, notably the Kwakiutl, in whose culture the “potlatch” is a central activity. The term “potlatch” is applied to a variety of gift-giving ceremonies, involving both the giving away of quantities of possessions and their wilful destruction. The whole of a man's worldly goods may be dispersed or destroyed in this fashion, in an attempt to maintain status. To eclipse a rival chief, for example, a man may destroy all his own accumulated wealth. While in theory the “gift” is spontaneous and disinterested, in practice it is based on political or economic self-interest.The gift of property implies an obligation in the recipient which, if not fulfilled, results in his loss of face.

scholarly journals IDIOLOGI PATRIARKI YANG TERGAMBAR PADA ROMAN THE GIFT KARYA DANIELL STEEL SEBUAH KAJIAN FEMINISME

2020 ◽  
Vol 3 (1) ◽  
pp. 20-26
Author(s):  
Wahyuni Wahyuni
Keyword(s):  
Public Sector ◽  
Literary Criticism ◽  
The Novel ◽  
Female Characters ◽  
Patriarchal Ideology ◽  
The Gift ◽  
Descriptive Qualitative

The purpose of this research is to describe patriarchal ideology of female characters depicted in the novel The Gift by Danielle Steel. The method used in this research is descriptive qualitative. The source of data in this research is novel The Gift By Danielle Steel. To analyze patriarchal ideology data, researcher used literary criticism of feminism. The result of the research the patriarchal ideology of female characters depicted in the novel The Gift By Danielle Steel in the form of action in the domestic sector and public sector namely oppression, discrimination and injustice. Some women surrender and realize that as children and as wife must obey the mommands of their husbands or father.

scholarly journals The “Kirghiz Fairy Tale” in The Gift: Nabokov, Folklore, and Orientalism

2021 ◽  
Vol 6 (1) ◽  
pp. 266-299
Author(s):  
Alexander A. Panchenko
Keyword(s):  
Fairy Tales ◽  
Fairy Tale ◽  
Literary Work ◽  
Human Vision ◽  
The Novel ◽  
Central Theme ◽  
Alexander The Great ◽  
The World ◽  
The Gift ◽  
Russian Literary

In the second chapter of The Gift, Fyodor Konstantinovich Godunov-Cherdyntsev recalls a “Kirghiz fairy tale” about a human eye that wants “to encompass everything in the world.” The plot of the story goes back to a Talmudic parable about Alexander the Great. The parable was retold in Russian by a number of writers and scholars in the 19 th and early 20 th centuries. However, it seems unlikely that Nabokov did use in any original piece of Inner Asian folklore in his novel. More probable is that he invented the “fairy tale” proceeding from one of the Russian versions of the parable. At the same time, Nabokov’s version is based on a number of international literary and folkloric motifs and is related to the “Kalmyk fairy tale” in Pushkin’s novel The Captain’s Daughter and to 19 th century Russian literary fairy tales in verse. While the central theme of Nabokov’s parable is the insatiability of human vision and the frailty of life, its con- and subtexts allude to some other recurrent themes of the novel — death and immortality, the quest for paradise, closed doors and exile, sources of love and poetical inspiration. The Oriental coloring of the tale (and the second chapter of the novel in general) appears to be a literary play with a limited number of texts, in particular with The Captain’s Daughter and A Journey to Arzrum. This allows discussing the “Kirghiz fairy tale” as an intratextually meaningful part of the novel rather than a marginal encrustation. It seems that Nabokov’s literary work with “migratory” plots and folklore texts was in a way close to the methods and ideas developed in Alexander Veselovsky’s school of comparative literary studies.

The Gift and the Return: Deconstructing Mary Shelley's Lodore

Derrida Today ◽  
2011 ◽  
Vol 4 (1) ◽  
pp. 44-58
Author(s):  
Graham Allen
Keyword(s):  
Sexual Difference ◽  
Mary Shelley ◽  
The Novel ◽  
Related Concept ◽  
The Gift

This paper begins with Barbara Johnson's examination of the erasure of sexual difference within the Yale school, and in particular her comments upon the work of Mary Shelley. Taking up hints in her statements about the relation between Mary Shelley's work and deconstruction, I suggest a reading of Mary Shelley's penultimate novel, Lodore, in relation to Derrida's Given Time. Lodore, which traditionally appeared a rather conservative novel to Mary Shelley's critics, has a number of parallels in its plot to the logic of the gift as set out in Derrida's text. It also, however, allows us to begin to think through the related concept of the return, so crucial to both of the Shelley's thinking and writing. The essay analyses Lodore in relation to Derrida's account of the impossibility of the gift, in order, eventually, to move towards some comments about sexual difference, the novel, the gift and the return.

“I do not want her, I am sure”

2020 ◽  
Vol 74 (4) ◽  
pp. 448-472 ◽  
Author(s):  
Alexandra Urakova
Keyword(s):  
The Novel ◽  
Uncle Tom's Cabin ◽  
Gift Economy ◽  
The Gift ◽  
The Way

Alexandra Urakova,“‘I do not want her, I am sure’: Commodities, Gifts, and Poisonous Gifts in Uncle Tom’s Cabin” (pp. 448–472) This essay focuses on Harriet Beecher Stowe’s Uncle Tom’s Cabin (1852) in discussing the interrelation of sentimentality, slavery, and race. It asks what happens when a slave himself or herself becomes a gift in the way that Mr. Shelby buys Eliza as a present for his wife, and St. Claire seems to bestow Uncle Tom upon Eva and ultimately gives Topsy to his cousin Ophelia. Although much has been said about “sentimental property” or “sympathetic ownership” in Stowe, the instances of exchanging slaves as gifts in the novel have been surprisingly overlooked. Touching upon one of the novel’s important and precarious themes—the distinction between people and things—the aforementioned episodes not only contribute to our understanding of the novel’s gift economy but also invite us to revise the complex attitude to racial otherness in Uncle Tom’s Cabin. I claim that while pursuing a sentimental ideology of the gift that comes to support racialist implications of its abolitionist rhetoric, Stowe’s novel also contains a radical potential of its critique embodied in the image of the poisonous gift of a slave child, Topsy, who figures as an unwelcome, wasteful, and repellent present. Concurring with critical opinion that Stowe’s racism is in the sentiment, this essay suggests that the novel’s unsentimental, explicitly racist metaphors paradoxically inform one of Stowe’s strongest antislavery arguments.

scholarly journals «Carousel of Truth» (The Meaning of the Epigraph in V. V. Nabokov’s Novel "The Gift")

2020 ◽  
Vol 1 ◽  
pp. 205-210
Author(s):  
E. I. Liapushkina ◽  
Keyword(s):  
Semantic Content ◽  
The Novel ◽  
The Gift ◽  
Direct Indication

The article offers the analysis of the semantic content of Nabokov’s epigraph via its correlation with the leading themes and compositional structuring of the novel. The epigraph to "The Gift" is a kind of an enigma, its apparent triviality serves as a direct indication that it should be carefully searched for the full scope of its hidden semantic signifi cance.

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