4.0
Lectures on Russian Literature
ByPublisher Description
In the 1940s, when Vladimir Nabokov first embarked on his academic career in the United States, he brought with him hundreds of original lectures on the authors he most admired. For two decades those lectures served as the basis for Nabokov's teaching, first at Wellesley and then at Cornell, as he introduced undergraduates to the delights of great fiction.
This volume collects Nabokov's famous lectures on 19th century Russian literature, with analysis and commentary on Nikolay Gogol's
and "The Overcoat"; Ivan Turgenev's
; Maxim Gorki's "On the Rafts"; Leo Tolstoy's
and
; two short stories and a play by Anton Chekhov; and several works by Fyodor Dostoevski, including
,
, and
.
This volume also includes Nabokov's lectures on the art of translation, the nature of Russian censorship, and other topics. Featured throughout the volume are photographic reproductions of Nabokov's original notes.
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Meet readers like you in the Fable For You feed, designed to build bookish communitiesLectures on Russian Literature Reviews
4.0
“"Tolstoj je najveći ruski pisac. Ostavljajući po stranj njegove prethodnike Puškina i Ljermontova, možemo sledećim redom da pobrojimo velike ruske umetnike proze:
1. Tolstoj
2. Gogolj
3. Čehov
4. Turgenjev
Ovo liči na ocenjivanje studentskih radova, te, bez sumnje, Dostojevski i Saltikov stoje pred vratima mog kabineta i čekaju da porazgovaramo o njihovim slabim ocenama."”
“‘You may have seen, you must have seen, some of those awful text books written not by educators but by educationalists - by people who talk about books instead of talking within books. You may have been told by them that the chief aim of a great writer, and indeed the main clue to his greatness, is “simplicity.” Traitors, not teachers. In reading exam papers written by misled students, of both sexes, about this or that author, I have often come across such phrases - probably recollections from more tender years of schooling - as “his style is simple” or “his style is clear and simple” or “his style is beautiful and simple” or “his style is quite beautiful and simple.” But remember that “simplicity” is buncombe. No major writer is simple. The Saturday Evening Post is simple. Journalese is simple. Upton Lewis is simple. Mom is simple. Digests are simple. Damnation is simple. But Tolstoys and Melvilles are not simple.’”
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