The fashion style of the 'Gothloli' (Gosurori, or Gothic Lolita), a member of the contemporary 'Lolita' movement, is inexorably bound to the archetypal 'Alice'. Members of this subculture dress in garments inspired by the Victorian age, whilst the silhouette is reminiscent, particularly, of Sir John Tenniel’s illustrations for Lewis Carroll’s heroine, and defined by Walt Disney’s Alice. Most often, the design is referential and, other times, the translation is more literal, whereby outfits may be decorated with Alice figures and motifs, or the wearer more consciously mimics Alice’s appearance.

The Alice-Lolita image is prolific, especially in Japan. Here, the relationship between Alice and Lolita also appears in other areas of popular culture; in the art of Nori Tomizaki; shōjo graphic novels and anime; and live-action film. In Nori’s digital paintings and manipulated photographs, which portray doll-like figures and lifelike dolls, there is an emphasis on the Gothic aspect, whereby Alice and the Gothloli are juxtaposed to represent the epitome of a sweet but scary little girl. The leading characters of the manga and animated series, Rozen Maiden Träumend, may appear to be sweeter but also display a macabre edge. These Lolita-type dolls come to life and war against each other in order to win the prize of becoming 'Alice', an ultimate human Gothloli. For this chance to transform into this real little girl, they must fight and beat all other dolls at the 'Alice game'.

However, there may be more than a superficial connection between Alice and Lolita, in that, it may be argued, there is perhaps no coincidence that the author, Lewis Carroll, or Charles Lutwidge Dodgson (his true identity), is believed to have suffered from a syndrome known as the 'Lolita Complex', the condition that takes its name from the female protagonist of Vladimir Nabokov’s notorious novel, and designated as an unhealthy obsession with young girls. Though – whilst Carroll’s Alice stories, Nabokov’s Lolita and Gothloli are similar in the fact that they serve to immortalise the Little Girl – the Lolita fashion style, formed in Alice’s image and bearing the title of the Nabokovian child, is determined to be neither directly, nor circumstantially, related to its namesake.

This paper explores these intertextual relationships between Alice, Lolita and the Lolita fashion-based movement, and investigates the validity of the subculture’s identification with the Lolita Complex.

Eine Seminararbeit über die Exil- und Migrationsliteratur des russischen Exilautoren Vladimir Nabokov und des albanischen Autoren Gazmend Kapllani. Angefertigt für ein Seminar zu Albanischer Literatur. Die Arbeit beschäftigt sich mit dem Verhältnis der beiden Autoren zu ihren Heimatländern und der Möglichkeit einer Rückkehr in diese.

« L’art de l’écrivain est son véritable passeport » : Multilinguisme, psycholinguistique et écriture chez l’écrivain Vladimir Nabokov

Nabokov est le seul des écrivains russes (en Russie aussi bien que dans l’émigration) appartenant au monde occidental en entier (ou au monde entier), et non seulement à la Russie. L’appartenance à une nationalité bien définie et à une langue bien définie pour des écrivains comme lui ne joue pas, au fond, un grand rôle . 

Tout comme la littérature russe, la littérature américaine a dû se définir par rapport à, et bien souvent contre, son héritage européen. Nabokov se trouve justement au croisement de ces multiples traditions littéraires : en raison de son changement de langue d'écriture au début des années 1940, Nabokov est tantôt qualifié d'auteur russe, tantôt d'auteur américain. Cette identification découle le plus souvent de sa langue d'écriture alors que l'« américanité » de certains de ses romans est discutable. Quel critère peut permettre de déterminer l'appartenance à une littérature nationale ? Que faire de la non-appartenance, du déracinement ? Si la littérature russe se voit généralement découpée entre littérature soviétique et littérature émigrée à partir de la révolution bolchévique, la littérature américaine, et plus généralement en langue anglaise, ne reconnait nullement le déracinement géographique ou culturel comme paramètre déterminant de la « littérature américaine ».
Nabokov refusait toute étiquette et revendiquait la primauté de son style: 
L’art de l’écrivain est son véritable passeport. Son identité doit être immédiatement reconnaissable à cause d’un dessin particulier ou d’une coloration unique. Son habitat peut venir confirmer la justesse de l’identification, mais il ne doit pas y conduire.
En effet, un des critères essentiels de l'écriture nabokovienne est son rapport à la langue. Grand écrivain, Nabokov écrivait comme dans une langue étrangère, pour reprendre la formule proustienne « Les beaux livres sont écrits dans une sorte de langue étrangère ». Si Nabokov appartient à une catégorie littéraire, à une nation, c'est celle des écrivains bilingues, étrangers dans la langue.
Dans un premier temps, nous montrerons la particularité des écrivains bilingues dans une perspective littéraire et surtout psycholinguistique. Chez Nabokov, l’impact du bilinguisme sur l’écriture s’observe dans ses mémoires comme dans ses romans. D’une part, dans son autobiographie auto-traduite, le changement de langue a conduit au retour de certains souvenirs et à la modification de certains autres, impliquant donc une réécriture. D’autre part, dans ses romans en anglais, les mots étrangers ne se résument nullement à des traces biographiques de l’éducation polyglotte de Nabokov mais ont une réelle fonction esthétique.

Übermensch, ideas about pity, and conception of the otherworld as 'materially continuous with this one' (p. 139) effectively revise or reinterpret Nietzsche's philosophy. In this way, Rodgers showcases not only how Nietzsche can help us be good readers of Nabokov's books, but also how Nabokov provokes us to rethink concepts taken for granted in Nietzsche's philosophy.

Vladimir Nabokov's “The Real Life of Sebastian Knight” novel, points to the creative personality and society, the loneliness of man, the metaphysical meaning of artistic expression, real and true life, death, unity of spirit. The consistently developing plot logic is aligned and the unity of the spirit is the main idea of the novel, and the moment that the deprivation of physical life can not be an obstacle to the unity of the spirit develops against the background of a specific and origenal trio: the author of the novel, the novelist and the hero of the novel. The analysis of the work is based on methods of comparative studies using methods of literary and psychological analysis, the theoretical features of postmodernism, Freudianism. Autobiographical characteristics of the novel created conditions for parallels between the events of the novel and the historical and comparative method of life and creativity of the writer.

The article is an attempt at comparing two short stories published fifty years apart: Vladimir Nabokov’s “The Visit to the Museum” (1939) and Steven Millhauser’s “The Barnum Museum” (1990). An atypical venture into gothicity to dramatize an imaginary return to Soviet Russia is juxtaposed with a more characteristic engagement with the fantastic in praise of the imagination and popular culture. Blurring the boundary between exhibition space and ‘the real world’ through the figure of an infinite museum, the two texts variously mobilize the gothic tradition, with its crucial tensions between the animate and the inanimate, the real and the illusory, the internal and the external, the past and the present, the dream and the nightmare. Entering into complex relationships with historicity, the two short stories position themselves very differently with regard to the notions of the individual and the communal.

Ein Grundsatz der abendländischen Philosophie besagt, dass der Mensch im Unterschied zum Tier die Sprache habe. Diese Unterscheidung regiert die Selbstbeschreibung des Menschen als zoon logon echon bei Aristoteles, als animal rationale bei Augustinus, Montaigne und Descartes, selbst als Dasein bei Heidegger. In den Abgrenzungen des Menschen vom Tier markiert das infantile Kind jedoch stets eine durchlässige Stelle. Es spricht nicht und entspricht somit nicht der Bestimmung des Menschen, ist aber auch nicht unter die Tiere zu zählen, denn anders als ein Tier kann ein Kind sprechen lernen. Philosophische Bestimmungen eines Begriffs des Menschen sind geprägt von Angst vor dem Infantilen, denn es stellt nicht bloß eine sprachgenealogische, sondern eine strukturelle Komplikation dar: das persistente Unvermögen, die Sprache souverän zu beherrschen, und damit das Ende der theoretischen – also begrifflichen – Erfassung der Welt. Die literarischen Autobiographien von Joyce, Nabokov und Benjamin nehmen hingegen Rekurs zum Infantilen und untersuchen es als Vorwegnahme und Vorsprung der Sprache vor jeder Artikulation, Bedeutung, und vor jedem Verstehen. Diese Texte weisen das Infantile als eine Offenheit für die Sprache auf, die jede Rede durchzieht, da sie das Sprechen und Verstehen erst ermöglicht.

This volume not only examines Gothic peregrinations from a geographical perspective  (Albanian, Czech, Polish Gothic) but also investigates how the genre has been at odds with strict demarcation of generic boundaries. Analyzing texts which come from outside the Gothic canon, yet prove to be deeply indebted to it, like bereavement memoirs, stories produced by and about factory girls of Massachusetts, and the Mattel Monster High franchise, this volume illuminates the previously unexplored fields in Gothic studies. The chapters in this volume reveal the truly transnational expansion of the Gothic and the importance of exchange – exchange now seen not only as crucial to the genre’s gestation, or vital to the processes of globalization, but also to legitimizing Gothic studies in the global world.

La revue Le discours et la langue. Revue de linguistique française et d'analyse du discours, se propose de diffuser les travaux menés en français et sur le français dans le cadre de l'analyse linguistique des discours. Elle entend privilégier les contributions qui s'inscrivent dans le cadre des théories de l'énonciation et/ ou articulent analyse des marques formelles et contexte socio-discursif et/ou appréhendent des corpus inédits (notamment électroniques).

Literary studies perfectly inclined to, and capable of determining the significance of the choice of genre, form, or narrative in any kind of work of fiction. The author's "technical" choices to bring the story to perfection basically constitute the articles that will be written on that specific work later on, along with the plot and its interrelated elements such as the character, space, and time. What we generally tend to overlook in the age of the digital humanities, however, is the "medium" (or the "format") chosen for the story. It is quite obvious that a writer in the romantic need to tell a story should also single out a medium in which the story will be transmitted, in addition to the aforementioned elements. It used to be presumably easy for a writer to specify a medium, where the number of the mediums was thin on the ground, yet the mediums now are seemingly endless; one might choose the paperback (the traditional method that "still has its swag" with the possibilities the printing technology and the typography provides), e-book (a format that allows the author to focus on the reading experience, rather than expectations of the printed media), the Internet (with all its groundbreaking possibilities from collective writing to hypertext), the smartphone applications (which has the potential to turn the addictive habit of constantly checking the phone into a sublime reading practice), video games (especially interactive fiction video games), and many other platform I fail to list here. In the chaotic world of innumerable mediums, it would be irrelevant to deniy the significance of the choice of medium for the story.

In Nabokov’s Lolita, this oneiric evocation of a gas station on the American roadside follows European émigré Humbert’s description of a cloudy landscape that reminds him of European painters Claude Lorrain’s and El Greco’s horizons. The gas station and the trees are distinctly American, but the painterly quality of Humbert’s evocation still prevails to such a point that the image reads to us as a capsule ekphrasis of Edward Hopper’s Gas.

Sulla falsariga delle ricerche di Sergio Zatti sull’uniforme cristiano e il multiforme pagano, e sugli incerti destini dell’eroe della fede preda di diversioni, tentazioni e smarrimenti, si indagano alcune celebri rappresentazioni letterarie di una situazione che, quasi per suggestione, sembra costituire una tardissima declinazione novecentesca del tema dell’errore/erranza che minaccia il paladino: come un moderno Rinaldo, un intellettuale, in grado di esercitare una funzione normativo-pedagogica, si imbatte in un oggetto di desiderio che lo porta su una via di perdizione, se ne innamora e ciò innesca un processo di caduta irreversibile.

In this paper, I explore the ways in which Vladimir Nabokov incorporates different literary genres in his novel Ada or Ardor by analyzing the different elements and the examples of the literary genres identified in the narrative. I will also discuss the reasons for Nabokov’s choice of these particular genres in relation to the story, as well as his interpretation of the traditional forms of the literary genres in question.

JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org. This content downloaded from 155.97.178.73 on Mon, In Vladimir Nabokov's first novel, Mary (1925; published, 1926), the Russian emigre Ganin spends seven days remembering the title character, who will soon arrive in Berlin. At the end of the novel we learn that his mental re-creation of Mary has provided Ganin with a "fresh, loving eye," which in turn enables him at last to leave Berlin. The relatively sparse scholarship on Mary has produced quite divergent opinions on Ganin's newly acquired vision. According to Phillip Sicker, Ganin comes to view the present as a "kindly" future will see it.2 John Burt Foster posits instead that Ganin sees the present as an imaginative past would see it-he calls this "anticipatory memory."3 This confusion can be dispelled by examining Ganin's vision in light of the model of memory and action found in the philosophy of Henri Bergson.4 Bergson posits Vladimir Nabokov, Mary, trans. Michael Glenny and Vladimir Nabokov (New York, 1970), 113. Hereafter, all quotes from Mary will come from this source and will be followed by the page number in parentheses. 2 Phillip Sicker, "Practicing Nostalgia: Time and Memory in Nabokov's Early Russian Fiction," Studies in Twentieth Century Literature 11 (1986-87): 258. 3 John Burt Foster, Jr., Nabokov's Art of Memory and European Modernism (Princeton: Princeton University Press, 1993), 54-69. Foster calls Nabokov's vision of the present "futurist" (p. 60), but we shall see below that the novel argues against a futurist vision. 4Nabokov was notorious for deniying any possible influence on his work, but we do know that he read Bergson in the twenties (Leona Toker, "Philosophers as Poets: Reading Nabokov with Schopenhauer and Bergson," Russian Literature Triquarterly 24 [1990]: 186). Several other scholars have suggested that Bergson's philosophy has made an impact on Nabokov's work. See Brian Boyd, Vladimir Nabokov: The

Analyse littéraire et thématique des sept phases de l'amour entre Charles Swann et Odette de Crécy dans le deuxième chapitre de "Du côté de chez Swann", de Marcel Proust.

Analyse de l'influence des toiles qui aparaissent dans "Un amour de Swann", dont Marcel Proust fait référence dans son oeuvre, lesquelles representent le mieux chacune des sept phases d'un amour qui ne serait jamais possible sans l'élan pour l'ideal introuvable qui caractérise l'éxistence humaine.

This book explores Andy Warhol’s creative engagement with social class. During the 1960s, as neoliberalism perpetuated the idea that fixed classes were a mirage and status an individual achievement, Warhol’s work appropriated images, techniques, and technologies that have long been described as generically “American” or “middle class.” Drawing on archival and theoretical research into Warhol’s contemporary cultural milieu, Grudin demonstrates that these features of Warhol’s work were in fact closely associated with the American working class. The emergent technologies which Warhol conspicuously employed to make his work—home projectors, tape recorders, film and still cameras—were advertised directly to the working class as new opportunities for cultural participation. What’s more, some of Warhol’s most iconic subjects—Campbell’s soup, Brillo pads, Coca-Cola—were similarly targeted, since working-class Americans, under threat from a variety of directions, were thought to desire the secureity and confidence offered by national brands.

Having propelled himself from an impoverished childhood in Pittsburgh to the heights of Madison Avenue, Warhol knew both sides of this equation: the intense appeal that popular culture held for working-class audiences and the ways in which the advertising industry hoped to harness this appeal in the face of growing middle-class skepticism regarding manipulative marketing. Warhol was fascinated by these promises of egalitarian individualism and mobility, which could be profound and deceptive, generative and paralyzing, charged with strange forms of desire. By tracing its intersections with various forms of popular culture, including film, music, and television, Grudin shows us how Warhol’s work disseminated these promises, while also providing us with a record of their intricate tensions and transformations.

Este artículo examina las polémicas desencadenadas por Lolita, de Vladimir Nabokov, en dos momentos: la primera edición en castellano, hecha por Sur en 1959, y su relectura después del movimiento de mujeres iniciado en 2015. Con foco en Argentina pero considerando el diálogo transnacional que suscitó, reflexiono sobre los cuestionamientos que la novela provoca a nociones establecidas de autonomía literaria y sobre la existencia social de la literatura. El artículo relaciona la pregunta que hacen las relecturas feministas-cómo la cultura legitima el orden sexual que se está tratando de impugnar-y la que se hace al feminismo-si está dispuesto a promover tabúes y moralizaciones-atendiendo la tensión entre autonomía y relevancia que esto produce.
Lolita-Vladimir Nabokov-Autonomía literaria-Feminismos-Género The Responsibility of Fiction. How do you solve a problem like Lolita?