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Browse By Title: E - Project Gutenberg

This article analyses the self-translated poetry in Vladimir Nabokov’s bilingual volume Poems and Problems (1970). Even though he continued to claim allegiance to the literalist doctrine championed in his translation of Pushkin’s Eugene Onegin, Nabokov deviated considerably from this theory when his own poetry was at stake. Many of his self-translated poems retain vestiges of meter and rhyme. “Killing” the original text and replacing it with a hypertrophied commentary, as he did with Eugene Onegin, was not a viable solution for Nabokov when it came to the translation of his own work. Instead, he strove to preserve as much of the form as possible as long as he did only minimal violence to the semantics of the original. The urge for revision of his earlier poetry came into conflict with his self-imposed ethos of translational fidelity, according to which any improvement or paraphrase would amount to falsification. This dilemma forced Nabokov to come up with his own idiosyncratic translational solutions. A comparative analysis of the Russian and English text of select poems demonstrates how Nabokov attempted to exploit seeming deficiencies in his English prosody as a creative way to express specific concepts present in the Russian original.

Browse By Author: S - Project Gutenberg

Elegy, confession and irony frequently color Alexander Pushkin’s poetic apostrophes to his readers, especially in his novel in verse, Eugene Onegin. We have identified an underlying narrative mode that employs all of these inflections of the authorial voice to suggest a special relationship with a special kind of reader—a napersnik, or confidant. Four of Pushkin’s works, distributed over the larger part of his career, illuminate the napersnik figure and the way it relates to his poetic process: a juvenile parody of confession, Ispoved' bednogo stikhotvortsa, the more mature parody Gavriiliada, his well-known lyric Napersnik, and his novel in verse, Eugene Onegin. In Pushkin’s model of napersnichestvo, two sympathetic interlocutors create a dialogic space where they can reminisce about sexual and romantic experiences. For Pushkin, this space of reminiscence and closeness is a — if not the — space of poetry. In the heteroglossic tapestry that is Eugene Onegin, one of the voices consistently breaking through is the narrator’s, to confess or just converse (boltat’) with a specific type of reader, worthy of these digressions –a napersnik.

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At the ,Emily Oster presented a very simple, elementary problem: almost allpeople with type-2 diabetes who are overweight can be cured by losing alittle bit of weight. They are made aware of it, yet they usually gainweight after diagnosis (she mentioned "Atkins" among the options, so itwas not just AMA low-fat.). It is so obvious that we know what to do yet do not carry the action because thinking can be largely ornamental. The proof of the sterility of (a significant class of) knowledgewas right there (among the obvious evidence that the population hasbeen gaining weight in spire of technological and educationalprogress). Yet the others social scientists kept exalting the value of"education" in spite of this simple devastating evidence. Someone evensuggested teaching more "critical thinking". This is the great suckerproblem: people who teach truly think that teaching, or, worse,preaching, cures.

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List of years in literature - Wikipedia

Opera Today : LALO and COQUARD: La Jacquerie

La Jacquerie had its first three productions in Monte Carlo,Aix-les-Bains, and Paris—all in 1895—and then more or lessvanished. The small hardcover book that comes with the recording reprints anextended review of the Paris production (which took place at theOpéra-Comique). Written by Arthur Pougin, a celebrated critic andscholar of the day, the review praises the entire second act (“utterlymoving and poignant”) and much of the fourth. The book also containsthree essays by present-day scholars, one of which, by Gerard Condé,points out some attractive moments in the sung verses as well as recurringmusical features that help unify the score.

Terry Eagleton - Dartmouth College
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