Download Eugene Onegin: A Novel in Verse [Translated, with a by Aleksandr Sergeevich Pushkin PDF
By Aleksandr Sergeevich Pushkin
"In an period of inept and ignorant imitations, whose piped-in historical past tune has hypnotized blameless readers into fearing literality's salutary jolt, a few reviewers have been disillusioned by way of the common-or-garden constancy of my version." Such used to be Vladimir Nabokov's reaction to the typhoon of controversy aroused by means of the 1st version of his literal translation of Eugene Onegin. This daring rendering of the Russian masterpiece, including Nabokov's exact and witty remark, is itself a piece of tolerating literary curiosity, and displays a lifelong admiration for Pushkin at the a part of one in all this century's such a lot impressive stylists.
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"In an period of inept and ignorant imitations, whose piped-in historical past tune has hypnotized blameless readers into fearing literality's salutary jolt, a few reviewers have been disappointed by way of the standard constancy of my model. " Such was once Vladimir Nabokov's reaction to the hurricane of controversy aroused through the 1st version of his literal translation of Eugene Onegin.
In October of 1774, Congress handed an ethical code which banned the theater, cock-fights, and horse races. In abiding via this code, americans outfitted for themselves a personality as a virtuous humans which set them except the "corrupt" British, ready them to claim independence, and gave them the arrogance to set up republican governments.
Extra info for Eugene Onegin: A Novel in Verse [Translated, with a commentary, by Vladimir Nabokov]
This multiplication conforms to what Derrida says about the absence of the proper name in Aristotle’s discussion of metaphor. ’ In this doubling of metaphor (‘the metaphorization of metaphor’), Aristotle enacts the loss of the proper name – ‘Ares,’ the Greek god of war – in a field of generalized metaphoricity: But this procedure can be pursued and complicated infinitely, although Aristotle does not say so. No reference properly being named in such a metaphor, the figure is carried off into the adventure of a long, implicit sentence, a secret narrative which nothing assures us will lead us back to the proper name.
This similarity gives rise to the second example of ‘metaphor of metaphor’ discussed by Derrida: ‘the metaphor of the borrowed dwelling’ (M 253). This housing metaphor is not ‘one figure among others’: it is there in order to signify metaphor itself; it is a metaphor of metaphor; an expropriation, a being-outside-one’s-own-residence, but still in a dwelling, outside its own residence but still in a residence in which one comes back to oneself, recognizes oneself, reassembles oneself or resembles oneself, outside oneself in oneself.
The opposition of intuition, the concept, and consciousness at this point no longer has any pertinence. The three values belong to the order and to the movement of meaning. (M 270) Since the operation of metaphor is strictly controlled by philosophy, the ‘loss’ of meaning in it is only ever provisional, controlled. Every ‘borrowed dwelling’ is also a ‘proper dwelling’: Hegel in his discussion of metaphor in the Aesthetics traces this trajectory. For him, a metaphor occurs when a ‘word which originally signifies something sensuous ...