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Re: anagrams revised
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Alexey Sklyarenko's revised anagrams:
RONALD ORANGER + GO = GERALD + ORGANON + OR = LORD + ONAGER + ORGAN = GOLD + ARGO + NARR + ONE = LONDON + RARA + GORGE = ROGER + NAROD + NALOG = GARAGE + DONON + LORRAINE - AI - NE ;ANTILIA GLEMS + GERALD + ADA + SEVAN = GITANILLA + ESMERALDA + NAVSEGDA ;KISEL' = SEKIL' = SIEKL'... Alexey Zhavoronkov
JM: Unfortunately I couldn't understand the rules for adding syllables or shifting from one language into another in this kind of verbal exercise.
Word-Golf, in comparison, seems easy as pie (whatever that means). Thank you, Alexey, for your patience.
Inversions, reversions, perversions apparently function like the Devil tempting Faustus by offering eternal youth through the disruption of the fateful arrow-linearity of ordinary speech. According to Van, "It was the standing of a metaphor on its head not for the sake of the trick's difficulty, but in order to perceive an ascending waterfall or a sunrise in reverse: a triumph, in a sense, over the ardis of time[...] Van on the stage was performing organically what his figures of speech were to perform later in life - acrobatic wonders that had never been expected from them and which frightened children.
Why would children be frightened by this kind of "upsidedown metaphor" - should these "spacial" feats be possible and cable to conquer time or operate as some sort of "verbal pedophilia"?
BTW: I was told that Bakhtin worked over Rabelais' use of obscene words, but I don't know if Bakhtin was indirectly mentioned in the IPH-IF-Potato-peut-etre exchanges and additional linguistic crossing of trees, as we find in "Pale Fire", nor if these linkages have a special technical name.
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RONALD ORANGER + GO = GERALD + ORGANON + OR = LORD + ONAGER + ORGAN = GOLD + ARGO + NARR + ONE = LONDON + RARA + GORGE = ROGER + NAROD + NALOG = GARAGE + DONON + LORRAINE - AI - NE ;ANTILIA GLEMS + GERALD + ADA + SEVAN = GITANILLA + ESMERALDA + NAVSEGDA ;KISEL' = SEKIL' = SIEKL'... Alexey Zhavoronkov
JM: Unfortunately I couldn't understand the rules for adding syllables or shifting from one language into another in this kind of verbal exercise.
Word-Golf, in comparison, seems easy as pie (whatever that means). Thank you, Alexey, for your patience.
Inversions, reversions, perversions apparently function like the Devil tempting Faustus by offering eternal youth through the disruption of the fateful arrow-linearity of ordinary speech. According to Van, "It was the standing of a metaphor on its head not for the sake of the trick's difficulty, but in order to perceive an ascending waterfall or a sunrise in reverse: a triumph, in a sense, over the ardis of time[...] Van on the stage was performing organically what his figures of speech were to perform later in life - acrobatic wonders that had never been expected from them and which frightened children.
Why would children be frightened by this kind of "upsidedown metaphor" - should these "spacial" feats be possible and cable to conquer time or operate as some sort of "verbal pedophilia"?
BTW: I was told that Bakhtin worked over Rabelais' use of obscene words, but I don't know if Bakhtin was indirectly mentioned in the IPH-IF-Potato-peut-etre exchanges and additional linguistic crossing of trees, as we find in "Pale Fire", nor if these linkages have a special technical name.
Search archive with Google:
http://www.google.com/advanced_search?q=site:listserv.ucsb.edu&HL=en
Contact the Editors: mailto:nabokv-l@utk.edu,nabokv-l@holycross.edu
Visit Zembla: http://www.libraries.psu.edu/nabokov/zembla.htm
View Nabokv-L policies: http://web.utk.edu/~sblackwe/EDNote.htm
Visit "Nabokov Online Journal:" http://www.nabokovonline.com
Manage subscription options: http://listserv.ucsb.edu/