Subject
[NABOKOV-L] Iconicity, personification,
agglutinating spaces and stylistic breaks
agglutinating spaces and stylistic breaks
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J.Aisenberg: I love the way N. uses the story breaks though, with great economy so that the whole miniature world is suggested with brisk assurance; the way that two sections break off as Wolffe describes his made-up annecdotes. Stylistically and structurally the story is very impressive, I think.
S.K-Bootle: Those brought up with agglutinating languages (and German is relatively mild in this respect) consider such amalgamations as perfectly normal, readable, and, indeed eminently sensible...
JM: Indeed. A German book described Australian Hottentotten and a herd of kangaroos ( Beutelratten) which was placed in cages (Kotter) that were covered by a screen ( Lattengitter). One day they emprisioned a Hottentotte-assassin ( Attentäter) who killed the mother (Mutter) of a deaf and mute boy ( Stottertrottel) inside this cage.
He was referred to as the: Hottentotterstottertrottelmutterlattengitterkotterbeutelrattenattentäter ( I emphasized iconicity using bold reds).
Nabokov foresaw the popular "emoticons" but, thanks to his synesthesia, he didn't add red or blue to emphasise letters although it is difficult ( impossible?) to ascertain how he transmitted his colored-emotions without describing them directly.
After I read "rembrandtian" Natasha I began to wonder why references to Nabokovian moods - - such as those he achieved by specific mixtures, like when he described Lucette's "angry green" eyes or used personification and animation ( sad samovars, pillars hasting away ...) - - are not presented here with the same regularity and precision as we find for his stylistic use of space and breaks to convey ineffable visions.
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S.K-Bootle: Those brought up with agglutinating languages (and German is relatively mild in this respect) consider such amalgamations as perfectly normal, readable, and, indeed eminently sensible...
JM: Indeed. A German book described Australian Hottentotten and a herd of kangaroos ( Beutelratten) which was placed in cages (Kotter) that were covered by a screen ( Lattengitter). One day they emprisioned a Hottentotte-assassin ( Attentäter) who killed the mother (Mutter) of a deaf and mute boy ( Stottertrottel) inside this cage.
He was referred to as the: Hottentotterstottertrottelmutterlattengitterkotterbeutelrattenattentäter ( I emphasized iconicity using bold reds).
Nabokov foresaw the popular "emoticons" but, thanks to his synesthesia, he didn't add red or blue to emphasise letters although it is difficult ( impossible?) to ascertain how he transmitted his colored-emotions without describing them directly.
After I read "rembrandtian" Natasha I began to wonder why references to Nabokovian moods - - such as those he achieved by specific mixtures, like when he described Lucette's "angry green" eyes or used personification and animation ( sad samovars, pillars hasting away ...) - - are not presented here with the same regularity and precision as we find for his stylistic use of space and breaks to convey ineffable visions.
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/