Subject
Following sightings on Sebald/Nabokov
From
Date
Body
http://sebald.wordpress.com/category/vladimir-nabokov/
Terry Pitts: “I’ve just received a new book by Muriel Pic called L’Image Papillon suivi de W.G. Sebald: L’Art de Voler. Here is the blurb from <http://www.lespressesdureel.com/ouvrage.php?id=1461> the publisher’s website.
Winfried Georg Maximilian Sebald (1944-2001), auteur majeur des lettres allemandes contemporaines, reste encore méconnu de la critique littéraire française. Avec cet essai pionnier, Muriel Pic montre que Sebald, représentant le plus inventif de la théorie critique en littérature, s’appuie sur la pensée de Walter Benjamin pour fonder un matérialisme littéraire. Celui-ci s’impose comme la solution poétique et politique permettant de pallier un déficit des mémoires face à la destruction, et, en premier lieu, de la mémoire allemande. Écrivant dans sa langue maternelle depuis l’Angleterre, voué à l’errance mélancolique, Sebald travaille une prose de l’exil en suivant les traces de Chateaubriand, Stendhal, Kafka, Nabokov, ou Simon. Critique à l’endroit des canons de l’histoire positiviste, l’écrivain en refuse les représentations et désigne un autre lieu de vérité : les images.
Dans cette prose documentaire où le regard suit les circonvolutions du temps, l’image papillon est l’image d’archive à partir de laquelle la littérature invente un récit et s’affirme comme le site d’une mémoire jusqu’alors refoulée. C’est à partir d’elle que s’élabore une histoire naturelle de la destruction : collectionnée et épinglée entre les pages d’un livre, dont elle fait un atlas de curiosités, elle acquiert une fonction allégorique et suscite une méditation sur la mort. Au fil de ces images, la narration mène l’enquête sur le passé en éprouvant l’efficacité poétique et épistémologique du paradigme indiciaire. Ses récits s’imposent comme une contribution majeure à une pratique littéraire en expansion : le montage.
Excerpt:
In the narrative works of W.G. Sebald, especially Austerlitz (2001) and Die Ringe des Saturn (The Rings of Saturn, 1999), the butterfly is a metaphor of the image itself….:“When in this way a vanessa or sphinx moth (which I should have been able to overtake easily) made a fool of me through its hesitations, vacillations, and delays, I would gladly have been dissolved into light and air…; and in the end, it was as if its capture was the price I had to pay to regain my human existence.” … The image catches our looking instead of being caught by the “hunter’s image”. From the cinematic image to entomologist’s plates to phantom apparitions and intertextuality – with Vladimir Nabokov, Franz Kafka and Virginia Woolf – the butterfly and the hunter are at the heart of Sebald’s work. For this author, the writing is an artistic and literary enterprise of montage whose kinetic strength is that of recollecting. Sebald is watching the imago… which is taking him down an especially terrible path of memory. [ ]… Because of “the impossibility of fixing [his] eyes on these images which seemed to disappear as soon as they emerged”, Jacques’ decides to have a “slow-motion copy made [of the twenty-minute existing fragment] which lasts a whole hour.” “And in fact, in this document four times longer, people and things that had been hidden from [him] until then became visible.”… Now, the metaphor of the butterfly no longer refers only to the cinematic image, impossible to catch, but also to memory: memory that preserves documents, as the entomologist preserves specimens in his Natural History cabinet. [ ]
Exploring in more detail V.Nabokov’s presence in Sebald’s novels:
1.W. G. Sebald: History, Memory, Trauma (Interdisciplinary German Cultural Studies)
by <http://www.goodreads.com/author/show/2842817.Scott_D_Denham> Scott D. Denham (Editor), <http://www.goodreads.com/author/show/50832.Mark_Richard_Mcculloh> Mark Richard Mcculloh (Editor), <http://www.goodreads.com/author/show/6580622.W_G_Sebald> W.G. Sebald
Hardcover, 382 pages Published November 16th 2006 by Walter de Gruyter.
Please note R.J. A Kilbourn’s article …
[R.J.A. Kilbourn’s detailed discussion of Sebald, Kafka, and Nabokov investigates in particular the fictional status of death and the “redemptive power of memory” (60f.) http://muse.jhu.edu/journals/mon/summary/v100/100.2.wolff.html ]
2. "Netting the Butterfly Man: The Significance of Vladimir Nabokov in W. G. Sebald's The Emigrants" by Adrian Curtin and Maxim D. Shrayer, in Religion and the Arts, vol. 9, nos. 3–4, pp. 258–283, 1 November 2005
And probably a lot more…
---
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Terry Pitts: “I’ve just received a new book by Muriel Pic called L’Image Papillon suivi de W.G. Sebald: L’Art de Voler. Here is the blurb from <http://www.lespressesdureel.com/ouvrage.php?id=1461> the publisher’s website.
Winfried Georg Maximilian Sebald (1944-2001), auteur majeur des lettres allemandes contemporaines, reste encore méconnu de la critique littéraire française. Avec cet essai pionnier, Muriel Pic montre que Sebald, représentant le plus inventif de la théorie critique en littérature, s’appuie sur la pensée de Walter Benjamin pour fonder un matérialisme littéraire. Celui-ci s’impose comme la solution poétique et politique permettant de pallier un déficit des mémoires face à la destruction, et, en premier lieu, de la mémoire allemande. Écrivant dans sa langue maternelle depuis l’Angleterre, voué à l’errance mélancolique, Sebald travaille une prose de l’exil en suivant les traces de Chateaubriand, Stendhal, Kafka, Nabokov, ou Simon. Critique à l’endroit des canons de l’histoire positiviste, l’écrivain en refuse les représentations et désigne un autre lieu de vérité : les images.
Dans cette prose documentaire où le regard suit les circonvolutions du temps, l’image papillon est l’image d’archive à partir de laquelle la littérature invente un récit et s’affirme comme le site d’une mémoire jusqu’alors refoulée. C’est à partir d’elle que s’élabore une histoire naturelle de la destruction : collectionnée et épinglée entre les pages d’un livre, dont elle fait un atlas de curiosités, elle acquiert une fonction allégorique et suscite une méditation sur la mort. Au fil de ces images, la narration mène l’enquête sur le passé en éprouvant l’efficacité poétique et épistémologique du paradigme indiciaire. Ses récits s’imposent comme une contribution majeure à une pratique littéraire en expansion : le montage.
Excerpt:
In the narrative works of W.G. Sebald, especially Austerlitz (2001) and Die Ringe des Saturn (The Rings of Saturn, 1999), the butterfly is a metaphor of the image itself….:“When in this way a vanessa or sphinx moth (which I should have been able to overtake easily) made a fool of me through its hesitations, vacillations, and delays, I would gladly have been dissolved into light and air…; and in the end, it was as if its capture was the price I had to pay to regain my human existence.” … The image catches our looking instead of being caught by the “hunter’s image”. From the cinematic image to entomologist’s plates to phantom apparitions and intertextuality – with Vladimir Nabokov, Franz Kafka and Virginia Woolf – the butterfly and the hunter are at the heart of Sebald’s work. For this author, the writing is an artistic and literary enterprise of montage whose kinetic strength is that of recollecting. Sebald is watching the imago… which is taking him down an especially terrible path of memory. [ ]… Because of “the impossibility of fixing [his] eyes on these images which seemed to disappear as soon as they emerged”, Jacques’ decides to have a “slow-motion copy made [of the twenty-minute existing fragment] which lasts a whole hour.” “And in fact, in this document four times longer, people and things that had been hidden from [him] until then became visible.”… Now, the metaphor of the butterfly no longer refers only to the cinematic image, impossible to catch, but also to memory: memory that preserves documents, as the entomologist preserves specimens in his Natural History cabinet. [ ]
Exploring in more detail V.Nabokov’s presence in Sebald’s novels:
1.W. G. Sebald: History, Memory, Trauma (Interdisciplinary German Cultural Studies)
by <http://www.goodreads.com/author/show/2842817.Scott_D_Denham> Scott D. Denham (Editor), <http://www.goodreads.com/author/show/50832.Mark_Richard_Mcculloh> Mark Richard Mcculloh (Editor), <http://www.goodreads.com/author/show/6580622.W_G_Sebald> W.G. Sebald
Hardcover, 382 pages Published November 16th 2006 by Walter de Gruyter.
Please note R.J. A Kilbourn’s article …
[R.J.A. Kilbourn’s detailed discussion of Sebald, Kafka, and Nabokov investigates in particular the fictional status of death and the “redemptive power of memory” (60f.) http://muse.jhu.edu/journals/mon/summary/v100/100.2.wolff.html ]
2. "Netting the Butterfly Man: The Significance of Vladimir Nabokov in W. G. Sebald's The Emigrants" by Adrian Curtin and Maxim D. Shrayer, in Religion and the Arts, vol. 9, nos. 3–4, pp. 258–283, 1 November 2005
And probably a lot more…
---
Este email está limpo de vĂrus e malwares porque a proteção do avast! AntivĂrus está ativa.
http://www.avast.com
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/