Edited By Elżbieta Chrzanowska-Kluczewska and Olga Vorobyova
The book offers an interdisciplinary discussion of the cognitive-semiotic interface between language, literature, and the arts, with a special focus on creativity and imagination. It brings together international contributors suggesting a wide range of innovative perspectives on the correlation between verbal discourse and creative artefacts. The book reveals the specificity of such phenomena as parallax, transparency, corporeal imagination, and multimodality. Alongside interpreting artistic texts, the contributors search for cognitive and semiotic manifestations of creativity in political and everyday discourse.
Vladimir Nabokov’s Creative Techniques in the Context of General Linguistics (Tetiana Radziievska)
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O. O. Potebnya Institute of Linguistics, National Academy of Sciences of Ukraine
Vladimir Nabokov’s Creative Techniques in the Context of General Linguistics
Abstract: This contribution attempts to interpret, from the perspective of General Linguistics, some text-forming techniques in Vladimir Nabokov’s prose, which are used to turn the aesthetically neutral into the aesthetically significant. The study of Nabokov’s literary texts presupposes the differentiation between addressee-oriented devices, which have an enigmatic character, being similar to solving puzzles by using clues or decoding verbal messages, and author-oriented devices, with little concern for the addressee’s interests, which are conditioned by the author’s creative purport. The paper aims to show that some author-oriented devices widely represented in Nabokov’s first two English novels The Real Life of Sebastian Knight (1939) and Bend Sinister (1946) are grounded in the neutralization of opposites. Such neutralization concerns the ‘sign – referent’ and ‘text – metatext’ dyads. Four specific techniques are considered: code-switching, citation, metatextual switch, using parentheses and parenthetical constructions. As a means of creating an additional aesthetic impulse, these devices, like many other aesthetically significant phenomena in Nabokov’s prose, form an artistically relevant borderland space.
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