|
|
|
|
LEADER |
00000cam a22000004a 4500 |
001 |
musev2_24491 |
003 |
MdBmJHUP |
005 |
20230905042618.0 |
006 |
m o d |
007 |
cr||||||||nn|n |
008 |
070209s2007 nyu o 00 0 eng d |
020 |
|
|
|a 9780801468520
|
020 |
|
|
|z 9780801445637
|
020 |
|
|
|z 9780801476648
|
035 |
|
|
|a (OCoLC)823739035
|
040 |
|
|
|a MdBmJHUP
|c MdBmJHUP
|
100 |
1 |
|
|a De la Durantaye, Leland.
|
245 |
1 |
0 |
|a Style Is Matter :
|b The Moral Art of Vladimir Nabokov /
|c Leland de la Durantaye.
|
264 |
|
1 |
|a Ithaca :
|b Cornell University Press,
|c 2007.
|
264 |
|
3 |
|a Baltimore, Md. :
|b Project MUSE,
|c 2014
|
264 |
|
4 |
|c ©2007.
|
300 |
|
|
|a 1 online resource (224 pages):
|b illustrations
|
336 |
|
|
|a text
|b txt
|2 rdacontent
|
337 |
|
|
|a computer
|b c
|2 rdamedia
|
338 |
|
|
|a online resource
|b cr
|2 rdacarrier
|
505 |
0 |
|
|a Cruelty, or, Nabokov's reader -- The reality of the author -- The criminal artist -- Safely solipsizing -- Anesthesia -- Humbert's green lane -- A riddle with an elegant solution -- The particularity of literature -- Lexicomania -- The fine fabric of deceit -- The figure in the magic carpet.
|
520 |
1 |
|
|a "Focusing on Lolita but also addressing other major works (especially Speak, Memory and Pale Fire), the author asks whether the work of this writer whom many find cruel contains a moral message and, if so, why that message is so artfully concealed. Style Is Matter places Nabokov's work once and for all into dialogue with some of the most basic issues concerning the ethics of writing and of reading itself." "De la Durantaye argues that Humbert's narrative confession artfully seduces the reader into complicity with his dark fantasies and even darker acts until the very end, where he expresses his bitter regret for what he has done. In this sense, Lolita becomes a study in the danger of art, the artist's responsibility to the real world, and the perils and pitfalls of reading itself. De la Durantaye also draws on Nabokov's nonfiction writings to explore his belief that all genuine art is deceptive-as is nature itself Through de la Durantaye's writing, we see that Nabokov learned valuable lessons in mimicry and camouflage from the intricate patterns of the butterflies he adored."--Jacket
|
546 |
|
|
|a English.
|
588 |
|
|
|a Description based on print version record.
|
600 |
1 |
7 |
|a Nabokov, Vladimir V.
|2 swd
|
600 |
1 |
7 |
|a Nabokov, Vladimir Vladimirovič
|d 1899-1977
|2 gnd
|
600 |
1 |
7 |
|a Nabokov, Vladimir Vladimirovich,
|d 1899-1977.
|2 fast
|0 (OCoLC)fst00067658
|
600 |
1 |
7 |
|a Nabokov
|x Vladimir Vladimirovich
|x 1899-1977
|x Aesthetics.
|2 blmlsh
|
600 |
1 |
7 |
|a Nabokov
|x Vladimir Vladimirovich
|x 1899-1977
|x Ethics.
|2 blmlsh
|
600 |
1 |
1 |
|a Nabokov, Vladimir Vladimirovich,
|d 1899-1977
|x Ethics.
|
600 |
1 |
1 |
|a Nabokov, Vladimir Vladimirovich,
|d 1899-1977
|x Aesthetics.
|
600 |
1 |
0 |
|a Nabokov, Vladimir Vladimirovich,
|d 1899-1977
|x Aesthetics.
|
600 |
1 |
0 |
|a Nabokov, Vladimir Vladimirovich,
|d 1899-1977
|x Ethics.
|
650 |
1 |
7 |
|a Dilemma's.
|2 gtt
|
650 |
1 |
7 |
|a Ethiek.
|2 gtt
|
650 |
1 |
7 |
|a Lolita (Nabokov)
|2 gtt
|
650 |
|
7 |
|a Ethik
|2 gnd
|
650 |
|
7 |
|a Moral conditions in literature.
|2 fast
|0 (OCoLC)fst01026045
|
650 |
|
7 |
|a Ethics in literature.
|2 fast
|0 (OCoLC)fst00915860
|
650 |
|
7 |
|a Ethics.
|2 fast
|0 (OCoLC)fst00915833
|
650 |
|
7 |
|a Aesthetics.
|2 fast
|0 (OCoLC)fst00798702
|
650 |
|
7 |
|a LITERARY CRITICISM
|x American
|x General.
|2 bisacsh
|
650 |
|
6 |
|a Morale dans la litterature.
|
650 |
|
6 |
|a Conditions morales dans la litterature.
|
650 |
|
0 |
|a Ethics in literature.
|
650 |
|
0 |
|a Moral conditions in literature.
|
655 |
|
7 |
|a Electronic books.
|2 local
|
710 |
2 |
|
|a Project Muse.
|e distributor
|
830 |
|
0 |
|a Book collections on Project MUSE.
|
856 |
4 |
0 |
|z Texto completo
|u https://projectmuse.uam.elogim.com/book/24491/
|
945 |
|
|
|a Project MUSE - Custom Collection
|
945 |
|
|
|a Project MUSE - Archive Complete Supplement II
|
945 |
|
|
|a Project MUSE - Archive Literature Supplement II
|