LEADER 04309 am 22006253u 450 001 9910141445603321 005 20230621140313.0 010 $a9949-11-306-7 035 $a(CKB)2670000000212603 035 $a(SSID)ssj0000986004 035 $a(PQKBManifestationID)11503001 035 $a(PQKBTitleCode)TC0000986004 035 $a(PQKBWorkID)10933429 035 $a(PQKB)10821224 035 $a(WaSeSS)Ind00074202 035 $a(oapen)https://directory.doabooks.org/handle/20.500.12854/30118 035 $a(EXLCZ)992670000000212603 100 $a20160829d2012 uy 0 101 0 $aeng 135 $aurm|#|||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 14$aThe models of space, time and vision in V. Nabokov's fiction $enarrative strategies and cultural frames /$fMarina Grishakova 210 $aTartu$cUniversity of Tartu Press$d2012 210 31$aEstonia :$cTartu University Press,$d2012 215 $a1 online resource (322 pages) $cillustrations; digital, PDF file(s) 225 1 $aTartu Semiotics Library ;$v5 300 $aBibliographic Level Mode of Issuance: Monograph 311 08$aPrint version: 9789949113064 320 $aIncludes bibliographical references and index. 327 $aAcknowledgments -- Introduction -- I. Models and Metaphors -- II. The Models of Time -- III. The Model of the Observer -- IV. The Models of Vision -- V. The Doubles and Mirrors --Conclusion -- Bibliography -- Index. 330 $aMarina Grishakova belongs to the younger generation scholars of the Tartu-Moscow school of semiotics. Her book is part of a semio-narratological tradition of a single author or a single work research that tackles issues of wider theoretical import: applicability of the concept of ?modeling? in the humanities, theory of mimesis and the function of experimental literature in (post)modernist culture. By drawing on Y. Lotman?s conception of artistic models, the book adopts the semiotic perspective on modeling as an open-ended heuristic process underlying the logic of discovery and creative thinking. The book discusses the models of time and memory in modernist culture (Nietzsche?s and Bergson?s philosophy of time, Minkowski?s research on the psychopathological types of temporality) and their relevance to Nabokov?s fiction; popular-scientific notions of serialism and the fourth dimension; thematizations of the observer in modernist philosophy and arts; visual ?prostheses? and ?machines? (Eco), particularly the ?camera vision? metaphor, its relation to Bergson?s notion of automatism and the popular idea of the criminal use of hypnosis. Vision is thematized also as a means of seduction and noncoercive control. Even before Foucault, Baudrillard and other critics of modernity, Nabokov noticed that advertising, political propaganda and erotic seduction alike employ implicit forms of suggestion. The book revises Rorty?s dilemma of ?autonomy? and ?solidarity? as applied to Nabokov?s work and offers new readings. It considers categories of narrative poetics as forms of cultural encoding that broaden and transform reader?s modes of perception and sense-making. Micro-models active in certain contexts or in the works of certain authors function as mobile interfaces between individual sensibilities and complex cultural chrono- and spatio-types where time and space take on conceptual meaning. 410 0$aTartu semiotics library ;$v5. 606 $aLanguages & Literatures$2HILCC 606 $aSlavic, Baltic and Albanian Languages & Literatures$2HILCC 610 $atime and space in literature and philosophy 610 $asemiotics 610 $aVladimir Nabokov 610 $asemiotic models 610 $anarratology 610 $aRussian literature 610 $amodernism 610 $avisual studies 610 $aAmerican literature 610 $ametaphor 615 7$aLanguages & Literatures 615 7$aSlavic, Baltic and Albanian Languages & Literatures 700 $aGrishakova$b Marina$0801844 801 0$bPQKB 801 2$bUkMaJRU 906 $aBOOK 912 $a9910141445603321 996 $aThe models of space, time and vision in V. Nabokov's fiction$92195272 997 $aUNINA