Contents

pp v-vi

A note on the contributors

pp vii-ix

A note on transliteration

pp x-x

A note on abbreviations

pp xi-xiii

Acknowledgments

pp xiv-xiv

Introduction: Nabokov at 100

pp 1-12

PART 1 - ARTISTIC STRATEGIES AND THEMES

pp 13-14

1 - Setting his myriad faces in his text: Nabokov's authorial presence revisited

pp 15-35

2 - Vladimir Nabokov and the art of autobiography

pp 36-53

3 - The near-tyranny of the author: Pale Fire

pp 54-72

4 - Jewish questions in Nabokov's art and life

pp 73-91

5 - “The dead are good mixers”: Nabokov's versions of individualism

pp 92-108

6 - Nabokov's trinity (On the movement of Nabokov's themes)

pp 109-138

PART 2 - LITERARY AND CULTURAL CONTEXTS

pp 139-140

7 - Nabokov's (re)visions of Dostoevsky

pp 141-157

8 - Her monster, his nymphet: Nabokov and Mary Shelley

pp 158-176

9 - Vladimir Nabokov and Rupert Brooke

pp 177-196

10 - Clio laughs last: Nabokov's answer to historicism

pp 197-215

11 - Poshlust, culture criticism, Adorno, and Malraux

pp 216-235

Selected bibliography

pp 236-244

Index

pp 245-250

CAMBRIDGE STUDIES IN RUSSIAN LITERATURE

pp 251-253