John Burt Foster

Bio: John Burt Foster is an academic researcher. The author has contributed to research in topics: Cultural history & Literary criticism. The author has an hindex of 1, co-authored 2 publications receiving 37 citations.

Nabokov's Art of Memory and European Modernism

Abstract: Despite Vladimir Nabokov's hostility toward literary labels, he clearly recognized his own place in cultural history. In a fresh approach stressing Nabokov's European context, John Foster shows how this writer's art of memory intersects with early twentieth-century modernism. Tracing his interests in temporal perspective and the mnemonic image, in intertextual "reminiscences, " and in individuality amid cultural multiplicity, the book begins with such early Russian novels as Mary, then treats his emerging art of memory from Laughter in the Dark to The Gift. After discussing the author's cultural repositioning in his first English novels, Foster turns to Nabokov's masterpiece as an artist of memory, the autobiography Speak, Memory, and ends with an epilogue on Pale Fire. As a cross-cultural overview of modernism, this book examines how Nabokov navigated among Proust and Bergson, Freud and Mann, and Joyce and Eliot. It also explores his response to Baudelaire and Nietzsche as theorists of modernity, and his sense of Dostoevsky, Tolstoy, and Pushkin as modernist precursors. As an approach to Nabokov, the book reflects the heightened importance of autobiography in current literary study. Other critical issues addressed include Bakhtin's theory of intertextuality, deconstructive views of memory, Benjamin's modernism of memory, and Nabokov's assumptions about modernism as a concept.

The models of space, time and vision in V. Nabokov's fiction : narrative strategies and cultural frames

Abstract: Introduction: Models and metaphors Possible worlds and modeling systems Time, space, and point of view as constitutive elements of the textual world Nabokov as a writer and a scientist: "natural" and "artificial" patterns Part I. The Models of Time The specious present: time as a "hollow" The spiral or the circle: Mary 1. Involution and metamorphosis 2. The triple dream 3. Nietzsche's circle of the eternal return 4. Time and double vision in Proust and Nabokov 5. Bergson's spiral of memory Tempus reversus Time and eternity: aevum Part II. The Model of the Observer The observer and the point of view Vision and word: the seat of a semiotic conflict 1. H. James: The Turn of the Screw 2. V. Nabokov: The Eye 3. A. Hitchcock: Rear Window Frame, motion and the observer Part III. The Models of Vision Automatism and disturbed vision Inhibition and artistic failure Camera obscura Nabokov's visual devices Part IV. The Doubles and Mirrors PartV. Multidimensional Worlds The outside and the inside Bend Sinister as a multilayer dream The worlds of seduction: Lolita Conclusion Bibliography Index

Ardor or ada?: authority, artifice, and ambivalence in nabokov’s ada, or ardor

Abstract: ARDOR OR ADA?: AUTHORITY, ARTIFICE, AND AMBIVALENCE IN NABOKOV’S ADA, OR ARDOR This thesis will argue for a number of fresh readings of and perspectives on Nabokov’s Ada. I am equally interested in how Nabokov is read more generally and argue against some of the worst habits of Nabokov scholarship to date. Nabokov’s own authority over how his works are to be read “correctly”—and that there is a way to read them correctly—is taken as read by a great number of dominant and influential Nabokovians, chief among them Brian Boyd. Though this approach yields ever-diminishing returns, it remains remarkably buoyant. Still, at least since Michael Wood’s book The Magician’s Doubts, there has been enough work to challenge the author’s total authority over his own texts. Reading Nabokov with doubt, ambiguity, and even insubordination (like Eric Naiman) reveals richer, more nuanced texts than a more “correct” approach. CHAPTER 1. AUTHORITY, AUTHORSHIP, AND STRUCTURE IN NABOKOV The works of Brian Boyd and Michael Wood enact a contest between scientivistic and hermeneutic methods of reading Nabokov, with Boyd being the more “obedient” of the two when it comes to following the master’s instructions. For Wood, criticism always remains a conversation. For Boyd, however, criticism is an all-or-nothing business: a “real solution” to a Nabokov book is as decisive as the code for DNA, and any further interpretive variations need to sit on top of and complement its impermeable structure.1 1 Brian Boyd, Nabokov’s Pale Fire: The Magic of Artistic Discovery (Princeton: Princeton University Press, 1999), pp. 251, 257. I will argue that Wood’s more hermeneutic approach is the more productive of the two, laying the groundwork for the best (if not always the most prominent) contemporary Nabokov scholarship. Jacqueline Hamrit uses a nuanced combination of theory (with particular emphasis on Blanchot and Derrida) to argue that Nabokov's authority over his own text has always been fluid, resembling the dialectical push-pull of exappropriation, “a gesture combining mastery and loss of mastery”.2 My extension of Hamrit’s work is to suggest that the professorial persona in Nabokov’s non-fiction prose engages readers in a joking relationship. Certainly, the dynamic between Nabokov and his interviewers, critics, and readers shares a great deal in common with what anthropologist A. R. Radcliffe-Browne describes in “On Joking Relationships”: we are purposefully misled, engaging in a high-stakes game of words and worlds with a “puppet-master”. Savely Senderovich and Yelena Shvarts’ work, along with Siggy Frank’s, presents a strong case that Nabokov’s fictional worlds are constructed in a manner that recalls the traditional Russian balagan, “a temporary, quickly-knocked-together barnlike structure for fairground theatrical performances”.3 Such work is in dialogue with Will Norman’s work, which frames some more ambivalent aspects of Nabokov’s work in terms of embodied instability, or a “papering-over of cracks”.4 CHAPTER 2. GENERAL MATTERS OF ADA’S STORYWORLD In this chapter I will argue that despite its being generally recognized as having science-fiction elements, there is a great deal that still has not been unpacked about the more alien workings and history of Ada’s fictional world. What we learn about the twin worlds of Terra and Antiterra and the history of communication between them comprises one of the novel’s richest subplots. They are linked inextricably with the mysterious “L disaster”, and with Aqua Veen 2 Jacqueline Hamrit, Authorship in Nabokov’s Prefaces (Newcastle: Cambridge Scholars, 2014), p. 2. 3 Savely Senderovich and Yelena Shvarts, ‘“If We Put Our Heads Between Our Legs”: An Introduction to the Theme “Vladimir Nabokov and Arthur Schopenhauer”’, Nabokov Studies, Vol. 11 (2007/2008). 4 Will Norman, Nabokov, History and the Texture of Time (New York: Routledge, 2012), pp. 156-157. and the supposedly “mad” and incarcerated citizens of Antiterra who claim to see and hear messages from Terra in the burbling sounds of water. By following that particular thematic thread, this chapter traces the counter-intuitive yet hugely revealing links between seemingly disparate parts of the book. I explore the surprising ubiquity of water in Ada (a replacement for the electricity outlawed since the L disaster) and the way in which Antiterra’s intricate network of copper pipes interacts with Van’s dysmorphic awareness of circulating blood pumping through his body. Ada’s aquatic undercurrents also preserve and transmit traces of Lucette. The chapter culminates by showing just how important these interlinkages are to our final picture of our “author”, an elderly Van, and making it clear that Aqua’s brief episode at the start of the novel is crucial to its final pages, as Van’s disturbing visions of Terra uncannily come to resemble his aunt’s. Since the precise relationship of Terra and Antiterra is left deliberately vague in the novel itself, much like the circumstances of the “L disaster” itself, Ada scholarship has largely sidestepped these aspects of the text. A great many critics—Bobbie Ann Mason and Charles Nicol among them—try to explain away these difficult elements of the text as delusions belonging to our narrator. If we take the position that everything in Van’s memoir “really” takes place on Terra—or, even worse, on Earth—we are disregarding far too much of what makes this novel unique, strange, ambiguous, and Nabokovian. With the help of the methodology in Naiman’s work on Ada, I have pieced together some overlooked evidence about Terra, Antiterra, and the L disaster, and uncovered some new possible readings. Since Ada evokes such a densely woven and finely balanced fictional world, what I have found has wide-reaching ramifications for the rest of the novel. CHAPTER 3. TIMEFLOW, RECURRENCES, AND PARAMNESIA IN ADA At one point in his narration, Van describes an event as having had “a faint paramnesic tang” (3. 8. 510). The term “paramnesia” was coined by Emil Kraepelin in 1886 to describe “hallucinations of memory” that come about through “a mixture of invention and real experience.”5 Paramnesic memories are those that seem to spring into being out of nowhere, integrating more-or-less seamlessly into one’s perceptions despite having no clear point of origin. This chapter explores the extent to which paramnesia helps us read Ada, a text in which “Fantasy race[s] fact in never-ending rivalry and girl giggles” (3. 8. 531). This chapter builds on the last, helping investigate the nature of Ada’s world by looking at how Van, our narrator, perceives it. CHAPTER 4. LUCETTE’S POTUSTORONNOST’ Most critics of Ada agree on Lucette’s central importance, but they do not always agree on its nature. This chapter draws together the threads of the previous ones to argue against Brian Boyd’s reading of Lucette, in the hope of drawing out some fresh nuances of her role in the novel. Boyd tries to tie Lucette’s posthumous appearances into a sentimental (and didactic) parable regarding an “almost unbearably delightful” afterlife. 6 Naiman’s deliberately “preposterous” reading of a Lucette frozen in a posthumous inferno of perpetual and unfulfillable lust demonstrates how a more ambivalent reading of Lucette’s “afterlife” can be a source of rich new readings untapped by a more “sensible” reader. What emerges is a far more nuanced text than Boyd has given us, melancholic and enigmatic where Boyd’s more author-“sanctioned” approach gives us false resolution and sanguinity. 5 Emil Kraepelin, Clinical Psychiatry (London: The Macmillan Company, 1907), p. 25. 6 Brian Boyd, Nabokov’s Pale Fire: The Magic of Artistic Discovery, p. 210. Time flows strangely in Ada. Instead of a one-way march towards the future, it behaves more like a tidal river, with events from all over the timeline paramnesically rippling backwards and forwards. In just one recurring motif, Van sees an enigmatic figure of a redheaded lady in black sitting at a bar with her back to him several times throughout his life—always appearing and disappearing through the refraction of some kind of “optical mist” (3. 3. 460)—before the figure eventually coalesces into an adult Lucette close to when she dies. An event as rupturing as Lucette’s death seems to ripple backwards in time through both the novel as a piece of writing, and Antiterra as a world in and of itself. Because Van writes his memoir long after Lucette’s suicide, her signs (Naiman singling out the letters t, a, c, and l for particular attention) are scattered throughout the novel, and they do not mirror the linear progression of the plot. The second half of this chapter explores the way Lucette’s signs ripple and echo throughout Ada, before and after Van depicts her death. She often manifests despite, and at odds with, what Van as our narrator thinks is most important.

From Onegin to Ada: Nabokov's Canon and the Texture of Time

Abstract: From Onegin to Ada: Nabokov’s Canon and the Texture of Time Marijeta Bozovic The library of existing scholarship on Vladimir Nabokov circles uncomfortably around his annotated translation Eugene Onegin (1964) and late English-language novel Ada, or Ardor (1969). This dissertation juxtaposes Pushkin’s Evgenii Onegin (1825-32) with Nabokov’s two most controversial monuments and investigates Nabokov’s ambitions to enter a canon of Western masterpieces, re-imagined with Russian literature as a central strain. I interrogate the implied trajectory for Russian belles lettres, culminating unexpectedly in a novel written in English and after fifty years of emigration. My subject is Nabokov, but I use this hermetic author to raise broader questions of cultural borrowing, transnational literatures, and struggles with rival canons and media. Chapter One examines Pushkin’s Evgenii Onegin, the foundation stone of the Russian canon and a meta-literary fable. Untimely characters pursue one another and the latest Paris and London fashions in a text that performs and portrays anxieties of cultural borrowing and Russia’s position vis-à-vis the West. Fears of marginalization are often expressed in terms of time: I use Pascale Casanova’s World Republic of Letters to suggest a global context for the “belated” provinces and fashion-setting centers of cultural capital. Chapter Two argues that Nabokov’s Eugene Onegin, three-quarters provocation to one-quarter translation, focuses on the Russian poet and his European sources. Nabokov reads Onegin as a masterpiece of theft and adaptation: the lengthy notes painstakingly examine precedents, especially in Byron and Chateaubriand, and evaluate for originality by comparison. When does Pushkin engage in derivative “native” imitations, and when in subtle and brilliant parody? Chapter Three concludes that Nabokov attempts his own timeless masterpiece with Ada, or Ardor. Planet Antiterra, Nabokov’s personal “world republic of letters,” transplants and conflates his beloved literatures. To create this Russo-Franco-Anglophone world, Ada lifts lines, characters, and fabula from Onegin but also from works by Byron and Chateaubriand. A pattern emerges of great English, French, and Russian triads; it repeats more faintly with Dickens, Flaubert, and Tolstoy (Nabokov hoped one day to translate Anna Karenina); but the most fraught iteration is Joyce, Proust, and Nabokov himself. Chapter Four looks at traces of Joyce and Proust in Ada. The two modernists serve as signs by which great readers recognize one another, as indexes to the “real” and the beautiful, and as carriers of tradition; but Ada subsumes its rivals through imitation and parody. However, the incestuous lovers Ada and Van Veen, heirs to the greatest literary traditions in the world, die childless. Is Ada a dead end, Nabokov’s Finnegans Wake? Or can masterpieces interbreed indefinitely? Chapter Five examines Ada in the context of its working title, The Texture of Time. Van is a scholar of Henri Bergson, of the duration of the past into the present, and of spatial metaphors for time. Van aspires to an eternal present, but the one-way time of ordinary mortality threatens to take over the narrative. The structure of the novel mimics Zeno’s paradox, famously refuted by the French philosopher: Part Two is roughly half the size of Part One, and so on. The arrow (Ardis in Greek, the name of the Veens’ lost paradise) speeds towards the final target, but the Veens aim for immortality and to die into their book. Chapter Six turns to the visual arts. Nabokov’s novel reads like a gallery, with Hieronymus Bosch’s Garden of Earthly Delights in pride of place. Ada animates the Old Masters, but there are also no fewer than three film adaptations depicted in the novel, betraying an ongoing struggle between the media (and echoing Stanley Kubrick and Nabokov’s skirmishes over Lolita the film). If it is to survive beyond inbreeding with diminishing results, the novel form must subsume more than its own recent greats. I conclude with Nabokov as an image in the work of contemporary novelists, a source and a transcultural precursor to a new generation of international writers.