Publications by Type: Book Chapters

2019
Toker, Leona. ““Student Years, 1968–1973” [a memoir].” In Anglų kalbos slėpinių pavilioti: Prisiminimų kaleidoskopas, 271-92. Ed. Inesa Šeškauskienė and Jonė Grigaliūnienė. Vilnius: Vilnius University Press, 2019.Abstract

Reminiscences of student days at Vilnius University

Toker, Leona. “Nabokov’s Factography.” In Vladimir Nabokov and the Fictions of Memory, 21-50. ed. Irena Księżopolska and Mikołaj Wiśniewski. Warsaw: Fundacja Augusta hr. Cieszkowskiego, 2019. Publisher's VersionAbstract

 

Nabokov’s fictional retrospective first-person narratives rely on the “perfect-memory” convention, which is, however, sometimes laid bare or even subverted. This convention makes no inroads in Nabokov’s factorgraphic narratives, such as Speak, Memory and “Abram Gannibal.” This paper discusses the narrative techniques that replace the “perfect-memory” convention in the “childhood-adolescence-youth” part of Speak, Memory, and the way these techniques relate to Nabokov’s view of the workings of memory, in the context of some his literary and philosophical precursors.                                   

 

Towards a Literary History of Concentration Camps: Comparative or ‘Entangled’?.” In Narratives of Annihilation, Confinement, and Survival , 13-29. Ed. Anja Tippner and Anna Artwinska. Berlin: de Gruyter, 2019.
2017
“Пересмотр понятия «героизм» в рассказах Шаламова [A Reconsideration of the Concept of Heroism in Shalamov’s Stories].”.” In «Закон сопротивления распаду». Особенности прозы и поэзии Варлама Шаламова и их восприятие в начале XXI века., 69-78. Ed. Lukasz Babka, Sergey Soloviev, Valery Esipov, and Ian Makhonin. Prague : Národní knihovna České republiky, 2017.
“Слово о голодном воздержании. «Голодарь» Кафки и «Артист лопаты» Шаламова.” Trans. D. Subbotin,.” In Shalamovskii Sbornik 5, 378–95. ed. V. V. Esipov. Vologda: Common Place, 2017.Abstract

An updated translation of ch. 10, “Discourse of Lent: Kafka's 'A Hunger Artist' and Shalamov's 'The Artist of the Spade,'" of L. Toker Towards the Ethics of Form in Fiction: Narratives of Cultural Remission (Columbus: Ohio State University Press, 2010).

Varlam Shalamov's Sketches of the Criminal World.” In Born to Be Criminal: The Discourse on Criminality and the Practice of Punishment in Late Imperial Russia and Early Soviet Union, 233-45. Ed. Riccardo Nicolosi and Anne Hartmann. Bielefeld: Transcript, 2017.
The Sample Convention, or, When Fictionalized Narratives Can Double as Historical Testimony.” In Narration as Argument, 123-140. Ed. Paula Olmos. Berlin: Springer, 2017. Publisher's Version
Bellow on Israel:To Jerusalem and Back.” In The Cambridge Companion to Saul Bellow, 134-45. Ed. Victoria Aarons. Cambridge: Cambridge University Press, 2017.
2016
Afterword (in Hebrew).” In In Elizabeth Gaskell, North and South, Hebrew translation by Edith Sorer, 517-28. Tel Aviv: The Armchair Publishing House / Modan, 2016.
Rereading Varlam Shalamov’s ‘June’ and ‘May’: Four Kinds of Knowledge.” In (Hi)stories of the Gulag: Fiction and Reality, 193-203. Ed. Felicitas Fischer von Weikersthal and Karoline Thaidigsmann. Heildelberg: Universitätsverlag Winter, 2016.
Bérenger, Caroline, and Álvaro Fleites Marcos, ed.Bergson and the Modernist Novel: Joyce and Beyond.” In 1914: Ruptures et continuités, 125-37. Paris: L'Harmattan, 2016. Publisher's Version
2014
Bernard Harrison on the English Novel.” In Reality and Culture: Essays on the Philosophy of Bernard Harrison, 81-96. Ed. Patricia Hanna. Amsterdam: Rodopi, 2014.
Narrative and Talk-Back: Joseph Conrad's 'Falk'.” In Literature as Dialogue: Invitations Offered and Negotiated, 115-34. Ed. Roger Sell. Amsterdam: John Benjamins, 2014.
2013
Afterword: The Artist of the Pen, the Hunger Artist, the Artist of the Spade (in Hebrew).” In Varlam Shalamov, The Artist of the Spade, Hebrew translation by Liza Chudnovski, 305-312. Jerusalem: Carmel, 2013.
Foreword: The Art of Documentation (in Hebrew).” In Varlam Shalamov, The Left Bank, Hebrew translation by Liza Chudnovski, 7-16. Jerusalem: Carmel, 2013.
The Holocaust in Russian Literature.” In The Literature of the Holocaust, 118-30. Ed. Alan Rosen. Cambridge: Cambridge University Press, 2013.
Literary Pragmatics: The Addressivity of W.H. Auden’s ‘Spain’.” In H. M. Daleski -- In Memoriam, 26-37. Ed. Ruth Nevo. Jerusalem: The Israel Academy of Sciences and Humanities, 2013.
Minds Meeting: Bergson, Joyce, Nabokov, and the Aesthetics of the Subliminal.” In Understanding Bergson, Understanding Modernism, 194-212. Ed. Paul Ardoin, S. E. Gontarski, and Laci Mattison. New York: Bloomsbury Academic, 2013.
2012
Afterword (in Hebrew).” In Thomas Hardy, The Mayor of Casterbridge, Hebrew translation by Oded Peled, 313-20. Jerusalem: Carmel, 2012.
The Kindly Ones and the ‘Scorched-Earth’ Principle.” In Writing the Holocaust Today: Critical Perspectives on Jonathan Littell’s The Kindly Ones, 153-63. Ed. Aurélie Barjonet and Liran Razinsky. Amsterdam: Rodopi, 2012.

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