A recurrent theme of narratives by concentration-camp survivors is reciting poetry. For intellectuals in the camps, reciting verses was an aid to survival, aloophole of mental freedom, available only when the prisoners were not being driven to depletion at “general works.” Poetry also facilitated genuine human contact, helped the prisoners inscribe themselves into specific historical and cultural traditions, and re-mediated the verses that belonged to those traditions. The latter function of poetry recital was operative not only during the imprisonments but also during the composition of the narratives after the liberation: the memoirists not only found meanings in the cultural traditions on which their sense of identity depended but also helped to maintain these traditions for their own sake.

Vladimir Nabokov's pre-war Russian language short stories were translated into English, whether by his son Dmitri or by others, but, in the novelist's lifetime, always "in collaboration with the author." The extent of this collaboration sometimes amounts to self-translation, that is, not to improving the text but to changing its details, the way a translator has no right to do while the author is entitled to revisions. Most often such changes were made in the awareness of the horizons of the new audience; but they also reflect modified attitudes to the material and suggest which meanings it was important for Nabokov to emphasize and which it was important for him to preclude. We discuss such traces of self-translation in three of Nabokov's short stories, "Torpid Smoke," "Details of a Sunset," and "Spring in Fialta."

Book review

The essay demonstrates the relationship between specific figures of discourse dominant in particular novels and the thematic concerns or plot patterns of each individual novel. The figures discussed are (1) enthymeme, prominent in Laurence Sterne’s Tristram Shandy and important also in Joyce’s Ulysses; (2) hypallage, part of the rhetoric of Dickens’s A Tale of Two Cities, reflecting its plot pattern and its cluster of concerns; and (3) blazon, which helps to convey the implied author’s critique of the attitudes of the first-person narrator of Lolita.