Titlebook: Nabokov and the Question of Morality; Aesthetics, Metaphys Michael Rodgers,Susan Elizabeth Sweeney Book 2016 The Editor(s) (if applicable)

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Nabokov’s God; God’s Nabokovpares himself, as an artist who creates worlds, to God. More specifically, Schuman explores the overtly Christian imagery and content of two early stories, “The Word” and “Christmas.” The former revolves around the interpenetration of theological and literary meanings expressed by a divine “word.” T

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By Trial and Terrorave consequences for his protagonists for yielding to uncontrolled passion. Nabokov’s Russian fiction exposes characters’ moral rot by means of third-person narration; his English fiction does so more intricately through the protagonists’ own evasive, undependable first-person narration. Barabtarlo

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Kinbote’s Heroismsuing a number of incompatible ends. Piercy explores the paradoxical idea that Kinbote acted heroically by shielding Shade from an assassin’s bullets, even as he maintained that the gunman had not been aiming at Shade at all. “Kinbote’s Heroism” takes this logical misstep as an opportunity to explor

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Whether Judgments, Sentences, and Executions Satisfy the Moral Sense in Nabokovrs are ultimately punished. Sweeney’s chapter applies this same question to his other works. She finds that Nabokov’s fiction—influenced by the detective story and the thriller—often alludes to crimes, investigations, trials, death sentences, and executions. Despite this emphasis on law and order, h

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The Art of Morality, or on ,or example, “is a moral book” because it continually alludes to the very question of whether or not Humbert’s behavior . moral. In “The Art of Morality, or on . Durantaye identifies the formal strategies by which Nabokov leads his readers to ponder such questions; he shows, for example, how Nabokov