The research aim is to determine forms of the reception of Ivan Turgenev’s oeuvre in Vladimir Nabokov’s first novel in English, The Real Life of Sebastian Knight. Until now, Turgenev’s supertext in the novel has not been the object of a separate study, although researchers note the world-forming function of allusions to Russian and European classics. The study emphasizes the fact that the reception of Turgenev’s work is present on the levels of plot and imagery: (1) Turgenev’s plot about the character being obsessed with a femme fatale; (2) the mystical images of Turgenev and the principles of constructing an otherworldly space; (3) the biographical myth about Turgenev, represented in the works of writers contemporary with Nabokov. In the first stage of the analysis, we focus on a comparison of Nina Lecerf with Turgenev’s femme fatales. Nabokov implements the features of the portrait of Turgenev’s heroines – Maria Polozova, Clara Militch, Irina Ratmirova, Ellis, but in each case the similarity is incomplete. Unlike Turgenev’s femme fatales, who subjugate the will of characters with their supernatural beauty and power, Nina Lecerf charms the characters with physical attractiveness that is difficult to put into words by V. and Sebastian. The article proves that being in love with Nina Lecerf is a challenge to the characters imagination and literary gift. In the second part, we identify the features of Turgenev’s biographical myth in the novel: Nabokov focuses on the historical-literary works of B. Zaytsev, A. Remizov, Yu. Aikhenvald, etc. The unclear aspects of Sebastian’s and Turgenev’s biographies are similar (hypochondria; attachment to a woman, interpreted as the cause of death); however, if in B. Zaytsevs fictionalized biography they are given a mystical-religious or psychological explanation, then in Nabokov’s novel the “mysteries” of Sebastian’s biography are not revealed, but activate the narrators imagination and inspire the creation of his own fictional world. Nabokov uses the myth of Turgenev the dreamer, formed in A. Remizovs works. Unlike Turgenev’s works, in Nabokov’s novel, the dream images cannot be directly deciphered: they form a monogram connecting fantasy, the narrator’s direct impressions, and memories. We conclude that the author’s affinity to Turgenev’s works and to the traditions of their interpretation is a poetological issue at the beginning of Nabokov’s American career. Nabokov highly assesses the “night theme” as a bright example of Turgenev’s style. Landscape images of “Bezhin Lea” are used by the narrator to create and describe fictional worlds. In The Real Life of Sebastian Knight, allusions to Turgenev’s works introduce the theme of otherworldliness as an alternative artistic world with which the characters feel their genetic connection.
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