Литература как таковая. От Набокова к Пушкину: Избранные работы о русской словесности

«Mais le point de l’interrogation est „maintenant“, now, comme le sentiment qu'il pent ne rien arriver: le neant maintenant» (Lyotard J.-F. L’inhumain. P. 104).

456

Хармс Д. Полн. собр. соч. <Т. 5. Кн. 1>. С. 444.

457

«I have before observed, that whatever is qualified to cause terror, is a foundation capable of the sublime» (Burke E. A Philosophical Inquiry into the Origins of our Ideas of the Sublime and Beautiful. P. 156). См. также первые строки главки под заглавием «Of the Sublime»: «Whatever is filled in any sort to excite the ideas of pain and danger; that is to say, whatever is in any sort terrible, or is conversant about terrible objects, or operates in a manner analogous to terror, is a source of the sublime; that is, it is productive of the strongest emotion which the mind is capable of feeling» (Там же. P. 38).

458

Липавский Л. Исследование ужаса // Wiener Slawistischer Almanach. 1991. Bd. 27. С. 233–247. О нем см. в том же выпуске: Jaccard J.-Ph. Страшная бесконечность Леонида Липавского. С. 229–232. См. также: Жаккар Ж.-Ф. Даниил Хармс и конец русского авангарда (Гл. 3); Он же. «Кризис „текучести“ в конце Серебряного века (О Леониде Липавском и его поколении)» (в гл. II наст, книги).

459

«All general privations are great, because they are terrible; Vacuity, Darkness, Solitude, and Silence»(Burke E. A Philosophical Inquiry into the Origins of our Ideas of the Sublime and Beautiful. P. 80).

460

«<…> le sublime est suscite par la menace que plus rien n’arrive. <….> Ce qui terrifie, c’est que le Il arrive que n’arrive pas, cesse d’arriver» (Lyotard J.-F. L’inhumain. P. 110).

461

«Infinity has a tendency to fill the mind whith that sort of delightful horror which is the most genuine effect and truest test of the sublime» (Burke E. A Philosophical Inquiry into the Origins of our Ideas of the Sublime and Beautiful. P. 82–83).

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«Succession and uniformity of parts are what constitue the artificial infinite. 1. Succession; which is requisite that the parts may be continued so long and in such a direction as, by their frequent impulses on the sense, to impress the imagination with an idea of their progress beyond their actual limits. 2. Uniformity; because, if the figures of the parts should be changed, the imagination at every change finds a check; you are presented at every alteration with the termination of one idea and the beginning of another; by which means it becomes impossible to continue that uninterrupted progression which alone can stamp on bounded objects the character of infinity» (Там же. P. 84– 85).

463

Липавский Л. Исследование ужаса. С. 234–235. Курсив наш (полужирный — прим. верст).

464

Там же. С. 246.

465

Хармс Д. Полн. собр. соч. Т. 1. С. 233.

466

Хармс Д. Полн. собр. соч. Т. 2. С. 330.

467

Хармс Д. Полн. собр. соч. Т. 2. С. 318.