ABSTRACT My paper investigates how Nabokov’s synesthetic perception of typographic letters as images was expanded into a special letter-coding semanticizing practice and discusses the important questions raised by this strategy with regard to the theory and practice of literary analysis. I argue that Nabokov reconceives and expands his biologically determined binary (letter-with-color) synesthetic associations in a cross- and self-referential system of motifs permeating the whole oeuvre. Consciously controlling his personal experience of his synesthetic mind, Nabokov extrapolates it by adding images and objects and how in this artistic method he attaches symbolic or emblematic notions to letters through color- and object-associations. This complex meaning of letters can be unfolded from supporting codes, metaphors and motifs that trigger adequate contextual interpretations. His prose invites the same meticulous text-decoding methodology demanded by Symbolist and avant-garde prose art that helps to discover a similar segment in the theory of art of these two literary tendencies reputed as antithetical. 1 1 The article was written in the framework of the project “The Border Zone Paradigm: Crossroads in Culture” (2018–2020) funded by the Russian Foundation for Fundamental Research (No. 18–512–23002).

中文翻译：

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类型的纹理：纳博科夫对字母的感官知觉：语义化的图形形式

摘要 我的论文调查了纳博科夫如何将印刷字母作为图像的联觉感知扩展为一种特殊的字母编码语义化实践，并讨论了这种策略在文学分析的理论和实践方面提出的重要问题。我认为纳博科夫在贯穿整个作品的主题的交叉和自我参照系统中重新构思并扩展了他的生物学决定的二元（带颜色的字母）联觉关联。纳博科夫有意识地控制了他对联觉心智的个人体验，通过添加图像和对象以及他如何在这种艺术方法中通过颜色和对象关联将象征性或象征性的概念附加到字母上来推断它。字母的这种复杂含义可以从支持代码中展开，隐喻和主题，触发适当的上下文解释。他的散文采用象征主义和前卫散文艺术所要求的同样细致的文本解码方法，有助于发现这两种被认为是对立的文学倾向的艺术理论中的相似部分。1 1 本文是在俄罗斯基础研究基金会（No. 18-512-23002）资助的“边境地区范式：文化的十字路口”（2018-2020）项目的框架内撰写的。