The socio-cultural space of Berlin in V. Nabokov’s novel “The Gift”

The paper analyzes techniques of contrasting the loci of “German” and “emigrant” Berlin (opposition “center-periphery”), ways of representing the images of native Germans and Russians, variants how immigrants “domesticate” socio-cultural space being alien to them (nominating loci “in Russian way”; consciousness transformation of foreign space into own one due to its cultural and linguistic content, etc.). Fedor sees the images of Germans as depersonalized but emigrants as individualized. Native Berliners are perceived as a less cultured nation, yet seamlessly integrated into the sociocultural landscape of their native city. Exiles from Russia occupy a “marginal” place in the geography of the city and the social hierarchy of the European capital while standing out in contrast in the space of Berlin (appearance, speech). Overcoming social minority is refusing integration and trying to preserve cultural identity (language, literature, art, social connections, and authority among Russian writers and scientists) in a foreign country. The “alien” socio-cultural space of Berlin has twofold semantics: first - mortality and non-genuineness and second - a creative cradle. It encourages Fedor to rethink his memories of childhood, family, and father and sets the vector for personal and creative development. Berlin embodies a “foreign,” “hostile,” “uncomfortable” space but helps to strengthen the values laid down in childhood and survive in exile, which is existentially meaningful. External restrictions contribute to the birth of internal freedom, allowing the hero to rise above social smallness, preserve his own dignity, determine the choice of authorities, and Express his own views in love and creativity.

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