思潮的迷宫 想象的越界

【作者】 姜炜；

【导师】 齐宏伟；

【作者基本信息】 南京师范大学 ， 比较文学与世界文学， 2011， 硕士

【摘要】 纳博科夫的一生是漂泊的一生,他从圣彼得堡驶向伦敦,从柏林飞往巴黎,从大西洋此岸飘落大西洋彼岸。纳博科夫的文学创作是跨界的创作,他经历了从俄文创作到英文创作的转变,达成了文学创作与其他门类学科之间的互动,而在《洛丽塔》中,纳博科夫实现了后现代主义与其他文学思潮之间的跨越。主流学界把黑色幽默小说《洛丽塔》归入后现代主义的文学经典的行列,但在后现代主义这块调色盘上,还闪耀着现代主义、现实主义、唯美主义等思潮的光彩,这些元素如五彩外衣挂在后现代主义之上,使《洛丽塔》的后现代主义独具特质,使《洛丽塔》成为一部具有无限阐释空间的奇特的文本：第一章“彼岸之自由——黑色幽默与后现代主义”论述了作为一部“黑色幽默”小说的《洛丽塔》,纳博科夫借亨伯特之口对周遭的人和事进行了不动声色却深入骨髓的嘲讽,他用非理性的反光板折射出了人性的阴暗面,而“黑色幽默”也在后现代众多流派中显示出它的独特性。第二章“彼岸之虚无——现代主义与后现代主义”从“构筑与拆解”、“无序至永恒”、“欲望与幻火”、“独白与复调”四个角度论述《洛丽塔》从现代主义到后现代主义的跨越。《洛丽塔》看似是现代主义以自身的主体价值为中心,为克服虚无主义的“世界黑夜”所做的心灵求索,实则是后现代主义以非主体性和去中心化为原则,为克服生存异化的贫困时代所做的精神逃逸。第三章“彼岸之审美——唯美主义到后现代主义”从“审美的蜕变”、“实用的隐退”两个角度论述《洛丽塔》表面为艺术而艺术,骨子里却从古典唯美主义的“审美”走向后现代主义的“审丑”,从泛滥的象征的窠臼中跳脱,实现了唯美主义与后现代主义之间的跨越。第四章“彼岸之伦理——现实主义与后现代主义”通过“伪善的消解”、“戏拟的狂欢”、“虚构就是一切”三个角度,论述了《洛丽塔》在深层文本背离现实主义的创作原则,体现纳博科夫自成一体的伦理观、秩序观,从而与现实主义渐行渐远,最终沿着后现代主义的阳光大道潇洒前行。《洛丽塔》尽管披挂着现代主义、唯美主义、现实主义的五彩霓裳,但却流淌着黑色幽默的喷张热血,跳动着一颗后现代主义的火热心灵。纳博科大带着《洛丽塔》过渡到后现代主义,与其说是时代洪流的卷席,不如说是一种真实自我的回归,一种原初状态的返璞,一种“彼岸世界”的跨越。更多还原

【Abstract】 Nabokov’s life was a wandering life, he sailed from St. Petersburg to London, from Berlin to Paris, from this side of the Atlantic to the other side of the Atlantic. Nabokov’s literary creation is the creation of cross-border, he has experienced a change of language from Russian to English, achieved an interaction between literature with other disciplines. While in Lolita, Nabokov completed a step from other literary trends to post-modernism. Mainstream criticism has classified Lolita—a Black humor fiction into post-modernism rank, but on palette of post-modernism, there are also colors of modern, realism and Aestheticism. As the multicolored coats, these elements hanging on the post-modernism, make Lolita’s post-modernism a unique one, so that Lolita has become a unique text of infinite interpretation space:The first chapter "The liberty of the other worlds - Black humor and Postmodernism" expounds Lolita as a black humor fiction. Nabokov, by the mouth of Humbert, sneered at people and events around quietly and deeply. He used irrational reflector reflects the dark side of human nature. And black humor highlights its individualism among the other post-modern genres.The second chapter "The nihility of the other worlds -Modernism and Postmodernism ", from the four points of "building and dismantling" "disorder to the eternal" "Desire and Disillusion" "Monologue and Polyphony", elaborates the novel’s leaps and bounds from modernism to postmodernism. Lolita appears to be modernism’s spiritual quest to overcome the nihilism of the "dark world" which takes itself main value as the center. In reality Lolita is post-modernism’s spiritual escape to overcome the alienation of the living in the "poor times" which takes non-subject and decentralization as its principles.The third chapter "The aesthetics of the other worlds - Aestheticism and Postmodernism", from the two angles of "Aesthetics and the Ugly" "practical retreat" dissertates that Lolita practices the creative principle of aestheticism -"art for art." yet Lolita moves from "aesthetic" to "ugliness", detaches from redundant symbols and achieves a interaction between postmodernism and aestheticism.The forth chapter "The ethics of the other worlds - Realism and Postmodernism", through the three angles of "hypocrisy of the digestion" "parody of the carnival" "Fiction is all", discourses that Lolita, in the deep text, deviate away from the creative principle of realism. Ultimately, Nabokov and Lolita drift away from realism, ultimately set foot on the sunny road of postmodernism. Lolita, although with colorful coats of modernism, aestheticism, realism, but flows black humor blood and beats a heart of postmodernism. Nabokov’s choice of postmodernism is more than a meet of times, but a return to himself, a comeback to nature, a step across to the other worlds.更多还原