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Ratcliffe, Laura. "Fixing Lolita reevaluating the problem of desire in representation /." Diss., Connect to the thesis, 2006. http://hdl.handle.net/10066/640.
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Li, Mun-wai Julie. "Narration in Heart of Darkness, The Waste Land and Lolita." Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21161707.
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Silva, Jardas de Sousa. "A transmutação da personagem Lolita de Nabokov da literatura para as telas." www.teses.ufc.br, 2015. http://www.repositorio.ufc.br/handle/riufc/12649.
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SILVA, Jardas de Sousa. A transmutação da personagem Lolita de Nabokov da literatura para as telas. 2015. 93f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Letras, Fortaleza (CE), 2015.<br>Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2015-06-08T11:06:55Z
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Previous issue date: 2015<br>This dissertation analyzes the translation of Lolita character, by Vladimir Nabokov, to the eponymous film made in 1997, directed by Adrian Lyne. In the novel Lolita (1955), the man character is a 12 year-old girl whose life changed when she had started being stalked by Humbert Humbert, a grown-up and much more experienced man who soon becomes stepfather of hers. By facing this situation, Lolita is seen as a character who has some behavioral traits that give us an ideia of ambivalence about her presentation in the novel. Many of Lolita‟s attitudes can be interpreted either the result of a childish naivety or as kinds of games created by a cunning mind. In this study, we investigate, specifically, the strategies used by the director to transmute Lolita‟s ambiguities from the novel Lolita to the cinema. Our hypothesis is that the protagonist as a symbol of nymphet, that is, the seductive girl, was the most emphasized aspect in the film adaptation due to the inherent issues both related to the director‟s poetic and the types of Hollywood productions in the nineties. As theoretical background, we take the Even-Zohar‟s assumptions (1978), on the theory of polysystem, and the Toury‟s ones (1995), which refer to translation studies with emphasis on cultural factor, considering the influence of the target culture has on the translation process. We also work with the concept of rewriting by Lefevere (2007), which emphasizes the historical and cultural context of the translated texts. On the relationship between literature and film, we deal with the studies by Cattrysse (1992), Stam (2008) and Xavier (2003). Finally, we also rely on postulates by Candido (2007) and Gomes (2007), regarding to the construction of literary and filmic characters, and Lolita previous studies, such as those by Agueros (2005) and Lazarin (2010). The results pointed that the strategies to present the character Lolita on screen intensify the myth of the nymph, the femme fatale, which permeates its name from its first translations. Therefore, in the adaptation, Lolita can be interpreted as the anti-heroine of her own story while Humbert becomes the passionate hero.<br>A presente dissertação analisa a tradução da personagem Lolita, de Vladimir Nabokov, para o filme homônimo de 1997, dirigido por Adrian Lyne. No romance Lolita (1955), a protagonista é uma menina de 12 anos que tem sua vida transformada após ser alvo de uma paixão obsessiva por parte de Humbert Humbert, um homem adulto e bem mais experiente do que ela e que logo se torna seu padrasto. Diante de tal situação, a personagem apresenta alguns traços de comportamento que podem gerar certo grau de ambivalência quanto à composição de seu caráter na narrativa literária, as quais muitas de suas atitudes podem ser interpretadas tanto como fruto de uma ingenuidade infantil quanto como jogos de atributos sedutores de uma mente ardilosa. Nesta pesquisa, investigamos, especificamente, as estratégias do diretor na transmutação das ambiguidades da personagem Lolita do romance para o cinema. Partimos da hipótese de que a protagonista como símbolo da ninfeta, isto é, da garota sedutora, foi a faceta mais enfatizada na adaptação fílmica, devido às questões inerentes tanto à poética do diretor, quanto às produções hollywoodianas da década de noventa. Como fundamentação teórica, recorremos aos pressupostos de Even-Zohar (1978), sobre a teoria dos polissistemas, e àqueles de Toury (1995), que se referem aos estudos da tradução com ênfase no fator cultural, considerando a influência que a cultura de chegada exerce sobre o processo tradutório. Trabalhamos também com o conceito de reescritura de Lefevere (2007), que enfatiza o contexto histórico e cultural dos textos traduzidos. Sobre a relação entre literatura e cinema, empregamos os estudos de Cattrysse (1992), Stam (2008) e Xavier (2003). Por fim, baseamo-nos também nos postulados de Cândido (2007) e Gomes (2007), no que se refere à construção de personagens literárias e fílmicas, além de estudos prévios sobre Lolita, tais como aqueles de Agueros (2005) e Lazarin (2010). Os resultados mostraram que as estratégias utilizadas para apresentar a personagem Lolita nas telas intensificam o mito da ninfeta, da femme fatale, que permeia seu nome desde suas primeiras traduções. Por isso, na adaptação, Lolita pode ser interpretada como a anti-heróina de sua própria história enquanto Humbert se torna o herói apaixonado.
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George, Joseph A. George Joseph A. "How work enfaiths catechizing in the religious poetry of Denise Levertov ; and, "Writing under observation" : applying a cognitive theory of unreliability to Nabokov's Lolita /." Greensboro, N.C. : University of North Carolina at Greensboro, 2007. http://libres.uncg.edu/edocs/etd/1340/umi-uncg-1340.pdf.
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Thesis (M.A.)--University of North Carolina at Greensboro, 2007.<br>Title from PDF t.p. (viewed Oct. 22, 2007). Directed by Christopher Hodgkins and Scott Romine; submitted to the Dept. of English. Includes bibliographical references (p. 27-30, p. 59-64).
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Lam, Melissa Karmen. "'The Pure Products of America Go Crazy' Defamiliarizing American Language and Culture in Lolita and The Crying of Lot 49." Thesis, University of Canterbury. English, 2006. http://hdl.handle.net/10092/942.
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My thesis centers on Lolita and The Crying of Lot 49 and the ways in which both novels defamiliarize our world and ways of thinking. Both novels use formal literary techniques as a way of making ordinary cultural artifacts, situations, and environments seem unfamiliar from our every day perceptions. This process of defamiliarizing the regular and everyday has the greater implications of estranging universal themes such as love, environment, and belonging. Both novels also question our precarious hold on corporeal reality by interpreting plot through two outside narrators whose trustworthiness is constantly placed into question. Unsurprisingly, Lolita and The Crying of Lot 49 unsettle the categories of truthfulness and reinvention in interpreting America's immediate cultural and environmental landscape. Both texts blur the distinction between recorded and imaginatively reconstructed worlds: just so, America has isolated our two narrators in the text from their immediate landscape. Interpretations of America are questioned in the thesis through the process of Shklovsky's theory of Defamiliarization interfaced with Freud's Uncanny in the novel. Language disobedience and discord also play a part and will be discussed through Bakhtin's theories on polyphonic language.
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Green, Jennifer Elizabeth. "Aesthetic Excuses and Moral Crimes: The Convergence of Morality and Aesthetics in Nabokov's Lolita." unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-04272006-134431/.
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Thesis (M.A.)--Georgia State University, 2006.<br>Title from title screen. Paul Schmidt, committee chair ; Marti Singer, Chris Kocela, committee members. Electronic text (60 p.) : digital, PDF file. Description based on contents viewed Apr. 17, 2007. Includes bibliographical references (p. 55-64).
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Savage, Shari L. "Lolita Myths and the Normalization of Eroticized Girls in Popular Visual Culture: The Object and the Researcher Talk Back." Columbus, Ohio : Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1242768387.
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Visser, Sandra. "Romantic children, brazen girls? An exploration of the girl-child’s representation in and around Nabokov’s Lolita and three derivative novels." Thesis, Stellenbosch : University of Stellenbosch, 2010. http://hdl.handle.net/10019.1/5380.
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Thesis (MA (English))--University of Stellenbosch, 2010.<br>Thesis presented in partial fulfilment of the requirements for the degree
Master of Arts at the University of Stellenbosch<br>ENGLISH ABSTRACT: Since 1995, three female authors have published novels narrating the events of Vladimir
Nabokov’s novel Lolita from Lolita’s point of view. What is it about the character Lolita
that prompts writers to rework Nabokov’s text? In an attempt to answer this question
this thesis explores reader-responses to Lolita.
The grand narrative of girlhood is illuminated, and it emerges that, influenced by the
discourse of Romanticism, girls’ subjectivity in the Western world is governed by an
‘innocent-or-corrupt’ dichotomy. As a result, Lolita, who seduces her stepfather,
Humbert Humbert, has been vilified by readers through the decades, so that very little
further critical attention has been given to her representation in the text. However, in
recent years rising concern over the representation of girls has seen renewed interest in
Lolita from feminist quarters, with Lolita’s non-representation being critics’ main
concern. These derivative novels work towards compiling a body of feminist criticism
on Lolita. A secondary function of the derivatives is the restructuring of the grand
narrative of girlhood: in other words, the erasure of the ‘innocent-or-corrupt’
dichotomy in favour of a wide range of conceivable subjectivities.
This is necessary because the sexualised images of girls in the media are in danger of
representing girl-children as one-dimensional sexual objects. Both feminist critics and
critical theorists are calling for a new form of resistance to these hegemonic media
forms, so that a collaboration between the two fields seems useful. This thesis argues
that the existence of the derivative novels point to the emergence of a new form of
feminist resistance to the oppressive representations of advancing technological society. Consequently, the thesis performs a reading of Lolita and three derivative novels to
ascertain how the girl-child is represented. Issues of interest include the Romantic
discourse of childhood, the representational practices of advancing technological
society, and girls’ agency. Finally, conclusions are drawn about the effectiveness of
each derivative novel in terms of their contributions to both the Lolita-discourse and the
feminist endeavour to restructure the grand narrative of girlhood.<br>AFRIKAANSE OPSOMMING: Drie vroueskrywers het sedert 1995 romans gepubliseer wat die gebeure van Vladimir
Nabokov se roman Lolita uit Lolita se oogpunt oorvertel. Wat is dit omtrent die
karakter Lolita wat skrywers aanspoor om Nabokov se teks te hersien? In ‘n poging om
hierdie vraag te beantwoord verken hierdie tesis leser-reaksies op Lolita.
Die meesternarratief oor jongmeisieskap word blootgelê en dit kom na vore dat meisies
se subjektiwiteit in die Westerse wêreld, onder die invloed van die Romantiese
diskoers, regeer word deur die digotomie van ‘onskuldig-of-korrup’. Gevolglik is
Lolita, wat haar stiefpa, Humbert Humbert, verlei, oor die dekades heen deur lesers
sleggemaak, sodat baie min kritiese aandag verder aan haar gewy is. Toenemende
kommer onder feministe rondom die uitbeelding van meisies het egter in die afgelope
klompie jare tot hernieude belangstelling in Lolita gelei, met die gebrek aan aandag aan
Lolita se uitbeelding as hoofbekommernis. Die Lolita-verwerkings dra by tot die
saamstel van ‘n versameling van feministiese kritiek oor Nabokov se teks. Die
sekondêre funksie van die verwerkings is die herstrukturering van die meesternarratief
aangaande jongmeisieskap: met ander woorde, die uitwissing van die onskuldig-ofkorrup
digotomie ten gunste van ‘n wye reeks denkbare subjektiwiteite.
Dít is nodig omdat die geseksualiseerde beelde van meisies wat in die media voorkom,
die gevaar loop om meisies as een-dimensionele seksobjekte uit te beeld. Beide
feministe en kritiese teoretici beywer hul vir ‘n nuwe vorm van teenstand teen hierdie
verdrukkende uitbeeldings, so samewerking tussen die twee is nuttig. Hierdie tesis
doen dit aan die hand dat die bestaan van Lolita-verkwerkings bewys is van die
ontluiking van ‘n nuwe vorm van feministiese teenstand teen die verdrukkende
uitbeeldings van die vooruitgaande tegnologiese samelewing. Gevolglik analiseer hierdie tesis Lolita en drie verwerkings om vas te stel hoe die
meisiekind uitgebeeld word. Sake van belang sluit die Romantiese diskoers van
kindwees, die uitbeeldingspraktyke van die toenemend tegnologiese samelewing, en
meisies as agente in. Uiteindlik word gevolgtrekkings gemaak oor die effektiwiteit van
elke roman ten opsigte van hul bydraes tot beide die Lolita-diskoers en die feministiese
poging om die meesternarratief aangaande jongmeisieskap te herstruktureer.
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Katz, Yael. "Configuring crisis : writing, madness, and the middle voice." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ56569.pdf.
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Orozco, Wilson. "Transtextualidad y reescritura en Lolita de Vladimir Nabokov." Doctoral thesis, Universitat Pompeu Fabra, 2016. http://hdl.handle.net/10803/398138.
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Lolita de Vladimir Nabokov es una de las novelas más paradigmáticas
del siglo XX. En ella se dan cita el pasado y el presente literarios, en la
reescritura de diversos hipotextos procedentes de la amplia riqueza de
la literatura occidental, y en la cual se recrea paródicamente el
arquetipo femenino, gracias al pastiche que hace Humbert Humbert
del género confesional. Lolita igualmente, y como buen ejemplo de
novela posmoderna, incluye alusiones a la cultura popular manifestada
por toda suerte de recursos al cine, a las historietas o reproducciones
kitsch de reconocidos cuadros, dando cuenta así de una amplia
transtextulidad y de una reescritura contemporánea. Todo ello
regresando constantemente, como fuente de inspiración, a la
recreación del pasado literario.<br>Vladimir Nabokov’s Lolita is one of the most paradigmatic novels of
the 20th century. Literature’s past and present can be found in its
rewriting of diverse hypotexts drawn from across the rich spectrum of
Western literature. In it, Nabokov both recreates and parodies the
traditional feminine archetype through Humbert Humbert’s pastiche
of the confessional genre. As a good postmodern novel, Lolita also
alludes to popular culture in all kinds of references to cinema, comics,
and kitsch reproductions of famous paintings, thus showing the full
extent of its hypertextuality and the contemporary rewriting involved,
but constantly returning to the recreation of a literary past as its source
of inspiration.
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Fischer, Charles Hammond. "Producing the politics of the parodic : the (porno) graphing of the bourgeois body /." Thesis, Connect to this title online; UW restricted, 2002. http://hdl.handle.net/1773/9502.
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Guy, Laurence. "Vladimir Nabokov et son ombre russe /." Aix-en-Provence : Publications de l'Université de Provence, 2007. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9782853996860.
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Shvabrin, Stanislav. "Vladimir Nabokov as translator the multilingual works of the Russian period /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1481673411&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Tolstoy, Anastasia. "Vladimir Nabokov and the aesthetics of disgust." Thesis, University of Oxford, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669858.
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Justo, Cristina Maria Costa da Fonseca. "Tradição, subversão e demanda : o jogo do duplo em Lolita de Vladimir Nabokov." Master's thesis, Porto : [Edição do Autor], 1997. http://hdl.handle.net/10216/18042.
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O objectivo deste trabalho é analisar a figura do duplo que o narrador de Lolita crê estar na base da trama que relata. Este é a corporização de uma ordem dual e disjuntiva, um motivo literário que simboliza uma ameaça à ordem idealizada do narrador. As questões levantadas pelo narrador são, contudo, questões cuja relevância e originalidade literárias são desvalorizadas pelo autor implícito, que através de um esquema de desfamiliarização e paródia, mestra a valència do motivo de duplo enquanto estrutura literária susceptível de permanente actualização. O autor desenvolve uma utilização da figura que gira permanentemente em torno da ideia de jogo intertextual com os elementos tradicionais da ficção.
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Justo, Cristina Maria Costa da Fonseca. "Tradição, subversão e demanda : o jogo do duplo em Lolita de Vladimir Nabokov." Dissertação, Porto : [Edição do Autor], 1997. http://aleph.letras.up.pt/F?func=find-b&find_code=SYS&request=000062658.
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O objectivo deste trabalho é analisar a figura do duplo que o narrador de Lolita crê estar na base da trama que relata. Este é a corporização de uma ordem dual e disjuntiva, um motivo literário que simboliza uma ameaça à ordem idealizada do narrador. As questões levantadas pelo narrador são, contudo, questões cuja relevância e originalidade literárias são desvalorizadas pelo autor implícito, que através de um esquema de desfamiliarização e paródia, mestra a valència do motivo de duplo enquanto estrutura literária susceptível de permanente actualização. O autor desenvolve uma utilização da figura que gira permanentemente em torno da ideia de jogo intertextual com os elementos tradicionais da ficção.
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Brevis, Chad. "Taboo topics in fiction: The case of Vladimir Nabokov’s Lolita." Thesis, University of the Western Cape, 2014. http://hdl.handle.net/11394/3865.
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Magister Educationis - MEd<br>An important aspect of my thesis is the discussion of the various narrators in the novel; Vladimir Nabokov, John Ray Jnr. and Humbert Humbert. The novel, or Humbert’s memoirs, is only published after Lolita has died in order to preserve her dignity. John Ray Jnr. is the psychologist who is charged with editing Humbert's memoirs to ensure that no lewd details are published. This brings problems of their own, as we find that John Ray Jnr. has clear moral perceptions of Humbert as a person. This effectively creates a fiction within a fiction, which is already set in the fictitious genre of the novel. Vladimir Nabokov arguably informs the novel with his own ethics and ethos. This interrogates the reliability of the narrators and calls into
question the truth-value of fiction and the inappropriateness of the law to ban fiction that discusses taboo issues. The main aim of my thesis is to discredit Humbert as a reliable narrator and character by analysing the taboo issues of paedophilia, incest, rape and murder. This will be done in order to show how Nabokov proposes alternative morals by deconstructing traditional morality using taboo topics in fiction
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Örneke, Kajsa. "Idylliska lögner och sanningar om idyllen : Ett ekokritiskt perspektiv på Vladimir Nabokovs Lolita." Thesis, Umeå universitet, Institutionen för kultur- och medievetenskaper, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-182853.
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In this essay, I analyze Vladimir Nabokov's novel Lolita from an ecocritical perspective. I try as far as possible to ignore the pedophile theme and instead focus on the thematic environment: nature, places and language. I then discuss this with Greg Garrard's Ecocriticism, Timothy Morton's ecocritical theories and Leo Marx's The machine in the garden, among others. I come to the conclusion that the pedophile theme is depicted against the American pastoral, which is also used as a rhetorical tool by the novel's main character and narrator.<br>I den här uppsatsen analyserar jag Vladimir Nabokovs roman Lolita ur ett ekokritiskt perspektiv. Jag försöker så långt som möjligt bortse från det pedofila temat och i stället riktas mitt fokus på den tematiska omgivningen: naturen, platserna och språket. Detta diskuterar jag sedan med hjälp av bland annat Greg Garrards Ecocriticism, Timothy Mortons ekokritiska teorier samt Leo Marxs The machine in the garden. Jag kommer fram till att det pedofila temat skildras mot den amerikanska pastoralen, vilken också används som retoriskt redskap av romanens huvudkaraktär och berättare.
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Glazkova, Anna. "Detail within the artistic method in the prose of Chekhov and Nabokov /." free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p1422925.
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Straumann, Barbara. "Figurations of exile in Hitchcock and Nabokov /." Edinburgh : Edinburgh University Press, 2008. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9780748636464.
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Holmes, Constance Elizabeth. "Trials and Verdicts: Narratives of Recollection in The Good Soldier and Lolita." Scholar Commons, 2010. http://scholarcommons.usf.edu/etd/3661.
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This dissertation will apply the structure of a legal trial’s procedures to two
Modernist novels: Ford Madox Ford’s The Good Soldier (1915) and Vladimir
Nabokov’s Lolita (1955). These novels position themselves as renderings of legal
proceedings, the written memoriam of metaphorical trials conducted by first person
narrators who alternatively and simultaneously function as Plaintiff’s counsel, Defense
Counsel and finally as witnesses to the events of the story. All of these personae reveal
evidence and testimony presented in the forum of a trial of the central characters who
recollect legal events and whose narrations develop moral questions. Thus these
narrations are the court record, from which there is no appeal, culminating in not only
persuasive arguments about guilt and innocence of the central characters, but also
demanding that a verdict or moral judgment be rendered by the reader of these behaviors
and values of the individuals as well as the societies which these authors critique in their
novels.
Ford Madox Ford in The Good Soldier (1915) and Vladimir Nabokov in Lolita
(1955) create fictional artifacts which instill impressions of human life and present
specific revelations of human nature in their art. Their narratives explain certain events in
a temporal order, which communicate to readers a fictional world, its participants, and
especially their emotions. These particular novels are early and late examples of
Modernism, and are very different from one another, yet both illustrate the characteristics
that so clearly define the Modern novel: art’s ability to engage not just the mind but the
senses; the reader does not just read, but rather becomes immersed in the feelings of the
characters in the story. The reader feels the dynamics between the characters through the
narrative presentation as closely as possible to his or her being actually present in the
fictionally created world of the novel.
Both novels present their stories in a thrice-told frame that allows the
character/narrators to explore epistemology and justifications for their acts or inaction.
These stories are recollections, so that each character/narrator is remembering his
respective narrative after the facts; these novels are unique for this timing.
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Olsen, Kathryn. "Regenerative illusion in the novels of Faulkner, Nabokov, and Proust /." view abstract or download file of text, 2007. http://proquest.umi.com/pqdweb?did=1453174361&sid=1&Fmt=2&clientId=11238&RQT=309&VName=PQD.
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Thesis (Ph. D.)--University of Oregon, 2007.<br>Typescript. Includes vita and abstract. Includes bibliographical references (leaves 222-226). Also available for download via the World Wide Web; free to University of Oregon users.
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McDonnell, Tavish. "Plankwalk : a novella." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98558.
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Plankwalk is a creative thesis in the form of a novella and critical afterword. The essay explains how the author makes use of a variety of sources, and how he shapes their effect according to an original conception of the form of the contemporary novella. There follows a discussion of this form and its relation to the confessional narratives of Vladimir Nabokov, and to cultural critics' views on the social role of criminals. The author demonstrates how the changing nature of criminality and confession is reflected in the works of de Sade, Poe, and Nabokov. The issues of the handling of irony, paranoia and the relation of crime to work emerge as the key elements. The author posits the fusion of confessional narrative with the literature of genre overdetermination, in which the expectations of genre dominate a character's interiority.
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Al, Maiman Nauf. "L'écriture des sens dans "Ada ou l'ardeur" et "Lolita" de Vladimir Nabokov : un hymne à la vie, une lutte contre la mort." Paris 8, 2014. http://www.theses.fr/2014PA083926.
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La publication par Vladimir Nabokov de "Lolita" aux Etats Unis en 1955 et d' "Ada ou l'Ardeur" en 1969 causa, en particulier pour "Lolita" une immense controverse en raison du caractère 'érotique' de ce type de fiction. Très vite cependant les qualités stylistiques de l'œuvre permirent de dépasser les premières réactions éthiques pour s'attacher aux aspects particuliers de l'esthétique nabokovienne. En mettant en relief l'évocation des sens dans les deux romans, la thèse explore les stratégies narratives que l'auteur convoque afin de manifester une ode à l'élan vital. Ainsi la thèse exprime comment "L’écriture des sens dans "Ada ou l’Ardeur" et "Lolita", constitue un hymne à la vie qui est une véritable lutte contre la mort. Ce combat d'Eros et Thanatos s'inscrit dans le jaillissement poétique que la thèse répertorie depuis les influences caractéristiques qui fondent l'œuvre nabokovienne, les éléments autobiographiques comme les travaux des critiques et experts de l'œuvre: Roland Barthes, Maurice Blanchot, Gérard Genette ouvrent des perspectives tout comme les différents choix de traductions. Les images propres à la littérature américaine de la quête, de la nostalgie du passé et de la frontière se lisent en filigrane tout comme les échos de Whitman. Le monde poétisé ou Chant du monde de la première partie introduit une version plus sensorielle du paradis dans le Chant du corps pour conduire à répertorier le travail de la mémoire et de l'imagination qui tendent à 'enchanter' l'univers des deux romans. Cette étude ne se contente pas de confirmer l'importance des sens dans la fabrication narrative. Elle démontre que le pouvoir des mots est source de survie et de renaissance<br>"Lolita" (1955) and "Ada or Ardor" (1969), two of the most celebrated novels by Vladimir Nabokov caused an uproar when published. "Lolita" especially was first considered erotic fiction and dismissed as such. Very soon however the stylistic qualities of the work allowed critics to go beyond moral preoccupations in order to judge the aesthetic value of Nabokov's novels. By exploring the importance of the senses in both stories, the dissertation aims at analyzing how the author proceeds through several narrative strategies to express the vital 'élan'. Thus this study shows how "The Writing of the Senses in "Ada or Ardor" and "Lolita" constitutes an Hymn to Life and a Fight against Death. This combat between Eros and Thanatos is inscribed within all the poetic dimensions evoked here be they characteristic influences on Nabokov's art, autobiographical elements or the works of critics and experts on Nabokov. The theories of Roland Barthes, Maurice Blanchot, Gérard Genette as well as the choice of translations are used to provide new perspectives for the reading of the novels. Images which are inherent to the study of American Literature such as the quest, a nostalgia for the past, or the theme of the frontier can be read between the lines, as are some echoes of Whitman. The poetized or Song of the World of the first part of the dissertation introduces a more sense-oriented paradise in the Song of the Body so as to lead to the work of memory and imagination which composes the third part. This study does not only confirm the importance of the senses in the fabrication of fiction. It shows how much words can be a source of survival and rebirth
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Ying, Pui-sze Rosa. "Rationality and irrationality in modernist writing." Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21161367.
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Batista, Fernanda Cristina Araújo. "Lolita de Ramsdale x Lolitas de Hollywood: uma análise do romance de Vladimir Nabokov e das adaptações fílmicas de Stanley Kubrick e Adrian Lyne." Universidade Presbiteriana Mackenzie, 2010. http://tede.mackenzie.br/jspui/handle/tede/2318.
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Previous issue date: 2010-08-12<br>Fundo Mackenzie de Pesquisa<br>This paper aims at analyzing the relation between Vladimir Nabokov s novel Lolita (1955) and Stanley Kubrick s and Adrian Lyne s film adaptations of the novel, the former released in 1962 and the latter in 1997. We will base our study on French semiotics, also known as greimasian semiotics, to analyze the effects of meaning created by the different actantial roles played by the narrator, Humbert Humbert, in the novel and the strategies used in the filmic discourses to create the same effects in certain sequences in order to honor the original work or, on the contrary, to create different effects in order to revise it in some aspects, adapting it to their target audience, which was different from the one which had only had contact with the book because they lived in a different time and had expectations of how the movies would treat controversial subject matters that had been raised in the novel.<br>Esta dissertação analisará a relação entre o romance Lolita (1955), de Vladimir Nabokov, e as adaptações fílmicas, de Stanley Kubrick, de 1962, e de Adrian Lyne, de 1997. Tendo por base a teoria da semiótica de linha francesa, também conhecida como semiótica greimasiana, para tratar dos efeitos de sentido gerados pelos diferentes papéis actanciais que o narrador Humbert Humbert assume no romance e das estratégias utilizadas no discurso fílmico a fim de criar os mesmos efeitos e reverenciar a obra de base em determinadas sequências ou, pelo contrário, com o objetivo de criar efeitos diferentes como forma de revisar o texto de origem em alguns aspectos, adequando-o ao público-alvo da produção fílmica, cujo perfil é diferente devido à época em que viveram e às expectativas que tinham a respeito do modo como os filmes tratariam o tema polêmico do romance.
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Jangblad, Jukic Anna. "Can Humbert be Trusted with the Telling of His Tale?A Deconstructive Study of Binary Oppositions in Vladimir Nabokov’s Lolita." Thesis, Högskolan i Halmstad, Sektionen för humaniora (HUM), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-23002.
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In Lolita, Humbert is obsessed with the 12-year-old Lolita. It is a vulgar and disturbing story which raises questions about morality and ethics. With a sophisticated and elegant narrative, Humbert manages to draw attention to language rather than to his actions. Through fancy prose style Humbert covers up and hides his horrible actions. His verbal game serves to manipulate his readers to accept Humbert´s feelings and actions and sympathize with him. Humbert´s narration is very persuasive and the reader is easily fooled to concentrate on what he says rather than what he does. In this essay deconstructive method is used to analyse Lolita. The study shows how binary oppositions are used in Lolita and what effect they have on the reader´s comprehension of the text. The study presents a number of incongruities in Humbert´s telling of the story and therefore the essay argues that Humbert cannot be trusted with the telling of his tale.
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McLeod, Deborah S. "Beauty, Objectification, and Transcendence: Modernist Aesthetics in The Picture of Dorian Gray and Pale Fire." [Tampa, Fla.] : University of South Florida, 2007. http://purl.fcla.edu/usf/dc/et/SFE0002060.
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Wood, Gareth. "Javier Marías's debt to translation : Sterne, Browne, Nabokov." Thesis, University of Oxford, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670143.
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Javier Marías has explained many times that working as a translator of literary works from English into Spanish helped shape him as a writer. This study explores those claims by analysing two things: firstly, his translations themselves; and secondly, seeing how those translations have left discernible traces in his own fiction.
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Bourgoin-Castonguay, Simon. "Des critiques de la représentation aux représentation de l'éthique : parcours herméneutique d'une compréhension de soi dans La caverne de José Saramago et l'Invitation au suplice de Vladirir Nabokov." Master's thesis, Université Laval, 2006. http://hdl.handle.net/20.500.11794/19593.
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Kuzmina, Irina. "Inscription du mythe dans le roman français, anglo-saxon et russe du XXe siècle." Versailles-St Quentin en Yvelines, 2005. http://www.theses.fr/2005VERS005S.
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La thèse Inscription du mythe dans la littérature française, anglo-saxonne et russe du XXe siècle (" L'Emploi du temps" de Michel Butor, " Brave New World " d'Aldous Huxley et " Lolita " de Vladimir Nabokov) est consacrée à la présence du mythe relevant du sacré dans la littérature occidentale du XXe siècle. Il s'agit d'une étude comparative de la figure du labyrinthe, dont une marque est l'écriture labyrinthique, qui se substitue à trois autres mythes repérés dans les œuvres du corpus : Saturne, représentant l'héritage gréco-romain, Lilith, issue de la culture judéo-biblique et l'Utopie ou la Cité idéale, archétype universel qui connaît bien des avatars en Occident. Une telle comparaison devient possible dans le cadre des études sémiotiques considérant le mythe, système sémiologique second, qui, comme tout langage, se fonde sur le caractère paradigmatique du signe<br>The thesis Presence of Myth in 20th Century French, American and Russian Literature (Michel Butor's “L'Emploi du temps”, Aldous Huxley's “Brave New World” and Vladimir Nabokov's “Lolita”) is consecrated to the presence of myth referring to the sacred in modern western literature. It is a comparative study of the labyrinth image transcribing itself, in particular, through labyrinth writing, which substitutes itself to three other myths found in the analised novels – Saturn coming from the Latin heritage, Lilith stemming from Biblical and Judaic culture, and Utopia, universal archetype with its countless metamorphosis in Western culture. Such a comparison is possible within the framework of Semiotic studies considering myth, like any language, as a secondary semiological system basing on the paradigmatic nature of the sign
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Khasin, Gregory. "The theatre of privacy : vision, self and narrative in Nabokov's Russian language novels /." 1999. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:9934076.
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Chen, Pin-Han, and 陳品含. "Contrapuntal Otherworldliness in Vladimir Nabokov''s Lolita, Speak, Memory and Pale Fire." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/18690731805197846279.
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碩士<br>國立中興大學<br>外國語文學系所<br>102<br>Abstract
A contrapuntal structure of this world and the otherworld(s) has been the main theme in Vladimir Nabokov’s works. In other words, many of Nabokov’s works are inspired from his speculation on the possibilities of the otherworld(s). The otherworld(s) or the beyond is like a counterpoint accompanying to both his scientific and literary compositions.
In this thesis, I take Lolita, Speak, Memory and Pale Fire as examples to examine the inherent otherworldliness in Nabokov’s works. On this, pattern is the key which suggests not only possible anonymous creative forces but also possible invisible dimensions to this world. Therefore, in my analysis of the three works, I direct the reader’s attention to representations of Nature, Fate and the Hereafter. To Nabokov, writing is a mimetic experience to imitate the role of the anonymous creative force beyond. Writing itself reflects not only the fictional world but also the real world. It is an investigation into the mystery of the universe. The contrapuntal structure of this world and the otherworld (s) demonstrates Nabokov’s metaphysical concern on the mystery of life and the universe. More than a magician of words, Nabokov is also a ponderer on possibilities beyond this world.
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Kinyon-Kuchař, Kamila. "Models of exile : Koestler, Nabokov, Kundera /." 2000. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:9965104.
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Scheiner, Corinne Laura. "Bilingualism and biculturalism in self-traslation : Samuel Beckett and Vladimir Nabokov as doubled novelists /." 2000. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:9990587.
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Ribeiro, Manuel Fonseca de Sam Bento. "Espelhando a mente: para uma análise do espaço psicológico em Lolita de Valdimir Nabokov e das suas manifestações visuais em Lolita: A screenplay de Vladimir Nabokov e em Lolita: The book of the film de Stephen Schiff." Master's thesis, 2009. http://hdl.handle.net/10451/1722.
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Tese de mestrado, Estudos Anglísticos, Universidade de Lisboa, Faculdade de Letras, 2010<br>Como objectos de análise propõem-se a obra de Vladimir Nabokov, Lolita (1955) e os dois argumentos cinematográficos filmados, Lolita: A Screenplay (1974), de Vladimir Nabokov, que originou o filme de Stanley Kubrick (1962), e Lolita: The Book of the Film (1997), que resultou no filme de Adrian Lyne (1997). O cinema define-se sobretudo como um meio onde impera o domínio visual, pelo que o argumento, sendo parte integrante de um filme, partilha as suas características, distinguindo-se por isso por uma forte linguagem visual. A adaptação do romance ao domínio visual é relevante na medida em que acentua a narrativa como espaço predominantemente psicológico, em que a personagem sobressai em função do olhar. Numa primeira parte da dissertação, adoptando sobretudo uma perspectiva literária, sugere-se uma reflexão da obra baseada na questão do duplo e do jogo de espelhos à volta dos quais se constrói a identidade fragmentada, salientando os traços que posteriormente serão reformulados pela conversão de um espaço sobretudo literário para um de ordem visual. Numa segunda e terceira partes, os dois argumentos filmados de Lolita, o de Vladimir Nabokov (1974) e o de Stephen Schiff (1997), são abordados. Não se pretende, no entanto, explorar a viabilidade cinematográfica destes argumentos, mas realizar uma análise das escolhas efectuadas para se atingir eficazmente uma narração visual do espaço interior da personagem. A adaptação para argumento de uma obra literária que se centra na interioridade da personagem, e as escolhas e opções tomadas pelos argumentistas, de forma a possibilitar uma narração visual da história, serão o fio condutor destas duas últimas secções da dissertação.<br>It is the aim of this dissertation to examine Vladimir Nabokov's Lolita (1955) and the two filmed screenplays: Lolita: A Screenplay (1974), written by Vladimir Nabokov, which was the foundation for Stanley Kubrick's film in 1962; and Lolita: The Book of the Film (1997), which was used to film Adrian Lyne's adaptation in 1997. Film is mainly a visual medium and the screenplay, as part of it, shares its characteristics, being defined by a strong visual language. The adaptation of the novel to a visual domain is relevant since it enforces narrative as a subjective world where character is governed by perspective. The first chapter of this dissertation focuses on Nabokov's novel from a literary point of view, exploring the double and the mirror techniques that are characteristic of the representation of a fragmented identity. The second and third chapters focus on the filmed screenplays, the first by Vladimir Nabokov, published in 1974, and the second by Stephen Schiff, written in 1997. The practicability of these screenplays will not be discussed as this dissertation's purpose is mainly on exploring the similarities and differences regarding Nabokov's novel and, above all, on how effectively each screenplay achieves a visual narration of the character's subjectivity. The last two chapters are therefore mainly concerned with the screenwriters' choices and options while adopting a literary text in order to achieve a strong visual narrative.
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Sequeira, Diana Anselmo. "Impossible intimacy: discovering the cultural interplay between new and the old worlds in Vladimir Nabokov's Lolita." Master's thesis, 2007. http://hdl.handle.net/10451/344.
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Tese de mestrado em Estudos Anglísticos apresentada à Faculdade de Letras da Universidade de Lisboa, 2008<br>Não foi de toda alietória a escolha da obra Lolita de Vladimir Nabokov como ponto de partida para esta tese. Apesar de ser um livro muito tratado, continua pela sua complexidade a exercer um fascínio imanente sobre os seus leitores. No cerne deste livro encontram-se fundidos séculos de tradição literária, onde são reinventadas velhas fórmulas e conceitos estéticos, com um sentido de humor implacável e inteligente característico de Nabokov. Um dos tópicos primordiais desta obra coincide com a preocupação fundamental desta tese: desvendar a dialéctica entre a Europa e a América representada pelos personagens aparentemente antiéticos Humbert, o erudito cavalheiro europeu, e Lolita, a rude ninfeta americana. Simultaneamente, esta tese busca as ligações culturais entre os dois continentes, tendo como pano de fundo uma época muito agitada o pós-Segunda Guerra Mundial. Um grande número de académicos já anteriormente se debruçou sobre este tópico, em especial Ellen Pifer, que no seu ensaio Nabokov's Novel Offspring argumenta que o nome de Lolita está hoje irreversivelmente ligado à noção de juventude americana sexualizada, enquanto Humbert, por sua vez, é conectado com o langor e nostalgia de uma sociedade europeia em colapso.A questão do abismo intercontinental é recorrentemente associada às diferenças intrínsecas presentes nos dois protagonistas de Lolita. Esta suposição não é de todo desprovida de sentido, afinal os personagens principais deste romance são verdadeiramente díspares a primeira é uma vivaça adolescente americana, enquanto o segundo é um melancólico académico europeu. Assim, estabelece-se um dos pontos-chave que permeará toda esta tese: a relação de contrastes entre Lolita e Humbert, bem como aquilo que Pifer apelidou da divisão entre o mundo das crianças e o mundo dos adultos (85). Tal dialéctica será correlacionada com a fascinação americana pela relação familiar
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Tefaili, Fatima. "Vladimir Nabokov's Pale Fire : a literary arabesque." Thesis, 2018. http://hdl.handle.net/1959.7/uws:47539.
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This thesis reads Vladimir Nabokov’s (1899-1977) postmodern novel Pale Fire (1962) as a literary arabesque. The arabesque is an Islamic art form which integrates different shapes and elements to produce a symmetrical ornament containing a single continuous line. The arabesque is also an artistic representation of foliage. During the 19th century, the literary arabesque was a style adopted by the Romantic writers Johann Wolfgang von Goethe (1749-1832), Friedrich Schlegel (1772-1829) and Nikolai Gogol (1809-1852). Influenced by Gogol, Nabokov adopted the writing style of the arabesque. Hence, this thesis compares Pale Fire to Gogol’s literary arabesque, Arabesques (1835). Just as writer’s rendered cubism, for example, in modernism, Nabokov incorporated the arabesque’s motifs in his postmodern novel. Furthermore, the presence of ‘patterns’ in Pale Fire have been identified by Nabokov’s readers. However, these patterns are very generalised. This thesis specifically identifies the pattern as an arabesque. I therefore define Nabokov’s literary arabesque as the figurative incorporation of the arabesque’s decorative motifs. These motifs include symmetry, reflection and infinite circulation. For example, “Pale Fire” is a symmetrically structured poem that repetitively circulates back to the beginning.
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Darnell, Michael Richard. "Networks of Displacement Genealogy, Nationality, and Ambivalence in Works by Vladimir Nabokov and Gary Shteyngart." Thesis, 2016. https://doi.org/10.7916/D8D79BQ4.
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In this dissertation I examine Vladimir Nabokov’s and Gary Shteyngart’s use of family metaphors to manage intersecting Russian and American literary and cultural continuities. Both authors fashion their relationships to literary predecessors and common cultural narratives in terms of disrupted filial relationships, describing both an attachment to the conservative narratives of the nation and a desire to move beyond their rigid structure. I articulate this ambivalence as a productive state of transnational subjecthood that allows these authors to navigate apparently oppositional national identities. Central to this reorientation is a critique of the hierarchical schema of the national canon, which frames literary culture as a determinative series of authoritative relationships. By reimagining these relations as part of a branching network of co-constituting associations, we open the space for transnational subjects to move within and overlap these networks.
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Nieubuurt, Brendan James. "Flesh Made Word: Inscription and the Embodied Self in Mandel'shtam and Nabokov." Thesis, 2018. https://doi.org/10.7916/D8R22HVQ.
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“Flesh Made Word” examines two seemingly incongruous Russian modernist writers to illuminate one remarkable species of aesthetic response to the violent pressures of Marxist ideology, especially as those pressures are manifest as sociolinguistic phenomena and practice. The unexpected pairing of Osip Mandel’shtam and Vladimir Nabokov is motivated by their shared debt to Henri Bergson’s materialist theories of embodied selfhood and subjectivity, language, and the metaphysics of art. Poetry, both writers insist, as it operates according to a non-linear logic of ever-open and expanding associations of sound and image, offers the only authentic grammar for a multifarious self that knows not the constructions of time, causality, and finality. This mode of self-expression, at once intimate and cryptic, clashes with the Marxist state’s effort to make the subject uniform and transparent—to “sentence” him to his prescribed collective identity in the bondage of speech, prose, and narrative, whose didactic agenda and linear momentum are encrypted with Marxism’s world-historical teleology. Mandel’shtam’s and Nabokov’s own texts, the study argues, operate primarily by poetic principles, and their literary practice in turn creatively anticipates theories of Bergson’s postmodernist heirs (Foucault, Barthes, Derrida), particularly as they draw bold political implications from Bergson’s theories to analyze the relationship of language, writing, and power. Barthes, for instance, claims that the “poetic” text—composed of a personal image-system, not a “structure of signifieds”—places the artist “outside the pact that binds the writer to society.”
In exploring this conflict between manners of expression, the study offers innovative, cohesive readings of the writers’ most enigmatic and elusive works of poetic prose—Mandel’shtam’s The Egyptian Stamp and Nabokov’s Invitation to a Beheading. More specifically, it examines the ways the conflict is manifest on the bodies of the narrator-protagonists. These figures are effectively twice composed: once by the mortifying narration of the State, again as they are the subjects of their own revitalizing self-writing. The texts that the protagonists produce of themselves are figured as their very flesh transubstantiated, and as nothing other than the poetic works that we are reading. These metaphysical dimensions of the fiction make forceful statements about the power of the artistic act, and especially its potential to reclaim and restore the self in a gesture of political defiance.
By establishing a distinct set of images, themes, and techniques shared by the authors, along with a conceptual framework in which to discuss them, this dissertation responds to a scholarly need, until now not substantively articulated, to place Mandel’shtam’s and Nabokov’s creative projects into dialogue. As much as it invites a parallel gaze, however, the study equally contributes daring new chapters to each author’s existing body of scholarship and opens fields of inquiry that demand continued critical attention.
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Picon, Francisco Javier. "Bakhtin and Nabokov: The Dialogue that Never Was." Thesis, 2016. https://doi.org/10.7916/D8SN08J6.
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Although nothing in either the theorist’s or the author’s oeuvre indicates one’s direct awareness of the other, Bakhtin and Nabokov both displayed a surprisingly similar concern for the interrelationship between ethics and literary aesthetics. This shared concern was no doubt shaped by Bakhtin and Nabokov’s common Silver Age background, which was rife with political, artistic and theological discourses regarding the nature of artistic creation, the created nature of man, and man’s ability to continue the process of self-creation. Both Bakhtin and Nabokov thus elaborated on the ethical dynamic between self and other within a commonly held, deeply aestheticized view of life that regards perception and representation of the other as the artistic creation of that other. Bakhtin and Nabokov’s conceptual parallel is further extended by the fact that both of their elaborations of this dynamic are specific responses to the work of Fyodor Dostoevsky. The purpose of this dissertation is, then, to explore further the conceptual convergences and antagonisms inherent in the seemingly similar aestheticized ethics of Bakhtin and Nabokov. Particular attention is paid to the author and theorist’s intellectual influences, especially with regards to Nabokov, since only a proper intellectual contextualization of Bakhtin and Nabokov’s allusively language will allow us a meaningful interpretation of their accounts of aesthetics and ethics.
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Bourgoin-Castonguay, Simon. "Des critiques de la représentation aux représentation de l'éthique : parcours herméneutique d'une compréhension de soi dans La caverne de José Saramago et l'Invitation au suplice de Vladirir Nabokov /." 2006. http://www.theses.ulaval.ca/2008/25102/25102.pdf.
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Ramos, Susana Alves. "Da beleza transgressora: perseguições da identidade em Lolita e A morte em Veneza." Master's thesis, 2009. http://catalogo.ul.pt/F/?func=item-global&doc_library=ULB01&type=03&doc_number=000575733.
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Tese de mestrado, Estudos Anglísticos (Literatura Norte-Americana), Universidade de Lisboa, Faculdade de Letras, 2010<br>Da beleza transgressora: Perseguições da identidade em Lolita e A Morte em Veneza é uma dissertação que parte da análise de um tema comum ao romance de Vladimir Nabokov e à novela de Thomas Mann a beleza transgressora -, na sua relação com o problema da identidade dos protagonistas, Humbert Humbert e Aschenbach, personagens que apresentam traços comuns e que, para além de serem intelectuais europeus, sofrem um processo de transformação irreversível por via de um amor transgressor e das suas respectivas consequências éticas e estéticas. Na relação entre a problemática da identidade e o tema da beleza transgressora, Lolita e Tadzio, os jovens adolescentes em torno dos quais se articulam respectivamente as confissões de Humbert Humbert e as especulações sobre o poder fatal de Eros em Gustav Aschenbach, são ainda analisados como agentes da mediação artística, que conduzirão ambas as narrativas ao seu desfecho. O corpus desta dissertação é composto não só pelo romance e a novela, mas também pelas respectivas adaptações cinematográficas: o filme Lolita, de Stanley Kubrick, e o filme Morte em Veneza, de Luchino Visconti. Tendo em conta não apenas uma opção pessoal mas também o facto de esta dissertação se inserir no âmbito do Mestrado em Estudos Anglísticos, sendo mais precisamente uma especialização em Literatura Norte-Americana, será dada maior incidência ao romance de Nabokov, compensando-se esta opção por uma análise mais pormenorizada do filme de Visconti.<br>About transgressive beauty: Chasing identity in Lolita and Death in Venice is a dissertation grounded in the analysis of a theme shared by Vladimir Nabokov's novel and Thomas Mann's novella transgressive beauty and its connection to the problem of the main characters' identity, Humbert Humbert and Aschenbach, both of whom display similar traits, apart from being European intellectuals whose identity goes through an irreversible transformation process because of transgressive love and its ethical and aesthetic consequences. By associating the problem of identity with the theme of transgressive beauty, Lolita and Tadzio, the young adolescents around whom Humbert Humbert utters his confessions and Gustav Aschenbach speculates about the fatal powers of Eros, are found to be and are examined as such agents of artistic mediation, responsible for guiding both narratives to their outcomes. The corpus of this dissertation includes not only the novel and the novella, but also their big-screen adaptations, namely Stanley Kubrick's Lolita and Death in Venice by Luchino Visconti. Apart from personal choices, the fact that this thesis was produced within a Masters in English Studies and, more precisely, a specialization in North-American Literature led us to bestow more attention to Nabokov's novel, an option we will make up for thanks to a more detailed scrutiny of Visconti's movie.