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1
Zeng, Zhaodong. "The Relationships in Novels from the Perspective of Literary Ethics—Taking the Film Lolita as an Example." Theory and Practice in Language Studies 9, no. 9 (September 1, 2019): 1140. http://dx.doi.org/10.17507/tpls.0909.10.
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Vladimir Vladimirovich Nabokov is an outstanding and productive Russian-Amercian writer. As the epitome work of the writer, Lolita must be the most controversial novel without doubt. This novel has been adapted into two versions of films: 1962 version and 1997 version. This paper will analyze the 1997 version of Lolita directed by Adrian Lyne. Most critics have mainly conducted the analysis of the film form the perspective of ethnics, postmodernism, narrative strategy, time as well as the image of death. However, there are few, if any, researches done from the perspective of literary ethics to dig into the relationships in the film. With the integration of ethics methods and literary research methods, literary ethics serves as a major new criticism approach and is mainly employed to conduct the analysis of literature. With the ethical factors unveiled in Lolita, this paper seeks to analyze three relationships: human beings and society, human beings and self, ethics and truth. The paper interprets the film Lolita from the perspective of literary ethics, explores the relationships in the film, exploits Vladimir Vladimirovich Nabokov’ s pursuit of truth, kindness and beauty, and also hopes to provide a new direction for later research on the film Lolita.
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Zhu, Pinfan. "Nabokov’s Art of Translation: Effective Means to Attract a Wide Readership." International Journal of Linguistics, Literature and Translation 3, no. 12 (December 30, 2020): 172–80. http://dx.doi.org/10.32996/ijllt.2020.3.12.21.
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Vladimir Vladimirovich Nabokov was a great writer who could write in both English and Russian. His novel Lolita shocked the world but still received many praises by critics because of its humor and literary style. However, this article will not discuss his writing talent; instead, it will discuss his art of translation, for Nabokov was also a great translator. Specifically, the article will discuss Nabokov’s translation doctrine, translation approaches, and translation tactics (specific ways of tackling translation problems); and how he used them to increase readership. The article focuses on how he increased readership by targeting the audience needs, aiming at conveying complete and accurate meanings, and communicating aesthetic values of the original works.
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Fédida, Pierre. "« Lolita » de Vladimir Nabokov." Adolescence 64, no. 2 (2008): 301. http://dx.doi.org/10.3917/ado.064.0301.
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Nadel, Ira. "Lolita x Six." Philip Roth Studies 20, no. 1 (2024): 81–97. http://dx.doi.org/10.1353/prs.2024.a926187.
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Abstract: Vladimir Nabokov and Philip Roth had much in common, from an intense commitment to their art to an appreciation of so-called May-December relationships. Roth's personal library includes twenty-four Nabokov titles with six copies of Lolita (1955). His underlinings and marginal notes in two editions confirm his study of the book, which he also taught, and underscore his belief that "sex is but the ancilla of art," as Humbert Humbert states. But the influence of Nabokov goes beyond the single text. Elements of Nabokov exist in various Roth works. Lolita may have also provided license for Roth's uncensored sex in Portnoy's Complaint (1969), although Roth began to question whether art alone could vindicate immoral actions. Could art actually shelter the artist? Both authors attempted to distance themselves from their characters, but the public would not allow such separation. Nevertheless, the aesthetic of accumulation, sense of satire, and use of a self-conscious first-person narrator, added to the theme of sexual desire, cement the Nabokov-Roth nexus rooted in the numerous Nabokov titles found in the Philip Roth Personal Library. Abstract: Vladimir Nabokov and Philip Roth had much in common, from an intense commitment to their art to an appreciation of so-called May-December relationships. Roth's personal library includes twenty-four Nabokov titles with six copies of Lolita (1955). His underlinings and marginal notes in two editions confirm his study of the book, which he also taught, and underscore his belief that "sex is but the ancilla of art," as Humbert Humbert states. But the influence of Nabokov goes beyond the single text. Elements of Nabokov exist in various Roth works. Lolita may have also provided license for Roth's uncensored sex in Portnoy's Complaint (1969), although Roth began to question whether art alone could vindicate immoral actions. Could art actually shelter the artist? Both authors attempted to distance themselves from their characters, but the public would not allow such separation. Nevertheless, the aesthetic of accumulation, sense of satire, and use of a self-conscious first-person narrator, added to the theme of sexual desire, cement the Nabokov-Roth nexus rooted in the numerous Nabokov titles found in the Philip Roth Personal Library.
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Sharifi, Hossein. "A Parody of Psychoanalysis in Vladimir Nabokov's Lolita." Journal of English Language and Literature 9, no. 2 (April 30, 2018): 823–27. http://dx.doi.org/10.17722/jell.v9i2.357.
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In Lolita (1955), Nabokov is playing a game with all his readers. Who do you think the winner is and what the game is all about? Nabokov who is a brilliant author wants to criticise Freud and his theory of psychoanalysis. He wants to rebel against Freud and his ideas. This paper aims to show you how successful Nabokov was in conveying his own ideas. We want to see whether or not psychoanalysis can be rejected by the help of Nabokov using a parody and trying to put psychoanalysis three key concepts: sexuality, memory, and interpretation into questioning. In this attempt, Nabokov takes a journey from conscious to unconscious and guides the readers with himself through this journey. He shows them symbols which may not represent real symbols, and simple characters which may not be that simple and plain; characters which have a wound in their Superegos and a dark side in their Ids and Egos.
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Mianani, Sindhy Sintya. "Lana Del Rey�s �Off to the Races� and Its Allusions to Vladimir Nabokov�s Lolita." Journal of Language and Literature 19, no. 1 (April 1, 2019): 1–8. http://dx.doi.org/10.24071/joll.v19i1.1804.
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No matter the era, ones always relate to the popular media whether it is literary words, song lyrics or movies. Yet, sometimes ones do not recognize the reference from a particular textual discourse swirling around them. From this premise, Lana Del Reys Off to the Races is deemed as the perfect example of this issue. Lana Del Reys Off to the Races is an intriguing song, for its lyrics are said to have some relations to Vladimir Nabokovs Lolita. For her adaptation on Nabokovs Lolita, Del Rey has been attacked for ostensible discrepancies on who Lolita really is. Thus, this study attempts to prove the relation between Lana Del Reys Off to the Races to Vladimir Nabokovs Lolita through Julia Kristevas theoretical ideas on intertextuality. The discussion of this study indicates that, indeed, there is a relation between Lana Del Reys Off to the Races to Vladimir Nabokovs Lolita. The lyrics of Off to the Races contains several lines and phrases indicating that Vladimir Nabokovs Lolita plays important role in its meanings. However, the some adaptations and reversal of the relationship between Lolita and Humbert in Off to the Races brings an entirely altered meaning to the song than the meaning in the original text.Keywords: intertextuality, lyrics, Lolita.
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Oustinoff, Michaël. "Les Lolita de Vladimir Nabokov : traductions ou adaptations ?" Palimpsestes, no. 16 (December 1, 2004): 117–35. http://dx.doi.org/10.4000/palimpsestes.1597.
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Rangkuti, Sofia, Evi Rosana Oktarini, and Pininto Sarwendah. "Pedophilia in The Novel Lolita by Vladimir Nabokov." Humaniora 6, no. 2 (April 30, 2015): 283. http://dx.doi.org/10.21512/humaniora.v6i2.3346.
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The study aimed to reveal the social phenomenon in a literary work, especially pedophilia. The research used qualitative approach by applying library research using psychological theory introduced by Sigmund Freud. The data source was Lolita, an English novel, written by Vladimir Nabokov. The analysis is divided into three parts; they are the identification of main character, characterization, and pedophilia. The findings were as follows. First, the main character was Humbert as his high intensity in all the events that build the whole story. Second, the characterization described that the main character was obsessive, possessive, and immoral. Third, the role of literary work revealed pedophilia phenomenon. Finally, it can be concluded that the literary work has played a very important role in revealing the social phenomenon.
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Umami, Okta Tri, and Nenden Rikma Dewi. "HUMBERT'S COPING METHOD IN "LOLITA" BY VLADIMIR NABOKOV." MAHADAYA: Jurnal Bahasa, Sastra, dan Budaya 1, no. 1 (April 22, 2021): 77–82. http://dx.doi.org/10.34010/mhd.v1i1.4845.
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Humbert-Humbert in “Lolita†is portrayed as a man who admired young girls in his life due to his lack of affection during childhood. In order to fulfill the absence, Humbert has developed particular personality, which was being a well-mannered person. However, this personality was merely his way and Ego to interact with society. In addition, this personality was Humbert’s method to cope and negotiate with his deepest passion since his individuality was bound with morality rules in his society. This paper applies descriptive-analytic method and adopts McLeod’s ideas on Id, Ego and Superego to identify how Humbert coped with his deepest desire. From the discussion, this current research found that he managed himself by being a literature professor as well as a husband in order to fulfill his Id yet being tolerated with his superego. Thus, this particular personality was apparently projected as his coping method and his way to be a so-called good person in his society.
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Fontenele, Edinalva Melo. "A REDESCRIÇÃO RORTYANA DA PEQUENA CRUELDADE/The Rortyan re-description of the little cruelty." Cadernos do PET Filosofia 3, no. 5 (January 16, 2012): 50–63. http://dx.doi.org/10.26694/cadpetfil.v3i5.648.
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Considerando que muitos livros desenvolvem nossa capacidade de identificação imaginativa e de disposição para evitar a crueldade, aproveitamos as sugestões de Richard Rorty e utilizamos o romance Lolita, de Vladimir Nabokov, como cenário para a redescrição da crueldade. Cabendo prontamente nos critérios liberais rortyanos de combate à crueldade, esse romance nos possibilita perceber os efeitos que as nossas próprias idiossincrasias privadas podem ter sobre a vida de outras pessoas. Dono de metáforas fortes, vívidas, Lolita nos permite abordar o que chamamos de "a pequena crueldade", a crueldade que um indivíduo pode infligir a outro sem sequer notar que é cruel.Abstract: Whereas many books develop our capacity for imaginative identification and disposal to prevent cruelty, we take the suggestions of Richard Rorty and use the novel Lolita, by Vladimir Nabokov, as a setting for the redescription of cruelty. By fitting the rortyan liberal criteria to combat cruelty, this novel allows us to understand the effects that our own idiosyncrasies may have on the lives of others. With strong, vivid metaphors, Lolita allows us to address what we call "the little cruelty", the cruelty that one can inflict on another individual without even noticing he is cruel. Keywords: Cruelty - Lolita - Redescription - Richard Rorty.
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Yablokova, Zhanna. "Trajectory of Vladimir Nabokov’s Literary Translation Practices." FORUM / Revue internationale d’interprétation et de traduction / International Journal of Interpretation and Translation 7, no. 2 (October 1, 2009): 247–75. http://dx.doi.org/10.1075/forum.7.2.10yab.
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Vladimir Nabokov a débuté sa carrière de traducteur en rendant des textes accessibles à ses lecteurs, modifiant, par exemple, le cadre et les noms des personnages. Plus tard, il exigea de sa part et d’autres traducteurs des traductions « fidèles » et littérales. Ensuite, Nabokov dispensa de cette exigence les auteurs, lui-même inclus, qui traduisent leurs propres oeuvres. En tant qu’auteur de Lolita en anglais et comme traducteur de ce roman en russe, Nabokov, d’une part, accomplit une traduction « fidèle » du roman, tandis que, d’autre part, il apportait des modifications d’auteur qu’il estimait nécessaires. Cet essai démontre que la théorie et la pratique de la traduction chez Nabokov ont évolué au cours de trois phases distinctes mais qui finalement se recoupent. Certains critiques ont appelé la troisième et dernière phase « contradictoire ». Cependant, en considérant les trois phases comme trois étapes différentes du développement de Nabokov traducteur, l’auteur de cet essai propose que, au lieu d’être « contradictoire » ou antithétique, cette phase peut être perçue comme évolutive, correspondant ainsi au développement de Nabokov traducteur et écrivain.
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AZIZALIYEVA, Basira. "Characteristics of Humbert, the Hero of Vladimir Nabokov's Lolita Novel (Vladimir Nabokov'un Lolita romanının kahramanı Humbert'in özellikleri)." ALTRALANG Journal 2, no. 01 (July 31, 2020): 12–23. http://dx.doi.org/10.52919/altralang.v2i01.40.
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ABSTRACT: “Lolita” written by Vladimir Nabokov has been considered as an important occasion in the history of world literature for its theme and concept of its characters. The novel written in an original way with distinctive creativity has been subject to debates and various evaluations. Humbert is one of the main characters in the novel “Lolita” with literary mission, serving to demonstrate several psychological, moral and physiological problems, reflecting reasons and effects of various problems that were actual for the society during that time. Since “Lolita” was written during the period when postmodernism influence was observed in the works of Nabokov, it is very noticeable to find postmodern tendencies in the writer’s style and in his main character. Freud’s psychoanalytic theory and its interpretation have played a crucial role in revealing Humbert’s specificity. While assesing Humbert in this context, author’s original approach becomes apparent due to some occasions which are caused by psychological and physiological problems. For this purpose, research on interpretation of Humbert’s stance showed that Humbert’s attitude towards Lolita and his controversial traits are presented in comparison with Freud psychoanalytic theory. Comparative analysis has showed that Humbert is a character who directly affects interpretation of characters and evaluation of events. So, it involves tendencies of that time and takes upon a mission to analyze existing wishes of human that can’t be openly expressed and to reveal threats that are triggered by those traits.
ÖZET: Vladimir Nabokov’un Lolita romanı konusu, olay örgüsü, karakterleri bakımından Dünya edebiyatı tarihinde önemli romanlardan biridir. Nabokov’un kendine has üslubuyla kaleme aldığı eseri çeşitli yönleriyle tartışmalara neden olmuş ve farklı şekillerde değerlendirilmiştir. Yazar, Humbert karakterine özel bir edebi misyon yüklemiş; psikolojik, manevi, fizyolojik problemlerin gündeme getirilmesini, nedenleri ve sonuçları ile tartışılmasını sağlamıştır.Nobakov’un eserlerinde sıklıkla postmodernizm yansımaları görüldüğü gibi, Lolita romanında da postmodern eğilimler sezilmektedir.Z.Freud’un Psikanaliz Teorisi’nin Humbert’in roman kahramanı özelliklerinin belirlenmesinde etkili olduğunu düşünmemizi gerektirecek pek çok veri mevcuttur. Romanda bu teorinin temellerini oluşturan meseleler tartışılmaktadır. Humbert karakterini Freud’un Psikanaliz Teorisi’ne göre değerlendirdiğimizde Nabokov’un kendine has yaklaşımıyla karakterin psikolojik, fizyolojik problemlerini, onların neden olduğu olayları nasıl ortaya çıkardığını incelemek mümkündür. Bu makalede Lolita romanında Humbert’in misyonu yorumlanırken, Lolita ile ilişkisi, kimliğindeki çelişkili durumlar, Freud’un Psikanaliz Teorisi’ne göre karşılaştırılmıştır. Bu karşılaştırma sonrasında Humbert karakterinin Nobakov’un diğer kahramanlarının kişisel özelliklerinin incelenmesine olanak sağlayacağı anlaşılmıştır. Eserde, insanın açık şekilde yorumlanamayan hislerinin analizi ve onların neden olduğu tehlikeleri ortaya çıkarmak için Humbert karakterine özel misyon yüklenmiş olduğu anlaşılmıştır.
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Kunce, Catherine. "“Cruel and Crude”: Nabokov Reading Cervantes." Cervantes 13, no. 2 (September 1993): 93–104. http://dx.doi.org/10.3138/cervantes.13.2.093.
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En sus Conferencias sobre ‘Don Quijote,’ publicadas póstumamente, Vladimir Nabokov tacha el magnum opus de Cervantes de “cruel y tosco.” Nabokov señala una multitud de defectos en la obra. En particular, critica su violencia, su tratamiento de la cuestión “muerta” de los libros de caballerías, su falta de oportunismo artístico, y su conclusión. Una gran parte de esta calumnia parece estar derivada de la inhabilidad de Nabokov por captar la ironía, muchas veces sutil, de Cervantes. Mientras Nabokov descubre innumerables discrepancias en la obra, es incapaz de ver que esas mismas “discrepancias” evidencian la ironía cervantina. Irónicamente, la Lolita del propio Nabokov imita muchos aspectos del Quijote. Entre otras cosas, remeda la técnica metaficticia, la conclusión, la parodia del amor cortés, los tres niveles narrativos, y, más significativamente, la ironía del Quijote. Es interesante que, además de señalar estas semejanzas estructurales, los críticos han alabado y censurado Lolita y Don Quijote por las mismas razones.
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Palamar Olga, Palamar Olga. "FEATURES OF THE FORMATION OF KINOPOETICS IN THE FICTION DISCOURSE OF VLADIMIR NABOKOV." Fìlologìčnì traktati 14, no. 2 (2022): 99–104. http://dx.doi.org/10.21272/ftrk.2022.14(2)-10.
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The article considers the manifestation of cinematography in V. Nabokov's fiction discourse. The analysis of the peculiarities of the origin and functioning of cinematography in the fiction discourse of V. Nabokov is important for understanding the place and role of cinema in the author's novel work and, in particular, for understanding some semantic, ideological and plot aspects. The analysis is based on the analysis of the author's English-language novels: «Laughter in the Dark», «Lolita», «Pale Fire» and «The Original of Laura». The article also aims to continue the research of cinema poetics in the novel work of V. Nabokov in general. The article examines the influence of cinematography on the life and work of the writer V. Nabokov. We update the essential role of cinematography in the Berlin period of the writer's work. We trace the implementation of cinematography through the author's dramaturgical work. In English-language novels, we note cinematic elements and trace their place and meaning. We turn to the script of the film adaptation of «Lolita» and the writer's epistolary with directors S. Kubrick and A. Hitchcock. We trace the reflection of technical, semantic, and aesthetic elements in the artistic discourse of V. Nabokov.
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Mannooretonil, Agnès. "Faut-il parler des papillons de Nabokov ?" Études Tom 413, no. 11 (October 29, 2010): 507–17. http://dx.doi.org/10.3917/etu.4135.0507.
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Résumé La publication cette année de Laura , roman posthume et inachevé de Vladimir Nabokov (1899-1977) est l’occasion de revisiter l’œuvre de cet écrivain russe émigré aux Etats-Unis, du succès scandaleux de Lolita à son véritable chef-d’œuvre, Ada ou l’ardeur . Et d’évoquer aussi sa passion pour les papillons comme un miroir de son œuvre.
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Chupin, Yannicke. "L’écrivain déplacé dans Lolita et Pnin de Vladimir Nabokov." Revue LISA / LISA e-journal, Vol. VII – n°2 (February 1, 2009): 84–103. http://dx.doi.org/10.4000/lisa.289.
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Azizaliyeva, Basira. "Peculiarity of the concept of a hero in the novel of Vladimir Nabokov “Lolita” Humbert." Linguistics and Culture Review 5, S2 (July 15, 2021): 28–35. http://dx.doi.org/10.21744/lingcure.v5ns2.1328.
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“Lolita” written by Vladimir Nabokov has been considered as an important occasion in the history of world literature for its theme and concept of its characters. Humbert is one of the main characters in the novel “Lolita” with literary mission, serving to demonstrate several psychological and physiological problems, reflecting reasons and effects of various problems that were actual for the society during that time. Since “Lolita” was written during the period when postmodernism influence was observed in the works of Nabokov, it is very noticeable to find postmodern tendencies in the writer’s style and in his main character. While assessing Humbert in this context, author’s original approach becomes apparent due to some occasions which are caused by psychological and physiological problems. For this purpose, research on interpretation of Humbert’s stance showed that Humbert’s attitude towards Lolita and his controversial traits are presented in comparison with Freud psychoanalytic theory. Comparative analysis has showed that Humbert is a character who directly affects interpretation of characters and evaluation of events. It involves tendencies of that time and takes upon a mission to analyse existing wishes of human that can’t be openly expressed and to reveal threats that are triggered by those traits.
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Yang, Ao. "THE THREE MOST DISTINCTIVE FEATURES THAT DEFINE PALE FIRE AS METAFICTION." Social Values and Society 2, no. 1 (June 11, 2020): 17–19. http://dx.doi.org/10.26480/svs.01.2020.17.19.
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Pale Fire is one of the most representative works of Vladimir Vladimirovich Nabokov. It is always seen by the academia as metafiction. Indeed, several features of this novel show that this novel is clearly metafiction. This article tries to analyze the three most distinctive features of Pale Fire, to explain why it is metafiction.
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Yang, Ao. "THE THREE MOST DISTINCTIVE FEATURES THAT DEFINE PALE FIRE AS METAFICTION." Social Values and Society 2, no. 1 (June 11, 2020): 20–22. http://dx.doi.org/10.26480/svs.01.2020.20.22.
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Pale Fire is one of the most representative works of Vladimir Vladimirovich Nabokov. It is always seen by the academia as metafiction. Indeed, several features of this novel show that this novel is clearly metafiction. This article tries to analyze the three most distinctive features of Pale Fire, to explain why it is metafiction.
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Matias, Felipe Dos Santos. "A CONSTITUIÇÃO DO SUJEITO FEMININO EM DOM CASMURRO, LOLITA E LA NADA COTIDIANA." Literatura e Sociedade, no. 23 (July 18, 2017): 90. http://dx.doi.org/10.11606/issn.2237-1184.v0i23p90-103.
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O presente artigo realiza uma análise acerca da representação do sujeito feminino nos romances Dom Casmurro (1899), de Machado de Assis, Lolita (1955), de Vladimir Nabokov, e La nada cotidiana (1995), de Zoé Valdés, com o intuito de detectar as práticas discursivas e socioculturais que os respectivos narradores veiculam, principalmente em relação ao gênero.
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Björck, Amelie. "Metaforer och materialiseringar." Tidskrift för litteraturvetenskap 43, no. 1 (January 1, 2013): 5–20. http://dx.doi.org/10.54797/tfl.v43i1.10900.
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Metaphors and Materializations. On the Apes and Monkeys in Vladimir Nabokov and Sara Stridsberg
By tradition the humanities have been anthropocentrically focused on the lives of human beings in arts and literature. The limited analysis of what other species do in literature – and of the different relations between humans and animals that are represented – has sustained the notion of a hierachical divide between humans and other species, thereby reducing the ethical potential of literature to resist that dualism.
The growing field of human–animal studies proposes that we return to our artefacts and epistemologies, with new attention to human–animal relations. Inspired by this movement, forefronted by scholars such as Cary Wolfe and Sara McHugh, this article offers a comparative reading of Vladimir Nabokov’s Lolita (1955) and Sara Stridsberg’s Darling River (2010). In Lolita Nabokov makes frequent use of animal and especially monkey metaphors, and carries out an ongoing animalization of his characters. In Stridsberg’s novel, which is written as a kind of hypertext of Lolita, Nabokov’s animalizations are interestingly molded and materialized into one physical creature: the caged schimpanzee Ester. The central concern of the study is to understand the process and effects of this materialization. I argue that the consequential reorientation of the reader to a non-hierarchical species discourse is a major ethical feat of the novel.
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SWEENEY, SUSAN ELIZABETH. "Still More to Say." Resources for American Literary Study 43, no. 1-2 (October 1, 2021): 216–23. http://dx.doi.org/10.5325/resoamerlitestud.43.1-2.0216.
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ABSTRACT After Lolita brought him international fame, Vladimir Nabokov kept producing new novels while translating earlier Russian works into English. Since his death, other translations, fiction, lectures, correspondence, writings on lepidoptera, and even a dream diary have appeared. The latest book, Think, Write, Speak: Uncollected Essays, Reviews, Interviews, and Letters to the Editor, offers a dazzling introduction to his work while tracing his progress from an essay on “Cambridge,” written as a Russian émigré student in 1921, to an interview with the BBC Books Programme in 1977. Scholars of American literature will be intrigued by evidence of his transformation from Russian author V. Sirin to American writer and university professor Vladimir Nabokov—including his first interview (in Russian) after arriving in New York City in 1940, his early book reviews (in English) for American journals, fascinating glimpses of his academic career at Wellesley and Cornell, and dozens of charmingly playful interviews from Lolita’s publication until his death. More than eight decades since Nabokov immigrated to the United States, there is still much to learn about his American literary career.
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León, Arima. "Poslolitismo: el legado de Lolita en el cine indie del siglo XXI = Post-lolitism: the Lolita’s Legacy in the XXI’s Indie Cinema." FEMERIS: Revista Multidisciplinar de Estudios de Género 3, no. 2 (August 1, 2018): 144. http://dx.doi.org/10.20318/femeris.2018.4328.
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Resumen. En este trabajo realizo un recorrido a la inversa desde las películas La Belle Personne (Christophe Honoré, 2008), Fish Tank (Andrea Arnold, 2009) y The Diary of a Teenage Girl (Marielle Heller, 2015), hasta llegar a su germen: Lolita (1955), novela escrita por Vladimir Nabokov y adaptada a la gran pantalla por Stanley Kubrick en 1962. A partir de esta conexión, analizo los aspectos definitorios de esta nueva poslolita, enmarcando el personaje en un viaje narrativo concreto y un discurso feminista consciente. El viaje consta de tres momentos clave: una primera toma de contacto, el encuentro sexual y la liberación de la situación de opresión. En cuanto al discurso feminista, este revisa la figura de las poslolitas como objeto de deseo, además de la relación con el adulto y la iniciación sexual de las jóvenes. Estas tres películas suponen la reinterpretación del mito que Kubrick crea en su filme. Asimismo, esta nueva lectura del lolitismo se entiende a partir de la apropiación femenina de un discurso que ha sido explotado casi en exclusivo por hombres. Esto, sumado a la manifestación de no depender de la figura masculina para alcanzar la felicidad, hacen de The Diary of a Teenage Girl la máxima expresión de esta nueva poslolita. Palabras clave: Feminismo, cine, indie, Lolita, Nabokov. Abstract. La Belle Personne (Christophe Honoré, 2008), Fish Tank (Andrea Arnold, 2009) and The Diary of a Teenager (Marielle Heller, 2015), up to its germ: Lolita (1955), a novel written by Vladimir Nabokov and adapted to the great screen by Stanley Kubrick in 1962. From this connection, I analyze the final aspects of this new postlolita, framing the character in a concrete narrative journey and a conscious feminist discourse. The trip consists of three key moments: a first contact, the sexual encounter and the liberation from the situation of oppression. As for the feminist discourse, it reviews the figure of the postlitas as an object of desire, in addition to the relationship with the adult and the sexual initiation of young people. These three movies suppose the reinterpretation of the myth that Kubrick creates in his film. Also, this new reading of lolistism refers to the feminine appropriation of a discourse that has been exploited almost exclusively by men. This, added to the manifestation of not depending on the male figure to achieve happiness make The Diary of a teenager the ultimate expression of this new postlolita. Keywords: Feminism, film, indie, Lolita, Nabokov.
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Coração, Cláudio Rodrigues, and William David Vieira. "Entre Lolita e Lana Del Rey." Novos Olhares 8, no. 1 (July 4, 2019): 87–96. http://dx.doi.org/10.11606/issn.2238-7714.no.2019.152725.
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Neste artigo, trabalhamos a possibilidade de exploração mercadológica do corpo da cantora estadunidense Lana Del Rey por meio da retórica da sexualidade. Verificamos tal manifestação a partir da análise da sexualidade em Lana durante sua apresentação em São Paulo, no Festival Planeta Terra, em 2013, com vistas a perspectivas metodológicas de gesto, presença e o que denominamos como esvanecimento entre Del Rey e a personagem Lolita, de Vladimir Nabokov, aura convocada pela artista em seu show. Enxergamos a discursividade em torno da sexualidade como pragmática mercantil que organiza os afetos dos sujeitos que com esse corpo se relacionam. Objeto de consumo de uma lógica cultural do capitalismo tardio, esse corpo vendável não rompe, entretanto, com um caráter representativo, sendo indicativo de disputas na cultura pop.
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Ghyath Manhel Alkinani. "Fiction Undermining Theory: Vladimir Nabokov’s Lolita and Freudian Psychoanalysis." Creative Launcher 8, no. 6 (December 31, 2023): 17–32. http://dx.doi.org/10.53032/tcl.2023.8.6.03.
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The present article aims to show how this modernist novel resisted and actively undermined the overwhelming critical discourse of Freudian psychoanalysis that has dominated the critical and theoretical world of literary studies at the time. Although much has been said and written about the antipathy of Vladimir Nabokov to Sigmund Freud, very little has been written on what the novel has actively done in respect to reversing the epistemological power discourse that dominates the relationship of literary works to critical “theory.” The contribution of this paper is reading Lolita as an example of “applied literature,” i.e., a literature that anticipates, challenges, revises and undermines the critical theory that is supposed to read/analyze it. Theoretically, the paper benefits from contributions of scholars such as Shoshana Felman and Piere Bayard. The paper is sectioned into an introduction, a “classic” psychoanalytical reading of Lolita, a section that reviews and assesses the problems with such a reading, and a conclusion that sums up the findings of the study.
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Garziano, Svetlana. "Le concept du multilinguisme dans la poétique autobiographique de Vladimir Nabokov." RUS (São Paulo) 9, no. 12 (December 16, 2018): 49–73. http://dx.doi.org/10.11606/issn.2317-4765.rus.2018.149059.
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O conceito do multiliguismo, etiqueta solidamente colada à arte de Vladimir Nabokov, é muito importante para compreender sua poética autobiográfica que se desenvolve em três línguas: russo, inglês e francês. O artigo examina os princípios da escritura plurilíngue na obra nabokoviana através de quatro temas estruturantes: bilinguismo / multilinguismo da escritura, tradução e autotradução, relação binária das línguas russa e inglesa na autobiografia e o problema da passagem do inglês para o russo segundo o exemplo de Druguíe beregá e de Lolita. A teoria linguística de Nabokov consiste em buscar uma língua universal, a da criação artística, o sentido que se transfere de uma língua à outra pelo viés de imagens visuais. Para este escritor, a tradução deve significar e fazer aparecer na consciência do leitor aquilo que não depende de nenhum idioma: o “entre-línguas”, a relação entre as línguas.
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Kibalnik, S. A. "ON THE CONCEPT OF “THE LITERARY DUEL” (“duel” between G. Gazdanov and V. Nabokov)." Culture and Text, no. 52 (2023): 51–62. http://dx.doi.org/10.37386/2305-4077-2023-1-51-62.
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The article puts forward the concept of “literary duel”. What is at issue is an exchange of personal attacks - usually partly open, partly hidden - on the part of two writers, in which a kind of “exchange of shots” takes place. Sometimes after that the exchange of shots continues. As an example, the article describes a kind of “literary duel”, which, to a certain extent, is based on a hidden intertextual polemic between Gazdanov and Nabokov. In particular, in the character of Vladimir Volf in Gazdanov’s novel “The Ghost of Alexander Volf”, there are features of Nabokov, and a parody of Gazdanov can be found in one of the minor characters of Nabokov’s sensational novel “Lolita”.
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Rivas, Márcia Guimaraes, Jessica Leite Barbosa, Luiz Roberto Marquezi Ferro, and Aislan José Oliveira. "A Constituição Psíquica Pedofílica na Obra Lolita / The Pedophilic Psychic Constitution in the Work Lolita." ID on line REVISTA DE PSICOLOGIA 15, no. 54 (February 28, 2021): 1–18. http://dx.doi.org/10.14295/idonline.v15i54.2889.
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O presente trabalho aborda o tema pedofilia e sua possível constituição psíquica. À luz da psicanálise freudiana e lacaniana, a pedofilia constitui-se na estrutura psíquica perversa. Para ilustrar a estrutura psíquica perversa usaremos a obra Lolita, de Vladimir Nabokov, que conta a história do personagem Humbert, um homem de meia idade que se apaixona por Lolita, uma garota de doze anos de idade. Atualmente, o tema pedofilia é visto como um problema de saúde pública, entretanto, nem sempre foi assim, era visto como um fenômeno naturalizado na antiguidade. Com base nisso, buscamos distinguir os termos “molestador sexual” e o “pedófilo”, contextualizar a história da infância e a criminalização de fantasias sexuais. Neste trabalho a obra Lolita é apresentada como caso clínico para análise de sua constituição psíquica, relevando à importância do conhecimento da história pregressa do sujeito, assim como a importância da elaboração de traumas no sujeito pedófilo.
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Lister, Rodney. "Boston & New York: Harbison, Wuorinen, Ueno and Sanford." Tempo 59, no. 234 (September 21, 2005): 39–40. http://dx.doi.org/10.1017/s0040298205230309.
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The last two of the works commissioned by the Boston Symphony to celebrate the first season of James Levine as its Music Director were unveiled by Levine and the orchestra in Symphony Hall in Boston and Carnegie Hall in New York in April. John Harbison, whose The Great Gatsby was written for Levine and the Metropolitan Opera, had been working on an opera based on Lolita by Nabokov. He eventually decided that the problems presented by the staging of the work were insurmountable, and has, at least for the moment, abandoned the project, which he now considers misguided. He made the same decision in regard to the Fitzgerald novel about ten years before actually completing that project, so in the future this opera may also eventually see the light of day. Meanwhile, just as Harbison's aborted first attempt at Gatsby produced his ‘fox-trot for orchestra’, Remembering Gatsby, the work at Lolita has resulted in his most recent work for the BSO, a seven-minute overture based on material intended for the opera, entitled Darkbloom. Harbison's program note for the work does not name either Lolita or Nabokov, but speaks only of ‘a famous and infamous American novel’ in which Vivian Darkbloom (an anagram of Vladimir Nabokov) ‘is a just a secondary character’. Harbison chose Darkbloom as a title for the work ‘because it effectively conjures up the mood of this overture’, and ‘serves as an emblem or anagram for the complex tragic-comic spirit of the story and its author’. Darkbloom itself is attractive and skilfully wrought. A balletic section which portrays two young women playing tennis is the most memorable music in the work.
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Tinti, Tauan Fernandes. "Sobre o envelhecimento de Lolita no mundo administrado." Alea : Estudos Neolatinos 18, no. 1 (April 2016): 127–43. http://dx.doi.org/10.1590/1517-106x/181-127.
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Resumo O presente trabalho visa a apresentar alguns modelos da relação entre Lolita, de Vladimir Nabokov, e seu leitor, como alegorias da reação da literatura modernista tardia à administração crescente da cultura – ou, mais especificamente, da forma como o romance reage ao seu envelhecimento histórico sendo progressivamente determinado pela indústria cultural, a partir de sua caracterização por Adorno e Horkheimer (2006). Dois modelos principais são apresentados: o primeiro é caracterizado pelo modo como o romance manipula o leitor como forma de evitar ser manipulado por ele, forçando-o a julgar a possibilidade de arrependimento de seu narrador e limitando-o a uma experiência de satisfação vicária; e o segundo modelo se define pela exigência que o leitor seja assimilado à lógica de decifração contida no romance, submetendo-se integralmente à autoridade autoral.
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Cechanovičius, Artūras, and Jadvyga Krūminienė. "Vladimir Nabokov’s Self-Translated Lolita: Revisiting the Original Alliterative Modes." Respectus Philologicus 22, no. 27 (October 25, 2012): 115–29. http://dx.doi.org/10.15388/respectus.2012.27.15341.
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This paper is a case study comparison of Vladimir Nabokov’s self-translated Russian version of his English novel Lolita with its original text within the frame of the theory of literary translation. Here, self-translation is referred to as a branch of literary translation whose distinctive feature is that the work is both composed and translated by the same person. It is interesting to observe that, for the most part, the authors who translate their own works into another language are bilingual. Theoretical investigation into the field of self-translation is a recent endeavour; the term only appeared around 1976. Before it appeared in A Dictionary for the Analysis of Literary Translation, self-translation was thought to be related to bilingualism, and was therefore approached from the perspective of linguistics.This paper analyses some alliterative modes, including suballiteration, produced by Nabokov in the two versions of Lolita. Throughout, the process of translation is viewed as a “two-stage reading-writing activity.” The novel’s translation into Lithuanian, which was performed from Nabokov’s Russian translation, is used to show the difference between translation and selftranslation, and to reveal the clash or the interplay between the foreign and the domestic in the development of alliterative appeal.
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Morales Giraldo, Laura Milena, and Leonardo Cárdenas Castañeda. "La influencia del movimiento Derecho y Literatura en las capacidades de los jueces: el caso de Lolita." Jurídicas 20, no. 1 (January 1, 2023): 158–82. http://dx.doi.org/10.17151/jurid.2023.20.1.8.
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El objetivo del presente trabajo es mostrar cómo el movimiento Derecho y Literatura podría influir en la decisión judicial en casos difíciles, con apoyo en la obra de Vladimir Nabokov, Lolita, en la cual se parte de la interpretación según la cual la protagonista de la obra ha estado sometida a una relación no consentida por parte de su padrastro. Es decir, hay un alejamiento del punto de vista romántico y tradicional que ha hecho carrera en el mundo del arte sobre la manera de apreciar esta obra literaria. Para este fin, se dividió el artículo en tres partes; en la sección inicial se desarrollan los tres aspectos esenciales dentro del movimiento Derecho y Literatura tal como lo propone Martha Nussbaum, haciendo énfasis en los atractivos del movimiento y en las capacidades que les otorga a los jueces; la segunda parte está centrada en definir qué es un caso difícil y sus características. Finalmente, el último punto del texto se aleja de la interpretación “rosa” y habitual de Lolita para adoptar luego el enfoque del abuso que hay en la novela de Nabokov. El asunto importante aquí es que una pieza literaria como esta puede influir en las decisiones de un juez para resolver casos difíciles similares.
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Richards, Emerson. ""I get sort of carried away, being so normal and everything"." Alphaville: Journal of Film and Screen Media, no. 4 (December 21, 2012): 37–49. http://dx.doi.org/10.33178/alpha.4.03.
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This paper compares and analyses the differences between Lolita by Vladimir Nabokov (1955) and filmic versions by Stanley Kubrick (1962) and Adrian Lyne (1994), focusing on the respective characterisations of Clare Quilty, as mediated through his encounter with Humbert Humbert at a pivotal scene at the Enchanted Hunter’s Lodge. Following an in-depth analysis of the scene in question, the article then examines Kubrick’s Lolita, exploring the homosocial undertones of Peter Sellers’s Quilty, and the attendant commentary on heteronormative culture of late 1950s/early 1960s America. Finally, Lyne’s interpretation of this encounter will be analysed to discern how a menacing Quilty alters the narrative and deviates from the previous representations, updating the social commentary to incorporate a distinctly 1990s milieu in the process. Treating the two films as iterations and/or mutations of the original literature, the article proposes a comparatist-driven analysis to discern each artist’s intentions toward the narrative as exemplified by this crucial meeting of minds.
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Tock, Emily. "Vladimir Vladimirovich Nabokov and Jason Epstein: A Study in Authorial Extravagance and Editorial Restraint." Journal of Scholarly Publishing 48, no. 4 (July 2017): 268–81. http://dx.doi.org/10.3138/jsp.48.4.268.
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Saladino, Ryan. "Aesthetic Bliss: How Vladimir Nabokov Uses Unreliable Narration in Lolita to Create Better Readers." International Journal of Undergraduate Research and Creative Activities 14, no. 1 (August 9, 2022): 1. http://dx.doi.org/10.7710/2168-0620.0331.
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Medeiros, Rosângela Fachel de. "O lenhador, uma releitura de Chapeuzinho Vermelho." Revista Crítica Cultural 6, no. 1 (June 10, 2011): 85. http://dx.doi.org/10.19177/rcc.v6e1201185-104.
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Esse artigo, na tradição dos estudos comparatistas interdisciplinares, analisa o filme O lenhador como releitura e recriação do conto de fadas Chapeuzinho Vermelho, investigando os diálogos intertextuais que instaura com as duas versões mais famosas da estória infantil, a de Charles Perrault e a dos Irmãos Grimm. A investigação desses entrecruzamentos centra-se na questão da pedofilia que é tratada abertamente no filme e de maneira simbólica nos contos. Com esse intuito, é também abordado o romance Lolita, de Vladimir Nabokov, obra emblemática no tratamento do tema, que se configura como um ponto de confluência para as narrativas analisadas e traz para a discussão outra obra da literatura infantil, Alice no país das maravilhas, de Lewis Carroll.
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Melnikova, Irina. "Iconicity (of Reading). Lolita." Semiotika 16 (July 29, 2021): 24–65. http://dx.doi.org/10.15388/semiotika.2021.8.
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The paper focuses on the issue of iconicity of (printed) literary narrative and proposes the idea of iconic reading (or iconicity of reading). It discusses Peircean notion of iconic sign, examines its use within the field of iconicity studies in language and literature (Olga Fischer, Christina Ljungberg, Winfried Nöth, etc.), and considers the differences of paradigms in iconicity research: (1) iconicity as a permanent property of a sign; imitation pattern – form mimes meaning; (2) iconicity as a variable quality of a sign, actualized by the speaker; imitation pattern – form miming form; (3) iconicity as the ground of human thought and a function of a sign, actualized by the reader / reading. Consideration of the differences within the field of iconicity research helps to reveal the underestimated textual aspects that actualize iconic dimension of literary narrative, and inspires to examine their role in the analysis of Lolita by Vladimir Nabokov, precisely, its “Foreword” (both original English and Russian versions). The analysis of the fictional “Foreword”, which establishes the pattern of iconization of the novel as a whole, and inevitably includes the references to its “main” part, shows how the novel iconizes writing. Withal, the analysis demonstrates how this iconization configures the particular model of reading, which becomes the representamen of the specific cognitive icon. The mental representamen of this icon “stands for” the specific object – the text as the tangible media product, marked by the structural and discursive traits of its own. Respectively, such (cognitive) icon represents the pattern of mimetic relationship between form and meaning, introduced by Lars Elleström (2010), – meaning mimes form, worthy of further consideration.
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Esty, Jed. "After the West: Conrad and Nabokov in Long-Wave Literary History." PMLA/Publications of the Modern Language Association of America 137, no. 5 (October 2022): 779–94. http://dx.doi.org/10.1632/s0030812922000529.
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AbstractThe Secret Agent and Lolita are among the most influential novels of the last century. Both describe European lodgers who insinuate themselves into nuclear families that serve as symbolic cocoons inside the most powerful nation-states on earth in 1907 and 1955, respectively. These two upmarket infiltration novels track an uneasy movement into the heart of Anglo-American darkness. Taken together, they also describe the arc of cultural capital traveling across the Atlantic. They orbit a myth of the stable West that can be neither disavowed nor dismantled. What can we learn now from the historical relation between these novels, set within the dilapidated metanarratives of Pax Britannica and the American Century? Is there a post-Western future for anglophone literary studies? To address those questions, this essay combines close formal analysis of Joseph Conrad and Vladimir Nabokov with a test run of current world systems and longue durée reading methods.
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Ibrahim, Juan A. "Modernity, Mass Culture, and Self-Delusion in Nabokov’s Lolita and Martin Amis’ Money." Koya University Journal of Humanities and Social Sciences 3, no. 1 (June 23, 2020): 94–101. http://dx.doi.org/10.14500/kujhss.v3n1y2020.pp94-101.
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Vladimir Nabokov’s Lolita (1955) and Martin Amis’ Money (1984) discuss the disadvantages of mass media. Amis uses John Self to reflect the disintegration of the self in the modern, Capitalist society of England in 1980s. Self represents the failure of the postmodern world by portraying a dystopian society. Amis and Nabokov tackle subjects pertaining to money, incest, delusion, and disappointment. Lights are shed on the moral aspect of the characters. The modernity of Amis’ fiction lies in its double deception of its characters; there is the American motif and a character who is not able to resist the magic of such motif. It is about consumerism or how aspects of post modernity and the consumer culture are portrayed. This paper aims to show the impact of mass media on the characters who are self-deluded and indulged in loving money, advertisements, and sex. It also aims at showing duality and corruption in both texts, John Self is bankrupt and wants to commit suicide. Humbert cheats many and is imprisoned and Lolita dies. Lolita becomes the victim of incest. It is an attempt to urge human beings to refuse cultural divisions and encourage human spirituality instead of Materialistic point of view.
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Nault, François. "Rorty, Nabokov et le refus de la cruauté : prolégomènes à une éthique de l’écriture théologique*." Laval théologique et philosophique 58, no. 2 (November 27, 2002): 297–316. http://dx.doi.org/10.7202/000363ar.
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Résumé Cet essai aborde la question d’une théologisation possible-impossible de la figure du « héros culturel » dessinée par le philosophe américain Richard Rorty : celui qu’il appelle « l’ironiste libéral ». Après une brève évocation du « tournant esthétique » lié à l’avènement de la figure de l’« ironiste libéral », l’auteur s’attache à l’examen du « sécularisme » de Rorty et à l’identification des principales résistances que ce philosophe pose aux tentatives visant à relativiser (ou à contester) l’opposition entre « discours ironiste » et « discours théologique ». L’auteur s’efforce ensuite de dégager les conditions d’accession de l’ironiste au statut de « libéral » et, par là, de « héros culturel » auquel Rorty le destine — reprenant, à cette fin, la lecture du roman Lolita de Vladimir Nabokov proposée dans Contingency, Irony and Solidarity.
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Urbas, Joseph. "« Ce qui donne pointe à la sauce » : désir et délire sécuritaire dans Lolita de Vladimir Nabokov." Revue Française d'Etudes Américaines 79, no. 1 (1999): 87–104. http://dx.doi.org/10.3406/rfea.1999.1760.
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Griffiths, Rhys. "Nabokov and Wenders: Lost Landscapes and Found Meaning in the Age of the Sign Economy." FORUM: University of Edinburgh Postgraduate Journal of Culture & the Arts, no. 10 (June 5, 2010): 1–20. http://dx.doi.org/10.2218/forum.10.641.
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Protest as David Andrews might against the 'misperception' of Vladimir Nabokov as 'the postmodern author par excellence', claiming Nabokov as 'premodernist in outlook' (63), there is one sense in which Nabokov cannot escape the 'postmodern' label identified by Fredric Jameson. Jameson defines postmodernism, in part, as:A periodizing concept whose function is to correlate the emergence of new formal features in culture with the emergence of a new type of social life and a new economic order - what is often euphemistically called modernization, postindustrial or consumer society, the society of the media or the spectacle, or multinational capitalism ('Postmodernism and Consumer Society' 1962).Adopting Jameson's dating of this 'new moment of capitalism' to 'the postwar boom in the United States in the late 1940s and early 1950s' (1962), this essay opens with an assertion of Nabokov as an author subject to, what Andrews terms, certain 'postmodern realities' (63).The aim of this essay is a study of these postmodern realities as a product of the consumer society and the emergence and maturation of what Pamela Odih calls the 'sign economy' (126) in two texts from 'high epochs' of late capitalism, Nabokov's Lolita (1955) and Wim Wenders' Paris, Texas (1984). Paramount to the argument herein is Jameson's assertion that the 'formal features' of postmodernism (defined by the era of late capitalism) will 'express the deeper logic of that particular system' (1974). However, the first requirement of this introduction is a situating of the chosen texts within what has been termed 'high epochs' of late capitalism.
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Cisneros, Jesus. "Génesis del deseo y su objeto: consideraciones a partir de la clínica y la literatura." Boletín Científico de la Escuela Superior Atotonilco de Tula 6, no. 12 (July 5, 2019): 21–26. http://dx.doi.org/10.29057/esat.v6i12.4543.
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Con base en un caso clínica y en dos obras literarias, el autor analiza el surgimiento del deseo y la creación de su objeto como un fenómeno de dos caras, en el que las pulsiones y la estructuración psíquica convergen. El primer caso proviene de un trabajo clínico con un adulto varón que experimentaba atracción sexual por niños y prepúberes varones. El segundo caso proviene de la novel Lolita de Vladimir Nabokov, en la que un hombre de 40 años de edad experimente atracción sexual por las “nínfulas”, niñas especiales entre 9 y 14 años de edad. El último caso provine de la novel El túnel de Ernesto Sábato, la cual narra la historia de un pintor que se enamora de una mujer conmovida por uno de sus cuadros. Cada uno plantea un camino distinto por el cual las pulsiones son descargadas y se crea un objeto de deseo.
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Belova, Tatiana. "Stylistics of Sasha Sokolov’s Novels “School for Fools” and “Palisandria” (“Astrophobia”): Is It a Tribute Paid to Vladimir Nabokov’s Tradition or Typological Convergence?" Stephanos Peer reviewed multilanguage scientific journal 44, no. 6 (December 30, 2020): 113–25. http://dx.doi.org/10.24249/2309-9917-2020-44-6-113-125.
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The paper analyses stylistics of two famous novels by Sasha Sokolov published in the USA: “School for Fools” (1976, 1977) and “Astrophobia” (1985). The first one was highly appreciated by Vladimir Nabokov who saw a close affinity of its poetics with his own style of writing though before emigration Sokolov couldn’t gain access to his books. However the insane marginal hero fully immersed in his own fantasy and hallucinations, numerous double-characters, repeated key-words and symbolic details creating metaphoric style of writing, the multi-layered intertextuality, literary allusions, etc. – all these artistic means happened to be just similar typical features of their novels. But as the author of the article states, such poetic similarity manifests only their multiform typological convergence. A grotesque parody on “Lolita” and “Ada” – “Palisandria”, written in exile, on the contrary carries the peculiarities of Nabokov’s poetics to the point of absurdity by means of the same creative approach – postmodernism.
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Chupin, Yannicke. "« Do You Mind Very Much Cutting Out The French ? » Le français de Humbert dans Lolita de Vladimir Nabokov." Revue Française d Etudes Américaines 115, no. 1 (2008): 50. http://dx.doi.org/10.3917/rfea.115.0050.
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GILES, PAUL. "Virtual Eden: Lolita, Pornography, and the Perversions of American Studies." Journal of American Studies 34, no. 1 (April 2000): 41–66. http://dx.doi.org/10.1017/s002187589900626x.
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Native of St. Petersburg, author of works in Russian and French as well as English, and sometime goalkeeper for Trinity College, Cambridge, soccer team, Vladimir Nabokov would not appear to be the most obvious avatar of American Studies in the subject's nationalist phase of the 1950s. My argument, however, is that Lolita, which first appeared in 1955, can be seen as symbiotically intertwined with various classic texts of American Studies that helped to invent and define the field during the Truman and Eisenhower years. At times, the dream of Eden that permeates Nabokov's narrative impels it towards becoming a parody of the early American Studies movement, which harboured within its collective consciousness similar vestiges of an imaginary paradise. More dexterously, though, Lolita makes the theoretical parameters of this movement visible, so that Nabokov's novel might more accurately be described as a metafiction of area studies: a text which holds up a mirror to the implicit assumptions of American Studies and renders them translucent. Just as the process of metafiction can reilluminate ways in which more traditional artefacts have been constructed, so Nabokov's virtualization of American Studies also reflects back upon the established boundaries of other national formations and nation-states, foregrounding the contingent status of their supposedly naturalized values and social markers. In particular, by focusing upon the cultural reception of Lolita in Britain, we will see how the book brings into play troublesome questions about the relationship between formal aesthetics, public morality, and social power. In this sense, Nabokov's perverse reinscription of American Studies might be seen ironically to highlight the multiple dilemmas involved in circumscribing specific national territories for academic study or political jurisdiction.
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Tamás, Péter. "“Phony” and “Poshlost” : The Ordinary as Moral Concept in Vladimir Nabokov’s Lolita and J. D. Salinger’s The Catcher in the Rye." Freeside Europe Online Academic Journal, no. 12 (2021): 1–18. http://dx.doi.org/10.51313/freeside-2021-8.
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According to philosopher Stanley Cavell, “what philosophy is dissatisfied with is inherently the everyday” (1988: 171). The everyday is also an ambiguous but central concept in Nabokov’s and Salinger’s most famous novels. Their narrators mock and criticize the vulgarity of whatever they associate with everyday life – clichés, stock ideas, routines. This seemingly harmless mindset has serious ethical consequences: Holden and Humbert start associating the concept of the everyday with moral depravity. They become blind to the redeemable qualities of the ordinary, which leads them to consider the Other merely as a product of clichés. Both Nabokov and Salinger imply that one cannot acknowledge the alterity of the Other without making peace with ordinariness of everyday life. However, there is an important difference between the two novels: while Salinger sets out to depict how the everyday can be reclaimed and the Other acknowledged, Lolita employs a narrator who never manages to re-evaluate his approach to the ordinary.
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Ганин, В. Н., and П. А. Киселев. "Two Variants of “Lolita” by V. V. Nabokov: a Dialogue of Russian and English Literatures." Вестник Рязанского государственного университета имени С.А. Есенина, no. 3(68) (October 6, 2020): 99–107. http://dx.doi.org/10.37724/rsu.2020.68.3.011.
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В статье рассматривается проблема сходства и различия русско- и англоязычного вариантов романа В. В. Набокова «Лолита». Актуальность исследования заключается в филологическом подходе к вопросу авторского перевода, а также в анализе художественного текста в разрезе двуязычной системы. Цель исследования — сравнить два варианта романа В. В. Набокова «Лолита», определить литературный и языковой материал, которым оперировал автор при написании оригинала, и оценить, соответствует ли русский текст оригиналу с точки зрения стилистики и поэтики. Рассматривается вопрос, зачем автору пришлось переводить роман на русский язык, определяется совместимость темы и языка романа с традициями русской культуры, через призму которой текст должен быть прочитан русскоязычным читателем. Предметом статьи являются языковые особенности двух текстов, а также литературная традиция, к которой обращается Владимир Набоков при создании романа. В результате исследования обоснована валентность русского текста внутри новой языковой среды и доказана необходимость текстологических трансформаций, к которым обратился автор при переводе, при этом автор «Лолиты» не просто перевел собственный текст на другой язык, которым он владеет на таком же совершенном уровне, как и английским, но создал абсолютно новый и оригинальный текст, основываясь на своем писательском и читательском опыте. Результаты исследования могут найти применение как филологами, так и лингвистами при работе с редкими образцами такого феномена, как авторский перевод. The article focuses on the differences between the Russian and English variants of V. V. Nabokov’s novel “Lolita”. The relevance of the research consists in the philological approach to the issue of the author-created translation of the novel and in the analysis of the text through the prisms of two different languages. The aim of the research is to compare the two variants of V. V. Nabokov’s novel “Lolita”, to analyze the literary and linguistic material employed by the author to create the original novel, and to assess whether the Russian translation equals the English original from the point of view of its stylistics and poetics. The article attempts to find out what made V. V. Nabokov translate his own novel into the Russian language. It also attempts to identify whether the subject matter of the novel and its language correlate with the traditions of the Russian culture which serves as a prism through which the Russian reader will see the text. The object of the article is the linguistic peculiarities of the two texts, and the literary tradition used by Vladimir Nabokov to create the novel. The research substantiates the valency of the Russian text within the new linguistic environment and proves the necessity of textological transformations used by Nabokov in the process of translation. The research maintains that the author of “Lolita” did not simply translate the original text into another language he knew equally well, but, relying on his writer’s and reader’s experience, created an absolutely new original text. The results of the research can be used by philologists and linguists for the purposes of analysis of such a rare phenomenon as author’s translation.
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Oliveira, Bruna Marcely Andrade Azevedo, and Valéria Cristian Soares Ramos da Silva. "Os efeitos das relações de poder discursivo nos protagonistas da obra Lolita, de Vladimir Nabokov: o silenciamento da voz feminina." Antares: letras e humanidades 13, no. 30 (October 1, 2021): 424–57. http://dx.doi.org/10.18226/19844921.v13.n30.15.
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Zoran Kuzmanovich. "Od Masenjke do Lolite: Pripovjedacki svijet Vladimira Nabokova [From Mary to Lolita: The Narrative World of Vladimir Nabokov] (review)." Nabokov Studies 1, no. 1 (1994): 226–31. http://dx.doi.org/10.1353/nab.2011.0084.
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