【摘要】：《洛麗塔》是納博科夫最廣為流傳與接受的小說,自出版之后,就成為了評(píng)論界的焦點(diǎn)。本文通過解讀小說對(duì)童話的戲仿,分析亨伯特處于幻想與現(xiàn)實(shí)之間的心理狀態(tài),嘗試性地通過文體分析來展現(xiàn)主人公的心理。 隨著幻想與現(xiàn)實(shí)在亨伯特的頭腦中此消彼長(zhǎng),他的心理變化經(jīng)歷了三個(gè)階段。因此本文跟隨亨伯特心理變化的邏輯分成三個(gè)部分。第一章敘述亨伯特秘密地在幻想世界里徜徉,卻不斷遭到現(xiàn)實(shí)世界的干擾。亨伯特實(shí)際上是一個(gè)唯我論者,受困于對(duì)永恒的幻想,而洛麗塔被他當(dāng)成發(fā)泄欲望的工具與逃離時(shí)間監(jiān)禁的出口。然而因?yàn)榈赖陆膳c傳統(tǒng)觀念時(shí)常侵入亨伯特的幻想世界,他只能抑制著對(duì)小仙女的欲望。第二章展現(xiàn)亨伯特處在天堂與地獄融合的裂縫中掙扎的心理狀態(tài)。最大的阻礙移除后,亨伯特利用洛麗塔失去母親后的無助,享受著幻想世界的狂喜,但同時(shí)也被恐怖的現(xiàn)實(shí)折磨。小說中童話故事與恐怖場(chǎng)景的交替,以及無處不在的鏡子意象充分地剖析了亨伯特在幻想與現(xiàn)實(shí)之間的游移。最后一章解讀亨伯特對(duì)幻想的超越,以及回到現(xiàn)實(shí)后對(duì)于自己罪惡的認(rèn)識(shí)。亨伯特罪惡的替身一奎爾蒂的死亡標(biāo)志著他幻想島嶼的沉沒,亨伯特最終超越了對(duì)永恒的迷戀。然而走出幻想后,現(xiàn)實(shí)卻無情地告訴他：他只是一個(gè)魔鬼一樣的父親,將自己的女兒當(dāng)成一個(gè)迷戀的物體。但是在敘述者亨伯特的眼中,洛麗塔卻是他美學(xué)追求的一種體現(xiàn),通過洛麗塔這一人物的塑造,他更深地挖掘出“迷戀”這一情緒,也表達(dá)了他想要追求永恒的努力。 通過分析納博科夫?qū)ν挼膽蚍?本文走進(jìn)亨伯特的幻想世界,展現(xiàn)童話故事到恐怖場(chǎng)景的轉(zhuǎn)換,也揭示亨伯特想要把罪責(zé)推到奎爾蒂身上的伎倆,從而更進(jìn)一步窺視亨伯特那幻想與現(xiàn)實(shí)不斷沖撞的內(nèi)心世界。亨伯特最終超越了對(duì)永恒的迷戀,而《洛麗塔》這本小說的藝術(shù)價(jià)值也成為了永恒。
[Abstract]:Lolita, Nabokov's most popular and accepted novel, has become the focus of critics since its publication. This paper attempts to reveal the protagonist's psychology by interpreting the parody of fairy tales, analyzing Humbert's psychological state between fantasy and reality.
As fantasy and reality disappear and disappear in Humbert's mind, his psychological changes undergo three stages. Hence, this paper follows the logic of Humbert's psychological changes into three parts. Chapter One describes Humbert's secret wandering in the fantasy world and constantly being disturbed by the real world. Humbert is actually an solipsist. But because moral taboos and traditional concepts often invade Humbert's fantasy world, he can only suppress his desire for the fairy. Chapter 2 shows Humbert's struggling mentality in the crack between heaven and hell. After removing the greatest obstacle, Humbert takes advantage of Lolita's helplessness after losing her mother, enjoying the ecstasy of the fantasy world, but also suffering from the terrible reality. The alternation of fairy tales and horror scenes in the novel, as well as the ubiquitous mirror image, fully analyzes Humbert's wandering between fantasy and reality. The death of Queerty, Humbert's evil double, marked the sinking of his island of fantasy. Humbert eventually surpassed his infatuation for eternity. But when he stepped out of the fantasy, reality told him ruthlessly that he was just a devil-like father. But in the eyes of the narrator Humbert, Lolita is an embodiment of his aesthetic pursuit. Through the portrayal of Lolita, he digs out the emotion of "infatuation" more deeply and expresses his efforts to pursue eternity.
Through the analysis of Nabokov's parody of fairy tales, this paper goes into Humbert's fantasy world, reveals the transformation from fairy tales to horror scenes, and reveals Humbert's trick of putting the blame on Querty, thus further penetrating into Humbert's inner world of constant confrontation between fantasy and reality. Infatuation, and the artistic value of Lolita's novel has become eternal.
【學(xué)位授予單位】：中南大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2012
【分類號(hào)】：I712.074

【參考文獻(xiàn)】

相關(guān)期刊論文 前5條

1 于曉丹;《洛麗塔》：你說是什么就是什么[J];外國(guó)文學(xué);1995年01期

2 郭英劍;劉文霞;;納博科夫研究在中國(guó)[J];漢語言文學(xué)研究;2010年02期

3 洛黛;象征:讀《洛麗塔》[J];外國(guó)文學(xué)評(píng)論;1988年03期

4 劉佳林;納博科夫研究及翻譯述評(píng)[J];外國(guó)文學(xué)評(píng)論;2004年02期

5 趙君;;探尋“現(xiàn)實(shí)”的本真內(nèi)涵——論納博科夫“后現(xiàn)代式”現(xiàn)實(shí)觀[J];外國(guó)文學(xué)評(píng)論;2008年04期

，

本文編號(hào)：2196888