【摘要】：納博科夫創(chuàng)作成熟期的三部作品《斬首之邀》、《塞巴斯蒂安·奈特的真實(shí)生活》和《說(shuō)吧,記憶》,是作家在虛構(gòu)與"真實(shí)"、過(guò)去與現(xiàn)在、歷史與文學(xué)等兩界交融態(tài)勢(shì)下實(shí)踐其文學(xué)相對(duì)獨(dú)立性與自主性主張的力作。在這三部作品以及其他同樣重要的作品中,納博科夫通過(guò)重復(fù)社會(huì)儀式、積極構(gòu)建作為個(gè)體的反儀式行為,力圖重現(xiàn)希臘悲劇話語(yǔ),扭轉(zhuǎn)柏拉圖話語(yǔ),建立歷史權(quán)威話語(yǔ),進(jìn)而實(shí)現(xiàn)作家權(quán)力,以此喚醒、引導(dǎo)和控制文學(xué)文本所要達(dá)到的情感力度。他書(shū)寫(xiě)儀式/反儀式話語(yǔ)的努力,為其打開(kāi)了通向自主的、開(kāi)放的、想象的"俄羅斯"的象征性出口。
[Abstract]:Nabokov's three mature works, the invitation to decapitation, the Real Life of Sebastian Knight, and "speak, memory," are fiction and "reality," past and present. Under the situation of the blending of history and literature, the author practices his works of relative independence and autonomy. In these three works and other equally important works, Nabokov actively constructs anti-ritual behavior as an individual by repeating social rituals, trying to reproduce the Greek tragic discourse, reverse Plato's discourse, and establish historical authority discourse. Then the writer's power can be realized so as to awaken, guide and control the emotional strength of literary texts. His efforts to write ritual / anti-ritual discourse opened the symbolic outlet to the autonomous, open, and imagined "Russia".
【作者單位】： 西安外國(guó)語(yǔ)大學(xué)英文學(xué)院;
【基金】：陜西省教育廳哲學(xué)社會(huì)科學(xué)重點(diǎn)研究基地項(xiàng)目“他者話語(yǔ)和西方現(xiàn)代性:納博科夫作品研究”(15JZ050)的階段性成果
【分類號(hào)】：I712.074

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