纳博科夫创作成熟期的三部作品《斩首之邀》、《塞巴斯蒂安·奈特的真实生活》和《说吧,记忆》,是作家在虚构与“真实”、过去与现在、历史与文学等两界交融态势下实践其文学相对独立性与自主性主张的力作。在这三部作品以及其他同样重要的作品中,纳博科夫通过重复社会仪式、积极构建作为个体的反仪式行为,力图重现希腊悲剧话语,扭转柏拉图话语,建立历史权威话语,进而实现作家权力,以此唤醒、引导和控制文学文本所要达到的情感力度。他书写仪式/反仪式话语的努力,为其打开了通向自主的、开放的、想象的“俄罗斯”的象征性出口。 Nabokov’s creation of the mature three works “Decapitation Invitations,” “Sebastian Knight’s Real Life,” and “Speaking, Memory,” are the works of writers in the fictional and “real” past And now, history and literature, the two circles in the situation of integration of the practice of their literary independence and autonomy proposition. In these three works and other equally important works, Nabokov actively constructs anti-ritual acts as individuals by repeating social rituals, trying to reproduce the Greek tragedy discourse, reversing Platonic discourse, building the historical authority discourse and then realizing the writer Power, in order to awaken, guide and control the literary text to reach the emotional intensity. His efforts to write rituals / anti-ritual discourses opened up a symbolic exit to an autonomous, open, imaginative “Russia.”