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欧美评论界对于纳博科夫的遗作《劳拉的原型》关注的焦点多集中于“该不该出版”的问题。1然而,基于巴赫金的对话性符号学思想,不难发现这部“碎片小说”涵盖了诸多文学主题,体现了纳博科夫的文艺创作观,彰显了作家独特的创作主体性以及文本、作者、读者之间积极的对话性:弗洛拉—劳拉的意象是对古希腊罗马文化传统及犹太神秘传说中神话原型的戏仿,并与《洛丽塔》等小说中的“宁芙”形象产生了鲜明的互文;王尔德的精神死亡实验赋予了作者与文本沟通的空间,影射了风烛残年的纳博科夫对于死亡、涅槃与彼岸世界的独到见解;再者,这部“碎片小说”在情节上虽不完整,但却以一种开放文本的存在方式,引导构建性的读者参与文本阅读与意义建构,从而使审美活动中的作者、文本、读者之间的对话成为可能。
The focus of European and American critics on Nabokov’s extinct “Lara’s Archetype” has focused more on “should not be published”. 1 However, based on Bakhtin’s dialogistic semiotics, it is not difficult to find out that this “fragment novel” covers many literary themes, embodies Nabokov’s literary and artistic creation, and highlights the writer’s unique creative subjectivity as well as The positive dialogue between the text, the author and the reader: Flora - Laura ’s image is a parody of the mythological prototypes of the ancient Greek and Roman cultural traditions and jewish myths, and is closely related to the novels of “Lolita” The “Ning Fu” image produced a distinct intertextuality; Wilde’s spiritual death experiment gave the author space to communicate with the text and reflected the innocent Nabokov’s unique view of death, Nirvana and the other side of the world; furthermore, Although the plot is not complete in the plot, it uses an open text to guide the constructive readers to participate in text reading and meaning construction so that the author, text and reader in the aesthetic activities The dialogue is possible.