摘要
弗·纳博科夫以小说形式的奇异和晦涩被称为“非常极端的文学本体论者”,在美国文学史上被纳入二战后的美国实验小说家的行列。由于文本结构的讲究、细节和意像的精雕细琢 ,作品显得扑朔迷离、隐晦曲折 ,具有现代文本的包容性和复调性。在斯坦利·费什的《读者反应批评 :理论与实践》的启发下 ,本文试图对《洛丽塔》——一本众说纷纭的作品——的文本内容进行阅读经验式的解析 ,由此可见纳博科夫的写作用意在于容纳读者于小说之中 ,让读者成为小说的参与者 ,在作者制造的文本迷宫中 ,或愉悦或痛苦 ,成为第二文本的创造者 ,而不在于给予读者以教育。因此 ,文本中透露出的价值观念的不确定性以及作者所采取的谜语一般的隐喻和讽刺手段 ,成为读者阅读的迷雾 ,也正是作者期望之中的阅读效果。
Vladimir Nabokov, a so called 'extreme literary ontologist' for the bizarrerie and obscurity in the formal qualities of his work, is placed in the postwar writer group of Experimentation. The particularly designed structure, the carefully depicted details and the painstakingly selected image patterns create a complicated and confusing novel full of allusions which bestowed it the characteristics of a modern text. Enlightened by Stanley Fish's theory and practice, this essay tempts to have a close study of the text of his controversial novel 'Lolita' and the writing motive of the author that aims for inviting the reader into his novel, being part of it instead of giving him any moral lessons. To Nabokov, art is a way to 'compose riddles with elegant solutions' and a novel is a labyrinth of text where the reader may feel pleased or depressed and become the creator of the second text thereafter. Consequently, the uncertainty of the value in man as well as the riddle like writing approaches in the fiction is eventually proved to be the trap for the reader. That, too, falls into the expectancy of the author.
出处
《广西师范大学学报（哲学社会科学版）》
2002年第S3期41-47,共7页
Journal of Guangxi Normal University(Philosophy and Social Sciences Edition)
关键词
读者
第二文本
迷宫
Reader
the Second Text
Labyrinth
