《洛丽塔》：对“审美极乐”的体验
发布时间：2024-01-17 19:21
基于著名俄裔美籍作家弗拉基米尔·纳博科夫自身独特的创作观及美学思想,以其代表作《洛丽塔》为例,本文试图从创作主体(作者), 叙事主体(亨伯特), 及阅读主体(读者)三方的不同审美体验和方式来论证:《洛丽塔》真正永恒的艺术价值和魅力正是这位艺术大师推崇并致力寻求的那种可称之为“审美极乐”的精神状态。 作为创作主体的作者,纳博科夫摒弃一切传统的目的性,视某种纯粹的审美极乐为《洛丽塔》的唯一创作意图和标准,极力以完美的艺术形式来实现并传承这种至上的愉悦感。诗情画意的语言,逼真迷幻的描述和机智的戏仿文风共建了《洛丽塔》眩彩夺目的艺术外衣,并巧妙地预示着对外部世界的无尽的思索和自由的探寻。作者为审美极乐而作,并在这创作至乐中自我沉醉。 作为叙事主体的小说第一角色,亨伯特带着童年之恋的梦幻,艺术家的气质,在自我幻想中迷醉而纠葛。其独白,并非乱伦的爱恋史,而是对至美的痴迷追寻和体验。更为有价值的是,特殊的叙述地位赋予了他作为作者与读者传声器的功能,引诱着读者渐入预设的艺术审美境界。 作为阅读主体的读者,在精妙的艺术技巧的召唤下,被说服质疑执拗的道德评判,被邀请走进这片纯粹的艺术空间,主动穿越阅读难题...
【文章页数】：67 页
【学位级别】：硕士
【文章目录】：
I. Introduction to Nabokov and Lolita
1.1 Nabokov and His Literary Achievements
1.2 Lolita and the Critical Responses to it
II. A Brief Survey of “Pleasure”in Aesthetics
2.1 “Joy in Heaven”—“Pleasure”in Aesthetics
2.2 The Trace of the Aesthetic Pleasure in Literary History
2.3 Nabokovian “Aesthetic Bliss”
III. The Creative Subject (Nabokov) and His “Aesthetic Bliss”in Lolita (as a text).
3.1 The Intention of Nabokov’s Creation
3.2 The Realization of Nabokov’s “Aesthetic Bliss”in his Lolita
3.2.1 Poetic and Pictorial Language
3.2.2 “Verisimilitude”in Fantasy
3.2.3 Parody in Style
3.3 The Extending Value of Nabokovian “Aesthetic Bliss”
IV. The Narrative Subject (Humbert) and “Aesthetic Bliss”in his Lolita (as a
4.1 The Invisible Author and the Visible Narrator
4.2 The Experience of Humbert’s “Aesthetic Bliss”in the Solipsistic Way
4.2.1 The Motive of Humbert’s Experience of “Aesthetic Bliss”
4.2.2 Humbert’s Pursuit of Lolita in the Solipsistic Way
4.3 The Function of Humbert’s Aesthetic Experience: as the Bait for Readers’ Appreciation
V.T he Reading Subjects (Readers) and their“Aesthetic Bliss”in Lolita
5.1 The Good Nabokovian Readers
5.2 The Experience of Aesthetic Reading
5.2.1 From Catharsis to Aesthetics
5.2.2 The Active Solution in Aesthetic Reading
5.3 The Enlivened Consciousness after Reading
VI. Conclusion
Works Cited
附:本人在读期间发表科研论文及获奖情况一览表
本文编号：3879508
【文章页数】：67 页
【学位级别】：硕士
【文章目录】：
I. Introduction to Nabokov and Lolita
1.1 Nabokov and His Literary Achievements
1.2 Lolita and the Critical Responses to it
II. A Brief Survey of “Pleasure”in Aesthetics
2.1 “Joy in Heaven”—“Pleasure”in Aesthetics
2.2 The Trace of the Aesthetic Pleasure in Literary History
2.3 Nabokovian “Aesthetic Bliss”
III. The Creative Subject (Nabokov) and His “Aesthetic Bliss”in Lolita (as a text).
3.1 The Intention of Nabokov’s Creation
3.2 The Realization of Nabokov’s “Aesthetic Bliss”in his Lolita
3.2.1 Poetic and Pictorial Language
3.2.2 “Verisimilitude”in Fantasy
3.2.3 Parody in Style
3.3 The Extending Value of Nabokovian “Aesthetic Bliss”
IV. The Narrative Subject (Humbert) and “Aesthetic Bliss”in his Lolita (as a
4.1 The Invisible Author and the Visible Narrator
4.2 The Experience of Humbert’s “Aesthetic Bliss”in the Solipsistic Way
4.2.1 The Motive of Humbert’s Experience of “Aesthetic Bliss”
4.2.2 Humbert’s Pursuit of Lolita in the Solipsistic Way
4.3 The Function of Humbert’s Aesthetic Experience: as the Bait for Readers’ Appreciation
V.T he Reading Subjects (Readers) and their“Aesthetic Bliss”in Lolita
5.1 The Good Nabokovian Readers
5.2 The Experience of Aesthetic Reading
5.2.1 From Catharsis to Aesthetics
5.2.2 The Active Solution in Aesthetic Reading
5.3 The Enlivened Consciousness after Reading
VI. Conclusion
Works Cited
附:本人在读期间发表科研论文及获奖情况一览表
本文编号：3879508
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