论纳博科夫小说中的时间意识
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摘要
纳博科夫是20 世纪世界文坛上的一位重量级人物,在小说、诗歌、戏剧等多种体裁方面都取得了很高成就。尽管由于其小说《洛丽塔》而备受争议,在欧美学界褒贬不一,他仍然称得上是一位极其严肃的作家。本文试图从他的生活经历出发,借助巴赫金等人关于时间的论述,探讨纳博科夫时间体验的特点:断裂的时间意识。并以此为切入点,深入分析这一时间意识在其小说文本中的深刻影响:小说内容的狂欢化和叙事形式的空间化。本文认为,正是对时间的非连续性体验,使纳博科夫的小说获得了与众不同的特质,由此也使他成为促使文学从现代主义向后现代主义转变的重要作家。
本文由“引言”、“正文”及“结语”组成,其中“正文”又分为三部分。
引言:评介纳博科夫的创作概况及国内外关于其小说艺术的研究现状。对于断裂的时间观在纳博科夫小说中的关键性作用,目前还鲜有学者论及,而事实上无论在小说内容还是形式方面,时间意识都是纳博科夫小说中一条至关重要的线索。因此本文把研究内容聚焦到他的时间观上来,具有重要的学术意义。
“正文”第一部分:纳博科夫与断裂的时间。作为流亡作家,纳博科夫一生经受了田园时间与道路时间的分裂,以及道路时间本身的分裂,因此时间的分裂成为他不断强化的感受。在小说中,时间的分裂表现为转喻与隐喻的强烈对比,以及隐喻暗含的审美距离。时间的断裂感在叙事内涵与叙事形式两方面深深影响了他的写作。
第二部分:狂欢化的审美内涵。如何在写作中弥合断裂的时间体验,获得审美“狂喜”,是纳博科夫创作的重要目的。在叙事内容上,纳博科夫通过描述小丑式的人物、狂欢化的笑声以及充满危机的时空点,使作品贯穿着狂欢式的世界感受,体现了人与世界的新的毗邻关系,断裂与伤痛也得以象征性地弥合,从而实现了存在的整体感。
第三部分:空间化的叙事艺术。除了作品叙事内容的狂欢化外,与纳博科夫的时间感受相联系的,还有作品叙事形式的空间化。在《洛丽塔》、《微暗的火》、《说吧,记忆》等小说中,纳博科夫分别运用了“互文”、“不可靠的叙述者”、“并置”,以消解传统现实主义小说的线性因果结构,突出文本意义的不确定性以及读者的能动作用,文本也因此成为空间化的文本。
结语:以上正文的三个部分,分别从时间维度探讨了纳博科夫独特的时间意识,从狂欢化诗学的视角审视其小说的审美文化功能,从空间关系入手展现其叙事艺术的价值,而断裂的时间意识是贯穿于本文的一条主线。我们认为纳博科夫对时间断裂性的深刻感受使他的作品独树一帜,而与其相关的创作理念也影响了后来的许多作家。
As one of the most important writers in the 20th century, Vladimir Nabokov gets equal parts of praise and condemn. In some critics’perspectives, he is a great and creative novelist, poet and dramatist; but in the perspectives of other critics, he is immoral because of his masterpiece, Lolita. In this thesis, we do think he is a really serious writer. Before 1919, he led a very peaceful and happy life. Based on such a life style, he entered his “pastoral-time”. But since 1919, he had been exiling all the time until he died in 1977. These years can be called his “exile-time”. This thesis focuses on the characteristics of his conception of time: de-linking. Using the theory of Bakhtin and other theorists, we analyze Nabokov’s novels and point out the distinctive features of his texts: carnival implication and interspacial narrative. In my opinion, just because of Nabokov’s conception of de-linking time he made his novels unique and became a great writer.
This thesis consists of introduction, main body and conclusion.
The introduction briefly introduces Nabokov’s main works, and then accounts for the present researching situation at home and abroad. His different conception of time is a key to study his fiction.
Part one of the main body: The year of 1919 divided his life into two periods, i.e. “pastoral-time”and “exile-time”. After generalizing his conception of time, we think its main characteristic is de-linking. And in his fiction, the conception of de-linking time turned out to be the contrast of “metonymy”and “metaphor”, and also the opposite elements in “metaphor”.
Part two: How to balance the inter-world and the outside world in his writing is Nabokov’s important aim. In his texts, he tried to make the characters something like clowns, describe the carnival laughter, and emphasize some time and places. Therefore the content of his novels is carnival. By doing so he symbolically solved all his problems and reunited his soul and the outside world.
Part three: Besides the content of his fiction, the forms are also concerned with his conception of time. In Lolita, Pale Fire, and Speak, Memory, Nabokov respectively used the skills of intertextuality, unreliable-narrative and juxtaposition to create his distinctive form--interspacial narrative form. In these texts, he deconstructed the linear relationship between cause and effect to make the meanings uncertain and lay stress on readers’reading.
Conclusion: The distinctive feature of Nabokov’s consciousness of time made his novels quite different from others in his time, his great works also influenced other writers a lot.
本文由“引言”、“正文”及“结语”组成,其中“正文”又分为三部分。
引言:评介纳博科夫的创作概况及国内外关于其小说艺术的研究现状。对于断裂的时间观在纳博科夫小说中的关键性作用,目前还鲜有学者论及,而事实上无论在小说内容还是形式方面,时间意识都是纳博科夫小说中一条至关重要的线索。因此本文把研究内容聚焦到他的时间观上来,具有重要的学术意义。
“正文”第一部分:纳博科夫与断裂的时间。作为流亡作家,纳博科夫一生经受了田园时间与道路时间的分裂,以及道路时间本身的分裂,因此时间的分裂成为他不断强化的感受。在小说中,时间的分裂表现为转喻与隐喻的强烈对比,以及隐喻暗含的审美距离。时间的断裂感在叙事内涵与叙事形式两方面深深影响了他的写作。
第二部分:狂欢化的审美内涵。如何在写作中弥合断裂的时间体验,获得审美“狂喜”,是纳博科夫创作的重要目的。在叙事内容上,纳博科夫通过描述小丑式的人物、狂欢化的笑声以及充满危机的时空点,使作品贯穿着狂欢式的世界感受,体现了人与世界的新的毗邻关系,断裂与伤痛也得以象征性地弥合,从而实现了存在的整体感。
第三部分:空间化的叙事艺术。除了作品叙事内容的狂欢化外,与纳博科夫的时间感受相联系的,还有作品叙事形式的空间化。在《洛丽塔》、《微暗的火》、《说吧,记忆》等小说中,纳博科夫分别运用了“互文”、“不可靠的叙述者”、“并置”,以消解传统现实主义小说的线性因果结构,突出文本意义的不确定性以及读者的能动作用,文本也因此成为空间化的文本。
结语:以上正文的三个部分,分别从时间维度探讨了纳博科夫独特的时间意识,从狂欢化诗学的视角审视其小说的审美文化功能,从空间关系入手展现其叙事艺术的价值,而断裂的时间意识是贯穿于本文的一条主线。我们认为纳博科夫对时间断裂性的深刻感受使他的作品独树一帜,而与其相关的创作理念也影响了后来的许多作家。
As one of the most important writers in the 20th century, Vladimir Nabokov gets equal parts of praise and condemn. In some critics’perspectives, he is a great and creative novelist, poet and dramatist; but in the perspectives of other critics, he is immoral because of his masterpiece, Lolita. In this thesis, we do think he is a really serious writer. Before 1919, he led a very peaceful and happy life. Based on such a life style, he entered his “pastoral-time”. But since 1919, he had been exiling all the time until he died in 1977. These years can be called his “exile-time”. This thesis focuses on the characteristics of his conception of time: de-linking. Using the theory of Bakhtin and other theorists, we analyze Nabokov’s novels and point out the distinctive features of his texts: carnival implication and interspacial narrative. In my opinion, just because of Nabokov’s conception of de-linking time he made his novels unique and became a great writer.
This thesis consists of introduction, main body and conclusion.
The introduction briefly introduces Nabokov’s main works, and then accounts for the present researching situation at home and abroad. His different conception of time is a key to study his fiction.
Part one of the main body: The year of 1919 divided his life into two periods, i.e. “pastoral-time”and “exile-time”. After generalizing his conception of time, we think its main characteristic is de-linking. And in his fiction, the conception of de-linking time turned out to be the contrast of “metonymy”and “metaphor”, and also the opposite elements in “metaphor”.
Part two: How to balance the inter-world and the outside world in his writing is Nabokov’s important aim. In his texts, he tried to make the characters something like clowns, describe the carnival laughter, and emphasize some time and places. Therefore the content of his novels is carnival. By doing so he symbolically solved all his problems and reunited his soul and the outside world.
Part three: Besides the content of his fiction, the forms are also concerned with his conception of time. In Lolita, Pale Fire, and Speak, Memory, Nabokov respectively used the skills of intertextuality, unreliable-narrative and juxtaposition to create his distinctive form--interspacial narrative form. In these texts, he deconstructed the linear relationship between cause and effect to make the meanings uncertain and lay stress on readers’reading.
Conclusion: The distinctive feature of Nabokov’s consciousness of time made his novels quite different from others in his time, his great works also influenced other writers a lot.
引文
1、马克·柯里:《后现代叙事理论》,宁一中译,北京大学出版社,2003 年。
2、史成芳:《诗学中的时间概念》,湖南教育出版社,2000 年。
3、加斯东·巴什拉:《梦想的诗学》,刘自强译,生活·读书·新知三联书店,1996 年。
4、保尔·利科:《虚构叙事中的时间塑形》,王文融译,生活·读书·新知三联书店,2003 年。
5、柏格森:《时间与自由意志》,吴士栋译,商务印书馆,1989 年。
6、J.希利斯·米勒:《解读叙事》,申丹译,北京大学出版社,1998 年。
7、王岳川、尚水编:《后现代主义文化与美学》,北京大学出版社,1992 年。
8、亨利·詹姆斯:《小说的艺术》,朱雯等译,上海译文出版社,2001 年。
9、吴晓东:《从卡夫卡到昆德拉》,生活·读书·新知三联书店,2003 年。
10、夏忠宪:《巴赫金狂欢化诗学研究》,北京师范大学出版社,2000 年。
11、道格拉斯·凯尔特、斯蒂文·贝斯特:《后现代理论——批判性的质疑》,张志斌译,中央编译出版社,1999 年。
12、罗钢:《叙事学导论》,云南人民出版社,1994 年。
13、金亚娜、刘锟、张鹤:《充盈的虚无——俄罗斯文学中的宗教意识》,人民文学出版社,2003年。
14、陶东风:《文体演变及其文化意味》,云南人民出版社,1994 年。
15、德·谢·利哈乔夫:《解读俄罗斯》,吴小都等译,北京大学出版社,2003 年。
16、刘小枫:《沉重的肉身——现代性伦理的叙事纬语》,华夏出版社,2004 年。
17、刘小枫:《拯救与逍遥》,华夏出版社,2004 年。
18、查尔斯·麦格拉斯:《20 世纪的书》,朱孟勋等译,生活·读书·新知三联书店,2001 年。
19、托多洛夫:《巴赫金、对话理论及其他》,蒋子华、张萍译,百花文艺出版社,2001 年。
20、梅绍武:《浅论纳博科夫》,载《世界文学》1987 年第5 期。
21、莱辛:《拉奥孔》,朱光潜译,人民文学出版社,1979 年。
22、程正明:《巴赫金的文化诗学》,北京师范大学出版社,2001 年。
23、《后现代主义与文化理论——杰姆逊教授讲演录》,唐小兵译,陕西师范大学出版社,1986年。
24、斯皮勒(Robert E. Spiller):《美国文学的周期》,王长荣译,上海外语教育出版社,1990年。
25、尼·别尔嘉耶夫:《俄罗斯思想》,雷永生、邱守娟译,生活·读书·新知三联书店,2004年。
26、路易·加迪等:《文化与时间》,郑乐平等译,浙江人民出版社,1988 年。
27、董小英:《再登巴比伦塔:巴赫金与对话理论》,生活·读书·新知三联书店,1994 年。
28、陈永国:《互文性》,载《外国文学》,2003 年第1 期。
29、柏格森:《笑——论滑稽的意义》,徐继曾译,中国戏剧出版社,1980 年。
30、张沛:《修辞与认知》,载《比较文学与世界文学》,第1 辑,杨乃乔、伍小明主编,商务印书馆,2004 年。
31、朱光潜主编:《西方美学史》,人民文学出版社,1963 年。
32、张法:《中西美学与文化精神》,北京大学出版社,1994 年。
33、迈克尔·伍德:《沉默之子——论当代小说》,顾钧译,生活·读书·新知三联书店,2003年。
1. Brian Boyd, Vladimir Nabokov: The American Years, Princeton, New Jersey: Princeton University Press, 1991.
2. Hana Pichova, The Art of Memory in Exile: Vladimir Nabokov and Milan Kundera, Southern Illinois University Press, 2002.
3. Phyllis A. Roth, Critical Essays on Vladimir Nabokov, Boston: G. K. Hall& Co, 1984.
4. Nabokov and His Fiction: New Perspectives, ed. by Julian W. Connolly, Cambridge University Press, 1999.
5. Nabokov at the Limits, ed. by Lisa Zunshine, New York & London: Garland Publishing Inc., 1999.
6. John O. Stark, The Literature of Exhaustion: Borges, Nabokov and Barth, Durham, N.C.: Duke University Press, 1974.
7. Kazin Alfred, “Wisdom in Exile”, in Contemporary Literary Criticism, Vol. 8 Detroit, 1978.
8. Lionel Trilling, “The Lost Lover”, in Vladimir Nabokov’s Lolita, ed. by Harold Bloom, New York: Chelsea house Publishers, 1987.
9. John Start, The Literature of Exhaustion, Durham, N.C.: Duke University Press, 1974.
10.弗拉基米尔·纳博科夫:《洛丽塔》(Vladimir Nabokov,Lolita 英文版),外语教学与研究出版社,2000 年。
2、史成芳:《诗学中的时间概念》,湖南教育出版社,2000 年。
3、加斯东·巴什拉:《梦想的诗学》,刘自强译,生活·读书·新知三联书店,1996 年。
4、保尔·利科:《虚构叙事中的时间塑形》,王文融译,生活·读书·新知三联书店,2003 年。
5、柏格森:《时间与自由意志》,吴士栋译,商务印书馆,1989 年。
6、J.希利斯·米勒:《解读叙事》,申丹译,北京大学出版社,1998 年。
7、王岳川、尚水编:《后现代主义文化与美学》,北京大学出版社,1992 年。
8、亨利·詹姆斯:《小说的艺术》,朱雯等译,上海译文出版社,2001 年。
9、吴晓东:《从卡夫卡到昆德拉》,生活·读书·新知三联书店,2003 年。
10、夏忠宪:《巴赫金狂欢化诗学研究》,北京师范大学出版社,2000 年。
11、道格拉斯·凯尔特、斯蒂文·贝斯特:《后现代理论——批判性的质疑》,张志斌译,中央编译出版社,1999 年。
12、罗钢:《叙事学导论》,云南人民出版社,1994 年。
13、金亚娜、刘锟、张鹤:《充盈的虚无——俄罗斯文学中的宗教意识》,人民文学出版社,2003年。
14、陶东风:《文体演变及其文化意味》,云南人民出版社,1994 年。
15、德·谢·利哈乔夫:《解读俄罗斯》,吴小都等译,北京大学出版社,2003 年。
16、刘小枫:《沉重的肉身——现代性伦理的叙事纬语》,华夏出版社,2004 年。
17、刘小枫:《拯救与逍遥》,华夏出版社,2004 年。
18、查尔斯·麦格拉斯:《20 世纪的书》,朱孟勋等译,生活·读书·新知三联书店,2001 年。
19、托多洛夫:《巴赫金、对话理论及其他》,蒋子华、张萍译,百花文艺出版社,2001 年。
20、梅绍武:《浅论纳博科夫》,载《世界文学》1987 年第5 期。
21、莱辛:《拉奥孔》,朱光潜译,人民文学出版社,1979 年。
22、程正明:《巴赫金的文化诗学》,北京师范大学出版社,2001 年。
23、《后现代主义与文化理论——杰姆逊教授讲演录》,唐小兵译,陕西师范大学出版社,1986年。
24、斯皮勒(Robert E. Spiller):《美国文学的周期》,王长荣译,上海外语教育出版社,1990年。
25、尼·别尔嘉耶夫:《俄罗斯思想》,雷永生、邱守娟译,生活·读书·新知三联书店,2004年。
26、路易·加迪等:《文化与时间》,郑乐平等译,浙江人民出版社,1988 年。
27、董小英:《再登巴比伦塔:巴赫金与对话理论》,生活·读书·新知三联书店,1994 年。
28、陈永国:《互文性》,载《外国文学》,2003 年第1 期。
29、柏格森:《笑——论滑稽的意义》,徐继曾译,中国戏剧出版社,1980 年。
30、张沛:《修辞与认知》,载《比较文学与世界文学》,第1 辑,杨乃乔、伍小明主编,商务印书馆,2004 年。
31、朱光潜主编:《西方美学史》,人民文学出版社,1963 年。
32、张法:《中西美学与文化精神》,北京大学出版社,1994 年。
33、迈克尔·伍德:《沉默之子——论当代小说》,顾钧译,生活·读书·新知三联书店,2003年。
1. Brian Boyd, Vladimir Nabokov: The American Years, Princeton, New Jersey: Princeton University Press, 1991.
2. Hana Pichova, The Art of Memory in Exile: Vladimir Nabokov and Milan Kundera, Southern Illinois University Press, 2002.
3. Phyllis A. Roth, Critical Essays on Vladimir Nabokov, Boston: G. K. Hall& Co, 1984.
4. Nabokov and His Fiction: New Perspectives, ed. by Julian W. Connolly, Cambridge University Press, 1999.
5. Nabokov at the Limits, ed. by Lisa Zunshine, New York & London: Garland Publishing Inc., 1999.
6. John O. Stark, The Literature of Exhaustion: Borges, Nabokov and Barth, Durham, N.C.: Duke University Press, 1974.
7. Kazin Alfred, “Wisdom in Exile”, in Contemporary Literary Criticism, Vol. 8 Detroit, 1978.
8. Lionel Trilling, “The Lost Lover”, in Vladimir Nabokov’s Lolita, ed. by Harold Bloom, New York: Chelsea house Publishers, 1987.
9. John Start, The Literature of Exhaustion, Durham, N.C.: Duke University Press, 1974.
10.弗拉基米尔·纳博科夫:《洛丽塔》(Vladimir Nabokov,Lolita 英文版),外语教学与研究出版社,2000 年。