纳博科夫小说中男性视阈下女性形象的建构
摘要
弗拉基米尔·纳博科夫是世界文坛中的一个传奇性人物。许多读者和批评家倾向于关注他作品中的形式、风格、语言和写作技巧，但极少有人对他作品中的女性人物进行系统化的分析。本文主要运用女性主义理论，同时结合其他理论，如解构主义、弗洛伊德主义、原型批评、巴赫金狂欢化理论等等，对纳博科夫的三部小说《玛丽》、《黑暗中的笑声》、《洛丽塔》展开分析，探究小说中女性形象的特征以及女性形象建构中所反映的男性心理。
第一章分析了少年男子的幻想---《玛丽》中母亲和情人的结合体。女主人公玛丽是真实和幻想的结合，女性与母性的结合，人性与神性的结合。她的形象主要通过男主人公加宁的回忆和想象建构出来。她是地母和母神的象征，显示了丰足、生命力与母性。她也象征着俄罗斯---纳博科夫和加宁共同的祖国母亲。对可怜的流亡者来说，祖国母亲的形象可以抚慰他们受伤的心灵，减缓漂泊无依的感觉。玛丽的形象还体现了永恒女性的本质---美丽、纯洁、富有母性与仁爱。玛丽如同永恒女性索菲亚和圣母玛利亚，引领人们上升到一个理想的境界。玛丽的形象反映了纳博科夫式的恋母情结，即未成熟的少年男子对母亲和情人的结合体的渴求，以及少年流亡者对祖国母亲的依恋。
第二章分析了成年男子的梦魇---《黑暗中的笑声》中的荡妇。女主人公玛戈是一个反面人物，她自私、残酷、放荡，但从某种程度上说，她也是男权社会的受害者。玛戈将男主人公欧比纳斯视为男权社会的化身，成为他的情妇并对他进行利用和报复。玛戈拒绝成为男性眼里被凝视的客体，在她与欧比纳斯的相处中不懈地争夺控制权，最终将欧比纳斯至于她的操控之下。她不守妇道，与她的新情人雷克斯为欧比纳斯营造了一个带有女性主义色彩的狂欢化世界，通过嘲讽、诙谐、辱骂、殴打和狂欢化的笑对欧比纳斯进行脱冕，将其降格为小丑和玩物。她犹如一个强大的女巫，摧毁了男性的尊严和主体性。玛戈的形象反映了纳博科夫式的阉割焦虑，即成年男子对女性的颠覆性力量和反抗力量的恐惧，以及担忧自身性别优势丧失的焦虑。
第三章分析了中老年男子的梦想---《洛丽塔》中的小仙女。洛丽塔首先是被男主人公亨伯特叙述和建构的客体。她是世俗美和青春致命诱惑的化身，也是亨伯特梦幻中的理想爱人，是激发男主人公邪恶欲望的性客体。洛丽塔也是蝴蝶的象征。她的美犹如蝴蝶五彩缤纷的绚丽。在外界环境的刺激下，洛丽塔产生了一种早熟的性心理，如同蝴蝶幼虫会体现出成虫特征。洛丽塔同时也是商品社会和消费文化的牺牲品。然而，她同继父的乱伦关系使她认识到了现实的丑陋并激发了她的反抗精神。她努力解构亨伯特的叙事权威，发出自己的声音，试图逃离亨伯特的控制和操纵。最后她成功摆脱了客体的身份，成长为一名具有独立性和主体性的成熟女性，将自己从亨伯特的梦幻中释放出来。洛丽塔的形象反映了纳博科夫式的恋童癖，即中老年男子对女性青春的追求以及逃离时间之狱的欲望。
纳博科夫小说中女性形象的建构一般在男性视阈中展开。她们的形象建构不仅处于作为男性作者的纳博科夫的视阈之下，也往往处于小说中男主人公的视阈之下。这些女性形象的建构体现了纳博科夫小说中处于不同年龄阶段的男性对女性的心理期待以及拒斥。少年男性渴求母亲与情人的结合体以满足纳博科夫式的恋母情结。而出于纳博科夫式的阉割焦虑，成年男性恐惧并排斥带有颠覆性和反抗性力量的荡妇。中老年男性则梦想着具有世俗美和青春诱惑的小仙女，体现了纳博科夫式的恋童癖。这些女性形象尽管性格特征各异，从本质上说都是处于不同年龄阶段的男性心目中女性幻象的外化，是男性心理的一种投射。许多人认为纳博科夫的文本具有开放性、游戏性，并不灌输某种价值观，不进行道德说教，也不传达性别意识。甚至有学者认为纳博科夫并不是男权主义者，他是对女性持尊重、体谅态度的绅士，有女性主义的倾向。然而，他的小说中女性形象的建构表明他并不是一名真正的女性主义者。尽管他在文学作品中没有刻意的或是明显的贬低，侮辱，污蔑，压制女性的倾向，但他对理想女性的向往和对女巫型荡妇的排斥依然体现了他的传统男性意识。纳博科夫小说中男性视阈下女性形象的建构是作者潜意识中女性观的流露。他对女性的态度仍然是保守的，传统的。
Vladimir Nabokov is a legendary figure in the field of world literature.Many readers and critics would like to focus on the forms, styles, language andwriting techniques of his literary works, but few of them have provided asystematic analysis of the female images under his pen. This dissertation isdesigned to apply feminist theories as well as some other theories such asdeconstruction, Freudianism, archetypal criticism and Bahktin’s theory ofcarnival, to the examination of Nabokov’s three novels---Mary, Laughter in theDark and Lolita, probing into the characteristics of the female images and themale psychology reflected in the construction of the female images.
The first chapter analyzes the illusion of adolescent men---the mother andlover in Mary. The female protagonist Mary is a combination of reality andfantasy, femininity and maternity, and divinity and humanity. The construction ofher image was mainly completed by the memory and imagination of the maleprotagonist Ganin. Mary is the symbol of the mother earth and the mothergoddess, signifying fertility, vitality and maternity. She is also the emblem ofRussia, the motherland of Ganin and Nabokov. For the poor exiles, the image ofthe motherland could console their wounded heart and alleviate the sense ofrootlessness. The image of Mary also demonstrates the essence of the eternalfeminine---beauty, purity, maternity and philanthropy. The features of Mary is inaccordance with that of the eternal feminine Sophia and Virgin Mary who canbeckon people upward to an ideal state. The image of Mary reflects theNabokovian Oedipus complex---the adolescent men’s yearning for a combinationof mother and lover, and young exiles’ attachment to the motherland.
The second chapter analyzes the nightmare of adult men---the strumpet inLaughter in the Dark. The female protagonist Margot is a negative character whois selfish, ruthless and depraved, but in some sense, she is also a victim of thepatriarchal society. Taking the male protagonist Albinus as an incarnation of the male-dominated society, Margot became his mistress, took advantage of him andrevenged against the world. She refused to be the sexual object being gazed bymen, and struggled for the power of control in her relationship with Albinus,making him submit to her manipulation at last. She rejected women’s virtuesestablished by men. Margot, with her new lover Rex, created a carnivalesqueworld where they reduced Albinus to a plaything or a clown through mockery,abuse and assault, travesty and laughter. Like a powerful witch, she could ruinmen’s dignity and subjectivity. The image of Margot reflects the Nabokoviancastration anxiety---the adult men’s fear of women’s subversive and revoltingpower, and the anxiety of losing their sexual advantages.
The third chapter analyzes the reverie of aging men---The nymphet in Lolita.Lolita is primarily the object being narrated and constructed by the maleprotagonist Humbert. She is an incarnation of secular beauty, fatal temptation ofyouth, and the ideal love belonging to Humbert’s reverie. She is reduced to asexual object to stir the sinister desires of the male protagonist. Lolita is also asymbol of butterfly. Her beauty is in accordance with the beauty of a butterfly.Stimulated by the outside environment, Lolita developed a kind of prematuresexual psychology, like a butterfly having an imago’s characteristics in the larvalstate. Lolita is also a victim of the commodity society and the consumptionculture. However, the incestuous relationship between her step-father and hermade she recognize the ugly reality and evoked her rebellious spirit. Lolitaendeavoured to deconstruct Humbert’s narration to utter her own voice andescape from his control and manipulation. Finally, she succeeded in casting awaythe identity as an object and grew up into a woman of independence, subjectivityand maturity, freeing herself from Humbert’s reverie. The image of Lolita reflectsthe Nabokovian pedophilia---the aging men’s desire to pursue female youth andescape from the time prison.
The construction of female images in Nabokov’s novels is usually developedfrom male perspectives. The women characters are not only constructed from the perspective of the male author Nabokov, but also from the perspectives of themale protagonists in the novels. The construction of female images reflects malecharacters’ expectation and rejection of women when they are at different ages.Adolescent men hanker after a combination of mother and lover to satisfy theirNabokovian Oedipus complex. Out of the Nabokovian castration anxiety, Adultmen fear and reject the strumpets of subversive and revolting power. Aging mendream of nymphets of secular beauty and youthful attraction, displaying theNabokovian pedophilia. Although these female images are of variouscharacteristics, they are, in essence, the externalization of the illusions and thenightmares of men at different ages, and a kind of projection of male psychology.Many people think that the literary works of Nabokov are of open-mindednessand playful wits with no intention of conveying values, morality or gender view.Some scholars even regard Nabokov as a well-disposed gentleman who showedrespect and consideration for women. However, the construction of femaleimages in his novels indicates that Nabokov is not a real feminist. AlthoughNabokov has no intentional or evident inclination to defile, insult, debase orsuppress women, his yearning for the ideal women and rejection of the witch-likestrumpets still display his traditional male consciousness. The construction offemale images from male perspectives in Nabokov’s novels reveals the author’sviews on women in his subconscious. Nabokov still holds a traditional andconservative attitude towards women.
第一章分析了少年男子的幻想---《玛丽》中母亲和情人的结合体。女主人公玛丽是真实和幻想的结合，女性与母性的结合，人性与神性的结合。她的形象主要通过男主人公加宁的回忆和想象建构出来。她是地母和母神的象征，显示了丰足、生命力与母性。她也象征着俄罗斯---纳博科夫和加宁共同的祖国母亲。对可怜的流亡者来说，祖国母亲的形象可以抚慰他们受伤的心灵，减缓漂泊无依的感觉。玛丽的形象还体现了永恒女性的本质---美丽、纯洁、富有母性与仁爱。玛丽如同永恒女性索菲亚和圣母玛利亚，引领人们上升到一个理想的境界。玛丽的形象反映了纳博科夫式的恋母情结，即未成熟的少年男子对母亲和情人的结合体的渴求，以及少年流亡者对祖国母亲的依恋。
第二章分析了成年男子的梦魇---《黑暗中的笑声》中的荡妇。女主人公玛戈是一个反面人物，她自私、残酷、放荡，但从某种程度上说，她也是男权社会的受害者。玛戈将男主人公欧比纳斯视为男权社会的化身，成为他的情妇并对他进行利用和报复。玛戈拒绝成为男性眼里被凝视的客体，在她与欧比纳斯的相处中不懈地争夺控制权，最终将欧比纳斯至于她的操控之下。她不守妇道，与她的新情人雷克斯为欧比纳斯营造了一个带有女性主义色彩的狂欢化世界，通过嘲讽、诙谐、辱骂、殴打和狂欢化的笑对欧比纳斯进行脱冕，将其降格为小丑和玩物。她犹如一个强大的女巫，摧毁了男性的尊严和主体性。玛戈的形象反映了纳博科夫式的阉割焦虑，即成年男子对女性的颠覆性力量和反抗力量的恐惧，以及担忧自身性别优势丧失的焦虑。
第三章分析了中老年男子的梦想---《洛丽塔》中的小仙女。洛丽塔首先是被男主人公亨伯特叙述和建构的客体。她是世俗美和青春致命诱惑的化身，也是亨伯特梦幻中的理想爱人，是激发男主人公邪恶欲望的性客体。洛丽塔也是蝴蝶的象征。她的美犹如蝴蝶五彩缤纷的绚丽。在外界环境的刺激下，洛丽塔产生了一种早熟的性心理，如同蝴蝶幼虫会体现出成虫特征。洛丽塔同时也是商品社会和消费文化的牺牲品。然而，她同继父的乱伦关系使她认识到了现实的丑陋并激发了她的反抗精神。她努力解构亨伯特的叙事权威，发出自己的声音，试图逃离亨伯特的控制和操纵。最后她成功摆脱了客体的身份，成长为一名具有独立性和主体性的成熟女性，将自己从亨伯特的梦幻中释放出来。洛丽塔的形象反映了纳博科夫式的恋童癖，即中老年男子对女性青春的追求以及逃离时间之狱的欲望。
纳博科夫小说中女性形象的建构一般在男性视阈中展开。她们的形象建构不仅处于作为男性作者的纳博科夫的视阈之下，也往往处于小说中男主人公的视阈之下。这些女性形象的建构体现了纳博科夫小说中处于不同年龄阶段的男性对女性的心理期待以及拒斥。少年男性渴求母亲与情人的结合体以满足纳博科夫式的恋母情结。而出于纳博科夫式的阉割焦虑，成年男性恐惧并排斥带有颠覆性和反抗性力量的荡妇。中老年男性则梦想着具有世俗美和青春诱惑的小仙女，体现了纳博科夫式的恋童癖。这些女性形象尽管性格特征各异，从本质上说都是处于不同年龄阶段的男性心目中女性幻象的外化，是男性心理的一种投射。许多人认为纳博科夫的文本具有开放性、游戏性，并不灌输某种价值观，不进行道德说教，也不传达性别意识。甚至有学者认为纳博科夫并不是男权主义者，他是对女性持尊重、体谅态度的绅士，有女性主义的倾向。然而，他的小说中女性形象的建构表明他并不是一名真正的女性主义者。尽管他在文学作品中没有刻意的或是明显的贬低，侮辱，污蔑，压制女性的倾向，但他对理想女性的向往和对女巫型荡妇的排斥依然体现了他的传统男性意识。纳博科夫小说中男性视阈下女性形象的建构是作者潜意识中女性观的流露。他对女性的态度仍然是保守的，传统的。
Vladimir Nabokov is a legendary figure in the field of world literature.Many readers and critics would like to focus on the forms, styles, language andwriting techniques of his literary works, but few of them have provided asystematic analysis of the female images under his pen. This dissertation isdesigned to apply feminist theories as well as some other theories such asdeconstruction, Freudianism, archetypal criticism and Bahktin’s theory ofcarnival, to the examination of Nabokov’s three novels---Mary, Laughter in theDark and Lolita, probing into the characteristics of the female images and themale psychology reflected in the construction of the female images.
The first chapter analyzes the illusion of adolescent men---the mother andlover in Mary. The female protagonist Mary is a combination of reality andfantasy, femininity and maternity, and divinity and humanity. The construction ofher image was mainly completed by the memory and imagination of the maleprotagonist Ganin. Mary is the symbol of the mother earth and the mothergoddess, signifying fertility, vitality and maternity. She is also the emblem ofRussia, the motherland of Ganin and Nabokov. For the poor exiles, the image ofthe motherland could console their wounded heart and alleviate the sense ofrootlessness. The image of Mary also demonstrates the essence of the eternalfeminine---beauty, purity, maternity and philanthropy. The features of Mary is inaccordance with that of the eternal feminine Sophia and Virgin Mary who canbeckon people upward to an ideal state. The image of Mary reflects theNabokovian Oedipus complex---the adolescent men’s yearning for a combinationof mother and lover, and young exiles’ attachment to the motherland.
The second chapter analyzes the nightmare of adult men---the strumpet inLaughter in the Dark. The female protagonist Margot is a negative character whois selfish, ruthless and depraved, but in some sense, she is also a victim of thepatriarchal society. Taking the male protagonist Albinus as an incarnation of the male-dominated society, Margot became his mistress, took advantage of him andrevenged against the world. She refused to be the sexual object being gazed bymen, and struggled for the power of control in her relationship with Albinus,making him submit to her manipulation at last. She rejected women’s virtuesestablished by men. Margot, with her new lover Rex, created a carnivalesqueworld where they reduced Albinus to a plaything or a clown through mockery,abuse and assault, travesty and laughter. Like a powerful witch, she could ruinmen’s dignity and subjectivity. The image of Margot reflects the Nabokoviancastration anxiety---the adult men’s fear of women’s subversive and revoltingpower, and the anxiety of losing their sexual advantages.
The third chapter analyzes the reverie of aging men---The nymphet in Lolita.Lolita is primarily the object being narrated and constructed by the maleprotagonist Humbert. She is an incarnation of secular beauty, fatal temptation ofyouth, and the ideal love belonging to Humbert’s reverie. She is reduced to asexual object to stir the sinister desires of the male protagonist. Lolita is also asymbol of butterfly. Her beauty is in accordance with the beauty of a butterfly.Stimulated by the outside environment, Lolita developed a kind of prematuresexual psychology, like a butterfly having an imago’s characteristics in the larvalstate. Lolita is also a victim of the commodity society and the consumptionculture. However, the incestuous relationship between her step-father and hermade she recognize the ugly reality and evoked her rebellious spirit. Lolitaendeavoured to deconstruct Humbert’s narration to utter her own voice andescape from his control and manipulation. Finally, she succeeded in casting awaythe identity as an object and grew up into a woman of independence, subjectivityand maturity, freeing herself from Humbert’s reverie. The image of Lolita reflectsthe Nabokovian pedophilia---the aging men’s desire to pursue female youth andescape from the time prison.
The construction of female images in Nabokov’s novels is usually developedfrom male perspectives. The women characters are not only constructed from the perspective of the male author Nabokov, but also from the perspectives of themale protagonists in the novels. The construction of female images reflects malecharacters’ expectation and rejection of women when they are at different ages.Adolescent men hanker after a combination of mother and lover to satisfy theirNabokovian Oedipus complex. Out of the Nabokovian castration anxiety, Adultmen fear and reject the strumpets of subversive and revolting power. Aging mendream of nymphets of secular beauty and youthful attraction, displaying theNabokovian pedophilia. Although these female images are of variouscharacteristics, they are, in essence, the externalization of the illusions and thenightmares of men at different ages, and a kind of projection of male psychology.Many people think that the literary works of Nabokov are of open-mindednessand playful wits with no intention of conveying values, morality or gender view.Some scholars even regard Nabokov as a well-disposed gentleman who showedrespect and consideration for women. However, the construction of femaleimages in his novels indicates that Nabokov is not a real feminist. AlthoughNabokov has no intentional or evident inclination to defile, insult, debase orsuppress women, his yearning for the ideal women and rejection of the witch-likestrumpets still display his traditional male consciousness. The construction offemale images from male perspectives in Nabokov’s novels reveals the author’sviews on women in his subconscious. Nabokov still holds a traditional andconservative attitude towards women.
引文
1Smith, Peter Duval.“What Vladimir Nabokov Thinks of His Work, His Life.” Vogue, March1,1963, pp.152-55. p.154
2F. W. Dupee,“A Preface to Lolita,” The Anchor Review, Number Two (Garden City, New York),1957, p.7.
3Jacque Derrida, L’Ecriture et la différance. Paris: Seuil,1967. English trans.: Writing and Difference.Chicago: University of Chicago Press,1978. p.411/279
4伊·巴丹特尔：《男女论》(王论跃等译)，长沙：湖南文艺出版社，1988. p.38.
5俞伟超等：《座谈东山嘴遗址》，《文物》1984年第11期，p.12-13.
6Hans Eichner,“The Eternal Feminie: An Aspect of Goethe’s Ethics,” in Johann Wolfgang van Goethe,Faust, Norton Critical Edition, trans. Walter Arndt, ed. Cyrus Hamlin (New York: Norton,1976), p.620.
7Jane Vaughan Pinckney, Tacita Tacit, II, p.276; quoted in Myron Brightfield, Victorian England in ItsNovels, IV, Los Angeles,1968, p.27.
8Quoted from Nabokov’s lectures on literature in a university, but Nabokov did not point out the edition ofProust’s work or the exact page of the paragraph he cited.
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